Southwest Missouri State University, M.B.A.
University of South Carolina Upstate, B.A.
University of South Carolina, B.G.S.
FILLION, DAVID E., Instructor, Mechatronics.
Lawrence Institute of Technology, B.S.E.E.
The University of North Carolina at Greensboro, M.L.I.S.
Spartanburg Technical College, A.A.S., I.E.T.
Note: Adjunct faculty members employed by Spartanburg Community College are held to the same rigorous credentialing requirements as full-time faculty members. Due to adjunct faculty changes each semester, an accurate and comprehensive listing is not included within this printed catalog. However, a listing can be obtained by request from the SCC Human Resources Department. Please call (864) 592-4473 for more information. Thank you!


text:
Jungia är ett släkte av korgblommiga växter. Jungia ingår i familjen korgblommiga växter.

Dottertaxa till Jungia, i alfabetisk ordning

 Jungia auriculata
 Jungia axillaris
 Jungia beckii
 Jungia bogotensis
 Jungia brachyphylla
 Jungia calyculata
 Jungia coarctata
 Jungia colombiana
 Jungia crenata
 Jungia ferruginea
 Jungia floribunda
 Jungia gracilis
 Jungia karstenii
 Jungia paniculata
 Jungia pauciflora
 Jungia polita
 Jungia pringlei
 Jungia pubescens
 Jungia revoluta
 Jungia rugosa
 Jungia schuerae
 Jungia sellowii
 Jungia sericea
 Jungia sordida
 Jungia spectabilis
 Jungia stuebelii
 Jungia trianae
 Jungia weberbaueri
 Jungia woodii

Källor

Externa länkar

Korgblommiga växter
Jungia

redpajama_set_name: RedPajamaWikipedia


Visit LMU Employment for information about open professional positions.
The William H. Hannon Library is one of the largest student employers on campus. We are looking for exceptional students to assist our librarians and library assistants in providing excellent service to our users*.
Visit LionJobs to submit an application and to learn more about available positions.
*We regret that, at this time, we are unable to hire students without Federal Work Study awards.


text:
Honda ClassicFebruary 22, 2018
Tiger Woods shoots even par in opening round at the Honda Classic
Sam Greenwood PALM BEACH GARDENS, FL - FEBRUARY 22: Tiger Woods plays his approach shot on the 14th hole during the first round of the Honda Classic.
Tiger Woods' opening round at the 2018 Honda Classic was relatively boring. And that's a good thing.
There were few birdies, but more importantly, no splash-landing disasters in his first trip around the always dangerous PGA National since 2014. Woods shot an even-par 70, which puts him four shots off the early pace set by Alex Noren. He told reporters it was "easily" his best ball-striking round of the seven he's played so far this season.
RELATED: This story involving Tiger Woods talking trash to Jason Dufner is great
Woods' biggest error came on PGA National's easiest hole. After finding a fairway bunker off the tee at the par-5 third (Woods' 12th hole of the day), Woods laid up, but missed the green from 150 yards. His delicate bunker shot hung in the rough and he wasn't able to get up and down. In fact, Woods needed to hole a tricky five footer to avoid a triple bogey.
He bounced back at the next hole, knocking his approach to six feet on the par-4 fourth and converting his birdie putt. Woods made par on his final five holes.
Starting on the back nine at PGA National, Woods made two birdies on his first four holes before bogeying No. 16 -- the second of the course's famed three-hole stretch known as "The Bear Trap" -- after getting a little too aggressive with a back-left hole location.
The most exciting moment of the day for the 14-time major champ came after a wayward drive on No. 12 wound up behind a pretzel stand. But after the stand was moved, Woods hit his approach shot to the fringe and two-putted for par.
Woods, who struggled mightily with the driver last week at Riviera, stuck to a game plan of hitting mostly 3-woods and long irons off the tee. He still only managed to hit seven (of 14) fairways and 10 greens in regulation, albeit in windy conditions.
This is Woods' third PGA Tour start of 2018. Previously, he finished T-23 at the Farmers Insurance Open and missed the cut at the Genesis Open.
"Last week I just missed in the wrong spots and couldn't do much," said Woods, who bettered playing partners Patton Kizzire and Brandt Snedeker by a combined seven shots on Thursday. "Today my misses were much easier to handle."
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redpajama_set_name: RedPajamaCommonCrawl


Fugro is a multi-national consulting group that provides a complete range of geoscience, survey and geotechnical services. The Fugro group has more than 275 offices in more than 50 countries worldwide. Fugro collects and interprets data related to the earth's surface and the soil and rocks beneath.


text:
Research Campus & Community
Nature meets science in museum exhibit
Engineering professor April Kloxin (above) developed this educational kiosk now on display at the Delaware Museum of Natural History.
Article by Julie Stewart Photos by Evan Krape April 19, 2019
Content developed by UD professor displayed at Delaware Museum of Natural History
When kids visit the Delaware Museum of Natural History between now and May 12, they can play with and learn from an educational kiosk developed by April Kloxin, an associate professor of chemical and biomolecular engineering and materials science and engineering at the University of Delaware.
The station centers on biomimicry, using nature as inspiration to develop new technology. For example, shark skin has scales that prevent bacteria and algae growth, and scientists create materials with similar properties to prevent bacterial infections in humans. Velcro was inspired by the way seed pods with burrs hook onto animals' fur to facilitate seed dispersion.
Visitors to the museum can hold sealed tubes containing burrs attached to felt, similar to how Velcro attaches to materials.
Visitors can hold sealed tubes containing burrs attached to felt, similar to how Velcro attaches to materials. They can build models of the human heart or lungs with Legos to see how synthetic tissues are built from the bottom up. These hands-on activities make learning fun.
"The kids will be playing with the Legos and just having fun, but what they're actually learning is the concept that you can design tissues," said Kloxin. "We're trying to engage all the ways that people learn to bring scientific concepts to them through things that are familiar."
Helen Bilinski, director of exhibits at the Delaware Museum of Natural History, said Kloxin's kiosk fits well with the museum's Design Zone exhibit, on display until May 12. Design Zone shows how science and engineering bring video games, roller coasters, and other kid-friendly technologies to life.
Day after day, she sees children stop, sit down at the activity table, and stay engaged with Kloxin's lessons for several minutes. "Our goal is to get people excited about nature and about science so that they care about, and can influence, the world they live in and what happens with their future," said Bilinski.
Students learn how common products were inspired by the brilliance of nature.
At the kiosk, kids hear narration by Kloxin, and that's important, said Bilinski. "We've had exhibits in the past with female scientists talking, and I've had several parents come up to me and say: We've got a daughter, and it's really important to us that you thought to include a female scientist," she said.
Since then, Bilinski has made an effort to make female scientists more visible—or audible—at exhibits. Visitors exit this exhibit with a worksheet containing a recipe to make slime at home, and many of the worksheets feature a drawing of a female scientist.
Kids can also visualize how bioinspired materials work. Sealed tubes contain diaper particles soaked with different amounts of water. These materials are hydrogels, materials that absorb as much water as they can. Hydrogels are used by scientists such as Kloxin to study cells outside the body for use in developing new disease treatments.
"A central focus of my research group is the design of materials to mimic aspects of biological systems, particularly the human body," said Kloxin. "Those materials then are sponge-like materials that absorb a lot of water, and those turn out to be similar types of materials that are the particles in diapers."
Students on a field trip observe and engage with activities that demonstrate biomimicry, using nature as inspiration to develop new technology.
Kloxin hopes that kids, especially girls—who are still underrepresented in science and engineering—will leave the museum inspired to discover the world around them.
"I didn't know a lot about opportunities in science and engineering growing up," she said. "Some of my first exposures to science were at my local library, where they would bring in scientists who would bring in objects from the natural world or occasionally have a raptor show." She wants to provide kids today with a similar opportunity.
Kloxin and the UD graduate students in her research group, such as doctoral student Amber Hilderbrand, have also learned from this exhibit as they refined it. The kiosk first appeared at the Delaware Museum of Natural History in 2015, and the group has added more activities and new insights from today's research.
"The act of making the kiosk is also really educational for the graduate students who work with me," said Kloxin. "They learn how to communicate their science in new ways. We're training them not just on technical concepts but also on how to communicate with people."
This exhibit was developed with funding from the National Science Foundation.
Hands-on activities help even the youngest students learn about nature.


Several tables have poor text wrapping on event names. (e.g. section 2.7 - OutputCompleteEvent). please expand column widths to fix wrapping where possible.
Remove the term ARTS from the section title, figure and image elements.
Also remove from Conditional use statements.
This specification was originally created under the ARTS IP Policy which can be found here: http://www.omg.org/cgi-bin/doc?retail/2017-12-01. With the transition to the Object Management Group, this standard is now published under a default reasonable and non-discriminatory ("RAND") licensing obligation for members with only limited exceptions.
Also, remove the term ARTS from the subsection title.


text:
Q: Can we run our test suite on different browser by using selenium webdriver without using selenium grid? I have googled alot but unable to find the way?
I want to run my test suite on different browser without changing browsert name in excel or xml file.
Can somebody help me on it?

A: If you are using JUnit you can do it with @RunWith(value = Parameterized.class):
@RunWith(value = Parameterized.class)
public class StackoverflowTestNoGrid {
    private final WebDriver driver;

    public StackoverflowTestNoGrid(final WebDriver driver) {
        this.driver = driver;
    }

    @Parameters
    public static Collection<Object[]> driverToTest() {
        return Arrays.asList(new Object[][] { { new ChromeDriver() }, { new FirefoxDriver() } });
    }

    @Test
    public void titleTest() {
        this.driver.get("http://stackoverflow.com/");
        // ... do some stuff
        // ... assert smth
    }
}

In method that is annotated with @Parameters you can say witch parameters should be passed to constuctor. In this case ChromeDriver and FirefoxDriver.

A: This blog might be useful.
http://santoshsarmajv.blogspot.in/2013/02/passing-parameters-to-testcase-using.html
ExampleTestCase.java
   public class ExampleTestCase
   {
     private static WebDriver driver;
     private String browserName;
     @Parameters({"browser,version"})
     @BeforeClass
     public void beforeClass(String browser,String version)
     {
          driver=getDriverInstance(browser,version);
          browserName=browser;
     }
     @BeforeTest
     public void beforeTest()
     {
     }
     @Test
     public void f()
     {
          //your test code here
     }
    @AfterTest
    public void afterTest()
    {
        //along with your failure messages append browserName to know in which browser it has failed
        System.out.println("Test failed in "+browserName);
    }
    @AfterClass
    public void afterClass()
    {

        driver.quit();
    }
}

testng.xml
<?xml version="1.0" encoding="UTF-8"?>
   <!DOCTYPE suite SYSTEM "http://testng.org/testng-1.0.dtd">
   <suite thread-count="2" name=MyTestSuite" parallel="tests">
       <test name="RunInFirefox" preserve-order="false">
          <parameter name="browser" value="firefox">
          <parameter name="version" value="8"/>
          <parameter name="profile" value="default">
                <classes preserve-order="true">
                      <class name="com.test.TestCase1"/>
                      <class name="com.test.TestCase2"/>
                      <class name="com.test.TestCase3"/>
                </classes>
       </test>
       <test name="RunInChrome" preserve-order="false">
          <parameter name="browser" value="chrome">
          <parameter name="version" value="21"/>
               <classes preserve-order="true">
                    <class name="com.test.TestCase1"/>
                    <class name="com.test.TestCase2"/>
                    <class name="com.test.TestCase3"/>
               </classes>
        </test>
</suite>

A: I had an unusual set of requirements while integrating with our Jenkins server.
I put all of my tests in abstract classes and then created a class for each browser that I wanted to test with
TestChrome
TestFirefox
TestInternetExplorer
Then when the tests fail, you can see the browser as part of the class name within the relevant package.
This allowed me to use exclusion and inclusion rules to filter tests that I wanted to run with certain browsers into different Jenkins jobs optionally.  As IE testing is painfully slow, this allowed us to test our production environments with chrome to verify everything deployed properly.

redpajama_set_name: RedPajamaStackExchange


TALA Training offers a range of training courses, delivered at our Glasgow and Manchester training facilities. Including our Engineering Construction Industry Training Board (ECITB) certified Client Contractor National Safety Group (CCNSG) courses.
If you wish to or currently work on an engineering construction site, then our ECITB CCNSG Safety Training courses are appropriate for you.
Our ECITB CCNSG courses are different and the individual content for each course will vary, but they all teach the main health and safety practices for construction sites.
The construction industry is Britain's most dangerous work environment, as it has resulted in the highest amount of work-related injuries or deaths than any other workplace.
For this reason, there are strict health and safety laws in place. Such as the legislation called The Management of Health and Safety at Work Regulations 1999. This particular law means that employers have to assess and manage the risks that employees face when executing tasks. It also protects employees and makes sure they are safe in the workplace by making employers have to provide adequate health and safety information and training.
At TALA Training, our ECITB CCNSG Safety Training courses offer the essential basic knowledge for trainees to be able to work on construction and engineering sites.
A lot of companies make completing one of these courses a mandatory requirement in order to allow an individual to work on-site.
We offer an ECITB CCNSG National Course for individuals entering the civil engineering/construction workplace.
The course covers a range of topics and attendees will hopefully leave with an understanding of relevant health and safety laws, risk assessments, site transport, working at height, fire safety and much more.
The course lasts 2 days and at the end of attending all class sessions attendees will be required to sit an examination before being awarded their CCNSG Safety Passport card.
We also offer a ECITB CCNSG Renewal Course which is for individuals who have taken and passed the original CCNSG National Course, and their Safety Passport is about to expire.
The course only lasts 1 day and aims to ensure basic site safety standards are being maintained.
The course covers topics ranging from the importance of safe behaviour, legal framework, impact of an accident, POWRA and PTW.
After an end of day assessment, successful candidates will receive a renewed CCNSG Safety Passport Card.
At TALA Training, we offer an advanced course, our ECITB CCNSG Leading a Team Safely Course which is perfect for site managers, supervisors or team leaders or someone who is about to obtain these responsibilities.
The course lasts 1 day and aims to extend individuals understanding that they obtained when gaining their CCNSG National Safety Passport.
The course content covers a range of key topics including, communicating successfully, leading a team successfully, self-management and how to work safely with others.
In order to be eligible for this course, you must first hold a valid CCNSG National Safety Passport.
At the end of the 1-day course, attendees are required to sit an assessment in the form of a multiple-choice question paper.
If you have any questions or queries about our services, get in touch by calling our Manchester facilities at 0161 737 7411 or our Glasgow facilities at 0141 621 4911 or emailing us at enquiries@talatraining.co.uk.


text:
Al-Karara (arab. عبسان الكبيرة) – miasto w Autonomii Palestyńskiej (Strefa Gazy). Według danych szacunkowych na rok 2008 liczy 23 571 mieszkańców.

Przypisy

Miasta w muhafazie Chan Junus


text:
The Haunting of Daniel Gartrell
A play written by Reg Cribb and directed by Lucy Freeman that showed up until yesterday at Fortyfive Downstairs. Its 3 performers, John Wood, Samuel Johnson and Marcella Russo, all shine in a production that is eerily familiar, quintessentially Australian and ultimately more than a little disturbing.
Wood plays Daniel Gartrell, a celebrated bush poet who has retired to the suburbs, a recluse who has neither ventured outside nor put pen to paper for 15 years. His only contact with the world is his daughter, Sarah (played by Russo), whose compunction to care for the broken keeps her doting on him but similarly isolated and lonely. Johnson is Craig Castevich, a young actor who barges into their lives after landing his first big role in a feature film – he is to play Gartrell and has arranged to spend 2 weeks with him to understand the man behind the mystery.
What did we think?
Not being regular theatre-goers, we discovered a peculiarity to the theatre experience not encountered in either cinema or literature. Sitting somewhere between a film and a novel, a play furnishes its audience with less visual information than the former but more than the latter. We are encouraged to use our imagination, but are directed in the way we do so. As such, the suspension of disbelief, the immersion of ourselves into the narrative of the play, took a little longer than we had anticipated.
Once in however, we were richly rewarded. The play paints a picture of the Australian bush in tones of contradicting duality, managing simultaneously to romanticise and criticise it. The bush of Gartrell's childhood was raw and beautiful as well as ugly and racist, all traits that somehow find their way into the cramped confines of the suburbia of his twilight years. The set, composed almost entirely of differently-shaped and coloured doors, suggests that each of the characters are searching for something but are trapped in an extended moment of indecision.
Wood, Johnson and Russo have a clear chemistry that translates well on stage. While the roles of each character appear well defined and knowable – bitter old man, lonely daughter and innocent actor – the story leads us far away from these archetypes into disquieting terrain. None finish off where they started, leaving the audience to ponder the powerful currents that run beneath the surface of everyday life and threaten at any moment to throw all we know into irrevocable disarray. The Haunting of Daniel Gartrell starts slowly but builds to an unrestrained crescendo that shocked us and set our thoughts reeling.
Australia, Fortyfive Downstairs, John Wood, Lucy Freeman, Marcella Russo, Reg Cribb, Samuel Johnson
To polylogue or not to polylogue
Arabic patterning
One thought on "The Haunting of Daniel Gartrell"
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I ended my official outing at the Pine Walk this afternoon. I must admit I thoroughly enjoyed my time at the gardens.
I learned a lot and enjoyed meeting artists of different calibers and styles. Of course the highlight of every day was meeting members of the public from different parts of Europe who were holidaying in Bournemouth.
My art was very well received and on many occasions many people told me it was a breath of fresh air to the Exhibition as it was very different. Most of the art from other artists on display were the commercial sort but mine was unique as it was very obvious I was painting not for the market but as my heart led me.
I received very kind comments about my works which I found very encouraging and uplifting. As a self-taught artist every comment goes a long way to increasing my confidence. And I ended up with a better idea of what the British public liked.
I also met people from Saudi Arabia, Canada, Netherlands and Germany.
The Exhibition provided the perfect platform for anyone to showcase their work to a wide variety of people. And artists came from all over UK to take part.
I met lots of artists from Portsmouth, Christchurch, Poole, Salisbury and Southampton who made the daily journey to come and exhibit their works. Many of them have been taking part in the exhibition for over 20 years and it was interesting listening to their stories and experience with regards to how the public interest in art has changed over the years.
I loved the contacts I made with other local artists. This to me was invaluable as it gave me a better idea of what other artists were doing and how they were approaching their works. I will be showcasing some of the artists on this blog in the days to come.
Of course my days were topped up with regular visits from the resident squirrels. Some of them were very daring and courageous, taking food from people's hands. My kids thoroughly enjoyed feeding them every evening they came to see me.
I also loved the birds in the Aviary. The provided us with endless soulful music which was very good accompaniment to the music from the Bournemouth Orchestra.
All in all I am very glad I made out the time to go down to the gardens. It became very difficult as the days wore on but I persevered to the very end and I am happy with myself for that.
All this would not have been possible without the love, dedication and support of my husband, mother and my darling little angels. Everyone bent over in one way or the other to accommodate my passion.
I am also very grateful to my lovely niece, Kainne who made out time to come down to Poole to help me out. You are a beautiful soul dear.
Nkolika Anyabolu had an exhibition of her art at the yearly Bournemouth Pinewalk Art Exhibition which is an outdoor exhibition held in Bournemouth gardens.
This is a follow up on my earlier entry on the popular Bournemouth Pine Walk Art Exhibition. I will be exhibiting some of my works of art on the dates below. The exhibition would end in September but because of other engagements I can only be there for a week.
I hope to have a variety of works on display. There will be original oil and acrylic paintings, drawings, handmade cards, ACEOs, Art prints and of course I would be there to have a chat with you on those days. I look forward to seeing you there.
Hello everyone, it has been ages since I last updated my blog. I do apologize as it has been manic lately. I do appreciate the comments from those who have been dropping by. The Pinewalk Art Exhibition in Bournemouth's Lower Gardens was established over 50 years ago and is one of the largest, and longest running, open air art displays in the country. This year's open air exhibition would be starting on the 26th of May till the 9th of September. I got to know about it when I first moved to Poole but I was far from prepared to exhibit any work and besides it was already late when I did get to know about it. I did visit a couple of times last year and I was very impressed by the array of talents that were on show. I took the opportunity to chat with some of the local artists and it was very interesting.
Luckily I have been able to keep track of when the applications start and I am hoping I would be able to get a slot in May. As luck would have it I have so many works that have never been seen. Works that I have guarded very closely. The works include paintings in different media mostly oil, mixed media and hand made cards.
I will also be displaying my ACEO creations most likely in a different format. I have a lot of preparation to do alongside working full time. But I am very determined to take the bold step and put my work out there for the public to scrutinize.
I will keep you informed about the exact dates and times when I get confirmation.
To find out more about the event please visit Blooming beautiful Bournemouth!


Lawyers are human too! Our job is to offer professional advice that is tailored for each individual case and we pride ourselves on being professional, yet empathetic and approachable.
Come to the consultation knowing as much as possible about your assets and liabilities. This is legal jargon for your financial situation (pensions, life insurance, savings, salary etc.) and any debts you may have (loans, mortgage, credit cards etc.) It is also helpful if you know the same information about your partner and their financial circumstances.
We can only work towards achieving the best outcome for your case if we have all the necessary information. So honesty is the best policy from the outset. We can then build the best case for your individual requirements.
At Mullis & Peake LLP Solicitors, we focus on working together with you to reach your desired outcome. Therefore, try to visualise the settlement that you deem to be fair in your case and we will provide pragmatic and feasible advice to achieve this.
Likewise, don't worry if you are unsure about what outcome you would like! We will suggest appropriate options that will provide the best way forward for you and, if applicable, your children.
You may find it helpful to use the days in between making your appointment and actually attending, to write down a question as soon as you think of it and bring the list with you. Additionally, please don't be afraid to ask any questions. If there is anything which you don't understand, ask for clarity!
If you cannot make the appointment and need to change it at an alternative time, that's no problem. However, please let us know as soon as possible.
Please bring your passport and proof of address, such as a utility bill or bank statement with you to enable us to carry out our anti-money laundering compulsory requirements.
To make an initial consultation regarding your family matter, or if you have any questions pre-consultation, you can contact the Family Department at Mullis & Peake LLP - 01708 784000.


text:
Skip to main content Skip to search results Skip to Facets & Filters
Mussey, Reuben Dimond, 1780-1866
Reuben Dimond Mussey was born in Rockingham County, New Hampshire in 1780. He graduated from Dartmouth College in 1803, after which he studied medicine under Nathan Smith. In 1809, he Mussey graduated to the University of Pennsylvania School of Medicine and became a professor at the Dartmouth Medical School and Middlebury College. Mussey was an advocate of the temperance movement and was part of the temperance society at Dartmouth College which had been founded in 1828. In 1838 he went to Cincinnati where he became a professor at the Medical College of Ohio. In 1850 he served as president of the American Medical Association. He founded the Miami Medical College in Cincinnati in 1852. Mussey died in 1866.
Found in 46 Collections and/or Records:
Benjamin Silliman letter
Catalogue of articles in Medical Museum
Cincinnati, Ohio Citizens invitation
Webster Mss 847170
Cyrus Perkins recommendation
Mss 815478.3
Identifier: Mss 815478.3
Ebenezer Everett letter
G. Kimball letter
John Mussey letter
John Nelson letter


Rosetta stone chinese level 1 free download. Rosetta Stone Homeschool online subscription allows flexibility to learn on your schedule with any device from anywhere in the world.
It has kiosk outlets located in almost all major airports of the world it offers trials demos in addition to its 6 month money back guarantee. Rosetta Stone offers computer assisted language learning programs for 31 different languages.
Discover the new Rosetta Stone Level 1- 3 Set experience Millions of people around the world have already learned a new language with our award- winning approach. Discover the new Rosetta Stone Level 1 experience Millions of people around the world have already learned a new language with our award- winning approach.
Rosetta Stone Language Learning is proprietary computer- assisted language learning ( CALL) software published by Rosetta Stone Inc.
The software uses images, text, and sound to teach words and grammar by spaced repetition, without translation. Rosetta Stone calls its approach Dynamic duct Description.
Rosetta Stone Homeschool features a foreign language curriculum specifically designed to provide homeschool students with a rich, fully interactive and engaging language- learning experience, while giving parents the tools and resources needed to manage student progress without extensive planning or supervision. Try our hands- on interactive demo and see what makes Rosetta Stone the most award- winning language- learning program. The Rosetta Stone is a fragment of a larger stele. No additional fragments were found in later searches of the Rosetta site.
Owing to its damaged state, none of the three texts is absolutely complete. Also be sure to check out the Essential Language Learning Tools page for recommendations on the best resources for getting started learning another language. For lots of language learning content and helpful advice, make sure to stay connected on Facebook.
* * * One of the most frequently asked questions in language learning discussions is whether or not Rosetta Stone is worth the investment. Rosetta Stone Online 24 Month Subscription Family Pack: up to 3 Users Build a foundation of fundamental vocabulary and essential language structure.


An 18-year-old girl who is close friends with Aeron. On the day of the Elysium kingdom's Harvest Festival, monsters attacked as she began performing. When a mysterious merchant, Mavda, helps Elena and Aeron escape to a tower far off from the city, she notices that the former has a distinctive mark on her back, showing that she was afflicted by a crippling curse. In order to get rid of it, Aeron must feed her meat from the monsters he kills in thirteen towers.


Bibles are reportedly being distributed to elementary students in a Georgia public school district this week — something that represents an "appalling violation" of children's freedom of thought, says the national Freedom From Religion Foundation (FFRF). It's why the organization has threatened to file a lawsuit if the practice doesn't stop.
Harper did not return a call from Yahoo Parenting requesting comment, nor did Cloverleaf principal Evie Barge. The Gideons Interntational, based in Nashville, Tennessee, also did not respond to a request for information regarding their school-distribution policies.
Seidel points out that adults handing out religious information to children has a "predatory nature" about it, and is akin to "tobacco companies trying to get kids when they're young." He believes the law has been "very, very clear and very strong" on the idea that religion has no place in public schools, citing three other rulings against bible distribution at schools in Indiana, New Jersey, and Missouri.
"The courts have been very diligent in protecting students," he says. In a similar situation in Orange County, Florida, recently, Seidel notified a school regarding its bible distribution. The school that administrators had started what's called an "open forum" policy — which welcomes anyone of any religion to distribute materials. Seidel says the FFRF tested that by asking to hand out literature about atheism. "After that, they basically said, 'Just kidding,'" he says. The school denied that request and the FFRF filed a lawsuit. To end the lawsuit, the school agreed to abide by the open forum policy; in response to that, FFRF invited representatives of the Satanic Templeto hand out informative coloring books. Now the school board is considering closing the forum in the ongoing case.
Because of that, he called opening a forum as a way of distributing bibles a "terrible idea," as well as a "dangerous one that I've seen backfire." He points out that "we live in a country where kids have easy access to bibles — but where they may never otherwise hear about the Satanic Temple." So even if policy makers agree with the idea of Christian proselytizing, he says, they may want to think again.


text:
Vanishing Points
John Terborgh
The Future of the Past
by Alexander Stille
Farrar, Straus and Giroux, 339 pp., $25.00
Should we be concerned at the prospect that half of the world's 6,500 or so languages will be lost within the current century? Is it a tragedy that the ancient world's greatest library at Alexandria, Egypt, disappeared without a trace? What should be done about the Great Sphinx of Giza, as the very rock it is made of fractures and crumbles in the acrid atmosphere of Cairo? Does it matter that Trobriand Islanders have lost the art of building elaborately ornamented seagoing canoes? And does conserving endangered lemurs in Madagascar justify the loss of economic opportunities for local villagers?
These are the kinds of unanswerable questions addressed by Alexander Stille in his fragmented collection of essays. His accounts leap from the prehistoric to the contemporary and the settings are as diverse as the earth itself—Somaliland, Sicily, India, China. Each chapter tells the story of a passionate person driven by conviction to create continuity between the past and the future. Stille has traveled widely and has done much careful research. Many of his chapters tell fascinating stories; but the whole fails to add up to the sum of the parts, and the author does not resolve many of the questions he poses.
The past has been described as a chimera, so what good is knowledge of it? Are our efforts to document and conserve it mere hubris? Perhaps so, because many such efforts by our forbears have come to nothing as cities have been reduced to rubble, monuments destroyed, and libraries burned. To invest in the restoration and perpetuation of knowledge, one has to be an optimist and believe the future will be less tumultuous and destructive than the past.
Perhaps the most ambitious effort of all time to gather and conserve knowledge was the Great Library of Alexandria, one of the seven wonders of the ancient world. Alexandria was founded by Macedonians, who conquered Egypt in the fourth century BC under Alexander the Great. The conqueror's appointed regent, Ptolemy Soter, conceived the ambitious plan for a center of learning, calling it the Mouseion, the Temple of the Muses. When its collection was at its largest, the library reputedly contained 490,000 papyrus scrolls copied and collected from the entire literate (Western) world.
Alexandria flourished under the Macedonians, becoming an active intellectual center as it grew into the world's first metropolis. Far ahead of its time, the Mouseion was, in effect, the world's first think tank, with a staff of researchers who dedicated themselves, as Stille puts it, to a systematic evaluation of "different forms of kingship, legislation, and governance" in all parts of the then known world. How wonderful it would be to read their ruminations today. We might discover, indeed, that there is nothing new under the sun. But when Napoleon reached Alexandria in 1798, it was a glamourless fishing port of 7,000. No trace remained of the ancient city or its remarkable library.
Stille describes our society as being in the midst of a fundamental rupture with the past. With more knowledge of the past than any previous society has possessed, we are losing, he argues, not so much knowledge as ways of thinking, expressing, and behaving. How different life was, he points out, before writing. Cultures evolved and knowledge proliferated, but at a vastly slower pace than today. The expan-sion of knowledge was largely propelled by the diversification of cultures as human beings spread around the globe. Today, countless cultures are withering under the homogenizing influences of TV and global trade, besieged by information to which more and more people have easy access.
In the preliterate past, information was committed to memory, not to paper. The total amount of information a culture could transmit to the future was limited by the memory of the village sage, and was thus more or less a fixed quantity. It is a system that worked well for thousands of years, but it was also fragile, demanding unbroken continuity. With the distraction of a single generation, all could be lost.
Stille describes how radio, television, and the written word brought about the death of oral traditions in contemporary Somaliland, a nation that did not possess a written language until 1972. Exposure to modern communication opens the deepest gap between the generations that human beings have ever experienced. Fascinated by exciting images of urban life, the young forsake traditional ways without so much as a backward look. Like Towitara, the Trobriand Island canoe maker whose story Stille recounts, the old die disillusioned and dispirited. The artistry that won them pride and status in traditional society is rejected as meaningless by a younger generation intent on acquiring radios and stylish clothes.
Last summer I had a particularly revealing glimpse of this process. As a biologist, I spend several months each year at a remote research site in the Peruvian Amazon, where my nearest neighbors are Machiguenga villagers. At a way station on the journey, the tiny river port of Boca Manu, I was surprised to meet Misael, a Machiguenga of legendary skill with bow and arrow, able to fell a spider monkey barely visible on the top branch of the tallest tree. "Hola, Misael, que haces aca?" (What are you doing here?) "Paseando" (fooling around), he replied. We chatted a minute, exchanging polite remarks about his family, whereupon I excused myself to continue my journey.
On my return, about six weeks later, I was even more surprised to find Misael still in Boca Manu. "Hola, Misael, estas todavia aquí." (You're still here.) "Si." "Pero que haces? Has estado largo rato sin moverte." (What's up? You've been here for a long time.) It took a few rounds of questions before he overcame his reticence and explained that he was working at odd jobs while his two children attended school. The school, he said, was better than the missionary school at Tayakome, the remote upstream village where he lives. He wanted his kids to get the best education possible, he explained. It was clear that he was willing to pay a high price to see that they did. In Boca Manu, he was an illiterate Indian, a target for swindlers and bigots. With none of the skills that command good wages in the local economy, he had to take whatever menial work he could get, while suffering the indignities of second-class status.
When they grow up, Misael's children will speak Spanish, not Machiguenga. They won't be skilled with a bow and arrow, but the boys will be expert at navigating the river with an outboard-powered canoe, and the girls will be skilled at managing money and conducting small-scale business. At that point they will cease being Nativos (Indians) and will be integrated into the multi-ethnic, brown-skinned population that makes up Boca Manu.
Here culture is being lost. Are Misael and his wife unhappy about it? If they have misgivings, they still realize that their children's future welfare depends on education. To achieve that end they are willing to sacrifice their own comfort. Do their children experience pangs of regret at not learning the skills and lore of their parents? I suspect they hardly give it a thought. They are too absorbed in learning Spanish, playing soccer, and watching TV. For Machiguenga like Misael's children, the loss of their ancestral culture is compensated for by the acquisition of another culture, one that offers the vision of a better life. The balance is clearly positive from the perspective of the people involved; yet, in the process there is an undeniable loss, even if it is one not felt by the participants themselves.
When Machiguenga culture finally disappears, which it will in another generation or two, that will be it. There will never be another Machiguenga, any more than there will ever be another living dodo. When that time comes, what knowledge of the Machiguenga will we moderns want to retain? A dictionary? A grammar? These already exist. Audiotapes of their legends and ceremonies? Numerous such tapes also exist. Their knowledge of medicinal plants? A Ph.D. dissertation has fully documented that. Physical examples of their artistic and cultural expression? Hundreds of Machiguenga artifacts are on exhibit in museums and conserved in anthropological collections. So are photographs of individuals, groups, houses, village layouts, and agricultural plots.
Anthropologists and missionaries have written books about the Machiguenga and translated the Bible into their language. The famous Peruvian writer Mario Vargas Llosa chronicled Machiguenga life in his novel The Storyteller. We moderns have documented nearly everything about Machiguenga culture that can be captured in written, visual, and aural media.
But what is it to be a Machiguenga? That is something that can't be captured by any medium. The essence of being a Machiguenga cannot be preserved. What it is to think like a Machiguenga, to be part of the tribe's intimate social life, to sit around the smoldering fire recounting legends, to be escorted by a "guide" through the central rite of Machiguenga spiritualism—the fantasies induced by ayahuasca, the Amazon's famed hallucinogen? None of this can be preserved: thoughts, attitudes, feelings, sensations, all given a distinct enunciation in a tongue no one else speaks, all distinctively flavored by a cultural legacy extending back thousands of years. These are really the ingredients that make a Machiguenga, and none of these can be conserved. The collected items are merely curiosities and data for anthropologists to analyze and compare.
Thousands of cultures like the Machiguenga have already vanished, and thousands more will vanish in the current century. Will anyone remember the Machiguenga a millennium from now, when it will be only one among thousands of lost cultures? There may be some artifacts stored in a museum, some tapes, videos, and books carefully archived in a future repository, but will there be living human beings who care enough about who the Machiguenga were to learn their language so as to understand the tapes, and through the tapes acquire the ability to interpret the videos? Probably not. So, what is the value of learning about them now, of making collections of their productions, sounds, and activities? It enriches us who live in the contemporary world and puts our lives in perspective. It informs us about our origins and how we became what we are. But no matter how we try, we shall never know what it is to be a Machiguenga.
Just as the modern world, through no deliberate plan, but merely as the consequence of its overwhelming force and presence, is crushing our last living links to the human past, so is it destroying the evolutionary continuity of life itself. The human juggernaut is steamrolling the planet, spewing wastes into the water and air, while burning, plowing, and paving over the land itself.
As Stille points out, great blocks of limestone, the very substance of monuments built for eternity—the Great Sphinx, the Parthenon, the Colosseum of Rome—are dissolving in acid precipitation emanating from the cities near or in which they stand. The Holy River of the Ganges, lifeblood of India and source of water for 500 million people, is burdened with a coliform bacteria count 340,000 times the acceptable level. And nature in Madagascar teeters on the brink of oblivion.
The least satisfying chapter in a book devoted largely to human cultures, the arts, and archaeology addresses one of the most pressing issues of our generation. How can mankind ensure that the organic life of the planet enjoys the same continuity between past and future that the author hopes can be preserved for ruins, ancient manuscripts, and dying languages?
The question is posed in the setting of Madagascar, an island minicontinent in the Indian Ocean, sometimes described as a planet within a planet for the uniqueness of its rich flora and fauna. Madagascar broke away from Africa some 160 million years ago as plates of the earth's crust diverged, carrying with it plants and animals of the age of dinosaurs. Of course, dinosaurs and most other life disappeared from Madagascar, as elsewhere, in the earth's cataclysmic collision with an asteroid. Emptied of much of its fauna, Madagascar then offered open-ended ecological opportunities to plant and animal colonists from Africa and Asia. Genetic evidence suggests that successful colonizations occurred only every several million years. Descendant species diverged and radiated in bursts of evolutionary exuberance.
Notable among these evolutionary success stories are Madagascar's plants—some ten thousand are unique to the island. Among the animals are all of the world's twenty-odd species of lemurs, relics of the earliest emergence of primates, along with an astonishing assortment of viverids, distant relatives of the mongoose. One also finds the world's largest and smallest chameleons, along with other, differently sized, and extraordinary specimens of these comical lizards. With good reason, international conservation organizations have declared Madagascar to be the world's highest priority for conservation.
The world's conservation hotspot also happens to be one of the world's poorest countries. When I was there in 1984, I was shocked to see farmers using rudimentary hand-forged tools. Even axes and machetes, ubiquitous tools of the third world, were too expensive for the Malagasy. Rural life was the poorest I have seen anywhere. People dressed in rags and ate little more than rice topped off with a few of the tiny fish that grow in their paddy fields. Stille raises the question of why people who have so little should bear the burden of conserving nature in Madagascar. The question begs for an answer, but Stille leaves us hanging.
Stille's question raises complicated issues that can't be evaluated without some larger perspective. Madagascar is an environmental horror story. A thousand years of using fire to push back the forest for agriculture and to expand cattle production has deforested all but a tiny fraction of the island. Parts of the central plateau have eroded to bedrock, huge slabs of which glisten in the sun when seen from a passing airliner. Rivers belch plumes of soil into the sea; these are so richly colored and expansive that astronauts describe them as among the most conspicuous features of earth as viewed from space. What is left of Madagascar's natural vegetation, nothing more than bits and pieces really, adds up to less than 10 percent of the island's surface. All that remains of Madagascar's unique evolutionary legacy is to be found in these scattered remnants.
Must human beings appropriate these last surviving fragments of wild nature in Madagascar? If so, thousands of forms of life will disappear in the greatest mass extinction yet carried out by man. That is the cost side of the equation. What about the benefits? The tiny part of Madagascar that remains under natural vegetation consists of land so poor that no one ever wanted it before. Nearly all of it is too dry, rocky, or steep for permanent cultivation. Under the practice of tavy, Madagascar's slash-and-burn system, the forest is cleared and the land is subjected to a one-time use for a crop of upland rice. After that, it is abandoned to scrub. I well recall the distress I felt on passing mile after mile of wasteland in the island's coastal lowlands. Cultivation had long ago drained the land of its lifeblood of nutrients, and recovery was minimal. The entire region was depopulated, its human inhabitants having moved on in search of new frontiers.
This will be the fate of Madagascar's last natural habitat if the external world fails to apply more imagination and resourcefulness to conserving it than it has so far. The meager harvest that could be grubbed out of the land would amount to less than one ton of rice per hectare. In strict economic terms, the cost of foregoing the destruction of Madagascar's last forests—the "opportunity cost" as it is called—would be roughly equal to the value of forest products extracted before deforestation plus the value of the rice that could be harvested after the land was cleared. One thousand dollars a hectare would be a generous estimate of net benefits.
In relation to the amounts being spent on conservation globally (in the billions annually), the opportunity cost of saving nature in Madagascar is almost trivial. Yet the seemingly straightforward task of compensating the right people in the right places for giving up their designs on Madagascar's last forests has so far stumped the entire conservation profession.
Stille gives a telling example of the ineffectiveness of current approaches by chronicling a $6 million USAID-sponsored effort to strengthen a Malagasy national park. Misunderstanding, faulty judgment, and simple human failings undermined the objectives at every turn. Unprecedented sums were injected into a few impoverished villages, causing havoc with local social structures, accomplishing little to alleviate poverty, and causing intense resentment. Surely there are better ways than this of carrying out conservation.
Unless we can discover how to relieve the plight of the poor rural people who see the forest as their only hope of survival, the last bits of wild nature in Madagascar will soon be converted to wasteland for a few tons of rice. And after the last hectare has been cleared, what will become of the poor slash-and-burn farmers? They will do as millions of others have already done in countries throughout the world: they will migrate to the city to work at odd jobs or beg. The farmers and their families, inescapably locked in poverty, will somehow carry on, but the forest and its animals will be gone forever.
Can nature in Madagascar be saved? Perhaps it can. I am not wholly pessimistic, for a strong conservation ethic is growing among the country's educated elite. The major obstacle is not financial. There are willing international donors ready to foot the bill. The obstacle is conceptual. With all the sophistication of modern economics, we have yet to discover a way of turning the intangible concept of opportunity cost into something tangible that would benefit the rural populations that would be affected by conservation.
The mystery may lie no deeper than understanding the motivation that brought Misael and his family out of the forest to live in Boca Manu. Misael did not move for economic reasons; it was the hope of providing opportunity for his children that inspired him. Hope can be a powerful motive for taking action. Conservationists need to learn how to use it to save nature.
Just as there are tangibles and intangibles in economics, so are they also to be found in history and in life. Cultures, memories, personal experiences, wild nature, and its component species cannot be stored in a museum. They account for the richness of life, yet none of them can be reduced to binary code. What can be packaged, put on a shelf, and crated in museums are only things, sounds, and images. Things can interest and inform us, but they do not enlighten us unless we are inspired to find meaning in them. Inspiration is one of the great intangibles of the human experience, crucial to prosperity, art, and the enjoyment of life.
By comparison, information is dull. Ninety-nine percent of it is junk. Yet we compulsively accumulate it the way the pack rat accumulates trinkets. Are we like the pack rat in doing it for our own edification, or do we do it out of an enlightened responsibility to posterity? If it is only for our immediate edification, then it hardly matters for others what information we collect. But if it is for posterity, then judicious selectivity becomes an imperative. What will the civilization of a thousand years from now want to know about us?
For perspective it helps to look back. The barest scraps inform us about the ancients, but in a wholly capricious manner. Scholars have been able to learn about early Egyptian civiliza-tion because, among other reasons, the Egyptians had no wood and were obliged to build in stone. Their contemporaries the Phoenicians, who built in wood, left hardly a trace.
One solid principle is that a little bit of information is infinitely better than none. Archaeologists conjure up mental reconstructions of vanished civilizations from the merest scraps of evidence, a few shards of pottery, bits of worked stone, an outline of foundations. Only nine of the 120 plays of Sophocles have survived, yet those nine plays inform us that the ancients understood eloquence and human nature no less well than we do.
With writing, photography, and audio at our disposal, we should be able to do far better in communicating with the future. But will we? In his final chapter, Stille confronts us with an irony of the technological age: the better we become at processing and storing information, the poorer we become at preserving it, because digitized systems tend to become obsolete. Meanwhile, information is increasing much faster than the number of potential users. Unless we envisage a vast growth in the number of historians in future societies, the current rate of accumulation may lead to a glut so paralyzing as to render it useless.
The durability of the stone inscriptions left by the Egyptians and Mayans is measured in millennia. Medieval illuminated parchments have lost little of their luster in half a millennium. But Stille tells us that new forms of electronic information storage can render previous forms obsolete every three to five years, posing a quandary for administrators. Already, for example, the record of the 1960 US Census has, according to rumor, become almost inaccessible. The data are consigned to obsolete storage media operated by a software language deader than Latin. Whereas each new generation of storage technology is capable of greater compression (soon to the atomic level), stability and durability have not improved. The lifetime of data stored with current technology is estimated to be only twenty years.
Eventually, science will produce more permanent forms of storage, but in the meantime, what is going to happen? Certainly all information will not be transferred to new storage media every twenty years. The predicament recalls the situation that prevailed through the Dark and Middle Ages when manuscripts were copied by monks. The labor needed to produce a copy served to screen out all but the most beloved and revered works. It might be hard to devise a better system.
More by John Terborgh
The Fate of the 'Unconquered': An Exchange
Out of Contact
In search of the Amazon's remote tribes
April 5, 2012 issue
Hands or Genes?
February 9, 2012 issue
John Terborgh, who has worked in the Peruvian Amazon since 1973, is Research Professor in the Nicholas School of the Environment and Earth Sciences at Duke and Director of its Center for Tropical Conservation. His latest book, co-edited with James A. Estes, is Trophic Cascades: Predators, Prey, and the Changing Dynamics of Nature.
(April 2012)
Brief Encounter
The She-Pharaoh


The goal of archhis is simple: display as many buildings from around the world as possible, provide profiles on as many architects and firms as possible, highlight the photographers that make visualization of architecture possible, and show how the increase in available products blends into the aesthetics of architecture. But archhis cannot be a solo project, I need your help! I would like to include buildings from worldwide firms or practices: photos, specifications, details, architect profiles, or anything else you could contribute to help create a robust, information filled, and visually complete website. There is no charge for this, I consider participation more important. The site does not contain news, nor blog commentary; there are enough notable sites for both - archhis just contains a visual history of architecture.


Mobius Capital Partners has announced its intention to launch an investment trust that would rival Templeton Emerging Markets investment trust, where fund managers Mobius and Carlos Hardenberg earned their track record.
The boutique asset manager had been touting its plans to launch a Luxembourg Sicav, but a regulatory filing on Monday morning revealed the firm is planning an investment trust for small and mid-cap companies. It will invest in companies with potential for operational and environmental, social and governance (ESG) improvements.
AJ Bell head of active portfolios Ryan Hughes expected the Mobius Investment Trust would pick up flows from Temit. "Those people who had been long-term holders in [Mobius' and Hardenberg's] previous strategies would no doubt be interested in what they're doing now," Hughes said.
Franklin Templeton Investments announced Hardenberg's exit in February just a day after Mobius retired from the firm. Less than three months later, Mobius Capital Partners announced Hardenberg and Greg Konieczny, another alumni of Franklin Templeton Investments, would join Mobius as partners in the emerging markets boutique.
Portfolio Adviser understands plans for the Sicav remain in place and the investment trust will be a sister strategy.
Hughes said a Luxembourg-based Sicav will appeal to the European market, while a London-listed investment trust appeals to a slightly different investor base. However, he said there is no reason for UK investors to shun a Luxembourg-domiciled fund if they are investing via a tax wrapper, such as an Isa or Sipp.
The investment trust would likely sit in the Global Emerging Market sector, which includes 12 other strategies, which trade currently at an average weighted discount of 10%.
Temit, with £1.9bn market cap, is the largest in the sector followed by the £1.1bn JP Morgan Emerging Market investment trust, which has been touted as a rival for Temit following the exits of Mobius and Hardenberg.
They trade at discounts of 12% and 10% respectively.
Few investors are actively allocating to emerging markets currently due to concerns regarding the Trump trade war plus the impact of rising US interest rates and the impact that has on emerging market currencies, said Winterflood Investment Trusts head of research Simon Elliott.
However, Elliott said the Mobius Investment Trust appeared to be differentiating itself from a general emerging markets trust through its concentrated portfolio and focus on environmental, social and governance (ESG) approach, said Winterflood Investment Trusts head of research Simon Elliott.
It will focus on small to mid-cap companies in emerging and frontier markets with an absolute return focus, according to the regulatory filing on the London Stock Exchange.
He pointed out the Blackrock Frontiers investment trust is trading at a 2.6% premium, which he attributed in part to its differentiated approach.
Portfolio Adviser understands the Mobius investment trust will be more concentrated than its planned Sicav sister portfolio.
There have been just nine investment trusts launched in the first seven months this year, said Elliott.
In contrast, there were 17 investment trust IPOs in the same period in 2017.
However, Mobius brings a strong retail following, which can be a factor in creating a successful IPO, he said.
Hughes said Mobius's reputation may be countered by the fact he hasn't managed money for several years.
"I'm sure there are many younger fund analysts who wouldn't be aware of his pedigree and experience," he said.


How long does each treatment take? The typical treatment is 15 – 20 minutes, depending on the size of the area being treated.
A Class IV Therapeutic Laser has a greater power output. This delivers more therapeutic energy to the target tissues than 'cold' lasers.
The K-Laser uses 800 and 970 nanometer laser wavelengths. These penetrate deeper.
The chromophores can absorb laser wavelengths from 500 to 1100 nanometers; there is no 'magical' therapeutic laser wavelength.
A: Low laser therapy devices are class III lasers or "cold" lasers. Their power ranges are in the range of 5 milliwatts to 500 milliwatts. The K-laser is a high-powered therapy device ranging upto 6000 milliwatts; however, the K-laser is power adjustable from 100 milliwatts to 12,000 milliwatts allowing for a wide range of treatment protocols. This power and penetration of the K-Laser system is not attainable with cold laser devices.
Q: What does laser therapy do, anyway?


text:
News wires white papers and books
Marshall, Vanessa 1970–
(Anessa Marshall)
Some sources cite full name as Vanessa Jeanne Marshall; born 1970; daughter of John Marshall (in journalism) and Joan Van Ark (an actress); niece of Carol Kuykendall (a writer and educator). Education: Princeton University, B.A., English, 1991; New York University, M.F.A., acting. Avocational Interests: Hockey.
Agent—CESD Talent (Cunningham Escott Slevin and Doherty Talent Agency), 10635 Santa Monica Blvd., Suites 130 and 135, Los Angeles, CA 90025.
Actress and voice artist. Stand-up comedienne at various venues. Member of the company at the Acme Comedy Theatre, member of the Short Attention Span comedy group at the Knitting Factory, and member of the Inhalers, an improvisational sketch troupe at the Austin Comedy Festival. Announcer for various projects and for television networks, worked as a voice artist for television and radio promotional spots, as a voice artist for film trailers, and created advertisements and promotional spots. Worked as a documentary filmmaker and as a model.
Screen Actors Guild, American Federation of Television and Radio Artists.
Awards, Honors:
Academy of Interactive Arts and Sciences Award nomination, best female voice performance, c. 2005, for Forgotten Realms: Demon Stone.
Television Appearances; Series:
Various voices, including Irwin and Mandy's mother, Grim & Evil (animated; also known as The Grim Adventures of Billy & Mandy), Cartoon Network, beginning 2001.
Voice of Melissa Docona, Detroit Docona (animated), beginning c. 2004.
Announcer, On the Cover, PAX TV (later known as I, Independent Television), beginning 2004.
Some sources cite work on Ellen: The Ellen DeGeneres Show (also known as Ellen and The Ellen DeGeneres Show), syndicated.
Television Appearances; Awards Presentations:
Presenter, 12th Annual Screen Actors Guild Awards (also known as Screen Actors Guild 12th Annual Awards), TNT and TBS, 2006.
Television Appearances; Episodic:
Veronica, "Blue Bamboo," Law & Order (also known as Law & Order Prime), NBC, 1994.
Voices of store assistant, beautician, and store attendant, "The Full Monty/Mall Cop/I.M. Weasel: I Am Cliched," Cow and Chicken (animated), Cartoon Network, 1999.
Becky, "My Best Friend's Mistake," Scrubs, NBC, 2001.
Voices of trucker and airport announcer, "A Johnny Bravo Christmas," Johnny Bravo (animated), Cartoon, 2001.
Voice, "Heroes and Daredevils," Chasing the Sun (documentary), PBS, 2001.
Voice, "The Visionaries," Chasing the Sun (documentary), PBS, 2001.
Voice of Cleopatra, "A Sandwich by Any Other Name/Shop Like an Egyptian," Time Squad (animated), Cartoon Network, 2002.
Voice of lipstick lady, "Fury: Parts 1 & 2," Justice League (animated; also known as JL, JLA, Justice League of America, and Justice League Unlimited), Cartoon Network, 2002.
Voice of virtual operator, "Wired: Part 2," The Zeta Project (animated), The WB, 2002.
Herself, Intimate Portrait: Joan Van Ark, Lifetime, 2002.
Voices of waitress and women, "Shiver Me Dodgers," Duck Dodgers (animated; also known as Duck Dodgers in the 24 1/2th Century), Cartoon Network, 2003.
Voices of gal and teller, "Mo'Linguish/Oops, I Did It Again," The Powerpuff Girls (animated), Cartoon Network, 2004.
Voice of Eleanor Brown, "Escape from Cavigor," W.I.T.C.H. (animated), ABC Family Channel, 2005.
Voice of Eleanor Brown, "Parent's Night," W.I.T.C.H. (animated), ABC Family Channel, 2005.
Voice of new cadet, "Till Doom Do Us Part," Duck Dodgers (animated; also known as Duck Dodgers in the 24 1/2th Century), Cartoon Network, 2005.
Voices of vanity automaton and Dandy Boy Blue, "Villainstruck/Just the Two of Us," Duck Dodgers (animated; also known as Duck Dodgers in the 24 1/2th Century), Cartoon Network, 2005.
Voice of Miriadel, "J Is for Jewel," W.I.T.C.H. (animated), ABC Family Channel, 2006.
Voice of Tiny, "The Galactic Enforcers," Ben 10 (animated), Cartoon Network, 2006.
Voices of Diamondhead and Fourarms, "Gwen 10," Ben 10 (animated), Cartoon Network, 2006.
Voices of police officer and others, "A Change of Face," Ben 10 (animated), Cartoon Network, 2006.
Provided voices for The Simpsons (animated), Fox; appeared in multiple episodes of The Tonight Show with Jay Leno, NBC; appeared in episodes of other programs, including City Guys, NBC; and provided the voice of Daphne's cousin, Scooby Doo (animated).
Television Appearances; Pilots:
Voice of Mrs. Sirol, Bagboy! (animated), Cartoon Network, 2002.
Television Work; Movies:
Wardrobe worker, Under the Piano, [Canada], 1995, Lifetime, 1996.
Film Appearances:
Lipstick, Tango Flush (short film), 1998.
Bloody girl, Jack Frost 2: Revenge of the Mutant Killer Snowman (also known as Jack Frost II), Unapix Entertainment, 2000.
Voice of Sweetie, Supernova, Metro-Goldwyn-Mayer/United Artists, 2000.
The booster, Defending the Super$ave (short film), This Side of the Fence, 2001.
Voices of Honohan and others, The Golden Blaze (animated), Warner Bros., 2005.
Voices of white hen and tan hen, Dr. Dolittle 3, Twentieth Century-Fox, 2006.
Some sources cite appearances in Gone in Sixty Seconds (also known as Gone in 60 Seconds), Buena Vista, 2000; Life or Something Like It, Twentieth Century-Fox, 2002; and Curious George (animated), Universal, 2006.
Film Work:
Wardrobe worker, Sleeping Dogs Lie (also known as Le mystere d'Ambrose Small), Sullivan Entertainment, 1998.
Creator of documentary films.
Stage Appearances:
Isabel, The American Clock, Williamstown Theatre Festival, Main Stage, Williamstown, MA, 1988.
Got Phat? Tales of a Plus Size Model (solo show), Hudson Guild Theatre, Hollywood, CA, then HERE Arts Center, New York City, both 2000.
Appeared in The Big Funk, The Odyssey; The Maderati, Actor's Circle; and Star Dust, Tiffany Theater, Los Angeles. Appeared in other productions, including an appearance as Masha, The Three Sisters, and as Viola, Twelfth Night (also known as Twelfth Night, or What You Will), both New York University.
Narrator, Dune 2000, Virgin Interactive Entertainment, 1998.
Voice of car computer, 007: Agent under Fire (also known as Agent under Fire and James Bond in "Agent under Fire"), Electronic Arts, 2001.
Voice of Eldrith, Forgotten Realms: Baldur's Gate—Dark Alliance (also known as Baldur's Gate: Dark Alliance), Interplay Entertainment, 2001.
Voice of Olga Gurlukovich, Metal Gear Solid 2: Sons of Liberty (also known as Metal Gear Solid 2 and MGS2), Konami, 2001.
Voice of Soviet amphibious transport, Command & Conquer: Yuri's Revenge (also known as Red Alert 2 Expansion Pack: Yuri's Revenge), Electronic Arts, 2001.
Voice, Baldur's Gate II: Throne of Bhaal, Interplay Entertainment, 2001.
Voice, Disney's "The Lion King: Simba's Mighty Adventure" (also known as The Lion King: Simba's Mighty Adventure), Activision, 2001.
Voice, Forgotten Realms: Icewind Dale—Heart of Winter, Interplay Entertainment, 2001.
Voice of female, Red Faction II, THQ, 2002.
Voice of Jan Ors, Star Wars: Jedi Knight II—Jedi Outcast (also known as Star Wars: Dark Forces 3), LucasArts Entertainment Company, 2002.
Voice of Nani, Lilo & Stitch, Disney Interactive/Sony Computer Entertainment America, 2002.
Voice of Olga Gurlukovich, Metal Gear Solid 2: Substance (also known as Metal Gear Solid X), Konami, 2002.
Voice of starbase traffic controller, Earth and Beyond, Electronic Arts, 2002.
Voices of filmbook and unit response member, Emperor: Battle for Dune, Electronic Arts, 2002.
Voices of Jenny and Uranus, Bloody Roar Extreme (also known as Bloody Roar: Primal Fury), Activision, 2002.
Voices of mermaid and valkyrie, Pirates: The Legend of Black Kat, EA Games, 2002.
Voice, Forgotten Realms: Icewind Dale II (also known as Icewind Dale II), Black Isle Studios, 2002.
Voice, James Bond 007: Nightfire (also known as 007: Nightfire), Electronic Arts, 2002.
Voice of headquarters, SOCOM II: U.S. Navy SEALs, Sony Computer Entertainment America, 2003.
Voice of Sonya Hart, Dino Crisis 3, Capcom, 2003.
Various voices, True Crime: Streets of LA, Activision, 2003.
Voice, Freedom Fighters, EA Games, 2003.
Voice, Lionheart: Legacy of the Crusader (also known as Lionheart), Interplay Entertainment/Black Isle Studios, 2003.
Voice of Eve, Painkiller: Battle Out of Hell, DreamCatcher Interactive, 2004.
Voice of Rachel, Viewtiful Joe 2, Capcom, 2004.
Voice of Vega Donna, Onimusha 3: Demon Siege (also known as Onimusha 3), Capcom, 2004.
Voices of Catherine and Eve, Painkiller, DreamCatcher Interactive, 2004.
Voices of Rader matron (Jane) and Wasteland prostitute (Ruby), Fallout: Brotherhood of Steel (also known as Wasteland Prostitute), Interplay Entertainment, 2004.
Voices of wicked witch, Cinderella, and Grandma, Shrek 2, Activision, 2004.
Voices of Zhai, female elf, and elven villager, Forgotten Realms: Demon Stone, Atari, 2004.
Various voices, EverQuest II, Sony Online Entertainment, 2004.
Various voices, James Bond 007: Everything or Nothing (also known as Everything or Nothing and 007: Everything or Nothing), EA Games, 2004.
Various voices, Shark Tale (also known as DreamWorks's "Shark Tale"), Activision, 2004.
Various voices, Star Wars: Knights of the Old Republic II—The Sith Lords (also known as Star Wars: KOTOR II), LucasArts Entertainment Company, 2004.
Voice, Champions of Norrath: Realms of EverQuest (also known as Champions of Norrath), Sony Online Entertainment, 2004.
Voice, Wrath Unleashed, LucasArts Entertainment Company/Activision, 2004.
Voice of adult female, Crash Tag Team Racing, Vivendi Universal Games, 2005.
Voice of Candi, True Crime: New York City, Activision, 2005.
Voice of Mercy, The Incredible Hulk: Ultimate Destruction, Vivendi Universal Games/Sierra, 2005.
Voice of Nala, Kingdom Hearts II (also known as Kingudamu hatsu II), Square Enix, 2005.
Voice of Olivia, Advent Rising, Majesco Entertainment, 2005.
Voice of second officer, Need for Speed: Most Wanted, Electronic Arts, 2005, other edition of game also released, Electronic Arts, 2005.
Voices of Ancanas and others, Shadow of Rome, Capcom, 2005.
Voices of Daniels, enforcer, and prostitute, Narc, Midway Games, 2005.
(As Anessa Marshall) Voices of Sprocket, Rachel, and Tsukumo, Viewtiful Joe: Battle Carnival (also known as Viewtiful Joe: Red Hot Rumble), Capcom, 2005.
Various voices, Gun, Activision, 2005.
Voice, Champions: Return to Arms, Sony Online Entertainment/Snowblind Studios, 2005.
Voice, Constantine, THQ, 2005.
Voice, EverQuest II: Desert of Flames, Sony Online Entertainment/Ubi Soft, 2005.
Voice of Antoinette Marceau, Agatha Christie: Murder on the Orient Express, AWE Games, 2006.
Voice of Eva in English version, Metal Gear Solid 2: Portable Ops, Konami, 2006.
Voice of Huntress, Justice League Heroes (also known as Justice League Heroes: The Flash), Eidos/Warner Bros. Interactive Entertainment, 2006.
Voice of Sparx's mother, The Legend of Spyro: A New Beginning, Sierra Entertainment, 2006.
Voice, Guild Wars: Factions, NCsoft, 2006.
Voice, Saint's Row, THQ, 2006.
Voices, Dead Rising, Capcom, 2006.
Writings for the Stage:
Electronic:
Theatermania,http://www.theatermania.com, May 26, 2000.
Contemporary Theatre, Film and Television
"Marshall, Vanessa 1970– ." Contemporary Theatre, Film and Television . . Encyclopedia.com. 13 Jan. 2020 <https://www.encyclopedia.com>.
"Marshall, Vanessa 1970– ." Contemporary Theatre, Film and Television . . Encyclopedia.com. (January 13, 2020). https://www.encyclopedia.com/education/news-wires-white-papers-and-books/marshall-vanessa-1970
"Marshall, Vanessa 1970– ." Contemporary Theatre, Film and Television . . Retrieved January 13, 2020 from Encyclopedia.com: https://www.encyclopedia.com/education/news-wires-white-papers-and-books/marshall-vanessa-1970


"These damned robots are taking our jobs, women and children!" — people circa 2003.
"Dude, look at how this bot helps me with my job, find women and avoid children!" — people in 2017. New technology can be intimidating, and downright scary. Some people still hear about artificial intelligence technology and think of Will Smith shouting at his boss, trying to tell them the robots are going to take over. Well, in iRobot, that actually was the case, but not here. The AI technology we build does only good, not evil.
Although that is probably just what the robots want us to think.
It really comes in a wide variety of utilizations, but essentially AI is just creating technology that helps people with a task. It may be a task they know they need help with, but it can also be recommendations on things they might be interested in. For example, we created a bot that helps people with their finances. You can ask him direct questions, but he might also make some recommendations along the way. AI is all about helping us with our day-to-day.
You mean besides making sure the robots are on your side when the uprising begins? OK. It's important for your brand because this is the new level of technology that's going to be expected of brands. This kind of tech can be where you can't, answer questions that otherwise you'll never hear, and build relationships with people you're never going to meet. It's an intelligent extension of the company you work so hard to grow.
This process mimics our web process — we dive in deep with a discovery before a developer ever types a line of code. We have to — as in absolutely MUST — know the audience like our best friend for this type of build. We can't build a bot for someone we don't know. We have to know their hopes, their dreams and their desires. We have to know the kind of jokes they'd laugh at (seriously). The kind of things they think are corny, or offensive.
Once we have that level of understanding, we begin the architecture and user experience phases. We decide how the bot will interact with the end user, what kind of questions it will be able to answer, how it will answer and what to say when it doesn't know the answer. Once we have this workflow, and all of the potential scenarios captured, we can finally move into designing and developing the bot. Sometimes design can happen simultaneously to this phase, but it's absolutely critical we capture all possibilities.
If it sounds like a long process, it is! We thought about designing a bot to help with our bot designs, but we're pretty sure that's how the robot takeover begins. So that would be frowned upon.
Artificial intelligence starts with real intelligence.


text:
Contact Avocats News & Publications Domaines de compétence A propos de nous Carrière
Swiss Court of First Instance prohibits transfer of bank employee's data to US authorities
31 octobre 2014 – On July 24, 2014, an employee of a Swiss bank obtained an ex-parte preliminary injunction prohibiting the transfer of personal data to US authorities. The preliminary injunction was granted by the District Court of Horgen (Zurich). The preliminary injunction was published for the first time in October 2014.
The background of this decision is the tax dispute between the USA and Swiss banks. In this regard, the Swiss Federal Counsel granted various banks the authorisation to cooperate with US authorities to resolve their tax dispute, which results in an exemption from art. 271 of the Swiss Criminal Code for the transfer of requested data to US authorities. However, authorised banks still have to comply with other applicable Swiss laws, in particular Swiss data protection and employment law provisions.
The District Court of Horgen held that the stability of Switzerland as a financial centre may constitute an overriding public interest for data transfers abroad. Nevertheless, the bank has to balance the private interests of the employee concerned and the public interest in each individual case. In addition, the District Court held that private interests of the Swiss bank may not be taken into account. Although the Swiss Federal Data Protection Act generally foresees such ground of justification in art. 13, the District Court stated that this does not apply to data transfers abroad. In the latter case, art. 6 of the Swiss Federal Data Protection Act and the grounds of justification enumerated therein (i.e. only overriding public interests) govern exclusively.
In contrast, in the view of the District Court, the employee credibly showed the threat of a possible prosecution by US authorities. Therefore, the District Court prohibited the data transfer via a preliminary injunction.
The preliminary injunction has entered into force. However, in order to uphold the injunction, the employee will now have to file a regular complaint in an ordinary civil proceeding. Should the employee do so, it will then be analysed in more detail by the District Court whether the employee's data may be transferred to US authorities or not and an ordinary decision will be ultimately rendered by the District Court.
It should be noted that a decision similar to the one of the District Court was rendered by the Geneva Court of First Instance in 2013 (see news).
Walder Wyss SA
startuplaw.ch
beschaffungswesen.ch
dataprotection.ch
lifesciencelaw.ch
notar.ch


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I had just got a Daydream VR headset and was itching to use it.
The concept was fairly simple: I wanted to recreate a WarioWare experience in VR. So much of the work was trying to quickly complete a minigame, test it, and move on to the next one. I managed to successfully create 4 minigames, and a 5th that didn't get built in the final build.


text:
Q: How do I pass console input to a running Java program instead of to jdb? Debugging my code with Java's jdb. Am stuck at a point where my program expects command-line input, but jdb intercepts it as a jdb command.
How do I tell jdb to pass through text to the running program?
Version:
C:\Documents and Settings\*snip*>java -showversion
java version "1.6.0_17"
Java(TM) SE Runtime Environment (build 1.6.0_17-b04)
Java HotSpot(TM) Client VM (build 14.3-b01, mixed mode, sharing)

Compile:
javac -g LZWDecompress.java

jdb.ini:
stop in LZWDecompress.decompress
run
monitor list

This is what happens:
Initializing jdb ...
*** Reading commands from C:\Documents and Settings\*snip*\jdb.ini
Deferring breakpoint LZWDecompress.decompress.
It will be set after the class is loaded.
> run LZWDecompress
Set uncaught java.lang.Throwable
Set deferred uncaught java.lang.Throwable
> > >
VM Started: Set deferred breakpoint LZWDecompress.decompress
File to be decompressed:

At the prompt above, I enter "test", and receive this response:
...
VM Started: Set deferred breakpoint LZWDecompress.decompress
File to be decompressed: test
Unrecognized command: 'test'.  Try help...
>

Here is the code from function main(...), written by our instructor, not me:
public static void main(String[] args) throws IOException {
    short [] source;
    int dlen;
    int sz;
    byte [] decompressed;
    BufferedReader br;
    DataInputStream In;
    FileInputStream FI;
    FileOutputStream FO;
    InputStreamReader isr;
    String cfnm;
    String sfnm;

    source = new short[INPUT_FILE_IO_BUFFER_SIZE];
    decompressed = new byte[OUTPUT_FILE_IO_BUFFER_SIZE];

    isr = new InputStreamReader(System.in);
    br = new BufferedReader(isr);
    System.out.print("File to be decompressed: ");
    System.out.flush();
    sfnm = br.readLine();
    System.out.print("Name of the decompressed file: ");
    System.out.flush();
    cfnm = br.readLine();
    FI = new FileInputStream(sfnm);
    In = new DataInputStream(FI);
    FO = new FileOutputStream(cfnm);
    for (sz=0; true; ++sz) {
        try { source[sz] = In.readShort();
        } catch (EOFException e) { break;
        } catch (Exception e) { System.out.print(e.toString());
        }
    }
    dlen = decompress(source, sz, decompressed);
    FO.write(decompressed, 0, dlen);
    FO.close();
}  // end main()

A: Hmmm...this post seems to indicate I need to run the program and then attach the debugger to it. For example:
% java -Xdebug -Xrunjdwp:transport=dt_socket,address=8000,server=y,suspend=n LZWDecompress

% jdb -connect com.sun.jdi.SocketAttach:hostname=localhost,port=8000

Not immediately obvious how I get the program to stop after passing by the user input functions.
Is this the preferred way to do this?
Update: attach and configure jdb (for example, breakpoints) once the running program prompts for user input. Once jdb is configured, provide input to the running program. jdb then takes over program execution in the second window. :D


text:
Q: Proving the polynomial $P_t(z) = \sum_{j=0}^N a_j(t) z^j$ has exactly one zero if $P_0$ has a simple zero with $a_j(t)$ and $P_t(z)$ continuous in $t$
Let $P_t(z)$ be a polynomial in $z$ of degree $\leq N$ for each value of $t \in [0,1]$. Suppose that $P_t(z)$ depends continuously on $t$ in the sense that
$$P_t(z) = \sum_{j=0}^N a_j(t) z^j$$
and each $a_j(t)$ continuous for $t \in [0,1]$.

*

*Suppose $z_0$ is a simple zero of $P_0$. Show that there exist $r>0$ and $t_0>0$ s.t. $\forall t<t_0$ the polynomial $P_t$ has exactly one zero in $D_r(z_0)$.

*What can you say if $z_0$ is a zero of order $k \geq 2$ of $P_0$?

I tried to solve question 1 but can't get the rigorous proof, this is my idea: I want to use Rouche's theorem, thus need to find $f$ and $g$ such that $|f(z)|>|g(z)|$ for all $z \in C$ , so that $f$ and $f+g$ have the same number of zeros inside the circle $0$.
Let $f = P_0$ and $g = P_0-P_t$, then let $I = \{j = 0,1,...,N | a_j \neq 0\}$, then let $\epsilon = \min_{j \in I} {{a_j(0)}}>0$. Since $a_j(t)$ is continuous for every t, we know that there exists a $t_0$ such that for all $t \in [0,t_0]$ $|a_j(0)-a_j(t)|<\frac{\epsilon}{N}$. Then we get the following (with $g(z) = P_t-P_0$),
\begin{align}
|g(z)| &= |\sum_{j=0}^N(a_j(0)-a_j(t))z^j|\\
&\leq \sum_{j=0}^N|a_j(0)-a_j(t)|\,|z^j|\\
&\leq \sum_{j=0}^N\frac{\epsilon}{N}\,|z^j|\\
&= \epsilon \sum_{j=0}^N|z^j|
\end{align}
But I can't seem to get that it is smaller than $P_0(z) = \sum_{j=0}^N a_j(0) z^j$, so maybe I need to choose my $\epsilon$ differently, I also noticed that I don't use $r>0$ and the disk $D_r(z_0)$ anywhere, as well as the fact that the zero is simple which makes me think I'm overlooking something.
Can somebody help me with these 2 questions?

A: For problem 1) and 2) Rouche's theorem does apply here, but you need to choose $\epsilon$ differently.
More precisely, by the discreteness of zero, for any sufficiently small disk $D_{r}(z_0)$ the polynomial $P_0(z)$ have the unique zero $z_0$ on $D_r(z_0)$. In particular, $P_0(z)$ does not vanish on the boundary $\partial D_r(z_0)$, so by compactness $\lvert P_0(z) \rvert$ is lower bound on the boundary. Let $\epsilon > 0$ be smaller than this lower bound.
Then by continuity of coefficients, for sufficiently small $t_0$ the function $\lvert P_{t_0}(z) - P_0(z) \rvert$ will have value less than $\epsilon$ on the boundary $\partial D_r(z_0)$. So Rouche's theorem applies, and $P_{t_0}(z)$ has the same number of zeros as $P_0(z)$ inside $D_r(z_0)$.
Thus we conclude that for sufficiently small $t_0$, $P_{t_0}(z)$ has the same number of zeros inside $D_r(z_0)$ as the multiplicity of $P_0$'s zero at $z_0$.


text:
← The Wild Honey Collective Featuring Jeremy Porter East Coast Tour Fall 2021
GTG Fest XIV – 10/22 & 23 →
Harborcoat "Joy Is Elusive" OUT NOW
Digital/CDs out now, LPs ship mid-month!
Phonophore Records
Check out a release show too:
The phrase "Joy Is Elusive" appeared in Harborcoat's Matthew Carlson head one day, and the singer/songwriter/guitarist wrote it in black Sharpie on a piece of paper and tacked it to the wall above his studio computer. Those words became a conceptual signpost for the Harborcoat's sophomore album, aptly titled, Joy Is Elusive.
"Not that joy doesn't happen, or that we can't find a lot joy in life and work, but it seems it can be difficult to find these moments and hard work to sustain them," the Lansing, Michigan artist shares. "I've struggled with depression and anxiety all my life and it has always crept into my songwriting as a sort of veiled subtext. With this new batch of songs, I made a conscious effort to write about it more directly. They aren't mopey or deliberately maudlin, but I think during these times people are feeling a lot anxiety, depression, and they have been grappling with isolation. These topics are part of the human condition."
Matthew is the main songwriter in Harborcoat. Previously, he led The Pantones for more than a decade, and currently he writes songs and plays and sings in Lansing power pop outfit, The Stick Arounds. In addition, he is the owner and operator of Phonophore Records.
Harborcoat began as a songwriting outlet for Matthew in 2016 for output that didn't fit with The Stick Arounds. The vision was initially a bedroom artistic venture, but a dear friend suggested Matthew make a real record, and Harborcoat became a functioning band that plays shows and records with an ever-evolving cast of musicians. Previously, Harborcoat issued the 2017 single, "See The Sun," and the 2019 full-length, Brutal Gravity.
Harborcoat specialize in short stories with chords. The lyrics are novelistic and almost standalone pieces rife with emotive and well-crafted narratives. The band name is pulled from an early R.E.M. gem, and the music brims with nods to Matthew's heroes. The songs recall the crunchy power pop and harmonies of Teenage Fanclub; the introspection and melodic storytelling of Billy Bragg; and sprinkled in are moments of 80's esque Brit-Pop or working-class anthems. These influences, however, do not define the record, but are they are merely a strand of DNA in Harborcoat's collective musical helix.
The songs on Joy Is Elusive are buoyant and energetic and are a powerful juxtaposition to the weighty lyric content. "I wanted there to be a sense of joy and excitement even though the lyrical themes are often terribly dark. There was a direct effort to play to that old maxim of 'beautiful melodies telling me terrible things,'" Matthew admits. He continues: "On this record I wanted to write more intently about all of our unseen struggles and the baggage we travel with each day. There is a greater thread lyrically and musically rooted within the themes of the album and the fictional town in which they occur. As much as I cringe at the idea of a concept record, this is a record with a pretty clearly defined concept."
The 12-song album is a cohesive and conceptually immersive collection that warrants a full album listening experience. That said, select record standouts include "Transit Town," the title track, and "Where The River Bends." "Transit Town" is a power-pop anthem with Who-style ringing guitars and a rich tapestry of sing-along harmony vocals. The song's sugar rush is offset by the bummer of the fleeting nature of relationships in a college town. "The story here is of a self-contained world in a mid-sized industrial city not on an upswing where one person comes into town, they partner with someone for a period of time, and then move on, and that other person is stuck and doesn't want to be where they are," Matthew shares. This sentiment is epitomized by the lyric: This city is just a stepping stone/And so I guess am I/Everybody else has flown/I've got nowhere to fly.
The deeply emotive piano ballad, "Joy Is Elusive," is a character-driven piece about a mentally ill sibling who does a stint at a state hospital, but is later returned to his family and they have to find a way to build a life together. The song is filled with poignant scene-setting lyrics such as: We picked you up in Traverse City, scars across your arms/Drove along the country roads, you stared out at the farms/Asked you twice if you were hungry you simply shook your head/We inquired if you were better this was all you said. The dynamic and imaginatively arranged literate rocker, "Where The River Bends," paints a powerful picture of the terror of getting what you want.
The album was tracked at Matthew's family cabin. Before the sessions began, his father died suddenly, and Matthew thought to cancel, but his family and friends convinced him to proceed with the sessions. "That week of recording was the first time in four weeks that I had managed to find any degree of happiness or hope," he recalls. "It was cathartic, it was beautiful, and it was the perfect distraction." (writeup c/o Phonophore Records)
This entry was posted in Album, GTG Activity, Harborcoat and tagged Best Album of 2021, DIY, GTG Records, Harborcoat, Indie Rock, Lansing, Lansing Music Scene, Phonophore Records, The Aimcriers, The Pantones, The Stick Arounds. Bookmark the permalink.