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redpajama_set_name: RedPajamaGithub


text:
WORLD CRAFTS COUNCIL
craft cities
Cosmopolitan-Localism
Back to all Seminars
Panellists
Ashoke Chatterjee (Chair)
Professor Ashoke Chatterjee received his education at Woodstock School (Mussoorie), St Stephen's College and Miami University (Ohio). He has a background in the engineering industry, international civil service, India Tourism Development Corporation (ITDC), and 25 years in the service of the National Institute of Design (NID, Ahmedabad) where he was Executive Director, Senior Faculty, Distinguished Fellow and Professor of communication and management. He has served a range of development institutions in India and overseas, particularly in the sectors of drinking water, sanitation, disability, livelihoods and education as well as working with artisans in many parts of the country. He was Hon President of the Crafts Council of India for over twenty years and continues to serve CCI. He has been on the board of Aid to Artisans (ATA) in the USA. An author and writer, his books include "Dances of the Golden Hall" on the art of Shanta Rao and "Rising" on empowerment efforts among deprived communities in rural Gujarat. Professor Chatterjee continues to assist design education in India and overseas.
Professor Chatterjee's association with artisans and the craft sector began during his career with the ITDC, where he helped integrate craft into India's tourism strategies. During his years at NID, he participated with design teams working throughout India to assist artisans in the transition between traditional and contemporary markets, as well as in efforts at sustainable livelihoods through hand production. With colleagues from NID and the Indian Institute of Management (Ahmedabad), Ashoke Chatterjee contributed to the pioneering Artisans Alliance of Jawaja (AAJ), an association which has continued for almost four decades in a path-breaking experiment toward self-reliance and dignity for communities challenged by discrimination and competition. With CCI and its network throughout India, he has helped pilot a major effort with the Government of India on the understanding of the economics of India's craft sector, the nation's second largest source of livelihood after agriculture and yet seriously neglected as an engine of growth. Advocacy for artisans and the critical importance of their sector to national wellbeing now engages much of Professor Chatterjee's time and attention.
ashchat@prabhatedu.org
Dr Britta Kalkreuter
Dr Kalkreuter studied History of Art, History and German at Cologne University and Trinity College Dublin and gained a PhD in Architectural Heritage Studies from Cologne University. She taught cultural studies at Manchester Metropolitan University and is currently an Associate Professor in Design Studies at Heriot-Watt University's School of Textiles and Design in Scotland where she is also Associate Dean. Her research is interdisciplinary as it connects design practice with heritage studies and explores material practices as well as making experiences; methods originate in the fields of anthropology, iconography and archive,
and value collaborative research. Lately, a particular focus has been on local production scenarios in global design economies and digitisation of heritage.
The project explored innovative entrepreneurship opportunities for Indian craft communities. It co-characterised formats for virtual experiences of intangible heritage with artisans and potential buyers in order to empower artisans to unlock viable digital income generation not just during lockdown but for economic resilience more generally. The project developed technical and practical guides for the generation of craft related films by artisans and explored marketing models while considering the effects on heritage content. The cross disciplinary and international academic team connected to potential clients, NGOs and, importantly, crafts communities to co-produce film pilots and open source instruction manuals in several languages and formats.
PDF links to Britta's presentations:
Frans Panjaitan
Frans is a multidisciplinary designer with proven experience in community development through the introduction of technology in traditional artisan communities across developing rural areas in Indonesia.With my team in Batik Fractal, we develop a textile pattern generator software namely jBatik, which utilise fractal mathematical formula based on Indonesian traditional Batik pattern. Alongside with jBatik, right now we are also developing DiTenun, a software which shares the same principle with jBatik, but specialises in traditional handwoven textile. Besides Batik Fractal, I am also active in craft advocacy, and sitting as a regional editor in Garland Magazine, an international publication initiated by the World Craft Council - Australia, as a part of the World Craft Council - Asia Pacific.
Fernando Laposse
Fernando Laposse (1988) is a London based Mexican designer, he trained in Central Saint Martins as a product designer.
Fernando specialises in transforming humble natural materials into refined design pieces. He has worked extensively with overlooked plant fibres such as sisal, loofah, and corn leaves.
His works are the result of extensive research which culminates into objects of "endemic design" where the location of materials and their historical and cultural connotations take centre stage. He often works with indigenous communities in his native Mexico to create local employment opportunities and raise awareness about the challenges they face to maintain their ways of life. Rather than working with existing craft, Fernando develops new techniques form scratch which are then taught to farming communities that become craftspeople.
Fernando's projects are informative and address a variety of topics such as: sustainability, the loss of biodiversity, community dissolution, migration and the negative impacts of global trade on local agriculture. He does so by documenting the issues and announcing possible resolutions through the transformative power of craft and design.
His projects have been exhibited in the Triennale di Milano, Cooper Hewitt Design Museum, The Design Museum in London, Victoria and Albert, the World Economic Forum to name a few. His work is held in the permanent collections of the V&A and SF Moma.
Li Rongli
Li is a senior arts and crafts artist, the representative inheritor of the intangible cultural heritage project "Dyeing skills", Yunnan Province Arts and Crafts Master. Li is Yunnan University Museum ethnology First-class discipline ethnic culture Creative Workshop Enterprise tutor; School of Art and Design, Yunnan University intangible Cultural Heritage into the campus practice teaching base enterprise tutor, Distinguished Expert of School of Design, Yunnan Art University. Li is visiting Professor of Kunming University, General Manager of Yunnan Lvye Economic and Trade Co., LTD. Design Director of Kunming Jiuyong Cultural Communication Co., LTD. Paying long-term attention to the development of national art Li has carried on the research to the Yunnan national characteristic textile for many years with rich experience in creative and innovative design, the works are all based on the folk art and culture of Yunnan. To try to get the exquisite artistic resources out of the mountains it is integrated with modern life to promote the development of characteristic handicraft industry in ethnic communities. Li has won many awards in domestic professional design competitions.
"Pattern" and other works won four times UNESCO, the World Handicraft Council "Outstanding Handicraft Badge"
Jonathan Koupermann
Jonathan Koupermann is a Cultural Economist, Manager, Art Producer based in Ecuador, South América. He is the current Deputy Director of Crafts and Cultural Promotion of the Inter-American Center for Popular Arts and Crafts - CIDAP. Jonathan is the former - Director of the Pumapungo Museum and Zonal Coordinator of the Ministry of Culture and Heritage of Ecuador (2012 - 2017), Former - Director and Technical Coordinator of the Municipal Contemporary Art Biennial Foundation of Cuenca, (2012), Former - Responsible for Management and Communication of the Metropolitan System of Museums and Cultural Centers - SIMMYC in the city of Quito (2011). Since 2019 he is also a part time University teacher in the Arts Faculty of the University of Cuenca, Ecuador.
Economist of Culture (Catholic University of Milan, 2009), graduated from the Master in Conservation and Management of Built Cultural Heritage (University of Cuenca, 2015), Jonathan has several International Postgraduate studies like "Cultural Heritage and the City" (European University Institute - Eui. 2019), and International Postgraduate Degree in "Antiquities Trafficking and Art Crimes" (University of Glasgow, 2017) between others.
A constant researcher of the Arts Economy and Management, he has made several cultural productions in the fields of visual, performing, and musical arts, and participated in various training spaces with lectures, workshops and talks about Museums, cultural management and heritage, arts and other subjects, both in Ecuador and internationally. He has directed two radio programs and has made several editorial collaborations nationwide.
He firmly believes in the need for collaborative work in the arts and heritage world through all levels, from cultural actors, managers and institutions.
PDF link to Jonathan's presentation:
Britta Kalkreuter - CLICC Craft Video Do
Britta Kalkreuter - CLICC Presentation L
Jonathan Kouperman - Presentación JK WC

redpajama_set_name: RedPajamaCommonCrawl


text:
Category Archives: Books
Hanoi Hannah
November 9, 2017 1:28 pm / Leave a comment
"This is the voice of Vietnam Broadcasting from Hanoi, capitol of the Democratic republic of Vietnam."
I fingered the dial of my battery-fueled short-wave radio, to try to get rid of the recurring smatterings of static. In a shack on stilts, up from the coast of the South China Sea, on the Skrang River in Sarawak, Borneo in 1966, I had little to choose from for western entertainment.
But Hanoi Hannah played the best rock 'n roll of any station I could reach, so I listened to her as often as I could. Atmospheric conditions often intruded. Heavy monsoon rain against the tin roof of my shack rendered the music sometimes un-hearable. I grew tired of Hannah's lectures about impending American military disaster, or her lists of names of crew members of arriving U.S. military ships to Vietnamese harbors. They were like long sermons or longer laundry lists, and very boring, offered in a monochromatic drone. The music, though, made listening to her wonderful. I understood that American troops in Vietnam listened to her as well, admiring the music, but laughing at the commentary. As exhortations go, I suspect hers were unsuccessful.
But I heard my first Jefferson Airplane recording on Hannah's show, a band that was part of an extraordinary flowering of new rock 'n roll in the U.S. I was missing the whole thing, a volunteer with the Peace Corps in a Sarawak government rubber plantation for tribal Sea Dayak refugees who had been displaced by a war being fought between Malaysia and Indonesia. Hannah even knew that the Jefferson Airplane were from San Francisco, thus making me wish to be there, to see them live.
But the short wave was my only real connection to the States at the time, other than the letters that I exchanged with my parents and grandparents, which my mother saved and I still have.
The United States was involved in what indeed became a disastrous defeat in Vietnam. I well remember Hannah's charming delivery: "Defect, G.I. It is a very good idea for you to desert a sinking ship. Otherwise your army will leave you behind. It will not return to save you."
I knew a few people who had gone to Vietnam in the military. But at the time they were still there, and I had no opportunity to speak with them about what was happening. The one time I had such an opportunity was in a bar in Kuala Lumpur on the Malayan peninsula. It was a rest and relaxation stop for U.S. Marines serving in Vietnam. I was in the place one night with Peace Corps friends, and everyone there except for the Chinese barmen, the women (all of whom were Asians), and us three white boys, was a black Marine. At first we were treated with complete indifference. I suspect that, at first, that was because we were white, and obviously out of place. But once I had been asked by one of the Marines who we were, interest in our presence heightened.
"What is this Peace Corps s**t?" one of the Marines asked me.
I explained what we were doing, and he immediately asked why was the CIA in Malaysia. The Peace Corps had no relationship with the CIA, but my protestation carried little weight. John (the Marine) called a few of his buddies to our table, and they too suspected us of being part of the U.S. spy network. But I wanted to talk with them about Vietnam, and eventually my questions brought out what was to be my first ever understanding of what that war was actually requiring of these men. Not again until I first read the manuscript of a book by H. Ward Trueblood titled A Surgeon's War (which my publishing house Astor & Lenox put out in 2016) was I to hear such graphic descriptions of war wounds, fear in war, and the kind of derring do that such fear can cause in those fighting the war. These Marines had lost several friends. They were all tired, and all very angry. There being nothing to do about their plight, they were simply going through their few days in Kuala Lumpur before returning to the jungles, the padi, the monsoon, the bugs and, as one of the Marines put it, "the foolishness, man. The foolishness."
I asked about Hanoi Hannah, and all these men laughed. "She don't play no black music," one of the Marines, a very young man who had only been listening to us, said in response. "She's as racist as all you white folks."
So I returned to my shack and turned on Hanoi Hannah again. The Marine was right. Hannah was a fan of white rock n' roll. Mick Jagger, Janis Joplin, The Beach Boys, The Byrds, and all the others. Maybe there was an occasional Otis Redding or some such. But I don't think so.
I then understood the tiredness of those Marines, and their ultimate reluctance to carry on much of a conversation with us. That had something to do with being tired, for sure, but I suspect it had a lot more to do with deeply felt rage.
For another look at Terence Clarke's time in Sarawak, see "Borneo" in HuffPost. Clarke's Sarawak novels, The Day Nothing Happened and The King of Rumah Nadai, originally published in the 1980s, will be republished in 2018. His new story collection, New York, comes out this month.
The New Ireland
June 20, 2015 9:56 am / Leave a comment
I had a conversation last year in Finnegan's of Dalkey–a phenomenal Dublin pub where novelist Maeve Binchy used to drink, and Bono now does drink–with an Irish attorney acquaintance. He had read my book of stories Little Bridget and The Flames of Hell, all of which deal in some way with the Irish in contemporary San Francisco, where I live.
San Francisco's Irish community was, and still is, a major element in the culture of the city. As in so many other U.S. cities, the Irish came here in droves in the 19th century. But the diaspora has come upon us once again in the few years since the Celtic Tiger stumbled so badly. A victim of the same muscle-flexing hubris and financial thoughtlessness that almost brought the United States to its knees in 2008, Ireland is only just now beginning to recover. In the intervening seven years, there has been a noticeable increase of young Irish living and working in San Francisco, people in their early to mid-twenties.
My attorney friend enjoyed the stories I had written. He was surprised by the accuracy of my dialog when spoken by an Irish character, given that I had indeed never lived in Ireland. I explained that my knowledge of those conversational idiosyncrasies came from two sources: the kitchens of my mother and her mother (where I had spent so much time as a child listening to them talking and laughing, with their female relatives, at almost everything being said) and the University of California at Berkeley.
The women in those kitchens spoke in ways that seemed simply American to me, always with mid-west Chicago accents. I thought that the way my mother and grandmother told stories was how stories got told in every kitchen in the United States. What I did not realize was that, although their accents were in no way Irish, the idiomatic expressions those women often used were unique to the Irish. That revelation came to me when, as a student at Berkeley, I began reading Brendan Behan, Edna O'Brien, James Joyce, Frank O'Connor and all the others. Those writers worked in a kind of English dialect that I recognized from my mother. The turns of phrase, the wandering humor and laugh-inducing self-deprecation that had come into my own manner of speaking had originally come, I realized, from Dublin and its surround, from Cork City and Galway, where my great grandparents had lived.
But my attorney friend found fault with some of the stories I told in my book. "You're writing about Irish sentiments from the 1950s or 60s, Terry. But not now." He shook his head, his eyes softly observing the Finnegan's pint before him. "No, not now, boy-o."
Because of the duplicitous malfeasance of so many priests in Ireland–those most particularly who sexually attack children, and those who protect the attackers–the Catholic Church has lost its footing in that country. What was, until very recently, the single most repressed Catholic society in western Europe is now thoroughly revising its opinion of the Church. The most recent, and most stunning, example of that revisionism is the vote last month in the Republic of Ireland to legalize same-sex marriage. It is the first country whose entire populace has been asked to vote on the notion, and sixty-two percent of them said "yes".
Ireland, of all places!
When I was writing my book ten years ago, I would no more have predicted such a vote than I would have claimed to be an English aristocrat. So my attorney acquaintance was right. Ireland is not the Ireland we once knew. But I was writing about a community of people who had arrived in San Francisco in the mid-twentieth century, and I now realize that that was an eon ago. The stories are terrific, believe me, but the Irish in Ireland have changed profoundly.
I am more or less devotedly heterosexual. But this same-sex marriage is a grand thing, and God save the Irish for having voted it in.
Terence Clarke's new novel The Notorious Dream of Jesús Lázaro was published on May 1.
Irvin D. Yalom: A Conversation
May 12, 2015 5:13 pm / Leave a comment
Photo: Reid Yalom
Irvin D. Yalom is as well known a writer of fiction as he is of non-fiction. His novels include the famous When Nietzsche Wept (a tour de force rendering of the relationship between Freud's mentor, the renowned Dr, Joseph Breuer, and the philosopher Frederick Nietzsche), The Schopenhauer Cure and the most recent, 2012's The Spinoza Problem.
He is also the inventor of a new non-fiction form, in which the psychiatrist Dr. Yalom describes conversations he has had with some of his most challenging patients. One such is his new book, Creatures of A Day, and Other Tales of Psychotherapy, which was published this year by Basic Books. The best known of Dr. Yalom's non-fiction books is Love's Executioner, which, as well as possessing one of the most compelling titles ever, contains the equally appealing passage from which the title is taken:
I do not like to work with patients who are in love. Perhaps it is because of envy — I, too, crave enchantment. Perhaps it is because love and psychotherapy are fundamentally incompatible. The good therapist fights darkness and seeks illumination, while romantic love is sustained by mystery and crumbles upon inspection. I hate to be love's executioner.
I spoke with Yalom recently, interested in why he writes both fiction and non-fiction. I wanted to ask him which of these forms he prefers, and what does each form require of him that the other does not.
IY: I have a lot of blurring between fiction and non-fiction in so many of my works. For example, my first novel, When Nietzsche Wept, has a great deal of non-fiction in it. I didn't create many characters at all. Almost all of them are historical characters that actually existed. Now, I consider that almost like having written fiction with training wheels. Everything, historically, was already there.
But the next novel, Lying On The Couch was entirely made up, and I felt then that, really, I was jumping off into fiction. I'm reading that novel now again, though, for a memoir that I'm writing, and I'm amazed by how much non-fiction there actually is in it. A lot of instances from my past life that I attribute to the characters. Many things from my own past are in there. Even some of the characters' names… I changed them around, of course, but some of them are very similar to the names of people I actually have known.
Something like that takes place in my non-fiction stories, too… the blurring, I mean. Those stories all have fiction in them. First of all, I have to change almost all the details of a physical, factual nature in the story, in order to protect the identity of the patient. I've changed men into women. I've made tremendous alterations in the characters. In essence, though, the main character remains as he or she really is, and I will have changed certain features of their appearance or personality.
Incidentally, despite all this, I ask each of the people, on whom patient conversations have been based in a particular story, to read my final story. All of them have approved. But here's something about those stories. One of my most read books is actually a textbook titled Theory and Practice of Group Psychotherapy. The individual stories in that book, of patients in group therapy, are true. I really was trying to find my wings as a writer at that time, and I am certain — I have no question in my mind at all — that the reason that book is so successful is that it contains those stories, which I bootlegged into the book. Legions of students have told me that what they really like are the stories. They can put up with a lot of dry theory (Yalom grins.) if they know that another story is coming around the bend in a few minutes.
TC: What impact has your being so well known as a writer had on your practice as a psychiatrist?
IY: I'd love to write about that some time. Now, literally every patient I see has come to me because of something I've written, and that does have a significant impact upon the course of the therapy. It makes me into a bit of a larger-than-life figure for the people I see, and maybe potentially it even gives me more power to do good, as long as ultimately I can get past their need to see me as a special sort of figure. I don't want to be idealized by a patient because of what I've written.
TC: Is writing fiction more, or less, difficult for you to write than non-fiction?
IY: I enjoy writing fiction more. I have had great experiences… adventures! When I've been writing a novel. And now, my inclination is to continue writing only fiction. You know, I'm a compulsive reader of fiction. I fell in love with novels when I was a teenager. My wife Marilyn and I… our initial friendship began because we are both readers. I've gone to sleep almost every night of my life after having read in a novel for 30 or 40 minutes. I'm a great reader of fiction, and much less so of non-fiction.
TC: Would you consider writing fiction that does not have a basis in psychiatry? Would you go farther afield?
IY: I can imagine doing that, but even then, my work would be categorized by its looking at internal issues, by how people think, by what consciousness is like. I don't think I could write a mindless detective story.
In a new afterword for the 2012 re-release of Love's Executioner, Yalom writes,
"I had always wanted to be a storyteller. As long as I can remember, I've been a voracious reader and somewhere in early adolescence I began yearning to be a real writer. That desire must have been percolating on the back burner as I pursued my academic career, for as I began writing these ten stories [for Love's Executioner] I sensed I was on the way to finding myself."
As fictional elements pervade his non-fiction, and as actual facts determine much of the action of his fiction, Yalom's devotion to both is clearly evident, and functions on equal terms, the one with the other.
Terence Clarke's latest novel The Notorious Dream of Jesús Lázaro was published earlier this year. He is director of publishing at Astor & Lenox.This piece first appeared in Huffington Post.
Alan Rinzler, On Publishing Past, Present and Future
December 6, 2014 10:03 am / Leave a comment
When you are reading the Acknowledgments page of a newly purchased book, and you come across effusive thanks from the writer to his/her editor, you can reasonably ask, "Just what does an editor do?" Is such a person merely a handy helpmate who corrects grammatical errors? Is the editor the person who keeps the writer's creative rampages in check, so that eventually an actual book with a beginning, a middle and an end will arrive at the book store (or, in these times, on your iPad)? Is the editor a soul mate to the writer, without whom the poor sot may never finish the sanity-threatening project on which he/she has embarked?
All of these will do, and many others. If you are a writer yourself, you know the intellectual and emotional intimacy that can result between you and your editor. It can be a sanguine conversation or a grittily difficult one, and every shade of talk in between. A very good primer on what the relationship can be like is A. Scott Berg's Max Perkins: Editor of Genius. Among others, Perkins was the editor for much of the work of Ernest Hemingway, F. Scott Fitzgerald, and Thomas Wolfe.
Alan Rinzler
There are few editors today who can claim to have edited such a list of major writers (either in terms of the quality or of the sales of their books). But one who can is Alan Rinzler. Having edited several of the books by Hunter S. Thompson, Clive Cussler, Toni Morrison, Tom Robbins and many, many others (including – full disclosure – two of mine) Rinzler occupies an almost unique place in contemporary publishing.
And he has much to say about the current state of that publishing.
For one, things look very good indeed, for a very real reason. "I don't think people will ever stop writing or reading," Rinzler says. "Human beings are hardwired to tell stories, compelled to write them…and to read stories for pleasure, information, inspiration – all the vital knowledge that we need to survive." Every editor knows that the essential quality needed for a successful book is that it be written well. It's the writer's most important task, and has always been. What is new in successful books these days is the way they get published and sold, and Rinzler is very upbeat about current and future prospects in that realm, too.
"I was lucky to start out in publishing in the early 1960s when youth culture was a very important factor in book acquisition, production and marketing. Since I was young myself, I was able to make a connection with what was happening and that actually sold books."
Rinzler's rise was meteoric, starting with the mentorship from the legendary Robert Gottlieb at Simon and Schuster.
"After S&S, I went to Macmillan, and then Holt, which was owned by CBS at the time. So right away I had the kinds of resources that allowed me to sign up and develop books for the so-called youth market. A book about Bob Dylan and Joan Baez in their folk-music phase. A book on civil rights called The Movement, because I had been a member of the Student Non-Violent Coordinating Committee. And most importantly the first book written by a street kid growing up in Harlem, Manchild in the Promised Land ,which turned out to be a big NY Times best-seller."
This youthful rise also included Rinzler's editing and publishing Custer Died for Your Sins by Lakota Sioux Native American Vine Deloria Jr, and Bury My Heart at Wounded Knee: An Indian History of The American West by Dee Brown. Published in 1970, it remains the best-selling book that Rinzler has ever worked on, and has been translated into more than 20 languages. It is still in print.
"Meanwhile, I had always loved rock 'n roll as well. I had done a book on Woodstock by the rock 'n roll photographer Baron Wolman, who told his friend Jann Wenner about me. Jann was in the process of founding a little newsprint four-fold publication in San Francisco named Rolling Stone, and we met."
Agreeing to come on board, Rinzler moved his family from New York City to the west coast, and Rolling Stone became world famous. "Jann and I both wanted to start a book division, which we did, and I was in charge." The publishing arm was called Straight Arrow Books. "Ultimately we published about 50 titles, most of which are still in print." Among the most iconic titles published by Straight Arrow are Hunter S. Thompson's legendary Fear and Loathing in Las Vegas and Fear and Loathing on the Campaign Trail, as well as Kerouac, the first biography of Jack Kerouac by Ann Charters.
When Wenner decided to move Rolling Stone's operations to New York City, Rinzler demurred, having decided that the San Francisco Bay Area was where he and his young family wanted to stay. He went to work for Barney Rosset at Grove Press and Evergreen Review. "Rosset was another great American publisher," Rinzler says, "who paved the way for a lot of things that were actually, in those days, against the law to publish, like Lady Chatterly's Lover and Tropic of Cancer."
Rinzler has continued on from there, to edit books for innumerable writers. He was for some years the west coast editor for Bantam Books, for whom he edited work by Tom Robbins, Jerzy Kosinski and Shirley MacLaine, among others, and until recently, Rinzler was an executive editor for Jossey Bass, the west coast imprint of John Wiley & Sons in San Francisco.
Much has changed in the way that writing gets published…and read. Two things, however, remain unchanged: the creative talent of the writer and the intellectual curiosity of the reader.
"The book business," Alan Rinzler says, " has always only been marginally profitable.
"Even in the halcyon days of publishing, when I was fresh out of college, when Richard Simon was in one office and Max Schuster in another…when Alfred Knopf was down the street and Bennett Cerf was running Random House, most of the books being published by those titanic icons lost money."
A business model, if there was one, was based on "the publisher's passion," Rinzler says.
"In those days, an editor would acquire a book because he loved it. He believed in it. But only a few books made enough to compensate for all those that failed. It was the old 20/80 rule."
Book publishing has forever been an industry with very slim margins. "A profit of 5 to 6 percent meant that you were doing well," Rinzler points out. This was largely due to the up-front expenses that traditional book publishing incurred: typesetting, and then printing and binding a book in long press runs; warehousing the books and having to distribute them to innumerable book stores around the country; marketing and publicity. All these caused out-of-pocket expenses that were incurred before a single book was ever sold. And then, as the unruly frosting on the cake, unsold books could be returned by the stores to the publishers for refunds…further expenses.
"Of course, this in no way affected the impact of the publishing industry on the general scene," Rinzler says. "It had a very high visibility because it influenced ideas and social change. It reflected what was happening in politics, the arts and the culture."
When the first shopping mall store chains (B. Dalton, Walden Books, et.al.) came along, there was much worry on the part of the traditional publishers about what this could mean to their sales and profits. "Those stores were originally considered low-brow warehouses," Rinzler says. "Paperback reprints for a dollar each. A lot of people in the business predicted the end of traditional publishing and independent bookstores." In fact, however, sales increased and profits soared for the top best-sellers because of far greater volume over so many new outlets.
And now, electronic digital publishing and distribution, and self-publishing are changing the scene in ways that are even more dramatic. "Gradually, although kicking and screaming," Rinzler notes, "traditional book publishers and sellers are being dragged into the 21st century."
"And one of the biggest factors in this has been the rise of Amazon. Their brilliant new idea was to sell books on line and through the mail directly to buyers, in ways that traditional publishers had never before done. Also the idea of discounting certain titles, or offering chapters of a book for free, the result often being that readers buy the books in much greater volume…because they know what they're getting."
There's an authentic revolution in book publishing that has greatly impacted the author's potential to receive a greater share of the profits. In traditional publishing, the author's royalty has always been 10-12-15% for a hard-cover; 7-1/2 to 10% percent for trade paperback; even lower for certain kinds of mass publishing. Now, with the advent of the Kindle, the iPad, and many quite legitimate digital and print-on-demand self-publishing programs, an author can receive as much as 70% of the retail price as royalties.
The growth of electronic publishing has brightened the future for individual writers in ways that provide new incentive for true writing talent, and new enthusiasm among readers of good books. With electronic publishing, more books that are well written are finding the light of day, and delivered much more quickly into the hands of avid readers. Traditional publishing is, to be sure, still doing fine. The printed book will not soon disappear, if ever, but the market share of ebook to print has grown from 5% to 30% over the past few years and is projected to surpass 50% of all book sales within two or three more.
"Yes, I think this is the best time ever for an author," Rinzler says.
"The balance of power has shifted from the gatekeepers to the artists. Now the author is in a position to take control of the means of production, which has almost never been the case in the history of publishing. They can control the content, the design, the appearance, the production itself…and also, by the way, receive a much larger share of the profits from all that."
Rinzler breaks into a grin.
"I understand that an author may want to do things in the traditional way, having the imprimatur of that important publisher's brand name on the spine of his or her book. But to me, that's like having a spot on the roster of the 1947 Yankees. Now I always ask my writers, 'How much time have you got? How much patience? How much tolerance for frustration? Rejection? Or for just plain being ignored?'"
Rinzler's questions reveal the reality, for most writers, of dealing with traditional publishing. And that's why, he continues, self-publishing has now become such a viable alternative. What once was the worst thing for a serious writer to do, now offers very great potential value to that writer. No longer is self-publishing an embarrassing admission of defeat by authors whose work does not attract a traditional publisher. Now writers can hire their own developmental editors and jacket designers and skip over the big wait.
"If you've gone for a year or two with no positive response from traditional publishers, self-publishing begins to look pretty good," Rinzler says. "And of course, there's the precedent of self-published books becoming best sellers. Miracles do happen!"


Sponsors: Stedmz Skateboards, S-Tech wheels, Candygrind, Jammypack, Yellowbelly, Sick grip, Buddy Boy Brands, Gullwing Trucks, Zeal Optics, Nexstep Productions.
Stedmz 8 inch foil graphic, Thunder trucks, S-Tech wheels 52s, Sick griptape, Robot-Guts hardware.
Southside Bowl in San Antonio, Texas is the best DIY! Skater built and skater owned!
Yes, in Houston, Texas, the homies and I built a crappy one layer quarter pipe in the driveway where I learned most of my blunt variations.
I've been skating a lot with the skater girls of Colorado. We hype each other up to learn new tricks.
Arvada Skatepark has the best snake run in Colorado hands down!!!
Steve Stedham, John Gibson, Elissa Steamer, Ben Raybourn, Luan Oliveira.
More rails on top of quarter pipes.
Took a road trip for some clips in Colorado, Long story short… I live here now. Lol.
Skatuary in Denver, Colorado is amazing! It is a Christian church/skatepark and the pastor is a pro skater!
Have fun skating every day, stay humble and pass a board to the next generation.
Alta Vista Skateboard shop in San Antonio, Texas.
Any Steve Stedham Boneless pics!
Most of my homies I skate with are girls! I'm having lunch with one now. Lol.
My first pro model hands down! What a crazy feeling and I still cherish the moment.
Who contributes most to your local skate scene?
Skatuary is all about changing lives one skateboard at a time.
Beni to blunt flip, b\s nose blunts, and airs!!
Yes, the more people who know about our lifestyle the better!
Contests wins always get me pumped but I have to say the best moment would have to be when I started skateboarding. I was so stoked on my first kickflip off my sidewalk curb!


The degree programs, training and other education offered by the school.
The cost of attendance (tuition and fees, books and supplies, room and board, applicable transportation costs) and any other additional costs involved in attending the school.
Need-based and non-need based federal aid that is available to students.
Need-based and non-need based local aid programs, institutional scholarships and other private aid programs that are available to students.
How to apply for aid and how the school determines eligibility.
The responsibilities and rights of students receiving financial aid.
The school's fair and equitable refund policy and the prescribed order of the Student Financial Aid (SFA) refund distribution.
Information on preventing drug and alcohol abuse.
The criteria for measuring satisfactory academic progress (SAP) and how a student who has failed to maintain SAP may reestablish eligibility for financial aid.
Who to contact for financial aid information and general institutional issues.
Review and consider all information about Tougaloo College programs and degrees before enrolling.
Pay special attention to the applications for student financial aid (FAFSA, institutional), prepare and submit the applications to the correct location. International misreporting of information on applications for federal aid is a violation of law and considered a criminal offense, subject to penalties under the U.S. Criminal Code.
Have knowledge of and comply with all deadlines for the application and reapplication of financial aid.
Have knowledge of and comply with the schools student aid policies.
Return all additional documentation, verification, corrections and/or new information requested either by the Financial Aid Office or the agency to which the student submitted his/her application.
Read and understand all forms/agreements that the student is asked to sign and retain copies.
If the student has a loan, he/she must notify the lender of changes in name, address, or school status.


Canine Aggression Issues with Jim Crosby: Canine Wounded Heroes-out on the front lines.
In my last post I described the very positive experience I had at the Metropolitan Police Dog Training School and their very forward techniques. Further details on the experience had to wait due to my time disappearing very quickly under the weight of other appearances. Further, I had to respond to Miami and evaluate a group of dogs at rick, and THEN came to Nassau, The Bahamas, where we are facing a serious outbreak of canine distemper virus (more on both of these issues later).
So...the basis for our visit to the Met Dog School was a program set up by the hard working and dedicated people at Canine Wounded Heroes (http://www.caninewoundedheroes.org). CWH collected donations, coordinated the visit, and arranged to have eighteen (18!) personalized bullet proof vests shipped and delivered to the Metropolitan London Police to protect their working dogs from gunshot and sharp weapon injury.
Canine Wounded Heroes was founded by Jodie Richers. Jodie, a tireless animal activist based in Atlanta, GA, founded Dogs on Death Row in 2007, followed by Cats on Death Row, Horses on Death Row, and Habitats for Dogs & Cats. Having worked in the nonprofit arena for many years as the director for One Child At A Time (an international aid and adoption organization), and also as a board member for Children's Charities of America, Jodie possesses a skill set ideal for leveraging dollars into the most efficient action possible to save the greatest number of dogs and cats.
Canine Wounded Heroes is dedicated to the protection of our working dogs, be they police, arson investigators, bomb-detection animals or military working dogs. They actively collect donations that are directly applied to their protection efforts, with only 1% of the donations applied to any administrative or official costs. Board Members such as Karen Talbot and Prince Lorenzo Borghese of Animal Aid USA serve as strict volunteers allowing the funds to go where they need-to the animals.
At the dog school I saw and handled the vests. They are truly state-of-the-art units. Fully fit, they have vastly improved shoulder articulation allowing the dogs to finally work freely while protected. They are modular, so they can be adapted to the situation at hand. They are lighter, better ventilated, and are equipped to handle everything from daily patrol to insertion by helicopter with the Special Unit. Since they are modular, these vests can be fit to a dog exiting a police vehicle in 8 seconds. This allows the dog to say cool and comfortable during normal travel, but deploy on a serious crime with full battle gear with no delay.
I have a personal soft spot for protecting police and working dogs. During my career as a Police Officer I was involved in a pursuit that ended in a shootout with an armed drug dealer. Our police dog, Jacksonville Sheriff's Officer K9 Titan, took a bullet that was certainly intended for a human officer. Despite the best efforts of our police Veterinarian, Dr. P.C. Hightman, Titan did not survive. Had Titan been wearing a vest he might have survived the encounter.


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I've always hesitated to share my daily skin and makeup routine because it's v. basic, but after seeing the royal wedding and the brides's makeup for the ceremony (if you missed it, look here!) I was feeling inspired and figured a simple beauty routine might be interesting and helpful enough to post. I'm sure there is a lot I could change, add or upgrade but here's a short list of products I use on a mostly daily basis!
MAC MATTE BRONZER – after lotion and foundation (if I'm wearing it), I'll brush on a little bronzer around my hairline, jawline and under my cheekbones.
SEPHORA BLUSH IN ORANGE POP – couldn't find the exact one, but these shades look similar or I love this one.
BRUSHES – are a random assortment, but I use the detail brush with my foundation to cover any skin or under-eyes situations that need extra attention. Then use the angled brush for blush (wouldn't need to be angled, but that's what I have, lol) and the bigger powder brush for bronzer. This set might be the most similar.
RODAN + FIELDS REDEFINE EYE CREAM – feels so good! Put on my eyes at night and in the morning. Favorite for sure.
L'OREAL VOLUMINOUS MASCARA – I've bought expensive mascaras before but always find myself going back for more of this. Feel like mascara is best for that first month or so after you buy it anyways so cheap is best.
RODAN + FIELDS REDEFINE EYE CLOTHS – Couldn't find them online but use after washing my face at night and before my lash boost and eye cream. Cut cloths in half to make them last longer!
MAC PRO LONGWEAR FOUNDATION – but i'll probably switch to a lighter coverage with SPF for the summer!
EUCERIN ORIGINAL HEALING LOTION – I've used it forever and should probably look into something different, but for now it works!
DOVE BAR SOAP – not pictured but feel like it deserves a shoutout. Just a bar of soap and a wash cloth to help exfoliate and that's it. I've used expensive cleansers before and just don't notice enough of a difference on my skin to justify the expense.
RODAN + FIELDS TONER – also not pictured but just started using (i.e. borrowing from my teenager) this a couple weeks ago and LOVE it. My skin feels more fresh and glowing and pretty even without makeup.
CLEAN FREAK DRY SHAMPOO — I've only been using dry shampoo for emergency situations and this brand does the trick and works as good as anything else I've tried. If you know of an all-natural option that works really good, please share!
LIVING PROOF INSTANT TEXTURE MIST – it's a god-send on hair wash days when mine is too lazy to do anything or when I want to let it air dry. Also spray some when I want my curls to look more beachy.
Hopefully that wasn't too boring for you guys, HA!
Would love to hear what your favorite beauty and skincare items are. And if you have a talent for hair and makeup, please leave tips… or better yet, send help!!!


text:
Тест по английскому языку
Раздел Иностранные языки
Класс 8 класс
Тип Тесты
Автор Епишева Н.С.
Формат doc
Изображения Нет
Поделитесь с коллегами:
Прочитай, что некоторые британцы говорят о своих увлечениях.
a) Подбери к текстам заголовки. Один заголовок лишний.
1) We are very fond of having picnics. On Sundays our family goes to some nice place in the country. We like to sit in the open air and enjoy nature. It's a pleasure to have lunch in a forest or near the water. We can also play ball or swim if the weather is fine.
2) My best friend and I often go to the discos. We listen to music and dance there. It's fun! Rock is our favourite type of music. And we enjoy listening to jazz.
3) We have two dogs. Their names are Terry and Rex. We love them so much! Every day we take them for a walk in the park. They are so polite and nice when they meet other dogs there. I think they say "Hello!" to them in their dog language.
4) All my friends love sport. Our favourite sports are horse riding, football and swimming. Every school and college has its own football team. We often have sport competitions at our school. It's great when your team wins!
a We are fond of sports.
b British weekend
c How can we spend free time
d Pet lovers
e Most British are nice and polite.
b). Закончи предложения, используя информацию текста.
1). On Sundays the British like_______________________________________________________
2). They think it's pleasant to_________________________________________________________
3). Some boys often go to the disco to__________________________________________________
4). Many British families keep________________________________________________________
5). They enjoy looking after them and every day they______________________________________
6). The most favourite sports among the British are_______________________________________
7). Most British schools have_________________________________________________________
Прочитай три отрывка о рабочем дне девочки.
а) Расположи отрывки в таком порядке, чтобы получился рассказ.
1). At one o'clock Ann usually has lunch. After lunch she helps mother about the house. Ann doesn't like to wash the dishes but she enjoys shopping. Sometimes she doesn't remember what her mother told her to buy but she never forgets to buy some milk for her cat.
2). Ann can play the piano very well. Her friends often come to see her in the evening. They enjoy listening to music and sometimes Ann plays or sings for them. They always praise (хвалят) her singing. Sometimes they go out for a walk if the weather is fine and enjoy fresh air and a good company.
3). Ann often goes to bed late and she hates getting up early. Her mornings are very busy. She can't always find her things. She looks for her schoolbag everywhere and at last finds it under the sofa. Sometimes she doesn't have time to eat her breakfast and she is often late for school. I wonder why she never gets bad marks!
b) Отметь буквой Т (true) информацию, соответствующую тексту, и буквой F (False) - не соответствующую тексту.
1. She is never late for school.
2. She always gets good marks.
3. She goes to bed early.
4. She enjoys shopping.
5. Sometimes she goes for а walk in the evening.
6. She doesn't sing well.
7. She can't find her things in the morning.
8. She always buys milk for her cat.
9. She likes to wash the dishes.
Прочитайте два текста о разных школах и заполните таблицу.
School 1 - Alice
School 2 - Magnus
Start and finish time
I am Alice. I am in my sitting room at home, talking to my teacher on the radio. Yes, I am at school!
I live in the middle of Australia, a long way from any towns or cities, so I belong to the School of the Air. Students from all over Australia belong to such school. Every day, I start at half past eight. I have two hours of radio lessons and sometimes I watch lessons on TV. After that, I have three hours of homework, then I have free time.
I don't mind going to school in the sitting room - it's fun! I like using the radio. I like Geography because I'm interested in learning about foreign countries and I like talking to my Geography teacher about her visits to Europe, Asia and America. I also like History lessons. Unfortunately, we don't have sport lessons.
I am Magnus. I go to Green Street School in Portland, the USA. We get to school by bus.
Our school is quite big. There are about 1,500 students. I don't mind going to school. The lessons aren't very difficult for me. Our lessons start at half past eight. We usually have five or six 45-minute lessons. I am interested in science and computer studies. I usually get good grades in these subjects and I don't mind having tests in English and Literature.
I like my school. I am good at sport. I like playing ball games, especially baseball, football and basketball. We don't have uniform in our school and we don't study foreign languages. Some schools in Portland teach Spanish and German. I would like to study German.
I usually come home after 3 p.m. and go to the local stadium to play baseball with my friends.
Лексико - грамматический тест.
Find the synonyms to the given words
1. lived
a) moved
b) died
c) stayed
d) made
2. little
a) large
b) small
c) less
d) lose
3. hearing
a) listening
b) swimming
c) digging
d) giving
4. to be called
a) to be shouted
b) to be named
c) to be given
d) to be taken
5. famous
a) unknown
b) talented
c) strange
d) well-known
6. laugh
a) cry
b) weep
c) smile
d) shout
Find the antonyms to the given words
b) stayed
c) told
d) inhabited
2. rich
a) prosperous
b) poor
c) naive
d) lame
3. friend
a) comrade
b) fellow
c) enemy
d) mate
4. like
a) to be fond of
b) love
c) think
d) hate
a) well-known
b) outstanding
c) unknown
d) typical
a) smile
b) cry
c) become
d) take
7. bad
a) worse
b) worst
c) good
d) fine
Insert the missing prepositions:
1. Aesop lived____Greece more than two thousand years ago.
a) at c) by
b) on d) in
2. He was the servant___a rich man.
a) about c) at
b) over d) of
3. He made____little stories____man and animals and told them____his friends. Each story had a moral.
a) up/on/about с) up/about/to
b) on/to over d) on/to/up
4. A little story____a moral is called a fable.
a) about c) on
b) with d) to
5. Mothers and fathers told Aesop's stories______ their children.
a) to c) about
b) - d) with
6. Travelers heard the fables______ Greece and told them______ other countries.
a) in / at c) in / in
b) at/ at d) at / in
7. ... the 15th century Aesop's fables were translated_______ French, English and German.
a) since / to c) until / into
b) from / into d) after / to
8. ... Russia, they were translated during the time______ Peter the Great.
a) into / at c) into / by
b) in / of d) in / about
9. Aesop became famous all______ the world are still told today.
a) about c) over
b) round d) through
10. They draw people's attention _______what is bad and help people_______ become better.
a) on / at c) to / -
b) at / on d) at/ -
2) Choose the correct tense form:
1. Aesop____in Greece more than two thousand years ago.
a) had lived c) lived
b) has lived d) were lived
2. He____the servant ot a rich man.
a) are c) has been
b) is d) was
3. He____little stories about man and animals and____them to his friends.
a) had made up / had told c) did / told
b) has made up / has told d) made up / told
4. Each story____a moral.
a) has c) had
b) gave d) gives
5. A little story with a moral___called a fable.
a) was c) is
b) has been d) had been
6. Travelers____the fables in Greece and____them in other countries.
a) heard / told c) hear / tell
b) have heard / have told d) heard / tell
7. From the 15th century Aesop's fables____into French, English and German.
a) translated c) had been translated
b) has been translated d) were translated
8. Aesop____famous all over the world and his fables____ still____today.
a) became / are told c) has become / are told
b) becomes / tell d) had become / told
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GOLF: Crowded leaderboard at Brockton City Four-ball
By Jay N. Miller Enterprise Correspondent
Defending champs Jason Clary and Steve Burak tied for the top after first round.
BROCKTON -- The early risers dominated the leaderboard Friday as 164 golfers, in teams of two, teed off in the Brockton City Four-Ball Tournament at D.W. Field Golf Club. The three-day tourney continues today at Brockton Country Club and concludes Sunday at Thorny Lea GC.
Several of the perennial contenders in this competition teed off shortly after 7:30 a.m., which meant they were finishing up shortly after noon. The defending champions, Jason Clary and Steve Burak, were looking like the team to beat once again as they carded a 6-under par 64. Close behind them was the father-son team of Steve Tasho Sr. and Steve Tasho Jr., at 5-under, while the new team of John Hadges and Mike Calef was at 4-under.
"This is our third year playing as a team in this tournament," said Burak, an Easton native who works as a golf pro in Florida and comes home every summer. "Without a doubt, this is the best I've ever seen this course. It's in incredibly good condition, and the pin locations are extremely difficult, so it's a challenge. We got off to kind of a slow start, but then we kicked it into gear about midway through our round. We birdied holes eight and nine, and then 11. Then we came in with birdies on the 14th, 15th and 16th."
"I'd say we played solid overall," Burak added. "We were a little slow to get into the groove but once we did, we did well. I only get to play here once a year because I'm not around that much these days. Thorny Lea is my home course when I am home, so it's always nice to have that third day ahead, with the home course advantage. The weather forecast for Saturday is a bit doubtful, so it was important to get a good, solid start today. Having won it last year, Jason and I were eager to get The Dream Team back together this year."
The Tasho team also noted that the course is in fine shape. Tasho Sr. has not played a round since missing the cut in the Hornblower Memorial Tournament a couple weeks ago, and son Steve Jr. has been busy working at The Harmon Club on his summer vacation from Bryant University. Neither Tasho showed much sign of rust on Friday morning.
"It was a good day and the course is in phenomenal shape, although it played a little hard" said Tasho Sr. "We came out of the gate pretty good with a birdie on the first hole, when my son made a nice putt. Then I hit about a 20-footer on the second hole. We parred the third and then three-putted on the fourth hole, which was about the only blemish we had. We hit a long putt for birdie on the 12th, and then another on the 14th. We played well coming in, and knocked down a 25-footer on the 18th, for another birdie.
"Over the last five holes, we set a goal for ourselves to do it in 10 putts or less," Tasho Sr. noted. "I made a couple of good putts before Steven even putted and that helped a lot. We aren't worrying about Saturday's possible thunderstorms yet -- you have to get by today to get to tomorrow. Neither one of us has played much lately, but that's why you have a partner in four-ball. What we're trying to do this weekend is simply get in three good days of golf together, and this was a very enjoyable day."
Thorny Lea veteran Hadges is coming off a fine showing in the Hornblower, where he took the Seniors crown, while Calef, the West Bridgewater native now relocated to Portsmouth, Rhode Island, was back in the pack at the Plymouth tourney. Calef is the reigning Brockton City Open champion and this duo finished fifth in last summer's four-ball. They pronounced themselves satisfied if not thrilled with their Friday scorecard.
"We had a good day, and D.W. is obviously in amazing condition," said Calef. "If you can't make putts this year, you can't blame D.W. because this course is better than I've ever seen it. We birdied the first three holes right off the bat, but then we went into a bit of a lull around the seventh and eighth holes. We only made a couple of birdies coming in, but then we took a bogey on the 17th hole, which was frustrating, so a four-under score isn't bad, but we felt we could've done more."
Hadges had a more succinct analysis: "Ah, just a boring round," he said with a smile.
By later in the day several teams had broken into the top ranks, including the duo of Bill Jones and Greg Braston, who carded seven birdies while bogeying the second, to tie for first place with a 64.
The team of tourney vets David Lee and Nick Tempesta scored five birdies to tie the Tashos for second place at 65. There were three teams deadlocked at 3-under 67, including Rick Marcos and Tim Johnson, Mike Duffy and Peter Verde, and Wayne St. Cyr and Kevin McMenamy. Just behind those duos, were several teams at 68, including Tim Watroba and Jeff Wojtusik, Rob Bradley and Ryan Riley, Nate Davis and Jeff Lindo, and Dave Dionne and Kevin Murphy. Brett Joy and Jonathan Win were close behind them at 69.
Among the field players (handicaps of 7 and over), the duo of Kurt Calderwood and Mike Roberson scored a 2-under 68 to take first place after the opening round, while three teams were close behind at even-par 70, including Steve Archard and Andrew May, Adam Derosier and Ryan Derosier, and Ed Reid and Scott Bradley.


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HomeChagrin Valley ConferenceKirtland
Kirtland wins Valley Division title for first time since 2016
By Steve Hare
Kirtland scored five runs in the fifth inning and went on to defeat visiting Cuyahoga Heights in what turned out to be the Chagrin Valley Conference Valley Division title game on Tuesday, 5-0.
With the win, the Hornets improved to 16-5 overall and 13-1 in league play. Kirtland also claimed its first Valley Division championship since 2016.
"This was a great win against a great team," Kirtland coach Luke Smrdel said. "There was a lot of build-up to this matchup and we played one of our best all-around games of the year, which is promising to see."
Kirtland was forced to make a pitching change when starter Andrew Spencer suffered a hand injury in the fourth inning. He had allowed just two hits and struck out two before being replaced by Vinny Liuzzo, who went on to pick up the win.
Liuzzo allowed one hit and struck out five in 3 2/3 innings of work.
"Spencer took a line drive off a finger on his pitching hand, so we had to make a change mid-inning," Smrdel said. "Vince did an unbelievable job coming into the game and getting the job done."
With Kirtland's pitchers quieting the Cuyahoga Heights bats, the Hornets took advantage of their opportunities in the bottom of the fifth.
Joey Torok reached on a fielder's choice and moved to third on back-to-back singles by Joey Mongelluzzi and Seann McGill.
Mike Alfieri's fielder's choice gave the Hornets a 1-0 lead.
Mason Sullivan and Jayme Torok then hit back-to-back two RBI doubles to close out the scoring.
"We had a few opportunities before the fifth and we knew we had to make a move if we wanted to win this one," Smrdel said. "Sullivan and Torok delivered."
Liuzzo gave up a leadoff double in the top of the sixth but retired the final six Redskins he faced.
With the league title wrapped up, the Hornets have achieved the first of their goals. Now they'll turn their attention to the postseason with the hopes of repeating as district champs.
Kirtland hosts Trinity on Wednesday in a Division III sectional championship game.
"There was lots of excitement after this big win, but the guys were quick to point out, tomorrow is the biggest game of the year," Smrdel said. "We reached our first goal, which was to win the conference. We have more goals left to reach."
Cuyahoga Heights Baseball
Kirtland Baseball
Liuzzo
Mongelluzzi
Smrdel
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Steve Harehttp://www.ohiovarsity.com
Steve Hare is the Chagrin Valley Conference's Sports Information Director. He also created and publishes OhioVarsity.com, an online publication dedicated to providing hyperlocal coverage to area high school athletic programs. Hare began covering high school sports for the Lake County News Herald in 1997. Hare attended Willoughby South High School through the middle of his senior year, then graduated from Berkshire High School in Burton in 1986. He played football, wrestled and was an all-Geauga county baseball player (1986). He lives in Chardon with his wife Paulette and their children.
The 2023 Chagrin Valley Conference Wrestling Championships began at Perry High School on Friday night and will continue on Saturday with the semifinals.
Athletes from 12 different schools have been named the Chagrin Valley Conference Athletes of the Week.
Kirtland is back in the hunt for the CVC Valley Division title after beating previously undefeated Berkshire on Wednesday, 53-40.
With a 59-25 win at Orange on Wednesday, Chagrin Falls' girls' basketball team secured its first Chagrin Valley Conference title since 2015.
Chagrin Falls, Beachwood, Hawken, and Perry each claimed a Chagrin Valley Conference swimming and diving championship on Saturday at Beachwood High School.


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Feature: How comms has changed F1
Riedel's consistent drive towards remote production solutions has been a godsend for the 2020 season with limited travel
Arguably, no company has been more instrumental in the world of high-profile sporting events than German intercom manufacturer Riedel Communications, at least from an audiovisual perspective. The company is the brand of choice for many of the world's most important events, ranging from the Olympics to Formula One, the Red Bull Air Races and even the German Bundesliga.
Dario Rossi, head of Riedel's motorsport division
But its work in Formula One has been a reoccurring fixture for more than 28 years. For a few avid Pro AVL MEA readers, it's quite literally a lifetime and, for the majority of that period, the manufacturer's team of engineers supporting communications during Grand Prix races has been steered by the head of Riedel's Motorsports division, Dario Rossi. Having himself worked in motorsport for more than 30 years and for Riedel for eight years, Rossi has witnessed a lot of change throughout that time.
What did the first F1 communications solutions comprise and what capabilities did it offer?
Riedel first started working with Formula One 28 years ago, but at that time all we provided was a basic intercom around the pit wall. Radio in those days was mainly analogue. There was a lot of noise, distortion and interference that meant the teams would struggle to hear each other and, furthermore, the radios were only half-duplex. That meant that you actually had to push a button to talk, the famous PTT – not something a driver would want to be operating while concentrating on the race – and each party would have to say "over" at the end of each message.
When we started to build intercoms for F1, while it was quite a simple system compared to today, everything was already full-duplex. This meant you could have two people connect just like a regular telephone call, but more importantly the quality of our system was much better because of the codecs that we had developed. The best radios that we have today in 2020 are 48kB, and yet our intercom solutions are 1MB. This is a huge difference and is one of the main reasons why so many teams are using our Bolero wireless intercom products. It is full-duplex with six channels, so you can talk and listen to different people and the quality is crystal clear.
The Red Bull Racing team adorned with Riedel Bolero beltpacks string to action in the pit lane in Bahrain
How have these solutions evolved into what you deploy today?
In recent years, the need for advanced technological solutions has been driven by the desire to limit the increasing amount of people located trackside. In recent seasons, we've been limited to only around 60 people across all teams, and so the majority of each team's engineers are now located offsite back at their factories.
The communications we do now is mainly to connect these offsite people with the guys at the track. In order to do this, we have a subsidiary in Frankfurt called Riedel Networks providing MPLS, a high-performance telecoms switching network, which is basically a really fast internet backbone. For the very away races, such as Australia, we're able to provide a 260ms round trip, an up and down link which is literally real time. This is what makes everything that we do with F1 possible. It means that everyone, no matter where they are, can listen to the driver in real time during the session and that there is intrinsic communication between different locations.
It's common that perhaps the engine was manufactured in England and the wing somewhere in Germany, yet we can make sure that everyone gets the same first-hand communications. More importantly, when engineers are part of the communications in real time, they feel like they are at the race and are fully involved. It's beginning to become quite normal to have a greater number of people working off- rather than onsite.
Jehan Daruvala adjusts his earpiece at Bahrain International Circuit
What has been the biggest driver of change in recent years?
It's natural really, but F1 is always looking to improve on absolutely everything by making things quicker and more efficient. Even if it's just buying tennis shoe for one of their mechanics, they have to be lighter and better than the previous ones. Speed, light weight and performance – it's in their DNA and this of course extends to our system as well.
The race itself has become very complicated for teams because they don't test the cars nearly as much as they used to. Because of this, the fact that we are able to send the communications and telemetry to the teams offsite in real time, allows them to approach testing completely differently. They can run the data in simulations at the factory, tweak the models and then feed that information back to the engineers trackside to make adjustments to the car. This all has to be performed very quickly and is why it's critical that the exchange of data provided via our systems is continually improving.
Red Bull Racing's Max Verstappen with race engineer Gianpiero Lambiase during practice ahead of the Sakhir F1 Grand Prix
How do you create a communications system that remains simple and reliable alongside the introduction of new technology and features?
We are quite lucky in this respect, as most of our services are built around our own products. We're out on the road for the majority of the year facing a variety of challenges, such as humidity, temperature and power supply issues. We work closely with our R&D department to ensure those lessons get incorporated back into our everyday products. But actually, it is through advancements in technology that we are able to make these systems better while still staying simple. For example, the innovation that we introduced in our new Artist ecosystem to improve its IP capabilities includes a host of low-level enhancements for auto configuration and discovery that is intended to make a lot of very complicated tasks very easy. We do also stress everything from time to time to make sure it can withstand some punishment. But I think the most important to be aware of is that there is a level of intelligence being incorporated into new technology that is intended to make all of our jobs even simpler.
Conversely, sometimes it is the simplest features that provide the most value. Our Bolero handsets have a function to repeat the last message. If something wasn't heard or understood correctly, rather than asking the driver to keep repeating themselves, the receiver can push a button to keep playing back that same message. A very simple feature but something that is invaluable for the F1 teams.
Max Verstappen takes a practice lap around a deserted Intercity Istanbul Park
How has the pandemic affected your operations during the 2020 season?
It hasn't really any impact on us at Riedel. We have the same 18 people on track as we did last year and this is because we've engineered the communications to the point where it doesn't matter if people are present in-person or not. With the drive to remove people from the track, we've essentially been under similar restrictions as the pandemic but for many years.
However, we have accelerated some of the processes recently. For example, this has allowed one of our partners, RTL, which produces the German broadcast feed, to substantially lower their numbers trackside by doing fully remote production. All of the show production is handed back in Germany and only the necessary people like presenters and cameramen are at the track. It's has taken them from more than 60 people onsite down to just five.
Describe the setup you provided for the recent Turkey and Bahrain GPs?
Our setup remains virtually identical for each and every race of the season and sees us deploying more than 5,000 pieces of Riedel equipment overall to facilitate what I've been describing above. This includes approximately 50 MediorNet frames, 400 Artist frames, 1,200 control panels (including SmartPanel series), 2,000 radios, 1,500 headset and more than 250 Bolero beltpacks, as well as over 100 cameras, including on-board and CCTV cameras.
This feature can be found in the January - February edition of Pro AVL MEA. Subcribe at www.proavl-central.com/subscribe/mea
www.riedel.net
(Click the button to view more)
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Biografia
Nata Ana Stojanovic, a 12 anni inizia la carriera di modella e poi frequesta l'università di Arti drammatiche di Belgrado . Esordisce nel cinema nel 1999, nel film di Paul Matthews "Africa" con il nome di Ana Katerina.

Le viene affidato il ruolo di Sienna Stone nella serie televisiva CSI: Miami, stagione 2006. Interpreta nel 2011 il ruolo di Camille in diversi episodi di Femme Fatales - Sesso e crimini.
Diviene la protagonista Liz Campano della serie Tv Chemistry - La chimica del sesso trasmessa anche in Italia da ottobre 2012 da Sky .

Filmografia
 Africa (1999) (con il nome Anna Katerina)
 Second Skin (2000
 Glory Glory (2002) (con il nome Anna Katerina)
 No Second Thoughts (2004)
 CSI: Miami (2006)
 Where the Heart Lies (2008)
 Ragazze da sballo (2009)
 O2 (2009)
 Land of the Lost (2009)
 Femme Fatales - Sesso e crimini (2011)
 Chemistry - La chimica del sesso (2011)

Note

Altri progetti

Collegamenti esterni

redpajama_set_name: RedPajamaWikipedia


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Jarosław Wojciech Józefowicz (ur. 1950 w Toruniu) – polski inżynier i menedżer, wieloletni prezes zarządu i dyrektor generalny Toruńskich Zakładów Materiałów Opatrunkowych (TZMO).

Życiorys
Ukończył studia na Wydziale Włókienniczym Politechniki Łódzkiej oraz na Wydziale Nauk Ekonomicznych Uniwersytetu Mikołaja Kopernika w Toruniu. Od 1978 zawodowo związany z TZMO, w 1981 został prezesem tego przedsiębiorstwa państwowego. W 1991 był inicjatorem przeprowadzenia prywatyzacji tego zakładu, w wyniku której doszło do jednej z największych tzw. prywatyzacji pracowniczych. TZMO przekształcono w spółkę akcyjną, której akcjonariuszami stali się dotychczasowi pracownicy. Zarządzane przez Jarosława Józefowicza Toruńskie Zakłady Materiałów Opatrunkowych jeszcze w latach 90. stały się jedną z największych firm w branży środków higienicznych, m.in. nowo wprowadzona marka podpasek Bella obejmowała na koniec tej dekady ponad 70% rynku krajowego. Firma zaczęła też intensywną działalność eksportową, m.in. na rynkach Europy Środkowej i Wschodniej. W 2012 Toruńskie Zakłady Materiałów Opatrunkowych stanowiły już międzynarodowy holding, kontrolujący około 50 przedsiębiorstw w kilkunastu państwach, zatrudniających łącznie około 7,4 tys. pracowników.

W 2011 prezydent Bronisław Komorowski odznaczył go Krzyżem Komandorskim Orderu Odrodzenia Polski. Jarosław Józefowicz był także wielokrotnie wyróżniany za swoje osiągnięcia menedżerskie, m.in. tytułem "Menedżera Roku 2001", medalem im. Tadeusza Kotarbińskiego w 2006 i tytułem "Ambasadora Regionu" w 2012.

Jest członkiem Akademii Inżynierskiej w Polsce.

Przypisy

Absolwenci Uniwersytetu Mikołaja Kopernika w Toruniu
Absolwenci Politechniki Łódzkiej
Polscy menedżerowie
Członkowie Akademii Inżynierskiej w Polsce
Odznaczeni Krzyżem Komandorskim Orderu Odrodzenia Polski (III Rzeczpospolita)
Urodzeni w 1950


The Sureflap Microchip Cat Flap is a fantastic option for anyone looking for an affordable yet reliable microchip cat flap. With a sleek design, handy features, and easy to install, this a brilliant choice for many pet owners.
Setting up the cat flap couldn't be easier, with a quick push a button all that is needed. The cat flap will pick up your cat's microchip, saving it permanently to the memory. If you want to add another chip, simply hit the button again with – it can store up to 32 different microchips!
You can also install the Sureflap Microchip Cat Flap at a variety of locations, including doors, walls, and even glass. The design is nice too, with a crisp and clean white colour blending nicely with most doors and walls, and there is even a black coloured model should you prefer it.
While there is no selective exit feature, you can choose from four different manual locking options. These include locking in or out only, as well as being fully locked or fully unlocked. A quick flick of the small switch will allow you to go between each locking mode as they are needed.
Another nice touch is the fact that the cat flap comes with 3-years warranty, so you can expect some longevity from the product and a sound peace of mind should it stop working. In fact, any problems you might have with this cat flap are made even easier thanks to the incredible customer support provided.
Support staff are friendly and very responsive, dealing with most issues as soon as they arise. It's a small touch but something that really helps to product to stand out from many other microchip cat flaps.
Another fine product from SureFlap, the Dual Scan Microchip Cat Flap is a slightly more advanced option that comes with the inclusion of selective exit. It's a little costlier but not by much, so if this a feature you require then this is probably the best microchip cat flap to go for.
The selective exit feature is great for owners of more than one cat, as it allows you to select which cats are allowed to exit. Should some of your cats not be allowed outside while others are then this is a very important feature, while it can also be useful for restricting access to outdoor cats should they have a vet appointment soon.
In fact, this is an especially useful model for anyone with several cats, as it can also be programmed with up to 32 microchips! This includes most worldwide chips, such as 9,10, and 15 digits, along with any RFID tags.
Similar to other SureFlap models, this cat flap has a four-way manual lock. This means you can quickly change the lock from out only, in only, locked both ways or unlocked both ways as and when you need to.
Again, installing this will be very easy. It can be seamlessly fitted into the spot of your last cat flap, while new installations shouldn't take that long unless there is glass. Once up and running, simply hit the button to register your cat's microchip and it is good to go!
The SureFlap Dual Scan Microchip Cat Flap is a fine choice for owners of more than one cat, as it allows for restrictive access without costing too much, while being simple to install and even easier to use!
Better still, the flap comes with a weather-proof brush that seals shut with a magnetic closure. It's not too strong for the cats to use, but perfect for preventing drafts and other bad weather making it through the cat flap.
Installation is simple as you just need to replace your current flap or install from scratch. This is possible to do yourself with basic tools (drill and saw) although if you plan on installing on a glass door you may want to hire someone trained for such tasks.
Programming your cat's microchip couldn't be easier either. Just push the button on the flap to register your cat, after which the LED light will flash red to indicate that your cat is now added to the flap's memory.
The locking system is a rotary four-way manual design, so you can easily flick between in only, out only, fully unlocked and fully locked as needed. Again, the materials and design is robust, so you won't have to worry about strays or unwanted pests attempted to make it through the flap.
All in all, Pet Mate Cat Mate Microchip Cat Flap is a fine choice for anyone seeking a reasonably priced microchip cat flap that's tough enough to handle adverse weather.
The Petportre smart flap is a fine choice for anyone looking for an affordable microchip cat flat that can restrict their cats access for certain periods of the day. This is because the main features of this product are an optional night mode, vet mode, and a timer, allowing you to restrict your cats access outside when you need to.
For instance, the night mode allows owners to prevent any cat from going exiting through the cat flap at night by using a built-in light sensor. Simply select the microchip you want to restrict night time access to, and the cat flap will remember the setting and automatically activate in-only access each night.
Not only is this useful for anyone that restricts their cats outdoor access at night, but also cat owners with more than one pet who want to restrict access for certain cats, as this mode is entirely optional and can be customised for specific codes.
Also, it can double as a 'vet mode', which is essentially the same function but with a specific time set for any time of the day prior to a trip to the vet. There is a four-way manual lock which features the standard in only, out only, and fully unlocked, and fully locked modes, so you have the choice of doing it manually or automatically.
There is even a timer feature should you want to program the cat flap to unlock or lock at certain points of the day, as well as customising the in only and out only access.
You can program up to 25 microchip codes. However, these are only for the most standard microchip in Europe, which is the 15-digit variety, so your cat's microchip may not be compatible if it is the 10 or 9-digit type.
One thing worth noting is that this cat flap requires a mains power supply rather than batteries, although there is a backup battery slot for a 9-volt should there be power-outs.
The Petportre smart flap has some very useful features that a lot of cat owners will appreciate, especially those that don't want their cat head outside during the riskier time periods like at night.
A cat flap is a great way to provide your pet with easy access to the outside world. However, there is one drawback that can be an issue for many cat owners that have invested in a cat flap – other cats and small animals might feel like using it!
The last thing anyone wants is unwanted animals in their home, and for anyone that is dealing with such an issue have a fantastic option available – the microchip cat flap. Whether you are looking to replace an old cat flap or are installing one for the first time, there are plenty of reasons to choose a microchip cat flat!
What is a Microchip Cat Flap?
A microchip cat flap is a type of cat flap that controls access to your home by only opening for your cat. It does so by reading their microchip, using this as the signal to unlock the cat flap and allow the pet inside.
Like any cat flap, they can be installed at various locations in your home, including a door, wall, or even glass.
One of the biggest reasons for buying a microchip cat flap is to prevent any unwanted strays from getting into your home. This is a common issue with standard cat flaps, and many homeowners aren't aware of the issue as many strays will enter at night.
Strays might be harmless, but they may also eat your cat's food and possibly even attack them, which is why microchip cat flaps are becoming increasingly popular.
Similarly, small wild animals are often brave enough to use a cat flap to get inside of a house. This is typically done for food, so you never know what type of pest may end up invading your home. As they only let cats with a specified microchip to enter, you won't need to worry about unwanted guests!
As they restrict access to just your cat, a microchip cat flap is a great way to allow your cat to enter and leave the home as they feel. Many people choose to close their windows or lock their cat flap after certain times, but with this option your cat has round the clock access to your home.
Better still, anyone that doesn't have a cat flap will no longer have to constantly let their cat in our anymore, as there will be a constant point of entry for them!
All the talk of microchips makes the cat flap sound a lot more complex than it actually is. For the most part, they are the exact same as a normal cat flap in terms of size and design, making them as easy to install.
In fact, if you're replacing an old cat flap, many microchip models are designed to seamlessly slot into the same space. Installing them will be simple enough for most people, although if you are planning on having it located on a glass door you may need to hire a professional to install it.
All the best microchip cat flaps will be compatible with every type of microchip, including RFID tags for those that don't have their cats microchipped. Still, be sure to confirm that they are compatible when looking, as they last thing you need is a cat flap that doesn't work with your cat's microchip!
Should you not have your cat microchipped, it may be worth grabbing and RFID tag if you still want to use a microchip cat flap. These are just collars with a microchip attached, making them a great alternative for anyone whose cat doesn't have a microchip.
Most of the best microchip cat flaps will have several locking options. For instance, a four-way locking system allows you to set the cat flap to locked, open both ways, in only, and out only.
These are great for customising your cat flaps settings should you need to change them on occasion, although some won't need them should they plan on leaving it open all the time.
Another worthwhile feature for a microchip cat flap is the ability to register many different microchips. This is great for people that have many pets, but also for selecting what microchips are permitted to enter using the cat flap.
For instance, if you have several cats but don't want one to be allowed outside, you can select which microchips are allowed to use the cat flap. This is great for occasions where you can't let your cat outside.
A timer on a microchipped cat flap is another great feature to consider, especially for those that restrict their cat's outside time to certain periods of the day. Simply set a timer for the flap not be used, and it will be autmacitally locked to prevent your cat from leaving.
Check out our guide and reviews of the best cat repellents for sale here.
Above are what we consider to be some of the best microchip cat flaps for sale in the UK.