Green Clean's unique green cleaning process has grabbed the attention of the media. Read some of the articles and news stories about Green Clean.
Michael outlines natural alternatives to harmful chemicals, providing a healthier way to keeping your home and office clean without any of the nasty side-effects from traditional cleaners.
Green Clean Australia is featured in "realliving", a boutique home magazine. Kareena is interviewed and provides her top tips for keeping your home healthy and clean.


text:
HomeOp-ed
Formula still works: Jojo Rabbit is an average film that would never get 6 Oscar noms if it wasn't about the HOLOCAUST
Michael McCaffrey
Michael McCaffrey is a writer and cultural critic who lives in Los Angeles. His work can be read at RT, Counterpunch and at his website mpmacting.com/blog. He is also the host of the popular cinema podcast Looking California and Feeling Minnesota. Follow him on Twitter @MPMActingCo
16 Jan, 2020 10:58
(top left) Jojo Rabbit (2019) Dir: Taika Waititi © Global Look Press/ZUMAPRESS/Twentieth Century Fox; (bottom left) Schindlers List (1993) Dir: Steven Spielberg © Global Look Press/KPA/Universal Pictures; (top right) The Pianist (2002) Dir: Roman Polanski © Global Look Press/ZUMAPRESS/FOCUS FEATURES; (bottom right) Inglourious Basterds (2009) Dir: Quentin Tarantino © Global Look Press/PLANET PHOTOS/Universal Pictures
Long after it became a cliché, exploiting the Holocaust for easy Oscar nominations is still a thing – and Jojo Rabbit is prime evidence.
Directed by Taika Waititi, the comedy drama tells the story of a young German boy in the Hitler Youth whose imaginary friend is a whimsical Adolf Hitler. Jojo, the titular character, comes to question his Nazi beliefs when he meets a teenage Jewish girl his mother helps to hide in the walls of his house.
Jojo Rabbit is a mild misfire of a movie that never quite threads the delicate needle of comedy and drama that its bold premise requires. It isn't an awful movie, but it isn't perfect either, as is reflected in its critic score of 80% on Rotten Tomatoes and the fact it has only brought in $32 million at the box office.
With the film's subdued, even underwhelming, critical and financial results you would think it stood no chance of winning the biggest prizes… and you'd be wrong.
Jojo Rabbit has reeled in six Oscar nominations, including Best Picture and Best Adapted Screenplay.
Also on rt.com Too many white men: Oscar nominations provoke outrage from the woke… again
So how did the mediocre mixed bag that is Jojo Rabbit become such Oscar bait?
Easy: it used the super-cynical Oscar formula.
It goes like this: if you want to guarantee an Oscar nomination, then your movie must be about one of four broad topics. Here they are in hierarchical order:
1. Holocaust and/or Nazis
2. Slavery/civil rights/race
3. The AIDS epidemic and LGBTQ themes
4. Hollywood
Since 2009, when the Best Picture category expanded from five nominees to ten, only once has the field been completely devoid of films that hit upon one or more of these subjects. Some notable beneficiaries of the formula over the last decade are such mediocrities as BlacKkKlansman (2018), Call Me By Your Name (2017), Hidden Figures (2016), Selma (2014), Dallas Buyers Club (2013), The Help (2011), and The Kids Are Alright (2010), as well as Best Picture winners Green Book (2018), Moonlight (2016) and The Artist (2011). And that's not including films like The Shape of Water – the winner in 2017 – that address the same issues in more oblique ways.
Even the best directors in the business have turned to that simple list of ingredients to advance their careers.
Steven Spielberg spent two decades making blockbusters that earned him no Oscar love, but after a failed attempt to use the formula for Oscar gold on The Color Purple (1985), he finally took home the Best Director and Best Picture prizes with Schindler's List (1993).
Quentin Tarantino's last four films, Inglourious Basterds (2009), Django Unchained (2012), The Hateful Eight (2015) and Once Upon a Time in Hollywood (2019), have all utilized the formula, and three of them received Best Picture nominations for their efforts.
Tarantino has yet to win the coveted Best Director or Best Picture Oscar, but maybe he'll be victorious this year with his homage to Hollywood.
The question is… why does the super-cynical Oscar formula work?
Well, in terms of Holocaust/Nazi and slavery/race movies, the answer is simple. The Manichaean nature of the narrative is easy to understand; there are good guys, and there are very bad guys. It is all very black and white, if you'll pardon the pun.
Another reason these subjects are employed is because the Holocaust and slavery are monuments to human depravity and suffering – and as uncomfortable as it is to admit it, both subjects are chock full of dramatic potential. The same is true of the AIDS epidemic, which was its own kind of Holocaust. The bottom line is, any subject which has death as a constant and contains a foreboding presence is going to be loaded with drama… and hence has the potential to be a good film.
Also on rt.com The 2020 Oscar nominees: From the woke to the good
They give the most hackneyed story structures a historical weight, elevating them into what voters believe to be classy award-winning pictures.
But the suspicion is it's even simpler than that.
The two cities at the heart of the film industry, Los Angeles and New York, are the cities with the largest Jewish and gay populations in the US, which most likely translates into a solid number of Academy members being Jewish, gay, or both.
Holocaust, slavery and gay-themed films are profound for most audiences due to their highlighting of humanity and inhumanity, but they most definitely resonate in the Jewish and gay communities, as those groups know the sting of persecution all too well.
Also on rt.com Marvel will introduce trans hero 'very soon' in ongoing effort to go woke in new phase of films
The appeal of Hollywood-themed movies at the Oscars is not quite so existentially based; simply put, Hollywood is the global center of narcissism and that results in the film industry liking stories about itself.
As for Jojo Rabbit, writer/director Taika Waititi is a very talented guy, as proven by his direction of the very best Marvel movie, Thor: Ragnarok.
Jojo Rabbit (2019) Dir: Taika Waititi © Fox Searchlight
Waititi isn't just a promising writer/director; he is also a gifted comic actor, and any time he appears on screen as Adolf Hitler with an ersatz German accent, Jojo Rabbit sparks into life.
Let's hope that after he has walked the Dolby Theater red carpet once, he deploys his solidified A-lister cachet to make the kind of personal and soulful movies that brought him to worldwide attention in the first place.
The statements, views and opinions expressed in this column are solely those of the author and do not necessarily represent those of RT.
China's booming new Silk Road trade hits $1.34 TRILLION
Gone with the wind: Storm Brendan blows roof off building, blocking ENTIRE STREET in English town (VIDEOS)
Tennessee National Guard airbase briefly placed on lockdown amid reports of active shooter
3 people detained after live mortar round found in car at Pearl Harbor base gates
From microbes to man: Muck-dwelling organism found off Japanese coast could help explain how complex life arose on Earth
'Historic announcement': 2020 US census to tally Sikhs as separate 'ethnicity' for first time
Who's this guy? Jeopardy contestants fail to recognize impeachment 'hero' Adam Schiff & Twitter ROFLs
Europe caved to US 'bully' by 'selling out' nuclear deal to avoid new Trump tariffs – Zarif
Roscosmos engineers develop plan to BLIND foreign spy satellites flying over Russian territory
Pakistan's ex-president Musharraf appeals to Supreme Court over special tribunal's guilty verdict in treason case

redpajama_set_name: RedPajamaCommonCrawl


Listed below are colleges and universities that offer online degrees, certificates, and diplomas in the major of Administrative Professional and a detailed list of the programs offered. Tuition, financial aid, course offerings, online classes, adult education, and distance learning options are available by request.
According to the 2010-2011 Occupational Outlook handbook published by the U.S. Bureau of Labor Statistics (BLS), Office Assistants held about 3.5 million jobs as of 2008, with the majority employed by small businesses.
According to the BLS, growth of office assistants is expected to be 12% from 2008-2018, a rate that is about as fast as the average for all occupations. Employment prospects will be affected by advances in technology which will expand automation of many tasks (e.g. inventory control and payroll processing). This situation will result in greater demand for office assistants because they are generalists, able to perform a wide variety of tasks rather than focus on one specific function.
Employment prospects will be best for office assistants with knowledge of computer software programs and office equipment including computers, fax machines, scanners and telephone systems. People with strong communication abilities and organizational skills will also have an advantage.
Economic factors also play a part in job prospects. For example, healthcare firms will continue to expand while those in the manufacturing sector can be expected to continue slow growth with a consequent lower number of job opportunities.
Size of firm: Larger firms tend to offer higher salaries than do smaller ones.
Years of experience; You should be able to earn a higher salary once you gain some experience in the field. In many cases, you will also be provided with an initial increase once your probationary period (usually 3 months) has passed. Salary increases will also arise from promotions and additional education to increase knowledge and skill-set.
Overtime: In most cases, office assistants are non-exempt employees and eligible to receive overtime pay, usually paid at time-and-a-half.Depending on how much overtime you contribute, this could add a substantial amount to your base pay.
Bonuses: Many larger-size firms also award year-end bonuses to their employees that can add a few hundred dollars to your pocket!
Most employers will require a minimum of a high school diploma or GED. However, an associate's degree in business will provide you with a competitive edge in obtaining entry-level employment. This degree may be obtained at community colleges or vocational schools. Those who seek to work in a medical setting may also pursue a degree in medical or dental office assisting.
Computer skills and knowledge of software programs are also important, as well as proficiency in using diverse office equipment.
Because the position of office assistant requires much interaction with other staff and customers, prospective entrants to the field should have excellent interpersonal skills and be team players. You should also be detail-oriented, with the ability to prioritize diverse tasks in order to meet the daily work requirements of different departments.


Founded in 1920, Barlow Tyrie is the world's oldest manufacturer of teak leisure furniture.
The range has grown considerably since inception to include award winning outdoor furniture in stainless steel, powder-coated aluminium and hand-woven synthetic fibres.
Combining form and function with manufacturing expertise and 100 years of experience.
Pleasing designs with superb ergonomic performance, outdoor living that it as stylish as it is comfortable.
Barlow Tyrie has an international reputation for elegant and practical design, boasting traditional craftsmanship and backed up with excellent customer service.


The US financial regulator says Mr Musk's claims that he had secured funding to take the electric carmaker private were "false and misleading".
Mr Musk called the action "unjustified" saying he acted in the "best interests of truth, transparency and investors".
Mr Musk startled the business world last month when he took to Twitter to announce that he was considering a plan that would de-list the company from the stock exchange.
The statements "created the misleading impression that taking Tesla private was subject only to Mr Musk choosing to do so and a shareholder vote", according to the SEC complaint, which was filed on Thursday in federal court in New York.
"In truth and in fact Musk had not even discussed, much less confirmed, key deal terms, including price, with any potential funding source," it said.
The SEC statement said that, according to Mr Musk, he calculated the $420 price per share based on a 20% premium over that day's closing share price because he thought 20% was a "standard premium" when taking companies private transactions.
This calculation resulted in a price of $419, and Mr Musk stated that he rounded the price up to $420 because he had recently learned about the number's significance in marijuana culture and thought his girlfriend, the Canadian indie singer Grimes, "would find it funny, which admittedly is not a great reason to pick a price".
The 7 August tweets took even people within the company by surprise.
"Was this text legit?" the firm's head of investor relations wrote to Mr Musk's chief of staff, the complaint says.
Tesla shares soared after Mr Musk's announcement, before retreating amid questions and doubts.
The SEC, which is also seeking financial penalties, said his claims created "significant confusion" in the stock market and harmed investors.
"Taking care to provide truthful and accurate information is among a CEO's most critical obligations," said Stephanie Avakian, co-director of the SEC's enforcement division.
In July, he drew widespread criticism after accusing a British cave diver involved in the rescue of Thai teenagers from a flooded cave of being a child abuser.


text:
import React from 'react';
import { bindActionCreators } from 'redux';
import { connect } from 'react-redux';

const ReduxComponent = ({ counter }) => (

    {/*
 */}

      {counter}

    {/*
 */}

);

function mapStateToProps(state, ownProps) {
  return {
    counter: state.test_scene.data.test_store_slice.count
  }
}

function mapDispatchToProps(dispatch) {
  return bindActionCreators({
  }, dispatch);
};

export default connect(mapStateToProps, mapDispatchToProps)(ReduxComponent);

redpajama_set_name: RedPajamaGithub


About – Research and Extension program descriptions, contact info.
Photo gallery – Images of and information about diseases and disorders on vegetable, herbs and strawberries.
Research – Annual program summaries and project reports, current applied research projects, research summarized by topic, publications, presentation files, and more.
Extension – Projects, extension articles, meeting proceedings, presentation files, and more.
Organic – Info on managing diseases for organic growers.
News – Recent additions to the site.
Research assistants with the McGrath program helping with experiments on basil downy mildew, ozone injury to beans, and tomato late blight at the Long Island Horticultural Research and Extension Center.
Aerial view of vegetable pathology research plots at the Long Island Horticultural Research and Extension Center.


I'm Craig Hood, President of Allegro Medical. Over a decade ago I started this great company with the express goal of helping folks like you find the medical supplies and equipment needed to take care of yourself, your families and your patients. Many said it wouldn't work – that people wouldn't buy medical equipment on the Internet – but I disagreed.
We launched our website with only 500 products, but we offered everything from wheelchairs and walkers to catheters and ostomy supplies. This made us the first in the world to have such a wide variety of medical supplies and equipment, and people loved it. Since then, our business has grown faster than a pack of dogs after a 3-legged cat.
Today, with more than 45,000 items, we have the largest selection of health care products on the web, backed by the best customer service and low prices to boot.
Our goal is still to help people become more independent, mobile, fit and healthy. We are grateful that you have allowed us to help you as well.
By choosing to shop with us, you are among the nearly 1 million customers nationwide who have played an important role in the success of this small American business.
Thank you for shopping at Allegro Medical!
The success of this small American business is because of you and we know it.
As a token of appreciation for your business I am offering a special gift: please take 15% off* your next order at AllegroMedical.com. Use code ELF15 at checkout until Midnight, Monday December 15th.


Ask fellow campers about "Outdoor Resorts at Orlando, Inc." and nearby attractions.
We stayed here while going to and from Disneyworld which was only 15 minutes away. The staff were very friendly especially the guard house staff. It's mainly snowbirds who arrive in October so it was very quiet when we were there. Almost 1000 sites but only 40 of them are RVs, the rest are fulltime trailers. 8 bath houses, 2 pools and a large club house where you can get good free wifi. You can't get it from your site. Mini golf and other activities for free. Everything was very clean and tidy. You can not come in after 10pm in an RV so remember that if you only have the RV to travel in and plan a late night. Happily stay here again. We camped at Outdoor Resorts at Orlando, Inc. in a Motorhome.
This is definitely not a big rig friendly place. With over 900 sites, most of them are permanent trailer homes and the campground is designed like a gated community, with very narrow, winding streets. We were fortunate to get a site with a street perpendicular to our site so we could back in straight, but I don't see how one would get into a site otherwise as there is no room to back up from the street and there are no pull-throughs. Our site had a little bit of grass in the back, and a canal running behind it. Unfortunately, the water appeared very filthy - dark brown and sludgy looking. There was a nice picnic bench on the site, but I really wasn't motivated to sit and work out there overlooking the dirty water. I have not had a chance to check out the rec center or pools. From the outside, it looked very nice. In order to use any of the games like shuffleboard or tennis or anything requiring equipment, you have to give a refundable deposit. It would be nice if where you do this (at the guard house) wasn't located at the total other end of the park where the games are! We could walk to the center from our site, but not easily to the guard house. Would I stay there again? NO, because of the layout of the roads within the park. Too difficult for a big rig to get around in. Also not too many other RVers - 99% are homes. We camped at Outdoor Resorts at Orlando, Inc. in a Fifth Wheel.
The water is fine, first time with MH much better this year. Stayed here last two years with friends in park model. People are friendly, no problem with sites, ref size. On site 371. Only complaint is this site is noisy with diesel pick ups going by. Picking lemons off the tree on site. Does not get better than this. Pool clean, warm, and close to all sites. We camped at Outdoor Resorts at Orlando, Inc. in a Motorhome.
Sites are advertised for motorhomes but this is a manufactured home community. Very tight for motorhomes which causes unrest with the homeowners. Construction is ongoing for maintenance and upgrades as this is for winter/permanent homeowners and not an RV resort. The water had a bad odor and a bad taste. Don't know if they are having problems with water quality. We will not choose to stay at this one again as there are so many others to choose from in the area that are truly set up for motorhomes. Rate was based on a monthly rate. We camped at Outdoor Resorts at Orlando, Inc. in a Motorhome.
Featured Campgrounds Near Outdoor Resorts at Orlando, Inc.
Are you affiliated with Outdoor Resorts at Orlando, Inc. ?


Stop in and visit Chapters today, not just for great books, but also coffee, gifts and collectables! Enjoy gourmet treats and Starbucks specialty drinks as you browse the bookshelves, shop for that one of a kind gift, visit with friends in our open seating areas or meet in the Route 66 Community Room. Let our friendly and knowledgeable staff members help you find exactly what you're looking for, or explore for yourself with complementary WiFi. Whether Miami, Oklahoma is your hometown or home away from home, visit us today to read, drink and give at Chapters.


Architect Website is modern and elegantly designed in order to showcase different projects and plans as well as buildings and houses designed by leading architects.
It has a team section and about us section so that Architectural agencies can display all their team members nicely.
It has a gallery or project section which lets you showcase all the different projects they have done nicely with a sorting feature.


text:
Chipotle Is Launching A Fitness-Inspired AR Experience
January 3, 2023 • 0 Comment
Complete exercises and read meditative prompts for a chance at some free guac.
In an official release, Chipotle, the popular chain restaurant, announced that it has partnered with Snap Inc. to launch a new augmented reality (AR) Lens for the Snapchat app that will encourage you to get up and moving with a series of "Chipotle-inspired exercises." According to Chipotle, this is the first Snapchat Lens created by a restaurant that promotes physical wellness.
Credit: Chipotle Mexican Grill, Inc.
The interactive experience will launch on Friday, January 13, aka "Quitter's Day." According to data obtained by Strava, roughly 80% of those who make a New Year's resolution will abandon their goals by the second week of January. To help motivate your AR workouts and meditative sessions, Chipotle is offering free guac to 100,000 participants.
Along with the Snapchat Lens, the company is offering a new lineup of healthy Lifestyle Bowls (available exclusively in the U.S. and Canada) in a bid to attract GenZ and Millennial customers.
Credit: Snap Inc.
"We created seven new Lifestyle Bowls that embrace Gen Z and Millennials' modern interpretation of wellbeing," said Chris Brandt, chief marketing officer at Chipotle. "We're making new year's resolutions fun by gamifying the experience and offering balanced meals made with real ingredients that you feel good eating."
Chipotle's "wellness-orientated" AR Lens will be available on January 13th, 2023 via the Snapchat app, which is available for free on iOS and Android devices.
Feature Image Credit: Chipotle Mexican Grill, Inc.
The post Chipotle Is Launching A Fitness-Inspired AR Experience appeared first on VRScout.


text:
Трясна — река в России, протекает по Кувшиновскому району Тверской области. Устье реки находится в 62 км от устья Большой Коши по правому берегу. Длина реки составляет 16 км, площадь водосборного бассейна — 59 км².

Данные водного реестра
По данным государственного водного реестра России относится к Верхневолжскому бассейновому округу, водохозяйственный участок реки — Волга от Верхневолжского бейшлота до города Зубцов, без реки Вазуза от истока до Зубцовского гидроузла, речной подбассейн реки — бассейны притоков (Верхней) Волги до Рыбинского водохранилища. Речной бассейн реки — (Верхняя) Волга до Куйбышевского водохранилища (без бассейна Оки), код водного объекта — 08010100412110000000496.

Примечания

Бассейн Большой Коши
Реки Кувшиновского района

redpajama_set_name: RedPajamaWikipedia


Austin's Woven Bones released In and Out and Back Again on May 18th through HoZac Records. "Your Way With My Life" is the type of song that makes you glad you're into rock music, its reverb-laden sneer almost blissful along with the song's unpolished edges. There's something refreshingly analog about both the song and the video, the VHS grit deep enough to hear. The sing is fairly high-tempo, tendrils of down tuned guitar sounds and scratchy bass rhythm churning out a really great Monday morning listen. Another 2010 release to add to the wish list.


First, if you have a one-off comic issue and want to be published, we can place you in our free section as part of an anthology. In this case, you will not be featured as a regular title.
To be featured as a regular title on Tabulit, there are some minimum requirements.
When you submit your work, we will be requesting a synopsis of your title. This may or may not include feedback from us. Our opinions only matter for our own editorial standards and should never be taken personally. We will then ask questions to get to know you better. If you are unwilling to participate in an interview, we reserve the right to politely refuse the submission.
IMPORTANT: Tabulit will never sign a non-disclosure agreement before reviewing a submission. If you require one, we respectfully decline proceeding any further.
We will need to see enough content for at least four issues. Each issue has to be substantial enough for a user to enjoy and receive value for their subscription. Obviously if it is a free title your issue can be shorter. And again, if it is a one-off then we will place you in a free anthology series.
To qualify for premium subscriber revenue share, you must have one free preview issue and then one subscriber-only issue published.
You will have to provide us with a succinct and edited description for your title. This can also include some of your bio. We reserve the right to edit everything as needed.
We are not a platform where any creator can upload any title. Our editorial staff curates everything. This is a quality over quantity of titles approach. In order to cut through the competitive noise online we focus on alternative and indie titles (the reason we avoid superheroes). Tabulit reserves the right to release a creator, without cause, should a title fall short of editorial standards.
You will be asked to provide a regular weekly or bi-weekly date to update your title. If you cannot meet a regular schedule then we reserve the right to archive your title until you can. If your publishing schedule is erratic, we may offer to make your title free to manage subscriber expectations (they are much more forgiving when a title is free).
While not a requirement, we do hope all our creators will help us build a creative economy for the whole community. A rising tide raises all ships. This means you are willing to promote your work, along with Tabulit, on social media and participate in our collective marketing efforts.


text:
Suspect in Arizona shooting held without bail
JACQUES BILLEAUD and JULIE WATSON
PHOENIX - Jared Loughner, his head shaved and a cut on his right temple, stared vacantly at a packed courtroom Monday. About 100 miles away, the congresswoman he is accused of trying to assassinate lay gravely wounded, but able to give a thumbs-up sign that doctors took as hope.
Loughner's arrival in the federal courthouse in downtown Phoenix was the nation's first look at the 22-year-old loner.
His hands cuffed, Loughner seemed impassive, a stark contrast to the man who witnesses say shot Rep. Gabrielle Giffords in the head at close range in a rampage that left six dead, including a federal judge, and injured 14 others at the three-term Democrat's outdoor meeting with constituents in Tucson on Saturday.
At one point during his initial court hearing, Loughner stood at a lectern in his beige prison jumpsuit. A U.S. marshal stood guard nearby.
The judge asked if he understood that he could get life in prison - or the death penalty - for killing federal Judge John Roll.
"Yes," he said. His newly appointed lawyer, Judy Clarke, stood beside him. She had defended "Unabomber" Ted Kaczynski.
The judge ordered Loughner held without bail.
Throngs of reporters and television news crews lined up outside the federal courthouse, where the hearing was moved from Tucson. The entire federal bench there recused itself because Roll was the chief judge.
President Barack Obama will travel to Arizona on Wednesday to attend a memorial service for the victims, a senior administration official told The Associated Press. The official spoke on the condition of anonymity because the president's trip had not been publicly announced.
Earlier in the day, the nation observed a moment of silence for the victims, from the South Lawn of the White House and the steps of the U.S. Capitol to legislatures beyond Arizona and the planet itself.
At the International Space Station, Giffords' brother-in-law, Scott, the commanding officer, spoke over the radio as flight controllers in Houston fell silent.
"As I look out the window, I see a very beautiful planet that seems very inviting and peaceful," he said. "Unfortunately, it is not.
"These days, we are constantly reminded of the unspeakable acts of violence and damage we can inflict upon one another, not just with our actions, but also with our irresponsible words," he said.
"We're better than this," he said. "We must do better."
On a frigid morning outside the White House, Obama and first lady Michelle Obama stood side by side, each with their hands clasped, heads bowed and eyes closed. On the steps of the U.S. Capitol, congressional staff and other employees did the same.
At the Supreme Court, the justices paused for a moment of silence between the two cases they were hearing Monday morning.
The president called for the country to come together in prayer or reflection for those killed and those fighting to recover.
"In the coming days, we're going to have a lot of time to reflect," he said. "Right now the main thing we're doing is to offer our thoughts and prayers to those who've been impacted, making sure we're joining together and pulling together as a country."
Later Monday, a moment of silence was held at the BCS national championship between Oregon and Auburn in Glendale.
In total, six died and 14 were injured or wounded outside a supermarket where Giffords set up a booth to hear the concerns of constituents. Loughner was tackled to the ground minutes after the shooting began, authorities said. He has been silent ever since.
Among the dead was 9-year-old Christina Taylor Green, who was born on the day of the Sept. 11, 2001, terrorist attacks. Her funeral is Thursday.
It was unclear when funerals will be held for the other victims, including one of Giffords' aides. A Mass for all the victims was scheduled Tuesday at St. Odelia's Parish in Tucson.
Loughner is charged with one count of attempted assassination of a member of Congress, two counts of killing an employee of the federal government and two counts of attempting to kill a federal employee. Those are federal charges.
State prosecutors, meanwhile, are researching whether they have to wait until after the federal case is resolved, or if they can proceed with local charges at the same time, an official said.
Giffords, 40, was shot in the head, at close range. She was in critical condition at Tucson's University Medical Center. Two patients were discharged Sunday night. Seven others, remained hospitalized.
Recent CT scans showed no further swelling in the brain, but doctors were guarded.
"We're not out of the woods yet," her neurosurgeon Dr. Michael Lemole said. "That swelling can sometimes take three days or five days to maximize. But every day that goes by and we don't see an increase, we're slightly more optimistic."
After Saturday's operation to temporarily remove half of her skull, doctors over the past two days had Giffords removed from her sedation and then asked basic commands such as: "Show me two fingers."
"When she did that, we were having a party in there," said Dr. Peter Rhee, adding that Giffords has also managed to give doctors a thumbs-up and has been reaching for her breathing tube, even while sedated.
"That's a purposeful movement. That's a great thing. She's always grabbing for the tube," he said.
Giffords' family is by her side and is receiving constant updates from doctors. On Monday, two well-known doctors with extensive experience in traumatic brain injury were en route to Tucson to help consult on Giffords' case.
Her doctors have declined to speculate on what specific disabilities Giffords may face.
With few new details emerging at the hearing, questions remained about what could have motivated someone to arm himself with a pistol and magazines carrying 33 bullets each, and rain gunfire on a supermarket parking lot crowded with men, women and children.
And who exactly was Jared Loughner?
Comments from friends and former classmates bolstered by Loughner's own Internet postings have painted a picture of a social outcast with almost indecipherable beliefs steeped in mistrust and paranoia.
"If you call me a terrorist then the argument to call me a terrorist is Ad hominem," he wrote Dec. 15 in a wide-ranging posting.
A military official in Washington said the Army rejected Loughner in 2008 because he failed a drug test. The official spoke on condition of anonymity because privacy laws prevent the military from disclosing such information about an individual's application.
The official did not know what type of drug was detected.
Prosecutors say he scrawled on an envelope the words "my assassination" and "Giffords" sometime before he took a cab to the shopping center. Police said he bought the Glock pistol used in the attack at Sportsman's Warehouse in Tucson in November.
The revelation about the shooter's high-capacity magazines led one longtime Senate gun control advocate, Sen. Frank Lautenberg, D-N.J., to announce plans to re-establish a prohibition that lapsed in 2004 on magazines that feed more than 10 rounds at a time.
Across the country, including Nebraska and Iowa, lawmakers opening their legislative sessions observed a moment of silence. Other states flew flags at half-staff.
In Arizona, Gov. Jan Brewer said the state is grieving but united and determined.
"We are yet in the first hours of our sorrow, but we have not been brought down. We will never be brought down," she said to a standing ovation from a joint session of the Legislature, where Giffords served before being elected to Congress.
Associated Press writers Marcia Dunn in Cape Canaveral, Fla., Paul Davenport in Phoenix, and Terry Tang and Alicia Chang in Tucson, Ariz., contributed to this report.


Bishop Anne Germond is pleased to announce her intention to install the Rev. Barbara Graham as a Canon of St. Luke's Cathedral during the opening service of the 2018 Clergy/Lay Pastor Conference on May 7th at 7 p.m. at the Cathedral.
Barbara grew up in Coventry, England. At age 26 (1955) she moved to Canada after becoming a registered nurse. She met her husband, the late Archdeacon William Andrew Graham, at St. John's Cathedral in Saskatoon, while singing in the choir. They were married in Pangnirtung on Baffin Island (Nunavut) on October 2, 1957. Two of their sons were born there with the third being born in England.
The couple spent 18 years in total living in the Anglican Diocese of the Arctic with William working as a priest and Barbara by his side. In 1975, they moved to Milford Bay.
Barbara retired from nursing in 1988. William died in the early 90's but Barbara's devotion to the church and to helping others did not waver. She completed an Associate Diploma in Theology and attained a Bachelor of Theology degree from Thorneloe University. She completed her Master of Theological Studies from Trinity College in 2013.
In 1999, she started holding weekly bible studies with Inuit inmates at the Beaver Creek Institution in Gravenhurst. Her knowledge of the language was very helpful in this regard. Recognizing her work in this area, she was ordained a Deacon in February 2004 by Bishop Ron Ferris.
Rev. Barbara was ordained a priest in 2015, at the age of eighty-six, by Bishop Stephen Andrews.
Barbara has also provided pastoral support at the South Muskoka Memorial Hospital and James Street Place in Bracebridge. She is the Muskoka Deanery Warden of Lay Readers and Associate Priest at St. Thomas', Bracebridge. She has been a member of several committees of the Diocese and currently is part of the Committee on Drug and Alcohol Addiction – Mission Outreach and Education.
Even as the years progress and health challenges present, Barbara is ready to help in any way she is able. She is a true servant of the Lord with a heart and soul for ministry to God's people.


text:
Undergraduate Courses – Fall 2021
FOR CLASS DETAILS, INCLUDING TIMES, CLICK ON "FIND COURSES NOW" ON THE REGISTRAR'S PAGE.
LOWER DIVISION COURSES
UPPER DIVISION - MEDIA STUDIES COURSES
UPPER DIVISION - PRODUCTION & SCREENWRITING COURSES
NON MAJOR COURSES
UTLA - WOFFORD DENIUS UTLA CENTER FOR ENTERTAINMENT & MEDIA STUDIES (listed on separate site)
LOWER-DIVISION COURSES
RTF 307 MEDIA & SOCIETY • JENNIFER McCLEAREN
This course surveys the role of media in our society through understanding economic, social, political, organizational, ideological, and global contexts. We will discuss themes relevant to media representation, audience interpretation, and social consequences.
MS minor
RTF 308 DEVELOPMENT OF FILM & MEDIA Hybrid / Blended • LAURA BROWN
This course examines the historical development of media industries—film, radio, television and digital. Through lecture, section discussions, readings and screenings, we will investigate historical contexts (cultural, industrial, technological) in which media have been produced and consumed in the US and globally.
RTF 308 DEVELOPMENT OF FILM & MEDIA-WB Web-Based • ASH D'HARCOURT
RTF 317 NARRATIVE STRATEGIES & MEDIA DESIGN • BRETT SIEGEL
This class focuses on the style, structure and storytelling strategies in a wide range of media forms, from narrative films and television series to documentaries and videogames.
RTF 318 INTRODUCTION TO IMAGE & SOUND • DEBORAH EVE LEWIS
This course is designed to introduce fundamental production concepts and techniques through lectures, projects, and lab experiences. The acquisition of technical skills will be a priority, as this course is a prerequisite to upper-division production classes. Emphasis also will be placed on developing a storyteller's point of view and the ability to create works characterized by simple yet effective visual, aural and narrative structures. Students will be required to attend hands-on lab sections and to complete one still photography project, one sound-designed still photo project and one sync sound digital video project.
RTF 321C HISTORY OF AMERICAN TELEVISION Web-Based • MARY BELTRAN
This course surveys the history of American network television during the 20th century. We will explore the complex ways that technological, social, political, industrial, and cultural factors have interacted to shape the form and content of broadcast, cable, and satellite television. Our discussion of industrial practices and regulatory decisions will be balanced with an analysis of representational and formal-aesthetic practices. The semester will briefly conclude with a consideration of the meaning and implications of digital convergence on contemporary American – and global – media culture.
RTF 321D FILM HISTORY TO 1960 Web-Based • CHARLES RAMIREZ-BERG
This course is a survey of international film history for undergraduate students who seek an understanding of the history and aesthetics of the motion picture. On a weekly basis, it consists of two 75-minute lectures and a screening of a feature-length film. All RTF majors interested in learning more about the development of the motion picture are welcome, regardless of concentration. The course will cover the history of the medium from beginning (Thomas Edison and the Lumière brothers) to 1960. While the history of cinema will be looked at from various perspectives (as a technology, an industry, an entertainment medium, and a mode of personal and national expression), particular attention will be given to the evolution and development of film's formal elements. Several written assignments are designed to acquaint students with how research in film history is conducted; in addition, three exams are also required.
RTF 323C SCREENING RACE Web-Based • MADHAVI MALLAPRAGADA
This course is designed to provide students with the language and critical tools to understand and discuss racial and ethnic representation and production issues in U.S. film and entertainment television. We will survey the history and evolving representations of race and ethnicity in the entertainment media and related topics of concern to media producers, audiences, and scholars. While a variety of theoretical and methodological approaches will be reviewed, critical and cultural studies approaches to film and television criticism will be emphasized. This course carries UT's Cultural Diversity flag and meets the Moody College of Communication's Communication and Culture requirement. It focuses on the representation of African Americans, Latinos, Asian Americans, and American Indians/Alaskan Natives in narrative film and television, as well as on Middle Eastern/Arab, Jewish, and European American representation and the construction of "whiteness." In addition, intersections of class, gender, sexual orientation, and citizenship with race and ethnicity in mediated representation will be explored.
RTF 324C INTRODUCTION TO GLOBAL MEDIA Web-Based • SHANTI KUMAR
This course critically examines the role that film, television, video games, and digital media play in shaping our sense of global, regional, national, and local cultures. It focuses on the role of global media institutions in society, from Hollywood and Netflix, to Bollywood, Korean Wave and telenovelas, and also examines how diverse audiences use global media to negotiate with issues of cultural identity in everyday life. The goal of this course is to introduce students to a broad range of issues and debates in the field of global media studies.
RTF 331P DIGITAL PLATFORMS AND CULTURES (aka, "DIGITAL MEDIA PLATFORMS") Web-Based • TBA
In modern society, we live our lives on and through digital media platforms. Every day, we use them to contact friends, share memes, watch television, stream music, review restaurants, buy products, find dates, and even access classes. We post and reblog, like and scroll, comment and subscribe, performing the endless creative labor of social media and further blurring the line between work and play. These digital platforms are microcosms of the contemporary media industries and, through them, we can critically examine the affordances, communities, politics, and economics that drive digital media. From Twitter, Tumblr, and Instagram to YouTube, Twitch, and Spotify, this course will use social networking and streaming platforms to explore digital technologies, user modifications, participatory cultures, content policies, community guidelines, intellectual property, online piracy, user-generated content, creator compensation, data collection, audience surveillance, media promotion, influencer marketing, and more. By digging deeper into these platforms—their uses and users, celebrities and subcultures, affordances and algorithms—we can interrogate abstract concepts like power and control, agency and collectivity, censorship and surveillance. Anchoring such discussions in platforms, this course will explore what it really means for us to create, share, consume, and ultimately become media commodities in an increasingly digital world.
This course counts towards the Media & Entertainment Industries minor
RTF 345 CONTEMPORARY HORROR CINEMA Hybrid / Blended • ALISON MACOR
Horror is one of the most popular and viscerally affecting genres of filmmaking. Examining the long history of the genre and the peculiar appeal of the scary, the shocking, and the monstrous, this course focuses on contemporary examples of the horror genre from both American and international film contexts. Throughout the semester we will delve into how the horror genre explores varied themes of difference in films related to race, gender, and sexuality. This course considers the genre's enduring popularity, and why the horrific serves as such a fertile ground for a broad range of cultural and political perspectives.
RTF 345 DOCUMENTARY & CREATIVE NONFICTION Hybrid / Blended • CAROLINE FRICK
What do Muhammad Ali, the Tiger King, your local TV news anchor, and the Lumière Brothers have in common? They have all been featured or otherwise involved in the creation of non-fiction film and media. Reality shows, true crime dramas, Academy Award-winning documentaries, newsreels, and more have contributed to the so-called "blurred boundaries" between truth and fiction as represented on screen. This course will feature a look at a wide range of non-fiction genres through carefully selected readings, screenings, and more.
RTF 345 MUSICALS AND "AMERICA" • MARY BELTRAN
The American musical has long been a popular genre through which storytellers, performers and audiences reimagine who we are with respect to norms of gender, sexuality, race, and ethnicity. It also has been a forum for stories about social issues of the day, with its conventions as popular entertainment allowing boundary-pushing content to be given voice. Musicals and "America" surveys the genre's history and evolution, with an emphasis on musical films and television series since the 1950s, and provides tools for critical analysis of musical narratives, performances, audio-visual integration, and representations of gender, sexual orientation, race, and ethnicity across the decades. We'll watch a number of important films in this history (including Rent, Show Boat, Oklahoma!, Funny Girl, Hair, Zoot Suit, and Hamilton), and read and respond to scholarship on Hollywood and Broadway musicals, with a focus on the ways in which cinematic renditions of song and dance make meaning.
RTF 347P/380D BUSINESS OF HOLLYWOOD • ALISA PERREN
What is going on in the media industries today? What kinds of issues and challenges are entertainment industry professionals dealing with? This class has two key goals: First, students will learn how the media industries operate, gaining a sense of the "big picture" of the contemporary film, television, and digital video landscape. Large-scale issues being faced by those working in the entertainment industry – including the impact of conglomerate ownership, regulation, globalization, and digitization on creative practices and work roles – will be addressed through readings and class discussion. Second, students will hear from a range of guest speakers coming from Hollywood, New York, and Texas about their personal experiences navigating the media business, past and present. While some of those visiting the class will work in production and postproduction (writing, directing, editing, etc.), most of the guests will work in other types of creative, managerial, and executive roles (e.g., studio and network development, acquisitions, marketing, talent management, etc.).
RTF 359S CHICANA/O FILM Hybrid / Blended • MIRASOL ENRIQUEZ
This course will investigate representations of Chicanos/as, both on-screen and behind the scenes of U.S. films. We will begin with a brief overview of representations of Mexicans/Mexican-Americans in U.S. film from the silent era through the 1960s. The remainder of the class will focus on films made by, for, and about Chicanos/as and Mexican-Americans from the Chicano Movement of the 1960s/70s to the present day. Feature-length, short, experimental, narrative, and documentary films from the first, second, and third waves of Chicano cinema will be examined. While the majority of the texts we will be looking at were made by Chicano/a filmmakers, we will also examine key works by non-Chicano filmmakers who have made significant contributions to the representation of Chicanos/as on film. We will consider historical, economic, industrial, social, and political factors affecting Chicanos/as access to and participation in the film industry, as well as their representation on-screen. Manifestations of gender bias in the Chicano movement, film industry, and writing of film history will be of particular interest, as will the following themes: film as a tool for social change; the construction of individual, ethnic, and national identity; the intersection of race, class, gender, and sexuality; the politics of representation; the commodification of Latinidad; cultures of production; and issues of authorship and creative control.
RTF 359S QUEER MEDIA STUDIES • CURRAN NAULT
This course immerses students in the critical and theoretical analysis of queer media in order to explore dominant strategies used by the media industries, as well as those utilized by LGBTQI independents and subcultures. Important to this project are historical shifts in representation, including the mainstreaming of queerness, and the alternative media reception, production and exhibition practices developed by LGBTQI communities. Marginalized queer identities (including qpoc and transgender) will be centralized and the intersections of queer identities, queer politics and media culture will be engaged.
RTF 370 FILMS OF BILLY WILDER • NOAH ISENBERG
This course explores the films of Billy Wilder, from his earliest efforts as a screenwriter in Weimar Germany to the more famous, award-winning work he undertook as a writer-director in Hollywood. We will examine his multi-year partnerships with American writers Charles Brackett (The Major and the Minor, The Lost Weekend, A Foreign Affair, Sunset Boulevard) and I.A.L. Diamond (Love in the Afternoon, Some Like It Hot, The Apartment, Buddy Buddy), and his independent work (Double Indemnity, Ace in the Hole, Stalag 17, The Seven Year Itch). We also look at the mentorship he received from other directors, notably Ernst Lubitsch (Ninotchka) and Howard Hawks (Ball of Fire). Among the chief focal points are: the question of authorship, personal style, and film aesthetics; the strictures of genre; working within and outside the studio system; casting, character, and recurrent players.
RTF 370 COMEDY IN FILM AND MEDIA • KATHY FULLER-SEELEY
This course explores theories of humor and comedy and applies them to media and performance from the early 20th century US to the present. Readings draw broadly from philosophy, cultural studies, cinema and TV studies, race, gender, sexuality, politics, psychology. We will examine producers, texts, performers and audiences across a wide variety of media -- television and film, literature, comics, radio, internet, live performance and other forms. The seminar will be focused on student group discussion and presentation of theories, texts, specific examples of applications, and findings. Students will develop research/and/or create projects
RTF 377H/387C GLOBAL SPORTS MEDIA *ADVANCED UNDERGRADUATE SEMINAR* • JENNIFER McCLEAREN
Sports adopt numerous forms around the globe that tell vivid stories about the locations and cultures from which they come. Our myths, ideologies, and narratives embed themselves in sports media, which become windows into broader issues such as nationalism, international relations, immigration, human rights, and a plethora of other matters. This course examines sports media as a cultural, political, and economic phenomenon that are simultaneously nationalizing and globalizing forces. We interrogate the ways in which sports function as sites of contestation on local, regional, national, and international scales. The course will study sports media from a cultural studies perspective, which considers how power struggles operate through sports and who is advantaged and disadvantaged in this process. Topics may include colonialism, diasporas, regional and global fandoms, sports and development, racialized bodies and exploitation, human rights violations and sports mega-events like the Olympics and the FIFA World Cup, American exceptionalism, and human trafficking.
This course will be structured in a seminar format similar to graduate-level or honors courses. Advanced undergraduate students interested in learning more about graduate school, or graduate students seeking a more introductory approach to advanced theoretical materials are especially encouraged to enroll in the course. Class is capped at 18 students.
RTF 329C DIGITAL MEDIA PRODUCTION Web-Based • BEN BAYS
Animation, Visual Effects, Digital Painting and CGI are used to produce content for a variety of media including live-action film, classical and 3D animation and interactive formats like video games and XR. This course will teach you the industry standard tools and practical techniques of digital media production, no experience necessary. The course is self-paced, non-linear and offers a variety of options. Students choose their area of interest from a large array of assignments covering topics like concept art and previsualization, color correction and post production, animation and simulation, compositing and visual effects or CGI and interactive game design (and more). Will you become a generalist across all digital media production, will you specialize in one discipline or will you define a new role in digital media production? Choose your own path and the instructor and a team of TAs collaborate with you. No prior knowledge of digital media production required. Mac or PC. No software purchase required. This course offers both access to instructor guidance and the ability to complete assignments at your own pace. OPEN TO BOTH RTF MAJORS & NON-RTF MAJORS.
View Course Promo Video
RTF 333 INTRODUCTION TO SCREENWRITING Web-Based • TOM WILLETT
RTF 333 will introduce you to screenwriting, and the primary forms which writing for the screen may take: features, shorts, television and documentary. We will explore the basic theory and formal aspects of story, structure and character which are essential to all forms of screenwriting. In lecture and sections, we will carefully examine each step of the screenwriting process - from the initial premise, through character exploration and treatments, to writing the first draft - then apply those steps to the development of your own scripts. The class will also focus on critically examining produced scripts and films from a screenwriter's perspective, in order to learn more about the craft.
RTF 337 / 388P EARS ONLY: AUDIO STORYTELLING • TODD THOMPSON
Audio production and post for storytelling using voice, actuality, music, ambiences and sound effects. Structuring stories for audio only, plus microphone and recorder techniques, mono, stereo, and binaural recording, field mixers, basic Pro Tools, signal processing, and noise reduction, applicable to sound for picture as well. Students will make a variety of small projects leading up to a longer, final project of their choice.
RTF 340 MULTI-CAM TELEVISION DIRECTING • DAVID SCHNEIDER
This course will examine the techniques of multi-camera live television directing in numerous formats. It will provide an overview of the current technology and how that technology impacts directing decisions. Students will learn how directing styles shape various genres of broadcasts and how the director contributes to a successful production. The course will focus on planning and preparation and elements of production design. The demands of a controlled studio atmosphere will be compared and contrasted with those of live remote sports and entertainment programs. Exercises will acquaint the students with camera placement, shot blocking and shot selection.
RTF 341 AUDIO PRODUCTION INTO POST • TODD THOMPSON
Audio is half of your movie; arguably more than half since it exceeds the limits of the visible frame. It operates at a literal and subliminal level and gives the filmmaker access to deeper parts of the audience's consciousness. Great audio is a combination of creativity and an understanding of both the science and the tools of the medium. This is the first-level class for audio, a perfect starting point for people who want to know how to better use sound in their projects as well as for those who may be thinking about audio as a lifelong craft. You will learn production mixing, basic post techniques, and the ideas behind them. This will include recording on location using both high-end and low-end recorders, especially recording dialog, set and location problems and protocol, basic sound editing, mix prep, and creating a basic mix. You will become familiar with the operation and use of the Sound Devices 633 mixer/recorder and 744T recorder, other production mixers, and microphones on location and in the studio. You will learn the science behind the tools, and cultivate an appreciation for sound as a creative element in storytelling. You will create mixes in Pro Tools for audio-only projects, as well as fully realized soundtracks synced to picture.
Prerequisites: Upper-division standing, RTF 317 and 318 with a grade of at least B- in each, and six additional semester hours of lower-division coursework in radio-television-film.
RTF 343 ADVANCED PRODUCTION: MUSIC IN FILM • PJ RAVAL
This course explores the collaborative nature between filmmakers and performing artists. Students will partner with a local musical artist/band to create a portfolio of original short films ranging from live performance videos, to non-fiction and promotional materials, to music videos and ultimately music films. This course embraces conceptual and non-traditional forms of filmmaking often seen in the works of early music video pioneers. From the Buggles' "Video Killed the Radio Star," to Beyonce's "Lemonade," music videos have defined generations and cultural movements. This course will explore the artistic expressions and subsequent social impacts that music videos have had in steering the public conversations around artist personas, censorship, and cinematic innovation. Please note: Previously listed as 366K Music in Film Production.
RTF 343 ADVANCED PRODUCTION: NARRATIVE • MIGUEL ALVAREZ
From script to sound design, students spend the semester completing an advanced video production (3 - 10 minutes). Emphasis is placed on storytelling, strong cinematic style, and production values. Students are not required to direct but must participate in the key crew positions on various projects for full credit.
RTF 343/388P PRODUCTION DESIGN PRACTICUM • ADRIANA SERRANO
This class is structured around the practical aspects of how-to production design your own script. Students will learn how to develop a design from conceptualization to execution based on the needs of your particular story. The students will learn how to approach and find creative ways to deliver a design that will contribute to the creation of an effective visual design.
We will cover budgeting, breakdowns, creating specific graphics, drafting, clearances, and basics of set construction.
This class is open to all the students who have some previous experience in film or narrative production. Each student must have a script that they want to develop for this class.
RTF 343D CINEMATOGRAPHY • DEB LEWIS
This course explores visual storytelling and the art of cinematography through practice in a workshop environment. We will explore visual expression through a variety of cinema tools including camera and lighting as well as time, movement and color. Students are encouraged to think cinematically in both fiction and non-fiction approaches. A number of readings and exercises are assigned to also increase a student's technical knowledge and understanding of one's tools, leading to greater creative and personal visual expression.
RTF 344M 3D ANIMATION AND DIGITAL PERFORMANCES • BEN BAYS
3D Animation and Digital Performances explores the history, principles and methods of animation and storytelling using CGI. Through the intersection of in-person activities and creative project-based learning, students animate characters, design and render simulations, create compositions in motion, even sequence motion capture data for a variety of formats from live action to cartoons to videogames. Students have the ability to customize the course to their area of interest, whether it is developing expertise in the craft of animation (or one particular aspect of it) to applying these techniques to larger projects. There are as many ways to take the course as there are students. Choose your own path and the instructor collaborates with you to achieve your vision. No prior knowledge of digital media production required. Mac or PC. No software purchase required.
RTF 344M CGI FOR FILM AND GAMES Web-Based • BEN BAYS
CGI for Film and Games explores the history, principles and methods of 3D Modeling, Surfacing, Animation and Simulation using CGI. This course is self-paced and non-linear: students customize the course according to their area of interest. Topics to choose from include (but are not limited to) creating concept art for CGI, modeling and sculpting hard surfaces and organic characters, designing virtual sets and game levels, procedurally generating flora, hair, fur and terrain, painting (and photographing) textures, simulating effects, lighting and virtual cinematography, real-time (game engine) implementation and advanced rendering techniques (and much more). Additionally, there are "combo" projects which allow students to combine their skills into larger ideas like making a cartoon, integrating CGI into live action and creating interactive games. Choose your own path and the instructor collaborates with you to achieve your vision. No prior knowledge of CGI is required. Mac or PC. No software purchase required.
RTF 344M INTERACTIVE MEDIA AND GAME DEVELOPMENT • DEEPAK CHETTY
This course provides students with the fundamentals of interactive media through digital game creation. The course focuses on two areas: (1) general principles of game design and game development, and (2) development of simple 3D games. A limited number of seats are open to non-majors.
RTF 344M/388P POST-PRODUCTION TECHNIQUES (COLOR GRADING) One section will be held in person, and one will be Web-Based • SIMON QUIROZ
This class will examine best practices in the finishing and mastering stages of digital post-production for a film or media piece focusing primarily on picture control and quality. The class will reinforce strong habits in media preparation when it comes to editing -- but this is not an editing class. We will depart from the moment the offline edit is done and move forward with preparing assets for online editing, sending them to sound design and mix, integration of VFX to color correction and grading (finishing) and then integration of all these elements (mastering) for deliverables creation. While we will cover color correction and grading, this course will also emphasize the technical elements that allow us to deliver the best quality images possible for different platforms. The concepts of infrastructure, pipeline and workflow should become second nature to the student upon successful completion of this course. Ideally, students should come with a pretty good understanding of nonlinear editing software. A limited number of seats are open to non-majors.
RTF 344M VIRTUAL PRODUCTION • DEEPAK CHETTY
Virtual Production and real-time rendering are here. Learn how to plan, layout, light, animate and render your ideas, concepts and art in real-time using Unreal Engine. Physically accurate cameras will simulate their real-world counterparts and give you the ability to learn and develop your real-world skills in a virtual environment or integrate your real-world skills into the virtual production environment. Final projects, which will be fully realized short-form pieces, will display an understanding of the methodology and creative potential of this game-changing workflow.
RTF 344M VFX FOR STORYTELLING • DEEPAK CHETTY
In this hands-on course, students will be introduced to the new frontiers of VFX technology, including neural networks for VFX (deep learning), Style Transfer, Real-time rendering and mixed reality Stagecraft. These technologies, fast becoming industry standards, are not out of reach! Along with production elements, the class will have screenings and analysis of films that contain historical milestones in VFX, which have led us to the present state of VFX and the development of the industry. Whether you are interested in VFX as an additional skill in your filmmaker's toolkit or would like to become a visual effects artist and technician, you must understand the past to contextualize the present and the future of this art form. This class explores the production of contemporary and cutting edge VFX as well as both sides of this chronology, with the ultimate goal of creating a well-rounded understanding of where VFX started, and where it is headed.
RTF 344M WRITING FOR INTERACTIVE GAMES & MEDIA Hybrid / Blended • SUSAN O'CONNOR
Interactive storytelling is a form of dramatic writing, just like theater or television. What makes the medium unique is that the author does not control the story; the audience does. Creatives have only just begun to explore the storytelling possibilities of this field. In this class, you will begin to develop the skills & knowledge necessary to write for interactive mediums such as video games, digital media, VR, and augmented reality. Your final deliverable in this course - a narrative design document - will serve as a writing sample for your portfolio. A limited number of seats are open to non-majors.
RTF 344T GAME DEVELOPMENT CAPSTONE: 2D GAMES • PAUL TOPRAC
The Capstone Game Development course brings together students from Computer Science, College of Fine Arts, and Radio-Television-Film to form small teams in which each student will contribute specialized knowledge to the group creation of 2D games for mobile, online, and social technology platforms. Through modeling of the environment and practices that are used in game studios and the larger industry, students will gain a thorough understanding of the 2D game development process. Local game companies and industry professionals are committed to evaluating student projects and hiring successful graduates. *If interested, please read instructions to apply. Consent of instructor required.
RTF 346 INTRO TO EDITING • DON HOWARD, KAREN KOCHER, ANNE LEWIS
Whether you want to be an editor, director or producer, Introduction to Editing is an essential, hands-on course for any production student. By completing a series of narrative and nonfiction assignments, you will finish this course with increased confidence in, and understanding of, the seamless editing technique and the AVID software. We will also view and analyze film scenes to understand how editing contributes to meaning.
RTF 347C INTRODUCTION TO THE MUSIC BUSINESS • SASCHA STONE GUTTFREUND
How did Fyre Fest happen? What does streaming mean for record labels? Why are concert tickets so expensive? What determines the order of artist names on the festival poster? What is the difference between a manager, agent, publicist, promoter or A&R? We are in the era of the young entrepreneur. People in their 20's are able to start a business, and then sell it without acquiring a degree in business or finance. Students in this course will learn how to plan, orchestrate, and oversee their own small music business in the avenue of their choice. We will discuss artist management and representation through the development of recorded music as well as the importance of the touring business for artists today. We will also cover the business of concerts and music festivals; students will learn not only how to book and market shows but also how to produce them. Each class will address a different element of the business and will feature a guest lecturer that will share their story of success and entrepreneurship, followed by an open Q&A with the students.
RTF 347E ADVANCED EDITING • CHRIS ROLDAN
This course is a further elaboration of the principles and techniques of editing students will have encountered in RTF 346, building a broader technical background for professional development. We will discuss aesthetic, technical, and practical approaches to editing and consider how they might best apply to some (provided) editing challenges. In particular, we'll concentrate on the development of editing styles that are appropriate to a range of material and creative solutions to editing challenges. Taught using AVID software.
RTF 351C INTRODUCTION TO 2D ANIMATION • LANCE MYERS
This course will introduce the student to the art and mechanics of two-dimensional animation in film and in digital media. Weekly exercises will be required, with an emphasis on animation as personal expression. A limited number of seats are open to non-majors.
RTF 366K DOCUMENTARY PRODUCTION • STEVE MIMS
This class introduces students to single-camera field documentary video production. During this semester-long documentary workshop, we will screen a variety of documentary works, but our focus will be on making documentary films. There will be group discussions, reading assignments, lectures, hands-on lab instruction, and short documentary exercises, in addition to a culminating documentary project. Students will keep a journal of the documentaries they see and how these films influence the documentaries they make (or plan to make). The primary focus of the class will be working from pre-production to post-production by starting with an idea and finishing with a short documentary film.
RTF 366K DRAWING THE STORYBOARD • JASON BUCHANAN
Learn the art and skills of drawing a storyboard, even if you can't draw.
A storyboard is a set of sequential drawings used to tell a story—a graphic organizer that helps to illustrate a narrative. Used often in entertainment applications like film, TV, theatre, gaming, and immersive experiences, storyboards are also valuable in the development of advertising videos or demonstrating a production process.
RTF 366K/388P INTRO TO PRODUCTION DESIGN • ADRIANA SERRANO
This class explores the world of production design and art direction for film. By watching films, analyzing concepts and using a series of practical projects, students will learn the different components of film design including: script interpretation, mood boards, breakdowns, clearances, scenery, location, props, and color concepts.
The students are required to crew or design one film in collaboration with the RTF students.
RTF 366K NARRATIVE PRODUCTION • STEVE MIMS, MICAH BARBER, ILIANA SOSA
The class explores the expressive potential of sound and image through the production of digital video exercises and short films. It is an intensive workshop in visual storytelling and non-dialogue filmmaking. It is designed to build upon the fundamental production concepts and techniques that were introduced in RTF 318 and to prepare students for the advanced narrative classes.
RTF 366K COLLABORATIVE FAN CONTENT (aka RTF MEETS ROOSTER TEETH) • MICAH BARBER
Create your own original short content while learning how Rooster Teeth thinks about the things they make. You'll see how to bring your audience into the creative process from the start, learn from Rooster Teeth's successes in emerging social media entertainment, and explore the role of community in the future of digital media. Creative and business executives will be regular guests throughout the semester, including exclusive sessions taught by media executive Jordan Levin, General Manager of Rooster Teeth and prominent UT alum.
RTF 366K/388P PRODUCING: DEVELOPMENT AND DISTRIBUTION-WB Web-Based • SARAH SEULKI OH
Marketing/Distribution is at the heart of film business as it performs a critical role in connecting films to audiences. Yet filmmakers and producers often do not think about marketing/distribution until the film is made. In this course, we will overview the role of the producer during the development stages and also familiarize ourselves with the marketing/distribution process of a motion picture, not only at the business end but also as a key part to the development and creative process. Students will workshop and develop a project from early inception to a fully formed pitch package that will include a distribution strategy. Throughout the semester, exclusive sessions will be taught by Kyle Davies, the former President of Domestic Distribution at Paramount Pictures who oversaw the release of dozens of movies, including Arrival, Fences, Transformers: The Last Knight, Annihilation, and recent hits A Quiet Place, Book Club and Mission: Impossible – Fallout.
RTF 367D DIRECTING WORKSHOP • MIGUEL ALVAREZ, VANESSA UHLIG
This workshop explores the role of the director in the process of translation from page to screen, focusing on the director/actor relationship, narrative structure and visual language. Assignments will include the casting, mounting, and realization of dramatic narrative scenes. Special emphasis will be placed on the development of the skills necessary to communicate effectively with actors to achieve authentic and vivid performances.
RTF 367K PRODUCING FILM AND TELEVISION • MICAH BARBER
RTF 367K will detail how things work in the supposedly noncreative side of the entertainment industry. The course will focus on the function and duties of a producer as he or she shepherds an idea through a project "life cycle": development, financing, pre-production, post-production, marketing and distribution. Lecture topics will mirror the project life cycle while students concurrently develop their own business plans/prospectuses for original film or television projects of their choosing. At the end of the semester, each student should have a complete and realistic business plan for a film or video project, one which is ready for presentation to entertainment industry contacts and financiers.
RTF 367Q ADVANCED PRODUCING: SCRIPT TO SCREEN • SCOTT RICE
Script to Screen takes students behind the scenes of Oscar winner Matthew McConaughey's films. By studying script drafts, shot lists, storyboards, early edits and even exclusive behind the scenes footage, students will garner insight into the making of a major Hollywood feature. Script to Screen also gives students practical instruction on producing their own projects including web series, shorts, commercials, and indie features. From guidance on pitching to the ins and outs of founding a production company, Script to Screen is an essential "how-to" for students who are serious about producing and directing.
Prerequisites: Upper Division standing and either RTF 367K (Producing I), RTF 366D (Directing Workshop) or RTF 333 (Intro. to Screenwriting). Non-majors will not be allowed to add this course. If you do not meet the prerequisites you may seek admittance by contacting the instructor.
RTF 369 ADVANCED SCREENWRITING: FEATURES • TOM WILLETT
In this class, students will complete a feature-length screenplay (90-120 pages) by the end of the semester. In addition, they will read and comment on their classmates' work.
RTF 369 ADVANCED SCREENWRITING: INDIES • TOM WILLETT
This workshop class is focused on writing screenplays designed for micro-budget, independent production. As students write their own feature-length scripts (90-120 pages) throughout the semester, they will study and analyze completed micro-budget films and their production methods. In addition, they will read and comment on their classmates' work.
RTF 369 ADVANCED SCREENWRITING: SCI-FI/HORROR • MAYA PEREZ
This workshop class will focus on horror and science fiction writing—two genres that have provided opportunities for countless new writers in the film industry. Each student will write a feature-length horror or science fiction screenplay and provide weekly notes on their classmates' work. In addition, we'll make a semester-long study of the current trends in each genre, reading and analyzing the biggest hits of recent years.
RTF 369 ADVANCED SCREENWRITING: TV PILOTS • KATHERINE KRAFT
Each student will create a brand new television show (30- or 60-minute, network or cable) from the ground up: researching the setting and historical moment, inventing the characters and relationships, and ultimately designing the conflicts necessary to propel a show through multiple seasons. Students will then distill all of this work into a single showpiece episode - a pilot - that demonstrates the artistic and commercial potential of the new show. We'll also be looking at a range of produced pilots (both aired and unaired) and discussing what makes the best of them work.
RTF 369 ADVANCED SCREENWRITING: TV SPECS • KATHERINE KRAFT
This course explores writing for series television. Over the course of the semester, students will write "spec" scripts of an existing half-hour comedy and hour-long drama. The class will take an in-depth look at TV writing from the inside out, learning how to "break" an episode and how a TV writer's room works.
RTF 336 SPECIAL PROJECTS IN RADIO-TELEVISION-FILM
This course gives students the opportunity to do independent research or creative projects. These are developed and executed by the student under the supervision of a faculty member. (Note: Students cannot use departmental equipment to complete these projects.) May be taken twice for credit. May be counted toward the independent inquiry flag requirement. Hour(s) to be arranged. Restricted enrollment; contact the department for permission to register for this class.
Upper-division standing
Approval from a faculty sponsor
Approval from the Department Chair
RTF 368S UNDERGRADUATE THESIS COURSES - OFFERED SPRING SEMESTERS ONLY
https://rtf.utexas.edu/undergraduate/courses/thesis
RTF 368S UNDERGRADUATE SCREENWRITING THESIS
RTF 368S UNDERGRADUATE PRODUCTION THESIS
RTF 368S UNDERGRADUATE MEDIA STUDIES THESIS
Learn more about RTF Internships
RTF 130N INTERNSHIP IN THE MEDIA INDUSTRIES
RTF 130 is a one-hour internship course intended for students doing a second internship, i.e., those who have already taken RTF 330.The purpose of this course for RTF majors and minors is to provide practical work experience in the media industries (film, television, radio, video games, and/or digital media). Students must make their own arrangements to secure relevant internships in the Austin area, though remote internships may be accepted, depending on need and opportunity. In addition to providing practical experience in the vocation of your choice, this course is designed to help you develop the resources and routines necessary to succeed in the contemporary media industries. While no set meeting time is listed, there will be multiple required meetings and/or workshops scheduled throughout the semester, totaling 10 contact hours for the semester. This course is offered on a pass/fail basis only and is restricted to RTF majors and minors.
The purpose of this 3-hour internship for RTF majors and minors is to provide practical work experience in the media industries (film, television, radio, video games, and/or digital media). Students must make their own arrangements to secure relevant internships in the Austin area, though remote internships may be accepted, depending on need and opportunity. In addition to providing practical experience in the vocation of your choice, this course is designed to help you develop the resources and routines necessary to succeed in the contemporary media industries. While no set meeting time is listed, there will be multiple required meetings and/or workshops scheduled throughout the semester, totaling 10 contact hours for the semester. This course is offered on a pass/fail basis only and is restricted to RTF majors and minors.
NON-MAJOR COURSES
RTF 303C INTRO TO MEDIA & ENTERTAINMENT INDUSTRIES–WB Web-Based • WENHONG CHEN
Restricted to non-RTF majors. Fulfills the social & behavioral sciences core curriculum requirement for the 2019–2020 academic year.
Drawing on literatures from media studies, management, sociology, and communication, this course helps students to develop a social science understanding of media industries and entrepreneurship. We start with a survey of key social science theories and concepts the media landscape. We examine the social, political, and economic contexts in which media are produced, distributed, and monetized. Special attention is paid to new media and communication technologies such as Web 2.0, social media, gaming, and mobile media and the implications of these disruptive innovations for media organizations and professionals. Cases in old and new media industries from different countries will be analyzed. It is designed to help students achieve the following goals upon successful course completion:
Understand key social science theories, concepts and methods on the complicated interaction between media and society.
Recognize various opportunities, challenges, and responses media industries have to address due to globalization and technological advancements.
Understand government policies and industry practices that affect the formation and function of media organizations.
Understand the trajectory and development of various legacy and new media industry sectors.
Evaluate entrepreneurial opportunities, challenges, and process in the media industries facilitated and constrained by institution and culture.
RTF 306 INTRODUCTION TO WORLD CINEMA HISTORY –WB Web-Based • CAROLINE FRICK
Restricted to non-RTF majors.
Love the movies? Join us and explore how the movies developed from a circus amusement to multinational industry as well as how film can be understood as socio-cultural, technological, aesthetic and economic artifact. Global in scope, this course will sample a variety of "national cinemas" in order to compare and contrast how moviemaking developed uniquely in different parts of the world. We will also address how decades of popular and critical attention to the glamour and gossip surrounding Hollywood movies has affected our understanding of "American" cinema. The course fulfills VAPA requirements, and is designed for non-RTF majors who have not taken previous coursework in film or media studies.
RTF 329C DIGITAL MEDIA PRODUCTION–WB Web-Based • BEN BAYS
Open to BOTH RTF Majors & Non-RTF Majors.
Animation, Visual Effects, Digital Painting and CGI are used to produce content for a variety of media including live-action film, classical and 3D animation and interactive formats like video games and XR. This course will teach you the industry standard tools and practical techniques of digital media production, no experience necessary. The course is self-paced, non-linear and offers a variety of options. Students choose their area of interest from a large array of assignments covering topics like concept art and previsualization, color correction and post production, animation and simulation, compositing and visual effects or CGI and interactive game design (and more). Will you become a generalist across all digital media production, will you specialize in one discipline or will you define a new role in digital media production? Choose your own path and the instructor and a team of TAs collaborate with you. No prior knowledge of digital media production required. Mac or PC. No software purchase required. This course offers both access to instructor guidance and the ability to complete assignments at your own pace.
RTF 331P DIGITAL PLATFORMS AND CULTURES (aka, DIGITAL MEDIA PLATFORMS) Web-Based • TBA
Open to BOTH RTF Majors & Non-RTF Majors. This course counts towards the Media & Entertainment Industries minor.
This course provides students with the fundamentals of interactive media through digital game creation. The course focuses on two areas: (1) general principals of game design and game development, and (2) development of simple 3D games. A limited number of seats are open to non-majors.
Undergraduate Courses by Semester
Moody URL Generator


text:
Video Search Algorithm
Polynomial-based Image Characterization
A new algorithm for reverse video searches has been developed that uses an alternative method to compare hash values of images, so that the hash values are insensitive to noise and other sources that cause discrepancies between the input image and the indexed image. This technology accounts for any unpredictable differences in hash values by computing the absolute difference between the grayscale of a pixel and that of the average grayscale, and then uses polynomial interpolation to encode the grayscale values into a polynomial. In the end, only the coefficient vectors are recorded for each image. By comparing the coefficients, one can find similar images. The figure shown above illustrates part of the process for polynomial-based image characterization of a particular input image.
This technology allows users to perform a more precise video search than previous reverse imaging search methods. By inputting an image frame from a video, users can now find their particular video without being limited by inaccurate video search results. As a result, users will no longer have to scroll through countless episodes of their favorite T.V. show in order to re-watch their favorite scene!
Seeking research collaboration and licensing opportunities.
reverse image search
locality sensitive search
Sencun Zhu
Yuanyi Sun
Rokita, Joseph
jjr152@psu.edu


Could your companion's smile use an overhaul?
Dental problems are among the most common health issues that companion animals face. In fact, by the time a pet reaches the age of 2, chances are that he or she is already experiencing some type of oral health problem. If left untreated, these issues can lead to everything from bad breath to serious medical conditions, like dental disease. The team at Claws N Paws is experienced in delivering both routine, preventative pet dentistry as well as advanced care for existing oral health conditions. We also offer support and guidance for home dental care.
To keep your own teeth and gums healthy, you engage in regular preventative care. You brush daily and visit the dentist at least once a year. Your pet needs the same kind of care and attention in order to maintain good oral health. The routine dental care at Claws N Paws includes regular exams and cleanings. This helps to reduce the amount of plaque and tartar that can build up on the teeth and keep your companion's smile strong and bright. Preventative care also involves home brushing as well as the use of certain products that are designed to support pet dental health.
For pets that have already developed dental problems, such as gingivitis or dental disease, we can provide assistance with that as well. Our staff is experienced in treating and managing existing oral health conditions. Whether it's addressing a cavity, extracting a diseased tooth or performing minor oral surgery, we're up to the task. Even if you've never brought your pet in for dental care, it's never too late to start!
If your pet has been showing any of these signs, the time to schedule an appointment is now. The best way to manage an oral health problem is with timely and effective treatment.
We want to help your pet beat the odds and enjoy a healthy mouth for life. Join us in making a commitment to a lifetime of quality dental care. Schedule your pet's next dental exam today!


text:
What is the general factor theory of intelligence?
What are the general factors?
What is g factor and S factor?
What is the g-factor of intelligence?
General intelligence, also known as g factor, refers to the existence of a broad mental capacity that influences performance on cognitive ability measures.
What is single intelligence theory?
These psychologists, as well as many others, believe that intelligence can be defined by a single factor. Whether that single factor be termed positive manifold, neural processing speed, or g, the complexities of the human mind and its processes can be reduced to a single factor, defined as intelligence.
What is Spearman g theory?
Spearman's two-factor theory proposes that intelligence has two components: general intelligence ("g") and specific ability ("s"). To explain the differences in performance on different tasks, Spearman hypothesized that the "s" component was specific to a certain aspect of intelligence.
labeled the "general factor," or g, pervades performance on all tasks requiring intelligence. In other words, regardless of the task, if it requires intelligence, it requires g. The second factor is specifically related to each particular test.
What is the difference between g factor and S Factor?
He proposed that intelligence consists of two factors, i.e., the "g" factor (general ability) and the "s" factor (specific ability), where the "g" factor is involved in every general mental ability task of the person, and the "s" factor is responsible for only the specific intellectual abilities of the person.
What is S factor in psychology?
specific factor (s factor) 1. ( symbol: s) a specialized ability that is postulated to come into play in particular kinds of cognitive tasks. Specific factors, such as mathematical ability, are contrasted with the general factor (g), which underlies every cognitive performance. Also called special factor. [
Spearman concluded that there is a single g-factor which represents an individual's general intelligence across multiple abilities, and that a second factor, s, refers to an individual's specific ability in one particular area (Spearman, as cited in Thomson, 1947).
What are the components of general intelligence?
General intelligence, also known as g factor, refers to a general mental ability that, according to Spearman, underlies multiple specific skills, including verbal, spatial, numerical and mechanical.
What is the factor analysis theory of intelligence?
On the basis of factor analysis psychologists have developed their own theories. Thurston (1946) rejected the General theory of intelligence and instead presented his own theory. This theory states that the human intelligence includes 7 primary mental abilities. Though these abilities appear to be different, they are related to each other.
Spearman identified what he called the "g" of intelligence. This G-factor would become the general intelligence that a person had. This means anyone who can perform well on one test should be able to perform well on other tests because of their generalized intelligence. This means that the G-factor can also be measured.
Who proposed the concept of intelligence?
The existence of general intelligence was proposed by Charles Spearman in 1904. General Intelligence is also known as g factor, but in simple terms, it can just be called intelligence. The g factor is responsible for overall performance on mental ability tests. – Spearman.
What is the difference between IQ and g factor?
The terms IQ, general intelligence, general cognitive ability, general mental ability, or simply intelligence are often used interchangeably to refer to this common core shared by cognitive tests. The g factor targets a particular measure of general intelligence.
Previous post:How do I download Microsoft files?
Next post:Where to stay in Lanzarote for cycling?


text:
Q: Unity Android's StreamingAssets folder location I use StreamingAssets for my Android Game,
And would like add files in StreamingAssets folder after installation of APK,
But I don't know where is the location of this folder.
Can you help me ?

A: You can not add or modify files that are inside the streaming assets folder after building since on almost all platforms the directory is read only. From the docs:

On many platforms, the streaming assets folder location is read-only; you can not modify or write new files there at runtime. Use Application.persistentDataPath for a folder location that is writable.

That said, on Android the filepath to the streaming assets is at "jar:file://" + Application.dataPath + "!/assets, from the same docs:

Android uses files inside a compressed APK
/JAR file, "jar:file://" + Application.dataPath + "!/assets".

Do note that you can not access this file location through the standard C# File functions, but need to access it using a webrequest.
If you need a directory to store data during run time you need to use the Application.persistenDataPath instead.
From the docs:

This value is a directory path where you can store data that you want to be kept between runs. When you publish on iOS and Android, persistentDataPath points to a public directory on the device. Files in this location are not erased by app updates. The files can still be erased by users directly.

A: You don't do this after build.
Create StreamingAssets directory inside Unity Editor in your Assets/ directory and add all your files there. They will be included in build automatically.
If you need this because of the .apk size limitation on Play Store then you can create an .obb file with all of the additional assets (including the ones in SteamingAssets directory). Check it here - https://docs.unity3d.com/Manual/android-OBBsupport.html.

redpajama_set_name: RedPajamaStackExchange


Some say Frederico has a classic, timeless style of photography, characterised by bold B&W images and carefully curated color palettes. The elegance of the elements and the confrontation of the human figure with the landscape and architecture is recurrent in his work.
His passion for photography started in his youth while looking through a National Geographic magazine, and never stop since then.
Milla Jovovich, Cristiano Ronaldo, Mariacarla Boscono, Antonio Banderas, Olivier Rousteing, Alexander Wang and Anthony Vaccarello are some of the international celebrities that Frederico portrayed.
His work is published all around the world in magazines such as Vogue, Amica, Vanity Fair, Narcisse, Les Échos Weekend, Madame Figaro and Le Figaro.
Nowadays, Frederico works between Paris, Milan, London and New York.


Granite Crushing Screening Plant 200tph used in Vietnam offered . SBM has offered this granite crushing screening plant with capacity of 200tph for Vietnam quarry mining.
Oriental-600-700 TPH Crushing Plant,Jaw Crusher,Cone . Oriental-600-700 TPH Crushing Plant,Jaw Crusher,Cone Crusher,Manufacturer.This .
complete tph crushing plant rijurajfoundationorg .
Introduction: Good price used mobile stone crusher plant complete for sale 300 350tph complete crushing plant tph complete crusher machine with primary,Crushing .
Mobile Coal Crusher 400 Tph Capacity Manufacturer In India (Hot! quite mobile coal crusher 400 tph capacity manufecturer 2015 Our company provide quarry plant machine .
jaw crusher complete plant in india 50tph mobile stone crusher; Mobile Crusher Machine Price India . complete 50 tph jaw crusher plant in india - YouTube.
100 tph jaw crusher price | Solution for ore mining. Stone Crusher Price India Jaw Crushing . Price of A Complete 100 TPH Crusher Machine in Malaysia – Caiman .
Crusher Feeders, Hoppers, complete . Crusher Manufacturer India 5 Tph. Used Stone Crusher Machine Price in India. As a mining equipment manufacturer, .
200 TPH Complete Crusher Machine with Primary 200 tph crushing & screening plant prices - YouTube 11 May 2014, More details:, Read more 200 tph crushers.
2017-09-18 · stonecrushermanufacturer quarry stone crushers machines are . 8-15 tph mobile . Stone Crushing Plant - One complete set of .
Complete Crushing Plant,Aggregate Plant . mobile stone crusher plant 50 tph india . machine in korea stone crusher for sale south africa 600 mobile jaw .
From large primary jaw crusher and 2013 200-250 TPH Complete Stone Crusher For Sale In India is the best one of the crushing machine(200 Tph Stone .
200 tph complete crusher machine. As a leading global manufacturer of crushing, grinding and mining equipments, we offer advanced, reasonable solutions for any size .
200 tph complete crusher machine. 200 tph complete crusher machine. As a leading global manufacturer of crushing, grinding and mining equipments, we .
rock crusher machine pricesYouTube:/:. Livetph hard rock crusher machine pricetph hard rock crusherThe primary jaw crusher is widely used in mining .
Tph Complete Crusher Machine With Primary. Industry News. crusher plant in indiatph Mining & World. crusher plant in indiatph.TPH Crusher . Coal crusher machine .
Medium scale stone crushing plant of 350 TPH - 400. Home Products Crushing Complete Crushing Plant 350 . deepa crusher machine used; mobile jaw crusher .
price of 200 tph cone stone crusher for bauxite crushing ( price of 200 tph cone stone crusher for bauxite Primary crushing machine in iron ore crushing Please .
200 tph complete crusher machine - prices of grinding .
100 tph crusher plant photograph,200 to 400 tph . (stone crusher machine,jaw crusher . We can provide you the complete stone crushing and beneficiation .
50 180 Tph Impact Vsi Crusher Machine For India . 150 180 tph complete aggregate crushing line tph stone crusher 400 tph aggregate production line tph aggregate .
100 Tph Stone Jaw Crusher Plant For Sale - Buy 100 Tph Stone .100 Tph Stone Jaw Crusher Plant For Sale, Find Complete Details about 100 Tph Stone Jaw Crusher Plant .
What's the 20-50 tph stone crushing . about stone crushing machine pls fell free to contact . reduce the abrasion of impact crusher in complete ballasts .
Stone crusher manufacturing process,stone crushers for sale in uk .- 200 tph complete crusher machine with primary,stone crushers for sale in uk, small stone crusher .
Hazemag / Deister 750 TPH Crushing and Screening System - . A complete crushing and screening system rated at 750 TPH instantaneously. The primary crusher in this .
Jaw Crusher Pe Crushers Complete Stone Crusher Machine .
pe jaw stone crusher machine price, find complete details 1 set sand making machine cone crusher .,stone crusher pe750 oriental 180 200 tph,complete crushing .


text:
Five Towns College Announces Career Conference, Open House
On Saturday, April 25, Five Towns College in Dix Hills (Long Island), N.Y., is offering a career conference featuring panel discussions by experts in the fields of music, music business, film, audio recording and theater.
Panel discussions will be presented about career opportunities in the following fields:
• Music Business and the Entertainment Industry (11-11:45 a.m.)
• Filmmaking and Video Production (12-12:45 p.m.)
• Audio Recording in the Entertainment Industry (1-1:45 p.m.)
• Music and Music Education (2-2:45 p.m.)
• Theater Arts (3-3:45 p.m.)
A question and answer period will follow the panel discussion. Plus, classroom and studio presentations will be held throughout the day.
In addition, Five Towns College will hold open house events on Saturday, May 9; Saturday, June 13; and Saturday, July 11, all beginning at 1 p.m. The July 11 open house will feature only audio recording technology, while the May 9 and June 13 open houses will feature music, music education, music performance, musical theater, music business, audio recording technology, film/video, mass communication, theater arts and childhood education. Faculty, staff and students will conduct presentations and tours.
For more information, contact Five Towns College's admissions office at 631/656-2110 or admissions@ftc.edu, or visit www.ftc.edu.
Five Towns College in New York Announces July 11 Open House
Five Towns College Open House
Five Towns College Audio Open House
Five Towns College to Hold Open House on October 17
Five Towns College Audio Recording Open House
October 26 CRAS Open House Open to Potential Students & Their Families
U.S. Air Force Live Sound Engineer/CRAS Graduate to Engage at July 13 CRAS Open House
Five Towns College