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Aussie musicians Daniel Holdsworth and Aidan Roberts on Mike Oldfield's Tubular Bells For Two
David Kettle
The pair aim to recreate the album in its entirety live on stage
Surely everyone has heard at least something from Mike Oldfield's Tubular Bells – even if it's just in the soundtrack to The Exorcist – but two Australian musicians, Daniel Holdsworth and Aidan Roberts, know it better than most. It's a truly iconic album, and the pair of them are attempting to play the whole thing between them. It promises to be an extraordinary live performance.
'It came about by accident, really,' explains Holdsworth. 'We decided to try playing it on two guitars, then it just grew and grew until there were about 20 instruments, and we were trying to recreate the whole album as closely as we possibly could with just our four hands and four feet.'
That means leaping between pianos and drums across a stage, and looping and overdubbing melodies on the spot. 'It took many months of practice,' admits Holdsworth. 'When we first started playing it, sometimes you'd find yourself running to the wrong instrument. But you just go with it – that's part of the fun.'
All this running about must bring its comedy moments: was that the aim of the show? Holdsworth says no: 'We're not poking fun at it. But it's still a funny show. But that's more to do with the predicament we've placed ourselves in.' And, he admits, things have been known to go wrong. 'There was one show when half-way through "side two" we lost power to half of the stage. We ended up sharing a piano and a guitar, frantically singing parts we couldn't play. From the moment you play the first note, there's no stopping.'
Oldfield himself hasn't had any involvement in the show, but Holdsworth is confident that he'd like it if he saw it: 'We've given the utmost respect to the work. I think the album still stands up today. No one really writes music like this at a commercial level any more. It's like watching a great film – it takes you on an emotional journey.'
Assembly George Square, 623 3030, 2–27 Aug (not 13), 9pm £10.
Mike Oldfield's Tubular Bells 'For Two'
Daniel Holdsworth and Aidan Roberts attempt to recreate one of the most influential albums of the 20th century, live on stage, with just four hands and four feet. Those crazy cats.
Mike Oldfield's Tubular Bells For Two (4 Aug 2013)
Australian musicians on a mission to recreate a prog masterwork during the Edinburgh Fringe Festival
Five tribute acts at the 2013 Edinburgh Festival Fringe(15 Jul 2013)
Music shows paying homage to Madonna, Cat Stevens, Ray Charles and Mike Oldfield
Edinburgh Festival Fringe 2012: Music highlights(11 Jul 2012)
Steamy samba, sleazy-noir synths and goth-pop to feature at Fringe
Cate Le Bon (26 Aug 2019)
Peerless performance from the Welsh musician and her quintet of musicians at a scorching Summerhall
#Pianodrome Live (25 Aug 2019)
Unique and magical hour at the Fringe courtesy of house band S!nk
Free Love: 'We deliberately play with instruments that are falling apart'(6 Aug 2019)
Suzanne Rodden and Lewis Cook reveal how they keep their sound fresh and why the little things in life are important
Dean Friedman: 'I did Top of the Pops with the Boomtown Rats and the Buzzcocks'(3 Aug 2018)
New York troubadour revisits his classic album "Well, Well," Said the Rocking Chair
Modern Studies and Lomond Campbell combine forces to create Sounding(14 Aug 2017)
Sam Bradley talks to the acts involved in one of the most intriguing music events at this year's Fringe
Aidan Roberts
Daniel Holdsworth


It's Paisley madness! Purchase the Paisley Power Play and get all 7 colors for $80 total. That's right! You get 7 perfect paisley designs for the price of only 5! You'll get all your favorite paisleys and save over $31 with this Power Play pack!
I am so thrilled with my purchase. I love all the colors they go with pretty much anything I am wearing! So excited that they are up to 30 UPF sun protection rating. I haven't worn anything else before that is this cute and that stays on my head! These have made my battle with losing my blonde long hair to cancer this year so much more fun and fashionable!
Hoo-rags have made me appreciate warm weather. I have hated summer all my life because I get so overheated and miserable. Wearing these on my neck or head keep me cool and relatively dry when I go for a walk, work in the yard, or have to be outdoors for any reason. I ordered this set because I wear them all the time now in warm weather and wanted enough to compliment whatever I am wearing. Thank you for making summer a season rather than a sentence. Enjoying the outdoors again.


Move in ready Ranch style home solid brick in a central location! New carpet, fresh paint . This bedroom, 2 bath, plus den home is ready for a new owner. Reto coved ceilings offers a mid century feeling. New A/C. Great central location near Tucson Blvd and 22nd Street. This is a must see. Call for your private viewing.
Courtesy of State Territory Realty, Llc.
Listing provided courtesy of State Territory Realty, Llc. Listing information © 2019 MLS of Southern Arizona.


Changing Lives – Improving Futures.
We are More Positive Together.
"My life has improved greatly with MPT's help. I wasn't emotionally ready for the outside world. With the help of Bev and Leon I am now able to open up to people. I am much more confident and my self-esteem has improved. I would always recommend MPT to anyone in the same position!"
A family in desperate need of some intervention has been helped by MPT- with household overcrowding and to encourage some independence within the family. MPT's support has made all the difference to their aspirations, motivation, confidence and self-esteem.
"More Positive Together has really helped our family to get back on our feet"
Rain referred herself to More Positive Together because she had become socially isolated, demotivated and lacking in confidence. Rain has a long term illness and she wanted to re-engage with people and access social opportunities to re build her confidence, which would help her back to work.
It has helped me immensely. I could not recommend this Programme more highly!
David was referred to MPT by his housing officer to get some support with finding employment, gaining new skills and to broaden his social network. David wasn't feeling very optimistic about his future and this had started to show with his constant low mood. MPT devised an achievable action plan and after enrolling in a training course, David got a job at a local company.


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Alba Baptista (Lisboa, 10 de julio de 1997) es una actriz y modelo luso-brasileña. Nacida en Lisboa, su madre es portuguesa y su padre, brasileño oriundo de Río de Janeiro. Debutó como actriz en televisión en 2014 en la telenovela portuguesa de TVI, Jardins Proibidos. En 2020, saltó a la fama mundial por interpretar a Ava en la serie original de Netflix, La monja guerrera, la cual marcó su debut en una producción de lengua inglesa, y permitió su ascenso al cine internacional.

Carrera
En 2012, Baptista debutó como actriz como protagonista del cortometraje portugués Amanhã é um Novo Dia. En 2014, obtuvo el premio a "Mejor Actriz" en el Festival de Cine de Irlanda, celebrado en Dublín, Irlanda, por su papel como Raquel en el cortometraje Miami.

Posteriormente, interpretó varios papeles en películas, series de televisión y telenovelas en Portugal. Las series y las famosas películas le han brindado una sólida experiencia en el cine portugués, (Jardins Proibidos, Caminhos Magnétykos y Equinócio).

Su debut en una producción en lengua inglesa fue en la serie Warrior Nun, de Netflix, estrenada el 2 de julio de 2020 en la plataforma.

En 2020, participa en la película Fátima, de Marco Pontecorvo.

Filmografía

Cine

Cortometrajes

 2012: Amanhã é um Novo Dia, de Raquel Pinheiro.
 2014: Miami, de Simão Cayatte.
 2018: Flutuar, de Artur Serra Araújo.
 2018: Equinócio, de Ivo Ferreira.
 2018: Summerfest, de María Hespanhol.
 2018: Nero, de Pedro Afonso Gomes

Largometrajes

 2018: Leviano, de Justin Amorim.
 2018: Linhas de Sangue, de Manuel Pureza y Sérgio Graciano.
 2018: Caminhos Magnétykos, de Edgar Pêra.
 2019: Imagens Proibidas, de Hugo Diogo.
 2019: Patrick, de Gonçalo Waddington.
 2020:Fatima, de Marco Pontecorvo.

Televisión
Series

 2014 - 2015: Jardins Proibidos, de José Eduardo Moni (310 episodios).
 2016 - 2017: Impostora, de Jorge Queiroga (340 episodios).
 2017: Filha de Lei, de Pedro Varela (20 episodios).
 2017: Madre Paula (13 episodios).
 2017: A Criação, de André Banza y Sérgio Graciano (10 episodios).
 2017: Sim, Chef! (1 episodio).
 2017 - 2018: Jogo Duplo (268 episodios).
 2018: País Irmão , de Sérgio Graciano y João Lobo (1 episodio).
 Desde 2020: Warrior Nun, de Simon Barry (10 episodio).

Referencias

Enlaces externos

Nacidos en Lisboa
Actrices de Portugal
Wikiproyecto:Portugal/Artículos

redpajama_set_name: RedPajamaWikipedia


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Legendary Gears of War developer Cliff Bleszinski is back from self-imposed retirement, and on July 8th he's going to announce his new game. In the meanwhile, the official website for his new studio has been discovered.
The studio, called Boss Key Productions, has been incorporated by Bleszinski himself in April.
Below you can see Boss Key's logo, which is the same displayed on a T-Shirt Bleszinski was wearing in a selfie posted alongside the first outing of the date of the reveal.


Mr. David George Foulks, 73 of Turlock, passed away June 28, 2018. David was an Auto Detailer for over 55 years. He settled in Turlock 15 years ago and married Barbara in 1987.
He is survived by his wife Barbar Foulks; children David Foulks, Jr., Tammy Foulks, Thomas Foulks, and Michael Foulks; five grandchildren Erika, Rylee, Cieran, Emieghle, and Zoe. He is also survived by his two siblings Acem Armstrong and Evahjo Foster.
Please leave your memories at www.allenmortuary.com.


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The Canadian Oxford Dictionary
by Barber, Katherine
Description: Never before has Canadian English been so accurately and comprehensively described as in The Canadian Oxford Dictionary. Here are 130,000 definitions, including over 2,000 distinctly Canadian words and meanings, covering every region of the country. Each of these entries is exceptionally reliable, the result of thorough research into databases of over 20 million words from more than 8,000 Canadian sources, plus an additional 20 million words from other English sources. Oxford's thorough research has ensured that new words that have recently appeared are well represented. An added feature of this dictionary is its encyclopedic element. It includes short biographies of over 800 Canadians, such as Elvis Stojko, Celine Dion and Lester B. Pearson, as well as entries on 5,000 individuals and mythical figures, and almost 6,000 place names, more than 1,200 of them Canadian. Geographics entries not only explain the origin of the place name, but also include the population based on the 1996 census.
With the publication of The Canadian Oxford Dictionary, Oxford University, Press adds another work to its highly respected range of dictionaries, and Canadians finally have a dictionary that truly reflects their nation.

redpajama_set_name: RedPajamaCommonCrawl


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Biografia e opere
Figlio di un gioielliere originario di Carpi discendente da una nobile famiglia emiliana, fratello dell'erudito Giovanni, Sigismondo nacque a Firenze nel 1583, anche se talune fonti lo indicano come ferrarese.

Architetto
Iniziò la sua carriera di architetto con Bernardo Buontalenti, ma non ha lasciato grandi opere in quest'arte se non un interessante trattato di idraulica: il Trattato del modo di ridurre il fiume di Arno in canale, invitato a Galileo Galilei.  Galilei ne discusse con il Coccapani e l'inviò con un proprio parere al Granduca di Toscana Ferdinando II de' Medici nel 1631. Fece anche un progetto (rimasto tale) per la sistemazione dell'Anfiteatro di Boboli e partecipò ad uno dei tanti concorsi per la facciata del Duomo di Firenze.
Della sua attività di architetto fece menzione Piero Matini nel suo libro Notizie de' professori del disegno da Cimabue in qua del 1681. È ricordato anche per la costruzione del Lazzaretto a Firenze durante la pestilenza del 1630.

Pittore

Come pittore fu uno dei migliori allievi di Ludovico Cardi detto Il Cigoli.
Con il quale il Coccapani riuscì a tradurre l'eredità del manierismo fiorentino coniugandolo con il nuovo stile barocco che si stava affermando negli altri Stati italiani grazie ai Carracci e Caravaggio. Fece scuola nella città toscana soprattutto dopo un suo viaggio a Roma con il Cigoli per affrescare, nel 1610,  la Cappella Paolina in Santa Maria Maggiore.
Una delle sue prime opere fu l'altare per la Chiesa di San Ponziano a Lucca nel 1612. Mentre la sua prima opera fiorentina fu l'affresco per il Lunettone del chiostro del Convento di San Marco a Firenze del 1613 dove rappresentò Il miracolo di Sant'Antonino e i due ciechi. Fra gli affreschi dedicati a Michelangelo nella dimora fiorentina del pittore detta Casa Buonarroti, Coccapani dipinse l'affresco Michelangiolo incoronato dalle Arti (1615-1617). Lavorò anche per il Duomo di Siena dove fece costruire, su suo disegno, e dipinse ad affresco gli altari della Congrega. Una sua Adorazione dei Magi del 1617 si trovava (trafugata nella notte del 25 gennaio 2011) nella Chiesa di Santa Maria in Castello a Signa. Una delle sue ultime opere fu la decorazione della Cappella Martelli nella teatina Chiesa dei Santi Michele e Gaetano, datata 1642.

Pittore di genere
Ma oltre alle decorazioni a fresco è conosciuto per le sue tele di genere popolaresco, forse le prime in Toscana  di questa tipologia. Il ritratto del flautista della Galleria degli Uffizi è un esempio di questo aspetto, meno conosciuto, dell'opera di Coccapani. Ed è per questo motivo che spesso, in passato è stato confuso con altri pittori, specialmente con il coevo Domenico Fetti.

Fra i suoi migliori allievi vanno ricordati Cecco Bravo, che eccelse nella pittura di genere, e Giovanni Maria Morandi, ritrattista.

Galleria d'immagini

Note

Bibliografia
 Elisa Acanfora, Sigismondo Coccapani un artista equivocato in Antichità viva, XXIX, 1990.
 Sigismondo Coccapani disegnatore e trattatista, in Paragone, 1989, 477, pp. 71–99.
 Giuseppe Cantelli, Per Sigismondo Coccapani "celebre pittore fiorentino" nominato il maestro del disegno in Prospettiva, 1976, 7, pp. 26–38.
 Miles Chappell, The Shaping of Giovanni and Sigismondo Coccapani in Antichità viva, XXXIII, 1994, 2-3, 1994, pp. 32–38.
The Assumption of the Virgin and the Holy Family in Joseph's Workshop by Sigismondo Coccapani in Source, Vol. XXIII, No. 4, 2004, pp. 19–24.
 R. Contini, Sulle spartizioni del Coccapani: Alessandro Rosi e Luciano Borzone in Paradigma, 9, 1990, pp. 141–158.
 Francesca Baldassari, La pittura del Seicento a Firenze. Indice degli artisti e delle loro opere, Robilant Voena, 2009.

Altri progetti

Collegamenti esterni

Artisti di scuola fiorentina
Pittori (Barocco)


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durbino
About durbino
Which File Format To Use To Make A Dvd That Will Auto Run In Dvd Player.app
durbino posted a question in Toast 10
Hello. (Already posted this in the Toast DVD Section, seems to be wrong) --- With toast 10 on mac, I'd like to make a dvd that on insert will call DVD Player.app and automatically start playing. Now, what I achieved so far is to make a DVD that opens and runs the app, but the screen remains black and silent. I used a .mov file to burn, toast converted it to a number of files, stored in a VIDEO_TS folder, namely BUP, IFO and VOB files, two of each. But like I said, what looks like a video dvd structure to me, doesn't give sound nor image. Do I have to use a different format instead of .mov? Or where might my mistake be? Thanks a lot
durbino posted a question in Toast DVD
Hello. I'm not sure if this is the right section -- please tell me if it isn't. With toast 10 on mac, I'd like to make a dvd that on insert will call DVD Player.app and automatically start playing. Now, what I achieved so far is to make a DVD that opens and runs the app, but the screen remains black and silent. I used a .mov file to burn, toast converted it to a number of files, stored in a VIDEO_TS folder, namely BUP, IFO and VOB files, two of each. But like I said, what looks like a video dvd structure to me, doesn't give sound nor image. Do I have to use a different format instead of .mov? Or where might my mistake be? Thanks a lot


Former ICCJ President Debbie Weissman recently travelled to Cambodia, to attend a conference to which she had been invited by the World Council of Churches. She reports on interfaith - and intra-faith - dialogue in a truly international setting, stating that this particular conference was one of the most memorable ones she has ever attended.
I had a wonderful opportunity recently to be in Cambodia. I would like to divide my report to you into two parts, which correspond to the inter-religious consultation in Siem Reap, to which I was invited by the World Council of Churches, from Monday, Aug. 27th, until Friday, Aug. 31st, and then the weekend I spent in the capital city, Phnom Penh, before returning home to Jerusalem on Sunday, Sept. 2, to prepare for the Jewish festivals.
People flew in to this meeting from Singapore, Lebanon, Bangladesh, Thailand, South Korea, India, New Zealand, as well as Western Europe and the US. I have been to many inter-religious gatherings over the last thirty years, but this one was definitely one of the most exciting.
I must confess that I was just a bit apprehensive about attending the meeting. I know that many Palestinian theologians have used liberation theology as an attack on Israel.
Coming out of the Biblical tradition, I don't believe that the poor or the underdog is always right. In fact, in Leviticus (19:15) says: "'Do not pervert justice; do not show partiality to the poor or favoritism to the great, but judge your neighbor fairly." So, the paper I presented problematized the concept of liberation theology and I believe I may have been a bit defensive at the beginning.
Quickly, I saw that it wasn't necessary at all. Israel and the Palestinians were not on the agenda of the meeting. I was the only one who mentioned them at all! The key issues under discussion were poverty in Asia and gender equality. We are expected to re-write our papers for publication, in light of the feedback we received, and I will make mine much less defensive.
The consultation afforded me an opportunity to renew some old friendships and to make some new ones. We stayed in an outstanding hotel in which the management invests in the staff and treats them with dignity. They arranged for us to tour Angkor Wat and some of the other nearby temples. And, each day, they provided me with Kosher food and wine, straight from the Chabad House in Phnom Penh.
On Friday of that week, I flew to the capital, devoting a few hours to a visit to the Cambodian Genocide Museum. I spent much of Shabbat in the Chabad House, being very impressed with the rabbi and with a growing community of 80+ "local" Jews, augmented by Israeli backpackers. The "locals" are all ex-pats, from Israel, US, Gibraltar, etc. who now live in Phnom Penh on a permanent basis. Actually, there are growing Jewish communities in different parts of Asia (outside of Israel, of course): Hong Kong, Thailand, and elsewhere. This may have implications for future dialogues and member organizations of the ICCJ.
I arrived home about a week before Rosh Hashanah, with lots to do to prepare. In the meantime, the representative of the Council for World Mission, who basically funded the meeting, has indicated that they would like to continue, but in a less academic and less theological direction. He wants to call it: "Interfaith Engagement for Liberation." Certainly a worthy cause, but one in which there are other Jews, far more qualified than I to talk about what Jews are actually doing for liberation. (Just as an example, a rabbi I know organizes Jews to go to Nepal and help the people rebuild their homes and schools after the devastating earthquake).


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The Vertical Files
Pod Archives
Vert's Blog
Vintage Vertical Files
Mar 13 2010: Muse
Remember "free" doesn't necessarily mean "close" or "good".
It will be fun recapping recent concerts like this, thanks to YouTube and digital photos.
I got tickets to see Muse only the day before the show. When a listener didn't pick up tickets by Friday at 5pm, guess what happened to them. [Hint: we didn't throw them away.] So free tickets for me!
Since it was a last-minute ticket get, my friends had other plans for the night. So I asked my sister, Julie, if she wanted to go. She did!
I was a little surprised only because we don't really share my taste in music. Sure, there's some overlap, but she lives on mostly a Billy Joel/Elton John planet, whereas I come from a planet with a Tom Waits/Radiohead-colored sky.
At the same time, I wasn't surprised at all. My sister is pretty cool, and is up for the occasional adventure.
[she also may have been returning the favor for me taking her to see Richard Marx many years earlier (story to come)]
My sis.
When we sat down, I was bummed that the seats were so dang far away. I felt bad for the people who ever won tickets, thinking they were getting awesome seats.
It turned out to be not so bad. Muse took the whole arena into consideration when planning this show. There were lasers and video screens and moving platforms and all sorts of things we may not have appreciated had we been too close.
I first discovered Muse when I saw a live performance from Wembley stadium on cable. Then I found their "Starlight" video, and I was hooked.
I was a little late to the game. Muse was also part of the Twilight movie soundtrack around the same time, and they were exploding into the public's consciousness.
I was such a new fan, that I didn't even own the latest album that the band was promoting. "The Resistance", and it's single "Uprising" was a worldwide smash, and Muse became a Real Band.
In the middle of the show, all of a sudden my sister said "Why do I know this song?" It was a song I wasn't familiar with, and I was totally baffled. She was singing along, and knew all the words. It was odd.
Doing research later, I discovered that song was "Feeling Good", a song that has been recorded by at least 25 different artists, including Nina Simone. My sister knew the version by Michael Bublé. I wasn't yet familiar with Muse's version. I am now!
Earlier in the night, as we waited for the show to begin, we noticed some huge, "beach ball"-type balls way up the rafters of the Palace. My assumption was that they had something to do with Pistons basketball games, and we forgot about them. Then when the band started up "Plug In Baby", we found out what the balls were really for.
Remember at the beginning of the post, when I said how modern media will help with some of these reviews? Well, here's exactly what happened at the show:
This show made me a Muse fan for life. They were so great, so entertaining, so professional. It was very impressive.
Have you even sen Muse? Are you a fan? Share your comments below!
Didn't Muse play the song for the TV show "V" too? Was that the Uprising tune??
The Ticket Stub Project
I've collected many tickets stubs from all the shows I've seen through the years.
There are shows I've seen that had no ticket, and I have lost a few stubs here and there. This is my attempt to chronicle what I remember about each stub that I have. I'll post about each on the day of the year that the show happened!
If you were at one of the shows, please share your memories in the comments!
Here's the list so far!
Prior Stubbery
01/06 1990: Ministry
01/26 2003: David Gray
02/02 1990: Mighty Lemon Drops
02/14 1991: Replacements
02/19 1988: Sting
02/22 1992: The Cult & Lenny Kravitz
03/03 2003: Coldplay
03/13 2010: Muse
08/31 1992: David Byrne
12/31 NYE Party
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Aviary Attorney review –
March 12, 2017 ~ oliverculling
A review trying to hold off on bird puns.
Video games, much like almost every piece of media ever devised, needs to have a hook. There has to be some element to them that draws in others, otherwise said piece of media is probably fated to fade away.
This phenomenon can be seen across all of types of fields of video games, in all different shapes and forms. In can be seen in big name games (Blood Borne's entire hook can summed up as 'a Souls game, but with guns and werewolves') to humble indie games (ever wanted to be a piece of toast? I Am Bread fills that incredibly odd dream of yours). The hook can be in the game's setting, or even its mechanics, such as Super Hot's 'time only moves when you move' core game play feature. I honestly think this does a lot of good for the video game industry: it's a good way to encourage creative ideas for the most part, even if some end up ill-fated or thought out.
However, the hook we have presented before us today asks a simple question; what if the Ace Attorney games starred anthropomorphic animals in a revolutionary Paris?
As it turns out, a lot of animal based puns, a lot of quirky characters, and a surprisingly heartfelt storyline.
Let's cover the basics first. 'Aviary Attorney,' like its name would suggest, is an investigative visual novel where you balance your time between investigating crime scenes and verbally duking it out in the court house, created by a group called Sketchy Logic. The welfare of your defendants, friends, and sometimes all of Paris will rely on you effectively finding and using evidence in pitched legal battles. This is all presented with an absolutely gorgeous art style, courtesy of one J. J. Grandville, a French caricaturist and artist back in the 1800's. We'll look at the art style in more detail in the relevant section below, but rest assured that the development team made absolutely great use of his detailed and extremely colourful designs. Being a visual novel, this game has a strong focus on story and narrative and fortunately the writers made full use of the setting and characters to bring a vivid and often at times humorous Paris to life.
Taking us through Paris is Jayjay Falcon, a…well, falcon defence attorney. Along with him is his trusty assistant and friend Sparrowson (no points for guessing what species of bird he is), who provides some of the game's comic relief and makes sure that Falcon stays on the straight and narrow. These two are hugely likeable, and their banter marks some of the game's best writing.
Before we get into the nitty gritty parts of the review, I should probably just clarify some things. For those who are unfamiliar, the Ace Attorney games are a long running series of Japanese visual novels that follow the perspective of attorney's having awesomely exaggerated legal battles, and are pretty fun games to boot.
The term 'anthropomorphic' is applied to various works of art wherein animals are given human characteristics (ie, animals wearing clothes or holding crazy trails for their legal system), usually used to draw attention to a character's traits via the traits of the animal, such as 'being sly as a fox.' Or in this case, make animal based puns.
With those basics covered, let's actually get into the main features of the game:
Gameplay: An interesting take on a tested formula, Aviary Attorney has enough twists to keep one's attention.
The core game play of Aviary Attorney is very much like its clear inspiration, Ace Attorney. Both games have you combing over various crime scenes, questioning witnesses, following up leads and gathering other evidence before putting you in a court-house trail where you have to use everything you've gathered to defend an accused individual. The game doesn't try to hide it's influences (with several gags that couldn't be anything less than purposeful nods), but conducts itself well: presenting evidence and flipping a prosecution's entire accusation against them feels intuitive and satisfying, as does pulling a case out from the jaws of a guilty verdict.
However, there are some noticeable and pretty interesting design choices that help to pull it out of Ace Attorney's shadow somewhat. One of the more noticeable of these is the limited time system: our intrepid heroes usually have a set time limit before the day of the trial, and since visiting locations to investigate them takes time, there is a very real risk that they could miss a piece of vital evidence because they spent too long shooting the breeze with the local bar-fly.
It's a good addition, giving even the downtime between the actual trails a sense of tension, and encouraging the player to actually stop and think about where they need to go next rather than just forcing them to go down a checklist of locations. At least, on some trials: some do just have a checklist of options, which can feel a little disheartening in one or two of the later chapters. However, for the most part it's a solid addition to the formula, especially since the game does go out of its way so you always have a kind of goal to work towards, so you're not just wandering around blindly. Although, that doesn't necessarily stop it from being frustrating when you waste a day because there was no sure-fire way to determine your destination was the correct one.
Another interesting addition to the formula is the fact that you can lose a trial and still continue on in the story, rather than being forced to restart. This does help in creating the impression that the world changes and reacts to the player's successes or failures, since dialogue and certain events change if they managed to defend our bird-brained hero's clients. This change to the usual is especially welcome, since this connects pretty snugly with one of the game's core themes.
In terms of actual mystery, most the trails follow pretty reasonable sense of logic; even the most 'out there' trials have the characters following believable arguments. While not every trial is legal-battle-epic with twists and turns, there's a fair selection on display here. I would just say, however, that the trials in the game are perhaps a mite bit too easy. True, most the difficulty is supposed to come from actually gathering said evidence without screwing up and forgetting a vital clue, but sometimes the trials can feel like they're being too generous with the hints. This is kind of an issue that's going to be pretty subjective, since the main appeal of the game lies in its story and characters, and thus a low difficulty might not even be considered a negative aspect. It's slightly easier difficulty might just means you can focus all of your attention onto the characters, rather than agonising over every little part of a trail.
Aesthetics and Sound/music: One of the main hooks of the game; the game has an absolutely glorious art style, accompanied by a solid sound direction.
So, a little bit of back-story. Back in the 1800's, an artist and caricaturist by the name of J. J. Grandville (which was actually a pseudonym for his real name, Jean Ignace Isidore Gérard) gained a small amount of fame due to his extremely skilful drawings of comedy works, in part due to the fact that all the characters involved were anthropomorphic in nature. This small boost in popularity led to being hired as a caricaturist for numerous French publications, and for a while he enjoyed a general appreciated view by the population. When there was a crackdown to censor news publications by the government, however, his drawings were one of the things to be banned, and he was forced to find a new outlet. He would go on to draw illustrations for various books (including Gulliver's Travels), but the one set to look at in this case is the drawings he made for a book called 'The Public and Private Life of Animals.' The drawings in this book, and several other pieces he made, would serve as the basis for Aviary Attorney's artwork.
The developers at Sketchy Logic did a fantastic job of extracting and animating the illustrations. Not to mention they definitely picked some of the best of Grandville/ Gérard's work, as well as using their writing to synch up how a character looks to how their personalities stand. The designs are varied and visually interesting, and all fit together well on the screen. I'm not really sure what else to say: I adore this art style.
That being said, there is kind of weird point about it that I wasn't 100% sure of, namely the scale of everything. At one point, our intrepid heroes run into a mouse, who is as small as a realistically scaled mouse to them, and likewise a giraffe whose neck and head tower above them. This is all fun and fine, since this is keeping to realistic proportions while making some pretty good jokes about the whole thing. However, I do sort of question why our two intrepid heroes rival the size of the local crocodile. Now, I grant you that you can have REALLY big falcons and surprisingly small crocodiles in the world, but for an overall portrayal it feels kind of off. But this is a minor gripe, just a little case of artistic liberalities at work.
As for sound, the game has a good attention to detail. The sounds that make each character's "voice" is widely varied, and helps to reinforce what tone each character has. The dramatic sound cues and effects during the trials really sell the over-the-top nature of the whole thing, and are a real asset to the more comedic moments. As for music, there's a good selection at work: low and intense when the need calls for, triumphant and jubilant when necessary, etc. Nearly all of the music is transcribed or inspired by various classic pieces that came out of the era the game is based in, and perfectly fit the setting.
Story and Narrative: The story of one bird defence attorney and his assistant as they try to wrangle with the building revolutionary feelings of the people of Paris, all the while Jayjay must address the past he would rather leave buried.
A visual novel lives or dies on how invested it can make a reader to its characters and setting. To that end, it's good thing that our two leads, Jayjay Falcon and Sparrowson, are hugely likeable characters, more or less from the word go. Jayjay is the main protagonist of the story, and one who brings his own emotional baggage to it: saying what kind of baggage would be a spoiler to one of the game's running sub-stories, but it really does do a lot to flesh out his character. Even without that though, Jayjay is a strong protagonist. He's a determined and driven bird who is never the less struggling with his own doubts, but he's also not above getting involved with the sillier moments. Despite the fact that he's got his own characterisation (and indeed his own history that comes back to haunt him) the game's writing makes him flexible enough to fit in all of the crazy events that occur. Depending on your choices, Jayjay will develop in a number of ways, sometimes for the worse, but it's difficult to not sympathise and root for the guy at mostly every turn.
Accompanying Jayjay is the wise-cracking, pun loving Sparrowson, who fills out the comedic relief of the duo, while also being a surprisingly driven force to be reckoned with when he applies himself. While he's mainly there to ask stupid questions and nearly get Jayjay in trouble with his comments, he also provides some invaluable help to Jayjay, and indeed really pulls him out of the fire on a number of occasions. Another important facet of his character is that he's one of Jayjay's most important comrade: both of them go through a lot in the game, and Sparrowson is there to help pull his friend out of the gutter when needed. These two share some really great chemistry, and the jokes that come from their personalities bouncing off each other make for the game's funniest banter and their more sombre conversations make the most heart-warming.
The more general story of Aviary Attorney follows these two bird-brained-…err, birds as they try to make a living as defence attorneys in Paris, meeting and often cross-examining a number of rather colourful characters along the way. You'll have to follow them through their successes and their failures as they try to pry the truth out of whatever horrible crime they find themselves embroiled in. Along the way, our two heroes go from Paris' most ritzy and glamorous quarters all the way down into the city's infamous catacombs. Your choices will heavily affect how the two birds get on, and how their story eventually ends. The game does a surprisingly good job of connecting the seemingly disjointed cases by snowballing the themes of each into a greater whole, making for a rather grand finale.
Befitting of a mystery game, there is a healthy number of twists and turns to the story, both to each individual case and to the greater narrative as a whole. We won't dive too much into spoiler territory, but I do believe that game does a satisfying job of subverting one's expectations, even as early as the first case. Not to mention the game has a great sense of pacing, since we build up from a "simple" murder case all the way up to a solving mysteries and finding conspiracies that threaten to shake all of Paris, if not the entirety of France.
Conclusion: While it is often a game that shows its smaller budget, Aviary Attorney more than makes up for its faults with its great style, instantly engaging characters, and superb writing.
It sometimes becomes clear that Aviary Attorney was made on a fairly limited budget, and the game occasionally suffers for it: while the game has plenty of variety and has a pretty diverse set of endings and outcomes, the game still comes off as a little bit short. There are not exactly a huge number of cases for you to tackle, and each case isn't exactly over-long. Not to mention, the very few instances where the game makers have had to create wholly original artwork to fill in gaps of Grandville/ Gérard's pieces are a little glaring since the style they use isn't close enough to all the other art in the game to blend.
That all being said, it's easy to overlook such shortcoming when the game's writing is as good as it is. With a great control of the story's tone, the narrative flips effortlessly between hilarious and light-hearted moments and more dark and gritty moments in the story, all while presenting some extremely colourful characters to take part in the game's ongoing narrative. Combine that with the game's extremely engaging main characters and it's great use of old art, and the game's onto a real winning formula.
For all of game's flaws, I would heartily recommend it. Fans of the Ace Attorney games will get a kick out of the nods and winks to the game's core influence, while others new to these styles of game will appreciate that it's a great gateway into the genre that requires no prior experience with either the characters or the game play. Take a look if you get a chance, and let your delight take flight.*
*Look, we're allowed one bird pun, right? After holding back on just flooding this review with them, I think I deserve that much.
Posted in Review, Video Games, Videogames	Ace AttorneyAviary AttorneyBirdsHumourReviewSpoilersVideo GamesVideogames
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Democratic Republic of the Congo Research
Lukasa?
AFCP
http://photos.state.gov/libraries/congo/76240/cultural-preservation-grant-natioal-museum-11222011/
WHAT IS CONGO? WHERE IS SOUKOUS?
2011: Congo (DRC): Conservation of the Ethnological Collection at the National Museum of
2010: Congo (Democratic Republic of)
: Documentation of Traditional Pygmy Music $30,466
The Polyphonic Singing of the Aka Pygmies od Central Africa
http://www.mofa.go.jp/policy/culture/coop/unesco/c_heritage/i_heritage/preservation/index.html
There are two countries that can properly be called Congo. Adjacent to one another in equatorial Africa, their borders were drawn by European explorers and colonialists in the late 19th century. North of the Congo River was the French Congo, and to the south lay the Congo Free State, which became the Belgian Congo in 1 908 . The French colonial capital was Brazzaville, and directly across the river from it was Leopoldville, the seat of the Belgian administration. Both countries won their independence in 1960. The former French colony named itself the People's Republic of Congo while the other became the Democratic Republic of Congo, at the same time changing the name of its capital to Kinshasa. In common parlance around the world, the two independent countries were called Congo-Brazzaville and Congo-Kinshasa,
In 1971, President Mobutu Sese Sefco of Congo-Kinshasa renamed his country the Republic of Zaire. Many opponents to Mobutu rejected the new name (secretly, if they lived under his regime), but it was recognized by most other governments, and Zaire it has been until now. In July, however, a constitutional convention challenging Mobutu's dictatorship voted to change the name, once more, to the Republic of Congo. So it seems appropriate again, as it was until 20 years ago, to refer to both countries as Congo.
When it comes to music, there's hardly any reason to demarcate the region. Musicians, music businessmen and audiences of both nationalities have always mixed; Together, Brazzaville and Kinshasa have been the entire vast area's center of modem music for more than 40 years; Although Kinshasa (by far the larger of the twin cities) boasts more nightclubs, theaters, record businesses and studios than Brazzaville, many prominent bands have based themselves, at least for a time, on the north bank. In view of this history, the title of Original Music's survey of early modern Congolese music, The Sound of Kinshasa, is something of a misnomer. The subtitle that Sonodisc/African affixes to its anthologies, Musique Congolo-Zairoise, is properly inclusive, but it's soon likely to be anachronistic. In the early ? 960s, when the music on these sets was current and its popularity was spreading to other African countries, it was called, simply, "Congo music." This still seems as good an appellation as any.
Is there a generic term used by the Congolese themselves? No, not really. People speak oimiziki na biso (our music) to distinguish it from imported goods, but even that phrase relies on a French word, musique, rendered into Ungala. Most African languages have numerous words for different dances and song forms, even rhythms, but no single, general word for music. Similarly, various styles of modem Congolese music have been known, over the years, as Congo rhumba, mambeita, boucher, kiri-kiri, sotikouma, kas'acha, zekete-zekete, kwassa-bvassa mamutuashi. And there have been myriad others- more, probably, than all the patrons of á Kinshasa orBrazzavilledancehall on a Saturday night could recount. But none of these or any other term applies to the whole, expansive genre.
American and European record publicists and concert promoters cannot abide this kind of thing. They seem unable to function without a brand name (as it were) by which they can label their product, Their first attempt at a catchy moniker for Congo music was rumba rock. I can see what they were getting at: Congolese music in the 1950s was intentionally reminiscent of rumbas and other Latin American dances, but one of its many distinctions was the prominent part that electric guitars played- and, true enough, electric guitars have always been associated with rock. Combining a Cuban word with an American word to identify something Congolese, though, strikes me as a doubly inapt interpolation. 1 don't believe it's a term that any Congolese musician or fan has ever used.
The tag that's become best known in Europe and America in recent years is soukous. In the Congos, however, soukous refers to a particular dance style popular in the late 1960s, and in cunent usage it's a soccer term, exclaimed when a player feints and dribbles the ball around an opponent. Using the word to describe music as different as Joseph Kabasele' s classics andTshala Muana's latest is like referring to everything from "Why Do Fools Fall in Love?" to "Cop Killer" as twist.
http://search.proquest.com/ethnicnewswatch/docview/217507352/135EA4852067A96FFD1/5?accountid=14698
Atalaku
http://www.atalaku.net/about/
http://www.youtube.com/watch?gl=UG&feature=relmfu&hl=en-GB&v=H8DvEzsbYuI
Dancing for God or the Devil: Pentecostal Discourse on Popular Dance in Kinshasa
http://kuleuven.academia.edu/KatrienPype/Papers/121650/Dancing_for_God_or_the_Devil_Pentecostal_Discourse_on_Popular_Dance_in_Kinshasa
http://books.google.com/books?id=LwzFF2FnbzMC&pg=PA189&dq=Kinshasa+second+largest+francophone+city&lr=&ei=T-0iSpzsEYOIzQTSl_XRBw#v=onepage&q=Kinshasa%20second%20largest%20francophone%20city&f=false
migration levels as satisfactory.
There are over 200 African ethnic groups, of which the majority are Bantu. Bantu-speaking peoples form about 80% of the population. Most of the rest are Sudanic-speaking groups in the north and northeast. In the cuvette are found about 80,000–100,000 Pygmies. Among the Bantu-speaking peoples, the major groups are the Kongo, or Bakongo, in Lower Zaire; the Luba, or Baluba, in East Kasai and Shaba; the Mongo and related groups in the cuvette area; and the Lunda and Chokwe in Bandundu and West Kasai; the Bemba and Hemba in Shaba; and the Kwango and Kasai in Bandundu. The four largest tribes—Mongo, Luba, Kongo (all Bantu), and the Mangbetu-Azande (Hamitic)—make up about 45% of the total population. Non-Africans include Belgians, Greeks, Lebanese, and Asian Indians.
As many as 700 languages and dialects are spoken in the DROC. Serving as regional linguae francae are four African languages: Lingala is used in the north from Kisangani to Kinshasa, as well as in the armed forces; Swahili, in the Kingwana dialect, is used in the east; Kikongo in Lower Zaire; and Tshiluba in the south-central area. In addition, Lomongo is widely spoken in the cuvette. French is the official language and is widely used in government and commerce.
http://www.encyclopedia.com/topic/Democratic_Republic_of_the_Congo.aspx
Congolese Culture: http://friendsofthecongo.org/resource-center/congolese-culture.html
http://www.ted.com/themes/africa_the_next_chapter.html
http://csinburkinafaso.com/reflec.htm
The Democratic Republic of Congo: A brief history http://www.cbc.ca/news/world/story/2008/11/20/f-congo-timeline.html
http://www.factmonster.com/ipka/A0198161.html
http://www.state.gov/r/pa/ei/bgn/2823.htm#history
http://www.historyworld.net/wrldhis/PlainTextHistories.asp?historyid=ad34
http://www.infoplease.com/ce6/world/A0935005.html
Posted by Hailey Gayton at 5:42 PM
Hailey Gayton


With all of the advances in technology tools and 21st century learning strategies, it can be hard to both keep up… and to nail down just what ideas are the most important. My latest article in NAESP's Principal magazine aims to help you do just that.
You can view the full color PDF of the article here.
I would love to hear your thoughts, feedback and implementation ideas as we work together to use technology to make a difference in our schools and in the lives of our students.
Forty-six days ago, I took on a challenge that I did not believe that I could accomplish and that I did not even intend to fight to achieve. That challenge was writing my first novel alongside sixteen of my fourth and fifth grade students as part of National Novel Writing Month. When I first looked into the NaNoWriMo Young Writers Program, I saw it as a unique opportunity to encourage my students to write while participating in a global endeavor. Having a clear beginning and end point, along with the knowledge that other kids were simultaneously writing all over the world was very motivating for my students. That, plus the idea that they would receive a real printed copy of their novel launching them to "real author" status, set the group of us into motion.
When the students sign up for the Young Writers Program, they are given the option to choose a word count goal to work toward. NaNoWriMoYWP recommends various word count goals for each grade level, allowing teachers and students to take on the challenge at a level appropriate for their individual ability, time, and motivation. I shared these recommendations with my students, along with an all day write-a-thon opportunity that we would have at the beginning of the month. Though a couple of students did ask what the minimum they could choose was, most shot for goals beyond recommendations, even when I tried to talk them out of it… even when their parents tried to talk them out of it. And so, they prepared to begin with goals starting at 2,000 words and quickly rising to several at and above 9,000.
What I did not realize when I signed up for the program was that, even though my students were able to set their own word count goals, the automatic word count goal for an adult is 50,000 words. To be honest, I do love to write, but it's what I love to write that is important at this point. I was a philosophy major. I typically write theory, non-fiction.
Yet to my students, 50,000 words seemed like just the right kind of challenge that their teacher should take on if they were going to be writing between 2,000 and18,000 words themselves. Whether or not I thought I could do it, these sixteen students believed I could do it. So, I signed up and signed a contract with all of them committing to the goal.
As November started, we wrote. Before school, during school, after school, even meeting at a local restaurant on a Saturday to work on our stories. The kids were excited. Even a handful of students who traditionally dread writing tasks in class excelled in this project, surpassing their goal by hundreds or thousands of words.
Two-way inspiration and shared energy between teacher and students.
Five days before the challenge was to end, I will admit that I had only written 23,000 words, not even 50% of where I needed to be. To be honest, I was ready to quit. Not quit writing, but quit trying to reach the goal. Sure, I would write more, but looking at the unbelievable workload still ahead of me, it was seemingly impossible to reach the 50,000 word goal.
But then something happened. As I was working on my computer, I checked the NaNoWriMo website. Throughout the month, the students and I had been posting updated word counts. Even though it was the last Saturday of Thanksgiving break, their numbers were going up. Going way up. Some were even starting to surpass their goals. Seeing this growth in my students, seeing them posting updated word counts even during Thanksgiving break, and seeing them rise to this incredible challenge changed me.
I was inspired. I was not just inspired to write; I was inspired to finish by November 30th. Over the next four days, I wrote day and night, even with a full teaching schedule… and completed 27,000 words. At 7:46pm on November 30th, I wrote my fifty thousandth word.
I never could have written this novel without watching them write theirs. Never would have finished this challenge if I hadn't watched them fight for each and every word. They were a true inspiration.
So, on the second to last day, when I walked into the lunchroom and my fifth graders were asking for my "number"… and I shared 40,000, not nearly where I should have been at this point in the month, I was rather surprised when one of the students who had already completed nearly all of her 9,000 word goal looked up at me with the biggest smile on her face, saying "You are so inspiring!" Me? The one who had nearly given up with less than half of my novel done just four days before the deadline?
Yet, they continued to surprise me. Later that afternoon, a student who had finished a week early came by my classroom "just to check on me." And on December 1st, when I showed up with donuts and supplies to show them that I was proud of them, it was those same students who came running into my classroom to tell me that they were proud of me.
My students are now more empathetic, more genuinely interested in each other. They are significantly better writers and significantly more confident in their abilities than any score on a standardized test could have possibly achieved. And where a five paragraph essay had once seemed daunting work, now sitting and writing a thousand words sounds like child's play to these incredible students.
And the added bonus? Watching this group of kids write novels was infectious. What started out as a class project spread to two other whole classes… and, on the second to last day, to four other 4th graders who committed to reaching a 400 word goal in just one day. The school librarian is even thinking about ways to promote reading the works of these motivated students once we have copies in the library. Copies in the library? Wow.
So, NaNoWriMo, you have changed our lives for the better and taught us that we are capable of achieving much more that we could have possibly imagined. And you turned us into a family in the process. Thank you.
To find out more about the National Novel Writing Month Young Writers Program, visit ywp.nanowrimo.org.
CoolTECH 2011 took place at the Museum of Science and Industry (MOSI) in Tampa, FL on June 10th. It was a great event showcasing emerging technologies from throughout the bay area. I was there debuting the 3D Ladibug Document Camera and sharing the work we've been doing with our students using the prototype at McKeel Elementary Academy (MEA) in Lakeland, FL.
ISTE's Tech & Learning recently posted a blog by ed-tech expert, Gary Stager, which began with the sentence, "IWBs [Interactive Whiteboards] and their clicker spawn are a terrible investment that breathes new life into medieval educational practices." As you can imagine, this led to quite a debate in the comments section. Economic value, pedagogy, and even the history of chalkboards is currently in dispute.
In the postings, both sides share valid points about whether to "get" or " use" IWBs. Both share valid, even moving, anecdotal stories. Both strongly take a side on the value or lack thereof of. And interestingly enough, both Gary Stager and primary counterpoint commentator, Alan November, were the keynote speakers at the last two Best Practice Summer Conferences for our charter school.
Yet, at my school (like many in the Tech & Learning audience), we're not considering getting IWBs. We already have them. I've had a SMARTBoard in my classroom for the last six years and have enjoyed having access to the tool. In his post, Stager takes issue with common comments used to support IWBs – like "The students are so engaged!" and "It all depends on how teachers use it." Seems like those who agree with him recommend sticking to a laptop and projector, basically the IWB user's current set-up sans IWB.
So, this begs the question: What are teachers/students doing with Interactive Whiteboards that they could NOT do with just a laptop and projector?
And for those of us who already have them, what Best Practices have we discovered that will ensure we both get the most value out of this technology tool AND truly engage students in worthwhile learning experiences?


text:
Bitter Empire
Record Of The Week: Father John Misty – 'I Love You, Honeybear'
John Reid / February 16, 2015 / Critic / Leave a Comment
Nostalgia is currently in vogue in music in 2015, as proven by some of the most praised records of this year so far. We've have superlatives for Bob Dylan (legend releases album of covers of standards), Sleater-Kinney (beloved cult band releases first album in 10 years) and now the new album from Father John Misty (alias of former Fleet Foxes drummer Josh Tillman) which is – one song apart – in thrall to country and symphonic pop of the 1970's. But there's a twist, as Misty seems to be trying to be sincere and write songs as "himself," but have an alter ego at the same time. Confusing I know.
After publicising the new record, I Love You, Honeybear, by playing at Spotify's office and making up a fake digital streaming service to enable people to 'hear' the album, the songs now have to stand up for themselves. The album is reminiscent of Harry Nilsson's work, blending lush, almost ornate arrangements with either sad or sardonic lyrics. Nilsson famously wrote both love songs and bitter break-up songs, and Misty does so here as well.
He claims that he created the character of John Misty to get away from using clichés, but as admitted that falling in love with his wife has affected the album and made him a cliché. This is borne out in the lyrics of the album, which describe having sex as a mess of "mascara, blood, ash and cum."
The track "The Night Josh Tillman Came to Our Apt." seems to be a song of self-loathing, where Tillman lists the things about both his wife and himself that irritate him. Interestingly "I Went to the Store One Day" is a relatively straight song which deals with the time Tillman first met his future wife.
All of these coruscating lyrics are backed up with either lush orchestration — especially on the title track — or Gram Parsons-indebted country, apart from the techno tinged "True Affection," which could be Tillman's idea of a joke.
So, is this a good album? The albums seems to be one that is more admired than liked. I can imagine that a lot of middle-aged music critics feel that they empathise with Misty, but much of it comes off as an insincere in-joke. Which perhaps is the point.
I Love You, Honeybear is out now.
Filed Under: Critic Tagged With: father john misty, i love you honeybear, review
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I'm A Bitter


Eyesight and Surgery Associates' own Dr. Jusko was the first eye surgeon in Western Mass to perform a new glaucoma procedure called iStent in 2013.
Glaucoma is an eye disease resulting in damage to the optic nerve that eventually results in the loss of vision. Early detection is vital for glaucoma treatment and to stop the disease from progressing. If glaucoma is not caught early and treated it can cause blindness. The optic nerve is responsible for carrying images from the eye to the brain. In the early stages of glaucoma, there may be no symptoms. Currently there is no cure for glaucoma, however, medication or surgery can prevent further loss of vision.
Eyesight and Surgery Associates' own Dr. Jusko was the first eye surgeon in Western Mass to perform a new glaucoma procedure, iStent, in 2013. This procedure is done simultaneously with cataract surgery and helps lower the eye pressure, often reducing the need for eye drops.
The most common form of glaucoma is open angle. Open angle glaucoma develops slowly over time and it occurs when the eye's drainage canals become clogged. The inner eye pressure rises because the correct amount of fluid cannot drain out of the eye. Damage to the optic nerve is painless and a large portion of your vision can be lost before you are aware of the problem. In many cases, open angle glaucoma is treated with glaucoma medication, laser, or iStent surgery. In more severe situations, additional major eye surgery is necessary.
Angle-closure glaucoma is a dangerous form of the disease which can cause pain and blindness quickly. Angle-closure glaucoma occurs when the iris moves forward to block the drainage angle shaped by the cornea and the iris. A sudden spike in intraocular pressure results and produces symptoms such as eye pain, redness, and nausea. This is a medical emergency. If the eye pressure is not reduced it can cause permanent vision loss.
Dr. Jusko and Dr. Litscher perform glaucoma laser procedures and Dr. Jusko also performs iStents and other incisional glaucoma surgery.
Our staff of ophthalmologist and eye doctors at Eye Sight and Surgery Associates is dedicated to provide the highest level of eye care services to all of our patients. Eye Sight and Surgery Associates uses state-of-the-art technology to ensure that we provide the best eye evaluations for eye diseases and assessment of eye injuries.


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TULIP FROSTED PLACE FORK PS. Place Fork - Satin Finish Stainless.
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Home Arts & Culture Etisalat Announces 2014 Prize for Literature Longslist
Etisalat Announces 2014 Prize for Literature Longslist
Etisalat Nigeria has announced the longlist of the Etisalat Prize for Literature 2014.
The prize which was launched last year is the first pan-African prize that is open solely to debut fiction writers of African citizenship and poised to become one of Africa's most prestigious literary prizes for African fiction.
The longlist includes: 'An Imperfect Blessing' by Nadia Davids; 'Whoever Fears the Sea' by Justin Fox; 'The Thunder that Roars' by Imran Garda; 'Penumbra' by Songeziwe Mahlangu and 'Kintu' by Jennifer Nansubuga Makumbi. Others include 'Fresh Air and other stories' by Reward Nsirim; 'Happiness Like Water' by Chinelo Okparanta; 'Ghana Must Go' by Taiye Selasi and 'Shadows' by Novuyo Rosa Tshuma.
Sarah Ladipo Manyika, renowned Nigerian writer and Chair of Judges for the Etisalat Prize for Literature 2014 says "we the judges are excited about this long list which is reflective of the great diversity presented by the full list of submissions this year. We are happy by our decision and cannot wait to reread the nine books to prepare for the upcoming retreat where we will determine the shortlist."
Speaking on the list, Matthew Willsher, Chief Executive Officer, Etisalat Nigeria said that the list is unique in several respects and would go a long way in helping to accomplish the purpose of the Etisalat Prize for Literature.
According to Willsher, "five of the nine finalists are books authored by women; one of the nine finalists is a Nigerian citizen and two are from Nigeria/American and Nigerian/Ghana decent. The list also features writers from South Africa, Uganda and Zimbabwe."
The judges will be faced with the next task of selecting a shortlist of three novels at a retreat in Cape Town in December. The shortlisted writers who will have 1,000 copies of their books purchased by Etisalat and go on a multi-city sponsored tour will be announced on the December 8, 2014.
The overall winner of the Etisalat Prize for Literature will receive £15,000, an engraved Montblanc Meisterstück and will attend an Etisalat sponsored fellowship at the University of East Anglia, mentored by Professor Giles Foden, author of the Last King of Scotland. The winner will be announced at the Etisalat Prize for Literature Award Ceremony in Lagos, Nigeria on February 22, 2015.
'An Imperfect Blessing' by Nadia Davids; 'Whoever Fears the Sea' by Justin Fox; 'The Thunder that Roars' by Imran Garda; 'Penumbra' by Songeziwe Mahlangu and 'Kintu' by Jennifer Nansubuga Makumbi. Oth
Etisalat 2014 Prize for Literature
Literature Prize
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The advantages of having a roommate Many people have prejudice about having a roommate, but there are at least as many advantages. You just have to find the right roommate and not just take the first that comes along.
It will improve your economy One of the best advantages about having a roommate is that it improves your economy. Suddenly, you are two or more sharing all the expenses. Many people search for a roommate because they cannot afford their apartment alone. When you are young and are moving out for the first time, you do not have that much money, and it would be very clever to reduce your costs as much as possible. It is not only the rent you will reduce, but also expenses to the Internet, TV and so on.
You will improve your network Often, people chose to get a roommate when they move to a new city for e.g. studies. By finding a roommate, you will have all the help you need to get to know the city and meet new people. It is also very beneficial to have a roommate in this situation, as you easily get to enlarge your network with help from your roommate.
You will have less duties and more fun Normally, you would share all the duties equally between you. You will not have to clean the apartment all by yourself each week, but maybe just every second week. What is not to like about that?
When you have decided to get a roommate, it might seem a bit overwhelming and difficult to assess. Because, how are you supposed to find a roommate? And where should you start looking?
Where and how should you start? There are many ways in which you can find a roommate. Most people chose to search for one online, as they get the best overview of all the rooms available and quickly get to know the market price. When you have found a place to look for an available room, it is important you make an ad that catches people's attention. Make it personal or write it in a very humourist way. You can also be very creative with a lot of different pictures and information about you.
What should you do when you find a potential roommate? When you find a potential roommate, it is important you have a gut feeling telling you it is the right person. The chemistry between you has to be good and your expectations have to match each other. It is important you do not just expect you that the both of you have the same idea about cleaning routines, parties and noise in the apartment. It can have crucial consequences if you find out you are completely different on those things or if you do not find a way to solve it.
What about the tenancy agreement? As a tenant you have the right to demand a tenancy agreement from your letter, if he is not giving one to you. It is a very good idea to have a tenancy agreement and avoid misunderstandings. In the tenancy agreement, it is important there is information about the rent, deposit, prepaid rent, the condition of the apartment and other special agreements you have agreed on.
What about the rent and deposit? Normally, it is a very good idea to look at what other letters expect to get paid for their rooms in the same area as you. If you think the rent is too high, you should say so to your letter. But some times, the letters set the rent according to how much you get in return. If you get a lot of space, access to a washing machine and so on, you normally have to pay little more. Regarding the deposit, it is first of all important you do not pay it before both of you have signed the tenancy agreement and you get the keys. It is never a good idea to pay anything before hand. Also remember that the deposit and prepaid rent never must be more than 6 months of rent added together.
What should I do, if it is not works out? If you find out the two of you are not the perfect match after all, it is important you are being honest about it. You should not keep something like that to yourself – it is not fair to you or your roommate. Tell him/her in a proper way without being offensive or aggressive.
If you have any questions or comments, please let me know! You can write a comment below or send me an email on support@findroommate.dk - it can be anything from ideas for new subjects or critic of the articles.


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Maxime Cervulle, né en 1983, est professeur en sciences de l'information et de la communication à l'Université de ParisVIII Vincennes - Saint-Denis.

Biographie

Maxime Cervulle est co-directeur du Centre d'études sur les médias, les technologies et l'internationalisation (CEMTI). Il est également co-directeur de la Mention de Master Culture et communication, responsable du parcours de Master « Médias et rapports sociaux de classe, race, genre » et membre du Conseil scientifique du GIS Institut du Genre. Ses thèmes de recherche principaux sont les enjeux de diversité et les questions de genre dans les médias et les arts, mais aussi l'étude des publics et de la réception des contenus médiatiques.

Il travaille dans une perspective inspirée par les Cultural Studies. Il a ainsi écrit avec Nelly Quemener un manuel présentant ce champ de recherche d'origine britannique : Cultural studies : théories et méthodes, publié en 2015 aux éditions Armand Colin et réédité en 2018 dans une version augmentée. La présence de lacunes dans la bibliographie, l'absence de traductions de textes majeurs issus de cette tradition de pensée, ou de traditions connexes, l'ont conduit à participer activement à la traduction d'ouvrages universitaires en lien avec les Cultural studies, les études de genre ou la sociologie du racisme. Il a ainsi traduit l'ouvrage de Judith Butler, Défaire le genre, et contribué à faire connaître en France l'un des pionniers des Cultural studies, Stuart Hall, en compilant deux anthologies de ses textes.

En 2021, il dirige avec Sarah Lécossais pour le Collectif 50/50 une enquête intitulée « Cinégalités » qui analyse le genre, l'origine ou encore la catégorie socioprofessionnelle des personnages de , parmi lesquels figurent les cent films ayant disposé des plus importants budgets et les cent films ayant réalisé le plus d'entrées en salle. Le résultat de l'enquête montre une forme de décalage entre les personnages présent à l'écran et la société française.

Dans le blanc des yeux et le concept de « blanchité »
Il est l'un des premiers à avoir importé et expliqué le concept de blanchité, dans son livre Dans le blanc des yeux : diversité, racisme et médias publié en 2013 et réédité en 2021. Le concept de blanchité est la traduction du concept de « whiteness », elle est proposée par Judith Ezekiel en opposition à la traduction par le concept blanchitude. Issu d'un champ de recherche anglophone appelé Whiteness Studies ou Critical White Studies, le concept de blanchité renvoie selon lui « aux modalités dynamiques par lesquelles, en certains contextes sociohistoriques, certains individus ou groupes peuvent être assignés (selon un processus d'allo-identification) ou adhérer (selon un processus d'auto-identification) à une 'identité blanche' socialement gratifiante ». L'auteur retrace l'histoire de ce concept et la diversité de ses usages dans des approches plus ou moins matérialistes, ou plus ou moins libérales. C'est à ce titre qu'il propose dans l'ouvrage une critique de la notion de "privilège blanc". Il évoque aussi  l'analyse de Toni Morrison, qui montre la formation littéraire d'une « identité blanche imaginaire » présentée comme neutre et universelle.

Pour l'auteur, c'est en interrogeant la notion de « diversité » au cinéma et à la télévision, et la naturalisation de l'absence de diversité, qu'il en est venu à donner une place centrale à la question de la blanchité dans ses travaux. Son livre Dans le blanc des yeux propose ainsi de reconsidérer les débats relatifs à la diversité dans les médias et au cinéma au prisme des apports des travaux sur la blanchité, ce qui le conduit à critiquer certains des termes élémentaires de la politique de diversité menée en France depuis 2005, par exemple la notion de "minorités visibles", qui redouble la stigmatisation.  Il est l'auteur d'une thèse sur ce sujet, qu'il a soutenu en 2011 à l'université Panthéon-Sorbonne sous la direction de Bernard Darras.

« Homo exoticus »
Son premier ouvrage Homo exoticus écrit avec  propose une analyse critique des conflictualités de classe, de race et de genre dans la culture visuelle gay, qui s'inscrit dans la lignée des cultural studies et des théories queer. Il est considéré, d'après le site web de l'université de Bristol, comme la première publication académique en français à combiner théorie queer et critique postcoloniale. Les auteurs livrent dans cet ouvrage une analyse, non exhaustive, des politiques et des représentations gay en France, marquées par une volonté assimilationniste et l'universalisme républicain. Mais ces politiques ignorent les enjeux de classe et de race qu'implique la lutte pour l'égalité, et finissent par rejeter à la périphérie les groupes ethniques et les minorités sexuelles. Ils situent l'« Homo exotique » dans le cadre d'une réponse critique à l'hostilité ouverte du gouvernement Sarkozy envers les immigrés et aux incertitudes postcoloniales plus larges. Un gouvernement marqué par l'affaire Frédéric Mitterrand, ministre de la culture accusé de pédophilie en 2009, après avoir raconté ses rencontres avec de jeunes garçons thaïlandais dans un livre autofictionnel : La mauvaise vie. Le livre de Maxime Cervulle et Nick Rees-Roberts s'ouvre sur l'analyse de cette affaire. Ils étudient les représentations et les discours de la pornographie gay française ou du cinéma d'auteur, comme celui de Gaël Morel ou de François Ozon, qui font des corps de l'ouvrier maghrébin ou du jeune de banlieue un objet de fantasmes et d'excitation. Le cinéma d'auteur ou pornographique démontre la place centrale des rapports sociaux de race et de classe dans la fabrique des fantasmes. Ils dénoncent la prédilection pour le garçon arabe chez les gays qu'ils qualifient d'érotisme postcolonial, qui contraste avec la vie gay en France qui exclut clairement les sans-papiers et les étrangers. Maxime Cervulle  reprend le concept d'homonationalisme, développé par la théoricienne queer américaine Jasbir Puar,  pour analyser le comportement occidental qui cherche à imposer ces valeurs à des pays jugés homophobes en développant parfois des discours racistes ou xénophobes. Il s'exprime à ce sujet après la polémique de l'affiche de la marche LGBT de 2011 ou encore au sujet d'un débat sur Pink TV posant la question : faut-il boycotter les pays homophobes ? Il défend le droit à d'autres formes de sexualité et d'identité que celle du consommateur gay occidental. Il a traduit un ouvrage de Jasbir Puar qui aborde la question de l'homonationalisme aux Etats-Unis dans le contexte d'après 11 septembre.

Autres activités
En 2008, il co-organise le premier Festival international du film porno de Paris (Paris Porn Film Fest), l'objectif est de diffuser en salle, accompagnés de débats, des films qui remettent en cause les normes habituelles de représentation des sexualités. La majorité des films programmés proposent des points de vue féministes ou queers et sont réalisés par des femmes.

Publications
Pour une liste de ses publications plus complète voir le site du CEMTI.

Ouvrages
 Maxime Cervulle et , Homo exoticus. Race, classe et critique queer, Armand Collin et Ina éditions, 2010.
 Maxime Cervulle, Dans le blanc des yeux, Diversité, racisme et médias, Amsterdam, 2013. Seconde édition augmentée en 2021.
 Maxime Cervulle et Nelly Quemener, Cultural Studies, Théories et méthodes, Armand Collin, 2015.

Ouvrages collectifs
 Collectif, Penser à gauche, Figures de la pensée critique aujourd'hui, Amsterdam, 2011
 Anne Isabelle François (dir.), Maxime Cervulle (dir.) et Patrick Farges (dir.), Marges du masculin : exotisation, déplacements, recentrements, L'Harmattan, coll. "Identités, Genres, Sexualités", 2015.
 Maxime Cervulle et Nelly Quemener, Queer, dans Juliette Rennes (dir.) Encyclopédie critique du genre, La découverte, 2016.
 Maxime Cervulle (dir.), Nelly Quemener (dir.), Florian Voros (dir.), Matérialismes, culture & communication, Tome 2, Cultural studies, théories féministes et décoloniales, Presses des Mines, 2016.
 Stuart Hall, Maxime Cervulle (dir.), Identités et cultures 1, Politiques des Cultural Studies, trad. Christophe Jaquet, Amsterdam, 2017.
 Stuart Hall, Maxime Cervulle (dir.), Identités et cultures 2, Politique des différences, trad. Florian Vörös et Aurélien Blanchard, Amsterdam, 2019.
 Maxime Cervulle, dans Malek Bouyahia (dir.), Franck Freitas-Ekué (dir.) et Karima Ramdani (dir.), Penser avec Stuart Hall, La dispute, 2021

Traductions
 Eve Kosofsky Sedgwick, Épistémologie du placard (1990), trad. : Maxime Cervulle, Amsterdam, 2008.
 Terkel Studs, Race. Histoires orales d'une obsession américaine, trad. : de Maxime Cervulle, Myriam Dennehy et Christophe Jaquet, Amsterdam, 2010.
 Jasbir K. Puar, Homonationalisme, Politique Queer après le 11 septembre, trad. : Maxime Cervulle et Judy Minx, Amsterdam, 2012.
 Raewyn Connell, Meoïn Hagège (dir.) et Arthur Vuattoux (dir.), Masculinités, Enjeux sociaux de l'hégémonie, trad. : Claire Richard, Clémence Garrot, Florian Vörös, Marion Duval et Maxime Cervulle, Amsterdam, 2014.
 Florian Vörös (dir.), Cultures pornographiques, Anthologie des porn studies, trad : Maxime Cervulle, Marion Duval, Clémence Garrot, Lee Lebel-Canto, Fred Pailler et Nelly Quemener, Amsterdam, 2015.
 Judith Butler, Défaire le genre, trad. Maxime Cervulle, Amsterdam, 2016.

Autres
 Robin DiAngelo, préface de Maxime Cervulle, Fragilité blanche, Ce racisme que les Blancs ne voient pas, trad. : Bérengère Viennot, Les Arènes, 2020.
 Teresa de Lauretis, postface de Maxime Cervulle, Théorie queer et cultures populaires, trad. : Sam Bourcier, La dispute, 2023.

Notes et références

Liens externes

Maître de conférences
Études culturelles
Lieu de naissance inconnu


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