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Medallia Partners with Leading Thinker Fred Reichheld and HuddleUp
Customer experience management company Medallia has teamed up with Fred Reichheld and formed will serve as the exclusive licensing partner for his employee engagement platform HuddleUp. "The relationship [with Reichheld] is four years on paper right now," Dorian Stone, vice president of customer experience strategy at Medallia, says; but he suggests that it is likely to extend for longer as the parties continue to work together.
One major focus of the partnership, Stone says, is "unlocking the value of employees," and "pushing thinking in the space."
Reichheld is best known for inventing the Net Promoter Score (NPS). Introduced in 2003, the NPS is a widely used customer loyalty metric that relies on user feedback to determine how likely a customer is to recommend a product or service. It has been incorporated into the offerings of a number of CRM providers, such as Zendesk.
Medallia believes the key to improving customer experience lies not just in being totally customer-centric, but also in building a committed workforce that takes pleasure in its contributions. Stone mentions that while not widely advertised, Medallia has done work and research on employee engagement and found that many businesses could use a boost in this department. In most businesses, he says, less than 30 percent of employees are engaged. One mistake companies make is in not realizing that employee satisfaction can lead to increased customer satisfaction, and that the two are connected. "If you have a world where more and more customers are empowered, those customers are also employees," Stone points out, "[and] they're bringing a lot of [their] expectations into the workforce."
"The continuity of customer experience starts at the employee level," Ray Wang, founder of Constellation Research, says. "If you don't know the sentiment of your customer-facing employees, how can you succeed? I think this is a smart partnership and good first start.
While the initiative might seem like a change of direction for Medallia, a company that has been largely dedicated to customer experience over the years, Stone suggests it is more in line with its overall vision than it would appear. By teaming with HuddleUp, the company hopes to leverage the expertise of its experienced staff to broaden the offerings of its own platform.
HuddleUp allows employees to share feedback with each other on performance and gives mangers detailed reports that aim to foster better collaboration. "Openness and collaboration" are areas that are "critical to staying aligned around changing customer needs," the company said in a statement. Stone anticipates that the workplace is going to be further effected by changes that are not entirely clear yet, but nevertheless imminent.
The companies haven't begun developing any products yet, but Stone assures that the thought leadership and direction of Reichheld will factor into future projects. "We'd like to accelerate the learning and thinking on [the employee engagement] front into Medallia for future product development," he says. "That [includes] tangible functionality, workflows, [and] simple...,very effective user experience and front end for a whole new level of engagement."
Take Your Organization from Engaged to Entangled
A business thrives when all employees feel responsible for its success.
Medallia and TripAdvisor Partner to Encourage More Online Guest Reviews
Guests are invited to share reviews on TripAdvisor during the survey process, and the hospitality companies are alerted to new reviews as they are posted.
Medallia Releases Medallia for Salesforce
Medallia's new cloud-based customer experience management app is now available of the Salesforce1 AppExchange.
Medallia Acquires Kampyle for Its Voice of the Customer Capabilities, Launches Medallia Digital
Medallia Digital aims to unite web, mobile, and offline data to provide companies with omnichannel customer views.


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Chagrin Falls' own Ted Batchelor is claiming national fame by following his dream of being a stunt man.
Ted Batchelor graduated from Chagrin Falls High School in 1977. However, long before he graduated he began living his dream of being a stunt man. Throughout high school he pulled various pranks and stunts in sports as well as in school. He first jumped off the falls when he was ten years old. He continuously amazed his friends with stunts.
Ted first claimed fame as a junior in high school. It began as a bet in class during school. It caught on with a small group of about 20 students. As much as $400 was bet that he would not do it. Then on May 20, 1976 it happened. The first "fire-jump" was performed. Ted Batchelor lit himself on fire and dove from the falls under the Popcorn Shop. He was on fire for about 12 seconds before plunging into the water far below. He successfully jumped from the falls on fire for ten consecutive years. However, it was outlawed and he was sent to jail a few times for the stunt.
Immediately after graduation high school he went to Los Angeles in order to pursue a job as a stunt man. He lit himself on fire at stunt legend Paul Stader's Malibu home. "Paul Stader was the nicest man I ever met in the industry," says Batchelor. He starred in a few commercials and ads. Then he moved back to Chagrin Falls and went to college at Bowling Green State University. He majored in film production so he could still be involved with stunts. At BGSU he was on fire an estimated 20 times. Eventually the authorities at BGSU outlawed the fire stunts. He also jumped through glass windows as a stunt while in college.
Ted found a fellow stunt fanatic in Baltimore. They joined together as partners in doing stunts. Ted spent a lot of time in Baltimore practicing all types of stunts. It was in Baltimore where he was first injured with minor burns. He also achieved his longest time on fire while there. It was recorded that he was on fire for 57 seconds.
A few years ago Ted heard about a "Burning Man" festival in Nevada. He read about this event in Life magazine. This was the perfect chance for him to claim fame. He flew out to the Black Rock Desert in Nevada. He asked if he could be lit on fire then light the giant burning man on fire. The burning man is a giant wooden structure that is lit on fire late at night after a festival of amazing and weird things. The night consists of anything you can imagine, bombs, fires, naked people, drums, wild outfits, and many other things. It ends with a naked sun goddess lighting him on fire. Then he runs up a flight of stairs to a platform and lights up the burning man in front of as many as 15,000 spectators. The main stage is loaded with fireworks and he burns and explodes all throughout the night.
Ted recommends people going to the event because it is a very special and magical atmosphere full of creativity. This festival is held during Labor Day weekend. The state has attempted to ban the party and outlaw the burning man, but they have been unsuccessful. "It is Magic" Ted says.
After college Ted started a painting company, in order to have the freedom to do stunts whenever he wanted to. He recently sold Batchelor Painting Company and applied for a job at Frank Novak and Sons Painting Company. At his job interview he laid out pictures of himself on fire and told them that he needed the freedom to do stunts when necessary. They did not contact him for several months, and eventually hired him and decided to allow him to do stunts.
In 2004 Ted set the Guinness World Record of longest full body burn without oxygen. He was on fire for an astonishing 2:38 seconds this broke Denmark's great stuntman Stig Gunther's Record of 2:06.
In 2006 gained the honor of being able to do the 30th Anniversary Fire Dive from the falls which was always one of his career goals. The fire dive anniversary went so well even though the river was rushing out of control. Check view videos section to see dive.
On September 19, 2009 Ted and sixteen others broke the Guinness Worlds Record for "Most people on fire at the same time" with 17!! The previous record was 12 by the the Spanish. They were all on fire for 43.9 seconds! a list of those on fire and thier assistants: Charles Dakota Linck (Mike Riedel), Nina Gilkey (Nancy Grabowski), Colby Forlani (Kevin Keesler), Jon Mitchell (Matt Rogers), Forest (woody) Martin (Kevin Finnerty), Jeff Germek (Todd Mclaughlin), Michael Hallock (Mike Halagan), Ralph Bosak (David Nesbit), Greg Findley (William Roddy Jr.), John Thome Jr. (Joe Constant), Mike Lawrence (Jim Hallstrom), Mark Simone (Bill Heun), Brad Theiss (Mallory Theiss), Ted A. Batchelor (Deborah Batchelor), Schuyler White (Mario Piano), Jesse Zander (Mark Cranley), Michael Andrew Bank (Chris Germek).


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Xavier worked with the Ankama user acquisition lead to set up and run UA campaigns across various channels. His product vision also led him to advise the development teams in optimising their games' UX and monetisation.
Ankama is a broad transmedia publisher, whose IPs span supports as varied as PC games, animated TV shows, comic books, and board games and merchandising.
We worked with Stratospheric Games' CEO to set up a low-budget acquisition campaigns for supporting the launch of their debut title Warzone: Clash of Generals, that was initially relying exclusively on youtuber coverage.
Warzone: Clash of Generals is a strategic arena battler where you deploy your units to destroy your opponent's headquarters.
During his tenure as Head of Marketing at Fifth Journey, Xavier accompanied the CEO and creative teams in defining and executing the marketing strategy for its portfolio of Hollywood IP-related mobile games.
He worked hand-in-hand with the Creative Director to set up a comprehensive tech stack across all their titles, allowing the team to operate critical services such as attribution, analytics, community and CRM.
In close cooperation with their stakeholders in Hollywood, he devised and executed cross-marketing operations aimed at increasing both game and IP performance. Alongside Kubo a Samurai Quest, Xavier worked on 4 still-unannounced projects (among which VR and AR titles).
Embedded in the Substantial Games team, Xavier handled all marketing responsibilities, leading to a very successful launch weekend where, following very strong Apple support in China, they acquired close to 200,000 players while spending $0 in marketing budget.
The Ember Conflict is a now-defunct real-time tactical and strategy game pitting squads of 3 to 6 units against each other in fast-paced, bloody skirmishes.
As a Product Marketing Manager for Gameloft, Xavier was embedded in the development teams in their Beijing studio to strategise and coordinate execution of the Launch and Evolution marketing plan.
He worked closely with the game teams to ensure all branding initiatives were tied to the game's creative vision, along with ensuring smooth communications between Gameloft and various IP holders when the game was a licensed product.
As part of a side-project not related to his main gig at Microsoft France, Xavier worked on promoting Xbox LIVE Arcade titles, released on the platform every week, via engaging blog articles and content promotion on social networks.
This also entailed co-hosting GameCAST, a monthly video show focused on the games industry.


Welcome students, parents, and other visitors! Please sit back, relax, and learn about my 6th grade Language Arts class. Here you can find out about important events at Saucedo and in my classroom. Also, I will post Reading and Writing resources for 6th grade students. The site will be updated often so please come back and visit. Have fun exploring. Thank you!
Please contact me below with any questions or comments that you have. Thanks!
My Reading class will follow a workshop model. The students will be taught units that are centered around a class novel. The students and I will read the novel together and discuss this reading along with other connected readings. 1st quarter will center around the reading of The Circuit. This is a memoir by Francisco Jimenez. The students will work with partners and in collaborative groups. In my class, the students will listen to me reading aloud and also will be exposed to a wide-range of texts. The students will be able to check out books from my library weekly and should be reading everyday. Independent reading time will be given in my class.
My Writing class will follow a Writing workshop model and the students will study a particular writing style each quarter. While studying this style, the students will repeatedly practice this technique before publishing their final piece. In my class we will do a variety of activities in the student's Writer's Notebook. The students will also be exposed to grammar mini-lessons throughout my teaching units.


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Quentin Tarantino working on Charles Manson film
By Jeremy Kay2017-07-11T08:23:00+01:00
Feature number nine would bring filmmaker closer to 'retirement'.
Quentin Tarantino is understood to be working on a screenplay about the Manson Family murders.
While details of the screenplay remain under the proverbial wraps, the project appears to be unusual in that it might be based on actual figures and events from recent history, breaking from Tarantino's tradition of fictitious characters and storylines.
The sequence of Manson Family murders in the summer of 1969 remains one of the most disturbing episodes in recent US history.
The killings were carried out at the behest of ex-con and cult leader Charles Manson by members of his 'family', a commune-like collective that set up camp in California in the late 1960s.
One night in August 1969 group members slaughtered five people at the Hollywood residence of filmmaker Roman Polanski, including his then pregnant wife Sharon Tate. Manson and 'family' members were found guilty in 1971 and the ringleader, now 82, remains in prison.
According to The Hollywood Reporter, Tarantino's longtime collaborator Harvey Weinstein is involved, and Brad Pitt, who starred in Inglourious Basterds, and Jennifer Lawrence have been approached.
The actors' representatives had not replied to requests for a comment and a spokesperson for The Weinstein Company had not confirmed involvement at time of writing.
Screen understands the project is in its early stages and Tarantino is still writing the screenplay. It has not yet been shopped to studios.
Were Tarantino to direct the feature – a likely outcome given the writer-director's track record – it would become his ninth, bringing him closer to his oft-repeated threat of retirement.
Tarantino has been quoted several times in the last few years saying he will quit directing after 10 films, although he has subsequently qualified the statement and hinted he might return if he still had stories to tell.
The eight full features solo-directed by Tarantino are: Reservoir Dogs (1992), Pulp Fiction (1994), Jackie Brown (1997), Kill Bill Vol. 1 (2003), Kill Bill Vol. 2 (2004), Inglourious Basterds (2009), Django Unchained (2012), and The Hateful Eight (2015).
Tarantino has directed sequences in films, notably Four Rooms and Grindhouse, and his feature screenplays include Natural Born Killers, True Romance and From Dusk Till Dawn. He has also written for TV.
'The Lion King' crossing $100m international box office, 'Toy Story 4' hits $800m worldwide
Jon Favreau's rebooted animation debuts in UK, Mexico, Spain on Friday.

redpajama_set_name: RedPajamaCommonCrawl


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India vs South Africa: Dale Steyn, Virat Kohli best post-match buddies?
By: PTI |
Melbourne | Updated: February 22, 2015 12:02:54 PM
They will not give each other an inch of space when India and South Africa lock horns in a World Cup match...
They will not give each other an inch of space when India and South Africa lock horns in a World Cup match but Virat Kohli feels that once the game is over, he will again be "best buddies" with his former Royal Challengers Bangalore teammate Dale Steyn.
"I played with him (Steyn) in RCB for three years, and we became such good friends that we've carried on our friendship after that, as well. Whenever I meet him, he gives me the biggest hug, and it's been consistent throughout. Even if we have to play a game before that, we are always really friendly," Kohli said about his close friend.
"We know on the field, come game time, I'll be looking to dominate him and he'll be looking to dominate me, which is a mutual respect kind of a thing, I guess. Whatever is said and done at that point of time, it's taken in good sportsman's spirit because we know after the game we'll obviously be best buddies again," Kohli said about the world's No 1 fast bowler.
For Kohli, Steyn is the "special one" even though he shares a good rapport with a lot of South African players.
"I think I've shared a great friendship with a lot of South African players over the years, and Dale has to be one of the more special ones."
Kohli said he respects Steyn's passion as he also has a similar streak in him.
"He's a completely different person on the field, which is absolutely fine. He's very aggressive. He's obviously very passionate about playing for South Africa. There's a good reason why he's the best bowler in the world for a while now, and he's so consistent because he has that mentality, and off the field, he's a completely different person.
"He jokes around, he laughs all the time, and you wouldn't know that unless you know him. I think it's pretty similar with me and him, how we are on the field and off the field. That's why I think we get along really well together," Kohli said.
Cricket World CupVirat Kohli
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Australia, having won 4 of last 5 World Cups, look to add another feather to their cap in England
World Cup 2019 Team Profile: West Indies – Can Gayle, Russell help the erstwhile cricket superpower regain its lost glory?


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Opinion-maker
Old age and death
Astrid Lindgren's legacy
EN Languages
Languages DE SV
ChildhoodYouthCareerOpinion-makerOld age and deathAstrid Lindgren's legacy
If Astrid Lindgren's childhood had been a very happy one, her adolescence and young adult life were more sombre. "My teenage years were just about existing, flat and lifeless, I was often melancholic. And I thought, as many do, that I was so ugly, and I never fell in love either. Everyone else was always in love…"
Astrid has recounted how she clearly remembers the moment when her childhood ended and how devastating it was to realise that one couldn't play anymore: "I remember it vividly. We always played with the priest's granddaughter when she visited Näs over the holidays. But then one summer day when she arrived and we were about to start playing, as usual, we suddenly discovered that we couldn't play anymore. We just couldn't. It felt silly and sad, because what would we do if we couldn't play?"
But her adolescence was also a time of development and revolt. Astrid Lindgren watched every single theatre play or movie that came out in little Vimmerby. She also really enjoyed dancing - both to traditional music and the new popular jazz music. "I underwent a tremendous transformation and in the blink of an eye I became what was in those days called a 'hep cat'."
Astrid was the first woman in the little town to cut her hair short. It caused quite a stir, with people she met on the street asking her to remove her hat so that they could gawk at her. Hanna and Samuel August were only mildly amused - "When I finally got home and sat down on a chair in the kitchen everyone fell silent. No one said a word, they only circled me without saying a thing."
After graduating from school Astrid Lindgren was employed by the Vimmerby newspaper as a sixteen-year-old. She proofread, wrote tiny notices and short reports. The editor-in-chief of the newspaper was Reinhold Blomberg who had already earlier noticed Astrid's talent. But Reinhold's enchantment with Astrid stretched beyond her ability to write. And in the spring of 1926 Astrid Lindgren realised that she was pregnant.
To become pregnant as an unmarried nineteen-year-old woman was a major scandal that would disgrace not only Astrid herself but also her entire family. To top it off Reinhold Blomberg was locked in a bitter divorce and was the father of seven children. There were no other alternatives available to Astrid but to leave Vimmerby and go to Stockholm.
"Never before have so many gossiped about so little, at least not in Vimmerby. To be the victim of all that gossip was a bit like lying in a snake pit, and I decided to get out of that pit as quickly as I could."
Astrid Lindgren's first years in Stockholm were horrible - poor and lonely. She was a lodger, renting a room in Östermalm, and studied to become a secretary at the Bar-Lock Institute. Astrid and Reinhold kept in touch and the plan was that they would marry as soon as Reinhold's divorce was finalised.
On the 21st of November Astrid Lindgren travelled to Copenhagen to have her child. The 'Rigshospitalet' in Copenhagen was the only hospital where you didn't need to give the father's name at the birth. Astrid had found a family to stay with and who could also look after her child until the time came when she was ready to bring it back to Sweden. The family were called Stevens and consisted of mother Marie Stevens, her son Carl, and a Swedish boy that they cared for called Esse, who was only a few months old at the time. Esse's Mum had had him outside of wedlock, just like Astrid.
Lasse
Astrid Lindgren's son Lars, 'Lasse', was born on the 4th of December 1926 and Astrid spent the first few weeks together with him before travelling back to celebrate Christmas with her family at Näs as usual - anything to not feed the gossipmongers of Vimmerby. She then returned to Stockholm and restarted her secretary studies at the Bar-Lock Institute.
The Bar-Lock Institute was a private school in Stockholm, named after an American typewriter. Included in the curriculum was typing and shorthand, as well as bookkeeping, accounting and business correspondence in various languages. The students comprised of young women, often from other parts of the country. During her studies Astrid Lindgren lived in a boarding house on Artellerigatan in Stockholm. Many of the young female students lived there and they frequently socialised in evenings and on weekends.
Astrid got her first secretarial position in 1927, at Svenska Bokhandelscentralen's radio department where she answered complaints from customers who didn't quite understand how to make their new radio work. The radio was the latest technical gadget in Swedish homes and anyone who was anybody wanted one.
The trips to Copenhagen
Every penny Astrid Lindgren was able to scrape together she reserved for her trips to Copenhagen to visit Lasse.
She lived very modestly and kept herself alive thanks to the food baskets her family sent from Näs.
"It is quite the extravagant pleasure to cut yourself a thick slice of bread, then butter it with prime Vimmerby dairy butter, finally lay a slice of Mum's cheese on top and then in the end devour it. This pleasure is repeated every morning, as long as there's something left in the basket."
In 1928 Astrid got a job at the Royal Automobile Club (KAK) where Sture Lindgren became her boss. She travelled down to Copenhagen every third month and often wrote letters to Marie Stevens and Lasse. In the replies she was told that Lasse was growing and developing. It was also at this time that Astrid categorically broke things off with Reinhold Blomberg. She couldn't imagine living with him in Vimmerby, mothering his seven children - some of which were the same age as her.
In December 1929 Marie Stevens was admitted to hospital with heart trouble. Astrid travelled down to Copenhagen to collect Lasse. At the time he was three years old, spoke Danish and considered the Stevens his family. When he understood that he wouldn't return he was devastated, "then he folded himself across a chair and cried quietly. Without making a noise, as if he realised that it didn't matter anyway, they'll do what they like with me. Those tears still cry within me and I suppose will continue to do so until I die. Perhaps it's because of those tears that I've always been so quick to take the child's side in any circumstance…"
When Lasse arrived in Stockholm he suffered from whooping cough and coughed through the nights. Astrid desperately tried to keep things together at the same time as doing her secretarial job, but soon realised it wasn't working. Her mum Hanna suggested that he came to live with them at Näs and in May 1930 Astrid travelled to Vimmerby with her son. Using a coach and horses they made their way through Vimmerby in order to openly demonstrate that Lasse belonged to the family and put an end to all the gossip. Lasse stayed at Näs for a year, cared for by Hanna and Samuel August as well as Astrid's siblings Gunnar, Stina and Ingegerd.
More about Lasse
In Stockholm Astrid was increasingly courted by her boss Sture Lindgren, who had fallen in love with his employee and decided to seek a divorce from his wife. In the spring of 1931 they married and moved into a one-bed apartment on Vulcanusgatan by S:t Eriksplan in Stockholm. Finally Astrid could bring Lasse home for good.
More about Sture Lindgren
Milestones in Astrid's life
Astrid graduates from high school with top grades in Swedish. Astrid is confirmed.
Astrid starts working as a volunteer at the Vimmerby Times.
Astrid gets pregnant, but does not wish to marry the child's father. She moves to Stockholm where she acquires qualifications as a secretary.
Astrid's childhood
Astrid's career
Astrid as an opinion-maker
About Astrid
About The Astrid Lindgren Company
Astrid Lindgren Text Publishing
/Start Page /Astrid Lindgren/Youth


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text:
Archive for Sylva Koscina
In Which the Entire British Secret Service is Gay
Posted in FILM with tags Dirk Bogarde, Hot Enough for June, John Le Mesurier, John Standing, Lukas Heller, Naked Lunch, Ralph Thomas, Robert Morley, Sylva Koscina, The Dirty Dozen on September 17, 2015 by dcairns
Or perhaps just very very British.
A useful idiot is someone working for the secret service who doesn't know it. In HOT ENOUGH FOR JUNE, Dirk Bogarde, nearing the end of his Rank starlet period, plays a Bohemian young fellow recruited by a dodgy glass company for a business trip to Prague — he's actually working for Robert Morley and John le Mesurier of the secret service.
Follow the routine of the late Robert Anton Wilson: every morning when you wake up, ask yourself, "Am I a useful idiot?"
Movie begins by tracking down one of those Corridors of Power we're always hearing about. One of the very, very few stylish shots in the career of Ralph Thomas, director. He'd already propelled Dirk through a number of DOCTOR films (his brother helmed the CARRY ON series). At the end of the corridor, John Le Mes checks in the belongings of a deceased agent — revealed to be 007. It's one of a number of cheeky gags dotted along the way, including a news headline where the film's director protests "I AM NOT A SPY!" Mostly, the film is a light thriller just this side of parody — its vision of espionage is clearly closer to the truth than that of Bond.
But Dirk gets his own Bond girl in Prague, Sylva Koscina (never in an actual Bond film, she did wave a speargun about opposite Richard Johnson as Bulldog Drummond for the same director). She gets some surprisingly sexy stuff to do.
Morley cautions Le Mes not to recruit anyone too susceptible to feminine charms. Then he warns him not to go too far in the opposite direction. Then he blows him a kiss.
Over a drink, Koscina asks Dirk if it's true you have to go to Eton to get into the British government. He admits it helps. She asks if communists ever get to go to Eton. He explains that they don't often go, but sometimes by the time people graduate from Eton, they are communists. She asks if they get into the government. "Mainly the Foreign Office."
Screenplay is by Lukas Heller, best known for THE DIRTY DOZEN, which is also actually quite a witty film.
Thomas isn't much of a director, really — early on, he tries some very slight Dutch tilts, for a casual conversation at Dirk's Bohemian flat. I figured he was limbering up for a bit of THIRD MAN business one we get to Prague (which is played by Padua, not too convincingly). But he omits to ever go lopsided again. I guess he didn't like the look of the shots when he saw them in dailies, but a re-shoot was out of the question. If he'd had the nerve to sustain this approach, it would have worked beautifully.
But there's some good comedy playing, the actual action is reasonably tense and plausible, and it's amusing to see Bogarde meeting his contact in the men's room. "Homosexuality is the best damn cover an agent ever had," types William Lee in Cronenberg's NAKED LUNCH.
The Sunday Intertitle: Birdman
Posted in FILM with tags An Actor's Revenge, Criterion, Francine Berge, Georges Franju, Judex, Kon Ichikawa, Louis Feuillade, Sylva Koscina on February 8, 2015 by dcairns
Look, I don't mean to brag — probably what I do mean to do is GLOAT — but I was turned loose in the Criterion storeroom during my recent New York excursion (alongside Scout Tafoya). I don't actually have a bucket list — too cheap to buy a bucket — but if I did this would have shortened it to the tune of one item. Bill Forsyth had described to me how his wife tried to drag him from the room as he frantically tried to stuff more swag into his Criterion carrier bag — "No, it's free! They said it's all free!" and I shared his Scottish thrill at the offer of unlimited audio-visual riches, while also bitterly regretting that the wretched laws of physics wouldn't allow us to simply put the storeroom inside the bag. What one feels, in short, is a mixture of pleasure and panic, rather like what I imagine it must have been like to meet the young Brigitte Bardot.
JUDEX was one of the films I not-quite randomly snatched up. Georges Franju's knowing recreation of Louis Feiullade's unknowing surrealism moves at his usual stately pace, something which confused me when I first saw EYES WITHOUT A FACE — GF just isn't interested in conventional dramatic tension. Here, he even fades to black in the middle of what is technically an "exciting chase."
Rather than tension, Franju relies on wondrous variety and what-fucking-next? plotting, mostly quite faithful to his source, but compressed and simplified. As I noticed while revisiting AN ACTOR'S REVENGE recently, movies based on serials pull all kind of tricks with narrative that normal movies wouldn't go near — in particular, introducing new characters very late on, to reinvigorate the action. Ichikawa brings in a two-fisted priest, whereas Franju boldly has a travelling circus ride past, in a deserted street, at night, just when the plot requires the services of an acrobat (Sylva Koscina). And she turns out to be the detective's ex-lover, newly liberated to marry him. The whole story is turned around because of this person showing up twenty minutes before the end (and having a girl-fight with the cat-suited villainess).
It's interesting to see how Franju mixes the film grammar of 1914 — irises and intertitles — with fluid camera movements which look more like the 40s than the early 60s when the movie was made. Really magnificent costumes, especially for Francine Bergé, and art nouveau sets and props — everything's a triffid!
Elsewhere, we have the avenging hero sans motivation, who has invented closed-circuit television in 1914, who can bring dead doves back to life, and who communicates with a prisoner using a kind of ceiling etch-a-sketch intertitle ~
And yet he has not thought to capitalize financially upon any of these inventions and abilities. Most extraordinary.
Extreme thanks to the great people at Criterion: Liz, Kim, Susan, Peter et al.
The '68 Comeback Special: I Protagonisti
Posted in FILM, MUSIC, Politics with tags Carlo Lizzani, Ennio Flaiano, I Protagonisti, Jean Sorel, Lou Castel, Luis Bacalov, Marcello Fondato, Pamela TIffin, Sylva Koscina, The '68 Comeback Special on January 16, 2014 by dcairns
While the Brits deluged Cannes '68 with swinging psychedelic romps, the Italians seemed to specialize in genre films with political subtexts — certainly the late Carlo Lizzani (he took a header off his balcony, aged 91, shortly after I wrote an appreciation of his BANDITI A MILANO and commented approvingly on the longevity of his career) was fond of tying social commentary to thriller or western stories, and something similar seems to have animated Marcello Fondato, director and co-author (with the great Ennio Flaiano, Fellini's regular writer up until EIGHT AND A HALF) when he made I PROTAGONISTI.
A group of tourists in Sardinia is invited, for a substantial fee, to drive into the wilderness and meet a real bandit. The thrill-starved modern civilized types can't wait to pose for photographs with this exotic barbarian, so they pile into a car and take to the hills, followed without their knowledge by the local police commissar and a zealous division of troops, all hoping to take down the districts most wanted man, and more or less happy to use the dumb tourists as bait.
All of this is curious enough, decently shot amid parched landscapes, and jauntily scored by Luis Bacalov, and with an attractive cast impersonating the unattractive, shallow characters, who might be more at home in a giallo, where they could get sliced to pieces for our amusement. Sylva Koscina and Pamela Tiffin provide female glamour, and Jean Sorel the male side. Lou Castel, the hunky bandit, is a man who would have had a busy Cannes if either of his two entries (this and GRAZIE, ZIA, previously reviewed in horror by Scout) had actually screened.
Fondato was one of several directors who had they debut feature scheduled to screen at Cannes — one does rather sympathise with those who protested that it was all very well for Godard and Truffaut to try to shut down the festival — they'd already had their careers launched. Fondato managed six more features, mostly comedies (classy affairs, featuring Claudia Cardinale, Monica Vitti and, er, Terence Hill & Bud Spencer).
If I PROTAGONISTI isn't ultimately as striking and impressive as it means to be, it's perhaps because the shallow characters remain protagonists — they don't implicate the audience, since we can feel comfortably superior to them at all times. Pam Tiffin plays an "independent woman" proud of relying on no man, but she's borrowed the money from one of the others in order to make this trip. There's sexual tension galore as all the men want to seduce both the women. Corrupt business practices are suggested in the background of one character. It doesn't quite add up to a cross-section of the modern malaise, but you sense that's the intention.
Still, the picture moves well, with typical Italian flare, and one set-piece, a headlong downhill foot chase, is both gripping and powerfully dynamic — the sheer unflagging momentum and duration have you wondering how much more intense can this possibly get, how much longer can it possibly go on?


Pamela-Anne Simon-Baragwanath wanted her mokopuna to enjoy the kind of community Christmas celebration she remembered as a child growing up in Moerewa – and because no one else was going to organise it, she did it herself. Hundreds of children turned out on Saturday for a day of games, entertainment, kai and a visit from Hana Kōkō (Santa). Everything at the event was free – from the ice creams to the bouncy castles, the Harley Davidson rides to the sausage sizzle – to ensure it was accessible to all. Photos by Peter de Graaf.


text:
Q: How to split index into multi-index with non-delimiter pandas I have this data frame:
   index         0
idxaa1cx1    some_text
idxbb2cx2    some_text
idxcc3cx3    some_text

I want to split the index into a multi index like so:
  idx_1      idx_2        0
  idxa      a1cx1      some_text
  idxb      b2cx2      some_text
  idxc      c3cx3      some_text

I've tried this:
df.index = pd.MultiIndex.from_tuples([tuple(idx.split(idx[:3][-5:])) for idx in df.index])

which returns:
idx_1    idx_2        0
          a1cx1      some_text
          b2cx2      some_text
          c3cx3      some_text

but the idx_1 column is blank.  And I've also tried:
df.index = pd.MultiIndex.from_tuples([tuple({idx[:3]:idx[-5:]}) for idx in df.index])

which only returns:
idx_1        0
idxa      some_text
idxb      some_text
idxc      some_text

and doesn't return the dictionary's "value".  My question is how can I split the index by an arbitrary length and get multiple columns?

A: You can use pd.MultiIndex.from_arrays:
df.index = pd.MultiIndex.from_arrays([df.index.str[:4], df.index.str[-5:]])
df.rename_axis(("idx_1", "idx_2"))

A: The minimalist approach
df.index = [df.index.str[:4], df.index.str[-5:]]
df

                     0
index index
idxa  a1cx1  some_text
idxb  b2cx2  some_text
idxc  c3cx3  some_text

A: You were very close.
You can do:
df.index = pd.MultiIndex.from_tuples([((idx[3:],idx[-5:])) for idx in df.index])

Result:
>>> df.index
MultiIndex(levels=[[u'aa1cx1', u'bb2cx2', u'cc3cx3'], [u'a1cx1', u'b2cx2', u'c3cx3']],
           labels=[[0, 1, 2], [0, 1, 2]])

A: On the other hand, if there IS a delimiter to split on (to help others):
newIndex = pd.MultiIndex.from_arrays(zip(*df.index.str.split(delim)))

redpajama_set_name: RedPajamaStackExchange


text:
by Charles Etheridge-Nunn
They kissed.
They kissed again and sat in each other's arms on the picnic blanket, ignoring the cherry blossom trees as the petals fell around them.
"How much do you love me?"
"More than anything in the world," they kissed and he meant it. Amongst the trees she was named after, the petals falling into their wine glasses, their hair, the gentle wind playing on their skin, making them hold each other tighter. It was perfect.
"More than the world itself," he kissed her again. "Even after the end of the world. I would still love you until there was nothing left but us."
And that was what Mark regretted saying to Sakura every moment after the meteors hit.
"I never get PDA's," Ben said.
"The what?"
"Public Displays of Affection. Like you and Sakura always do. I just couldn't do that myself."
"Oh. I thought it was something with computers."
The pair sat in the lower section of the coffee shop, the missing upper floor left nothing but blue. Small round tables were still in place, bolted to the floor. Broken glass lay everywhere, glittering in the morning sky and pastries slowly decayed on the counter-top shelves.
Ben's coffee craving had kicked in on the first day after the end of the world and his complaining swiftly became insufferable. Mark and Sakura had only survived because they were at Ben's when the apocalypse happened, so they felt indebted to help him get his fix. Their respective flats had been destroyed along with most of their possessions. The North Laine was intact in places, with a couple of shops open by the fourth day.
The electricity had stopped, but the gas still worked in some buildings, like the coffee shop Ben and Mark had stopped in earlier in the morning. Between them, they lived out barista dreams behind the counter preparing extravagant concoctions with all of the flavouring they could find, chocolate on top and tons of coffee. One taste, they realised they didn't know how to make fancy coffee and just prepared what they could.
Ben relaxed as he slowly drank his fourth coffee. Mark looked back through the café to the street. Sakura hadn't returned yet. She and Jennie, Ben's sister, were checking out the clothes shops on the street for anything which took their fancy. It had been three days since the end of the world and the first day had been spent at Ben's shattered flat with candles, wine and Scrabble, a very domestic apocalypse. They were behind on their looting, but most people picked apart the mall and the supermarkets rather than the North Laine.
"I love this mirror." Sakura tried to lift the mirror two times her size across the shop floor while Jennie played with the empty, broken till.
"We don't have a place to live yet. What are you going to do with that?"
"Check out new clothes," Sakura said, "then cover it up so people don't take it when we go."
"Okay." Jennie was busy with the make-up now. She always flitted from thing to thing, like a tall magpie, her long, angular nose making the perfect beak. She was still finding it difficult not to be so jumpy inside buildings now that the aftershocks had subsided.
"We're still finding a place to share, right? You and Ben and us."
"I don't know if I can live with him again. I was just visiting."
"Oh, oh, we could, like, find a place with flats and all live in different ones next door to each other, it'll be just like Friends!"
Jennie smiled, she admired Sakura's youth but grew tired of her enthusiasm.
When she had met her brother's friend Sakura, she'd expected a Japanese girl, not a tiny, pale English girl from Hampshire who wore almost exclusively pink and took exceptionally well to disaster. Jennie had had a panic attack when the building collapsed, but everyone else was fine. Ben loved disaster movies, Mark was a scout leader in training and Sakura was apparently completely unflappable. She loved everything.
"I'm just going to get a coffee." Jennie said, excusing herself while pocketing the nail varnish she had been playing with.
"Cool," Sakura said, admiring herself in the mirror. "Get Mark to come in here, he needs new clothes, too. Everything he has is covered in brick dust and blood."
"Never give that girl caffeine," Jennie told Mark as she entered the café.
"She doesn't believe in it anyway," he said.
"You guys all right in here?"
"Yeah. Just thinking about going to some second-hand book shops."
Ben frowned at Mark, "Go to a new one. It's not like you'll pay."
"Second-hand books are better. I like the feel of them."
Jennie carefully trod over the broken glass, fearful some might get into her open-toe high-heeled shoes. "So what were you guys talking about?" she asked.
As Mark was just on the "N" of "Nothing", Ben piped up "He wants to break up with Sakura."
Mark fell back into his chair and slapped himself on the forehead, "Schtum!"
Jennie looked outside to see if Sakura had noticed. There was a distant singing from next door. "Sakura sakura, no-yama mo sato mo mi-watasu…"
"Hmm, understandable," Jennie said quietly, she brushed away the glass on the counter with her sleeve, then leaned on it. "She does know she's not Japanese, right?"
"It's just a thing," Mark said. "Her parents gave her a Japanese name and she's made it who she is."
"And you want to dump her because of that?"
"Not for that reason, I'm not that fickle."
"Don't encourage him," Ben told Jennie.
"So why are you dumping her?"
Mark explained again, for the second time that day, that he had grown tired of Sakura. They had a great relationship a year ago, but he had been unable to work out how to break up with her. He wouldn't cheat on her and didn't want to hurt her feelings, so he had kept going with the relationship. He had been discussing these facts with Ben for the last three months. Ben always met this with incredulity. Sakura had been his friend in college and he had introduced her to Mark. Ben had reached 'the friend zone' with Sakura years ago despite his best efforts. He summarily gave up on seeing her as a woman, but as one of his best friends, who was dating his other best friend. This break up, even a potential one, hit Ben harder than any apocalypse.
As Mark was about to defend himself, Sakura bounced up to where a window had once been and looked in "Hey! Mr. Grumpy! Time for a makeover!"
Mark knew he'd been summoned. He could almost feel Sakura's disposition making the sun brighter through what used to be the front of the shop.
He turned around and smiled at her illuminated form, "I'll be out in a second."
Mark got up, considered putting his coffee in a paper cup to take it outside, realised no one would stop him with the heavy mug and walked towards the entrance.
"Don't say anything yet," Jennie whispered, just loud enough for Mark and Ben to hear.
"Why not?" Mark asked.
"I'll help you. Just, not right now. Your girlfriend's calling."
Ben looked quizzically at Jennie.
"I'm bored, and need something to do," she replied.
Mark took a breath and stepped outside. The instant he did, he was back there, on their holiday in Japan, taking in the smell of her hair, the curve of her lower back against his hand, her lips against his, the cherry blossom hitting them like snow.
Outside was almost as scenic, rubble and broken glass in the midday sunlight, Sakura bathed in light, as she always was, and he was lost again.
Before he knew it, Sakura was posing Mark in front of the mirror after dressing him in her choice of clothes.
"I prefer green," he said, futilely, looking at his new denim coat.
"But these go with your eyes."
"My eyes are blue/green. Both would."
"But this one makes you look cooler."
"Okay," his token response whenever she asked for anything.
Sakura folded Mark's old jacket, "I wish this had happened a year ago."
"Why? People died, tons of people."
"I know, silly. It's just, we would have been on vacation, in the Japanese countryside. I loved it there. It would be so pretty. I wonder if the trees are still there."
After finding the clothes Sakura liked the most, Mark helped her cover up the giant mirror and they left with Ben and Jennie. Jennie pocketed more make-up and a bright pink lighter from the clothes shop before she went.
The group were looking for a place to stay. Ben's video store was small enough to have missed the devastation, unlike the rest of the city which was now just ruins, but it was cramped and uncomfortable. The high buildings had suffered the worst, slowly falling apart even in the days after the last tremors, which was why Mark suggested they stay around the North Laine. Mark had become the de facto leader of the group because he worked for the Scouts and had been on all kinds of wilderness survival weekends. He taught them how to make fire, how best to prepare the food and all that was left was finding a better place to live, at least temporarily.
"Oh! A pub!" Sakura ran up to an intact pub. "We could run it, like in Cheers!"
She had been like this since leaving the clothes shop, trying to work out new lives for them all, even though Jennie was only supposed to be visiting. None of the ideas stuck, but at least they could find some alcohol for the evening.
Sakura looked for beer with Ben eagerly following. Jennie and Mark stayed behind, watching the pair.
"So you can help me?" Mark asked.
"I reckon I can. I've dumped a few people in my time."
"Yeah, but not when we're the only people left."
"Don't glorify it. There are people all over town. Just, not many living ones. It's not like she'll have a problem finding anyone, it's more you."
"Well trainee scout-master does give the impression you're either an anorak or a serial killer."
"From a thirty-four year old serial shoplifter."
"It's no fun when there aren't retailers and money doesn't mean anything. I miss money."
"I don't. Can we have a practice run?"
"Of the break-up?"
"While they're inside."
Jennie thought for a moment, then struck a bouncy posture and an enormous fake smile, "Go on."
Mark cleared his throat "Umm, Sakura, I…"
"Yes, sweetie?" Jennie bounced her head childishly as she spoke.
"Okay, stop that. She's not that bad."
Jennie returned to her normal posture, "Go on."
"Look, I um, I want us to…"
"You've not thought of what to say, have you?"
"I'm not good with words. I've been trying to think of something for three months now, but I can't think of anything that won't hurt her."
"You're dumping her."
"I know, but I'm good with remaining friends. I just can't be her boyfriend any more."
"You're supposed to be this big survivalist man, helping keep us together after a massive disaster and you can't just grow a pair and dump her?"
"Survivalist and scout master aren't quite the same."
"Close enough. It's got us alive, sheltered and well fed. I don't get why you can't just get it over with, you pansy."
Ben walked through a former door and Sakura climbed over a small section of wall, hands full of beer cans.
"What's the matter?" Sakura asked Mark. "Why the grumpy face?"
"He wants to break up with you." Jennie said, flatly.
There was a moment of shock, Ben and Mark both stared at Jennie who was evidently proud with herself. Then at Sakura, whose shocked face turned into a smile and a laugh.
"Oh you," she giggled. "Mark would never break up with me. We're going to get a big house, and have lots of kids and…"
Sakura was busily listing the perfect life she had envisaged for them, ignoring the devastation around them or the relieved looks of Ben and Mark. Jennie rolled her eyes, defeated this time. She wasn't going to press the issue.
The intact house the group broke into had enough beds for everyone and a pair of sofas. As the evening went on, they sat facing the dead television and drinking beer. Jennie and Ben lit candles in the lounge, the hallway and the bedrooms.
"I hope he gets it over with soon," Jennie said once they were alone. "I'm going to try meeting my friend Tina tomorrow. She's the only other person I know in town."
"How do you know she's not dead?"
"I don't, but I'd like to see if she's still around."
"You'd better not wait until they've broken up, that could take forever, even with your coaching. I don't get why you're doing it? Do you fancy Mark?"
"No, I just don't like her."
"She's too… happy. It bugs me," Jennie clicked the pink lighter, igniting the last candle. "Even with all of this doom and gloom, she's just as perky as ever. I'm a bloody wreck. I can't go near any of the bigger buildings and even being indoors here is freaking me out."
"You want to sleep in the garden?"
"No," Jennie pocketed the lighter again. "I just want her to feel as bad as I do."
"This is nice," Sakura said, curled up next to Mark. "Warm and homely. Maybe we could stay here?"
In each others arms they regarded the neat lounge, then Sakura noticed something and got up. Mark quickly wrapped his arms around her stomach and pulled her back onto the sofa.
"No!" he shouted. "No rearranging anything!"
"But, but the tv would be great over in the corner!"
They fell about on the sofa, Sakura wriggling out of Mark's grip and him trying to pin and tickle her. She giggled and fought back, she elbowed Mark in the ribs and ran to the television to move it.
"It doesn't work."
"For when the electricity's back on."
"I don't know if it will be."
"You worry too much."
There was silence for a moment, a rare occurrence when Sakura was in the room. Mark decided he would take this moment to break up with her.
"You know I love you, right? Well I do, but I'm not sure if I'm ready for us for ever, you know. I think I want a break, just for a while to get my head together. If you want, I'll leave, but it would be wrong to keep stringing you along like this if we're not both in it a hundred percent."
That was what Mark wanted to say. What came out was, "You know I love you…"
"Even after the end of the world," Sakura interrupted. "And it did."
"Yes, erm," Mark stumbled, rapidly falling away from his momentary bravado.
She threw herself down next to him and Mark put his arm around Sakura. Outside the large windows, the first drops of rain were hitting the dusty ruins of the city. Inside was lit only by candles and the light of the setting sun. Tomorrow, he thought. Tomorrow I can break up with her.


text:
Restrict access to cardholder data by business need to know
January 11, 2010 • Issue 10:01:01
By Tim Cranny
Panoptic Security Inc.
In this installment of our multipart series, we drill down on the seventh of the 12 requirements of the Payment Card Industry (PCI) Data Security Standard (DSS). We will talk about what the issues are, what merchants need to do, and what their ISOs, banks or processors can do to help them.
Requirement 7 is "Restrict access to cardholder data by business need to know." It is the first part of the section "Implement strong access control measures."
Requirement 7 is one of the more "high-level" parts of the PCI. Rather than a listing of narrow, specific technical requirements, it is more about having the right general rules in place to control access to cardholder data. While the more specific details are laid out in Requirements 8 and 9, Requirement 7 is the foundation for those details.
What Requirement 7 is all about
The essence of Requirement 7 is that the best security is preventative, not reactive. The best way to ensure that cardholder data is not compromised is to simply make sure as few people as possible have access to it.
This basic idea is often called the "need to know" or "least privilege" principle. People should be able to access the tools and information they need to do their jobs but should have no access privileges beyond that.
For example, bank managers need access to bank vaults and so should have it. But cashiers or janitors don't need that same access privilege and so should not have it.
Another key point is that it does not say security should stop people from doing their jobs. The ideal is that the least privilege principle should be invisible to people doing the right thing; it should only become visible and active when they try to do something wrong.
For instance, bank cashiers should have access to cash drawers and terminals, but security should kick in when they try to enter the bank vault, since they don't need that level of access.
Think of security privilege controls like the safety barriers on the side of a mountain road - they're always there but only interfere with traffic when something goes wrong.
The challenges of Requirement 7
Unlike some other parts of the PCI, Requirement 7 is simple to understand: There is no mystery about the purpose of the requirement, nor is there a cloud of obscure technical issues to confuse the merchant.
Like Requirements 5 and 6 (discussed in "Digging into PCI - Parts 5 and 6: Maintain a vulnerability management program," The Green Sheet, Dec. 14, 2009, issue 09:12:01), the challenge is more about having the discipline to do unexciting but necessary things before disaster strikes, as opposed to the psychologically easier task of responding to a disaster that has already happened.
Political will is often needed because merchants may need to improve (that is, change) business processes and how their employees operate. This often triggers active or passive resistance, turning supposedly simple compliance issues into political and psychological ones.
This is a rare case in which smaller organizations have an advantage over larger, more sophisticated companies. The smaller the organization, the simpler these Requirement 7 issues usually are.
For example, in the ultimate case of a one-person operation, there are no internal politics to worry about, and all these "who does what" questions simply get answered with, "I pass all these questions because there's just me, and I'm supposed to do everything."
In larger organizations, the political and organizational costs are likely to be much greater, simply because the issues are more complicated, and procrastination is a bigger danger.
One thing merchants (and their advisors) need to remember is that when this requirement discusses "access privileges," it's not just talking about accessing computer files. Any unauthorized access to cardholder data is a problem, so merchants need to take a proactive approach. Find any problems that exist and fix them, rather than take a minimalist "they didn't specifically say I had to worry about that" approach.
For example, physical access to paper records or POS devices is an issue, and I will cover it in more detail when I consider Requirement 9.
What merchants need to do
As with Requirements 5 and 6, merchants need to focus more on confronting the issues raised by Requirement 7 and doing the right thing, rather than on attempting to avoid the issue. With two main aspects to Requirement 7, there are two main sets of actions called for:
1. The right policy and process framework
Merchants must have a formal security policy that explicitly lays out a statement of least privilege. It need not contain fancy language or be complicated (simple and obvious is better). Something along the lines of:
Access to cardholder information, and access to devices that touch cardholder information (such as POS devices) is restricted to employees who have been formally granted access permission and who need that particular access to do their jobs. Unauthorized or improper access to cardholder data and systems is punishable by management actions up to and including immediate termination.
The merchant also needs formal processes to grant access permissions, but they don't need to be elaborate. A small organization might establish a written rule, such as, "You don't have access privileges unless your name is on the following list maintained by the manager."
That rule can then be combined with a set of rules for the manager, such as, "Only add names to this list if the person needs the access to do his or her job and seems trustworthy after a reasonable background check. Keep the list up to date; remove names of those no longer authorized as soon as possible."
2. The right technology to execute this access control policy
Merchants need an automated access control system, which is typically much simpler than it sounds. The biggest area of concern here is controlling access to computers. All modern computers already have built-in systems for user accounts and privilege controls.
In addition, all modern payment application or POS software must have these sorts of access controls built in, and they should be fairly easy to set up and use. If merchants' payment applications or POS software do not have these sorts of controls built in, they should upgrade their systems as an urgent priority.
What you need to do for your merchants
Again, merchants don't particularly need rescuing from technical nightmares to comply with this part of the PCI, so it should not be a significant pain point in PCI conversations.
Merchants might need assistance in liaising with vendors of payment applications, POS terminals and other PCI devices. They might also require some general advice on security and access control. ISOs can do this themselves, if they choose, but for many, it is simpler and better to partner with a security specialist as part of a broader PCI program that also deals with the other, messier, parts of the PCI DSS.
Dr. Tim Cranny is an internationally recognized security and compliance expert and is Chief Executive Officer of Panoptic Security Inc. (www.panopticsecurity.com). He speaks and writes frequently for the national and international press on compliance and technology issues. Contact him at tim.cranny@panopticsecurity.com or 801-599-3454.
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08 Jan 2016 - Cue Energy Resources Limited (ASX:CUE) spuds Naga Selatan-2 well in the Kutai Basin of Indonesia.
29 May 2014 - CUE Energy Resources Limited (ASX:CUE) CEO David Biggs presents at ASX Spotlight Asia about the oil and gas explorer and producer's operations.
05 Jul 2013 - BHP Billiton Limited (ASX:BHP) has increased its stake and taken operatorship of the a petroleum exploration project in Western Australia's Carnarvon Basin.
31 Aug 2011 - Oil and gas explorer Cue Energy Resources Ltd (ASX:CUE) posts a 30.5 per cent fall in its annual net profit.
21 Dec 2010 - Cue Energy Resources Ltd (ASX:CUE) says the Sampang PSC joint venture has approved the development of the $US100 million Wortel gas project.
30 Sep 2010 - Aus shares close lower. ThinkSmart Ltd (ASX:TSM) will raise around $16 million in equity to fund new growth in Australia and its expansion into the UK.


The corporate takeover of Britain, London: Pan. Simply because a child speaks another language than the native English language privileged in the United States, it does not mean that the child does not have a very clear and specific understanding of concepts e. Can prescribed use of music by a qualified person to effect positive changes in the psychological, physical, cognitive, or social functioning of individuals with health or educational problems. Collection of topic papers and reports. Thus a major debate in cultural globalisation discourse is whether it leads to homogeneity or new forms of diversity. Journal of Pedagogy 3 1 : 30— 42.
In Singapore, Lim 2008 documents a unique fusing of content area knowledge and multi-user virtual environments to create a role playing game in which the player must work together with other players, to solve social, ecological and cultural problems reminiscent of current problems. The answer, of course, is that cannot. Early years is recognised as an essential foundation for learning. Sanders, 2004 The increasingly globalised world culture can result in certain ideologies about children and childhood will come to displace the vital diversity of experience of being a child. But having succeeded in massively expanding primary education over the past two decades, India is now making major investments in secondary education, with the goal of universalizing lower secondary education by 2017 and sharply increasing enrollments in upper secondary school. Duhn emphasises and focuses on the bi- cultural nature of Te Whāriki, which is a reflection of Maori pedagogy.
Moreover, Asian parents want their children to mingle with English speaking children so that they would learn English. Our exchange of conversation helps his language development, as I continue to guess his meaning, supplying English words for car he shakes his head no , and bus no again, but with a smile this time. Many children dread the hours they will spend in the classroom while others of similar ages, but entirely different situations, dread the hours they will not. Gupta A 2006 Early Childhood Education, Postcolonial Theory, Teaching Practices and Policies in India: Balancing Vygotsky and the Veda 1st Edition. . Instead of just accepting this diversity in demographics, I believe that we should utilize it as an opportunity to engage young children in an ongoing exploration of the world. In: Li, M, Fox, J, Grieshaber, S eds Contemporary Issues and Challenges in Early Childhood Education in the Asia—Pacific Region, Singapore: Springer, pp.
But the concern that the United States is losing its edge has been growing steadily more urgent. Early childhood education and care in global discourses in Karne Mundy, Alan Green, Robert Lingard and Antoni Verger, eds. Transnational corporations are penetrating local markets and private cables and satellite system are aggressively promoting a commercial culture throughout the world. There is a rich conversation to be had about approaches to new challenges. Information has been spread globally through various tools of the media such as the internet through social media e. In other nations, large enough samples of students take the test to enable comparisons among states or provinces.
Comparative policy analysis shows that a few countries, like Denmark and Sweden, come close to the ideal. Marcy felt that she was finally building a class community and that she and her students understood each other better. As a child I always had one dream: I wanted to become a teacher. Finally, many people fear that a focus on global citizenship undermines local citizenship Rapaport, 2008. Furthermore, childhood experiences have long-term, intricate effects and implications on identity, whether positive or negative.
This was an improvement from 24. Modern means of cultural production and its homogenising forms of cultural representations dominate global mass culture. Global care chains: critical reflections and lines of inquiry. While schools might be local, access to the neighbourhood and of neighbours to the school has been restricted. Globalization and Education If Americans are to continue to prosper and to exercise leadership in this new global context, it is imperative that we understand the new global forces that we have both shaped and had thrust upon us.
The components of her philosophy include a focus on people, strategies, and tools. Childhood went from being a time that for the most part was used to prepare for adulthood to being a stage in life that is most important. Furthermore, a significant number of the companies moving into this area have been trans-national corporations. There are some remote and technological communication methods involved but they do not characterize the essential nature of the service Ebbeck and Waniganayake 2005. One of the risk factors contributing to obesity and type 2 diabetes is school lunch — today, school lunch consists of greasy and sugary foods served a la carte such as pizza, fries sodas or sports drinks. When a child with autism is taught in a mainstream classroom they are being valued as members of the human community, as it is their right to be included, no matter what their individual differences and abilities may be4. They also allow people from very different parts of the world to engage in the same programme — and student contact can be across great physical distance.
Learning English in school: Rethinking curriculum, relationships, and time. Exploration of the extent to which politics and policy are conditioned by global economic forces. Globalisation is also responsible for the unprecedented mobilisation of people, drawing them into an economic, social, political and cultural centre. Available at: accessed 31 October 2016. He Kupu — The Word 3 1 : 14— 22. Are you using it with students? Education Policy: Globalization, citizenship and democracy. Education held utmost priority in my family.
Eventually, vegetarian books and food options were added to school events. Recommendations that inform policy-makers are made. Myths about education and economic growth, London: Penguin. Zhou, X 2011 Early childhood education policy development in China. What is Globalization and why s it important for early years practitioners to be aware of it? Even our best and brightest are not achieving the way they should be. The consumerist and individualist values associated with globalisation privilege academic success and consequently increase the pressure to learn English as the global lingua franca.


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Phloeoborus rudis is een keversoort uit de familie snuitkevers (Curculionidae). De wetenschappelijke naam van de soort werd in 1936 gepubliceerd door Wilhelm Ferdinand Erichson.

Snuitkevers

redpajama_set_name: RedPajamaWikipedia


This book chronicles the discovery and analysis of animal fossils found in one of the most important paleontological sites in the world—Porcupine Cave, located at an elevation of 9,500 feet in the Colorado Rocky Mountains. With tens of thousands of identified specimens, this site has become the key source of information on the fauna of North America's higher elevations between approximately 1 million and 600,000 years ago, a period that saw the advance and retreat of glaciers numerous times. Until now, little has been understood about how this dramatic climate change affected life during the middle Pleistocene. In addition to presenting state-of-the-art data from Porcupine Cave, this study also presents groundbreaking analysis on what the data from the site show about the evolutionary and ecological adjustments that occurred in this period, shedding light on how one of the world's most pressing environmental concerns—global climate change—can influence life on earth.
Anthony D. Barnosky is Associate Professor in the Department of Integrative Biology at the University of California, Berkeley, and coeditor, with R. A. Martin, of Morphological Change in Quaternary Mammals of North America (1993).


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Roland Michael Campbell, Jr.
Roland Michael Campbell, age 49, of Lusby, MD passed away on June 7, 2021. Born on September 19, 1971 in Washington, DC to Roland Michael Campbell and Mable Ethel [Stewart] Campbell. Roland was in the National Guard for 8 years. He reenlisted back to the Army after 9/11 to help serve the country. He loved to eat, he loved watching football, stand-up comedy, watching movies of all genres and playing video games. He was an avid collector of comic books and a lot of DVDs. Roland Michael is survived by his wife of 21 years, Katherine Marie Campbell; 5 children: Roland Michael Campbell III, Rashad Miguel Campbell, Victoria Leanne Campbell, Kourtney Taylor Campbell and Brett Renfrew; mother, Mable E. Campbell; sisters: Kelli, Elaina (Mac) and Michelle (Chris) and brother, Kevin.
Roland Michael Campbell, age 49, of Lusby, MD passed away on June 7, 2021. Born on September 19, 1971 in Washington, DC to Roland Michael Campbell and Mable Ethel [Stewart] Campbell. Roland was in the National Guard for 8 years. He reenlisted... View Obituary & Service Information
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Behind the New Sonata's Interior Design
The 8th Generation Sonata was unveiled recently. It features a unique new exterior design, and a new interior design to match it. We sat down with the lead interior designer.
The earliest iterations of the Hyundai Sonata set the bar for family sedans, but the new 8th iteration is anything but standard. The unmistakably upgraded interior no longer feels like a family-mobile. Of course, some might say that the design overhaul is just part of the fully re-designed Sonata, but the interior change goes beyond a generational jump. We met with Researcher Shin Seung-hyun on the Hyundai Interior Design Team to get a scoop on his insights on the new Sonata's interior design.
The Sonata's new design themes are Sensuous Sportiness and Light Architecture
Light architecture is the design language dictating the interior of the new Sonata
Q. Could you briefly introduce the theme behind the 8th Generation Sonata's interior design? Light Architecture seems to be a recurring phrase.
Hyundai's new design philosophy is Sensuous Sportiness, and Light Architecture which we interpreted for interior design. It may still sound cryptic, but the words are almost self-explanatory. Light is used to depict levity and also luminosity. Light Architecture adds illumination to the design lexicon of lines and planes. On the exterior, the hidden LED DRL (Daytime Running Lamp) with the chrome gradation was a main example. On the interior, it less about the illumination and more about a sense of levity.
The design intent is quickly obvious when you sit in the cabin, facing forward. The seemingly buoyant crash pad over the top of the dashboard conveys what Light Architecture is.
The new Sonata's interior conveys a sense of both luxury and advanced technology
The intuitive design is largely attributed to the ambient light on the lower side of the dashboard, as well as the sense of levity presented through light design. The heavy, thick, and rigid-looking areas were renovated with a configuration that conveys an image of minimal cross-section, such as in the new dashboard, door, and console design. Such design considerations and advanced technologies, passengers experience a sense of luxurious, high-tech environment within the cabin.
Shin focused on striking a balance between sportiness and accustomed familiarity
Q. The 8th Generation Sonata features a sporty and dynamic exterior design. Its interior on the other hand, is relatively calm and grounded with a sense of minimalistic opulence. Was this pairing of opposites intentional with the interior and exterior design?
Generally speaking the interior shares its design intent with the exterior. However, for the new Sonata, we approached it slightly differently as a space that people occupy. It is the environment that surrounds the passenger, so we wanted a refined interior design that suits a medium-size sedan. We wanted the driver and the passenger to understand that they were in a comfortable and relaxing atmosphere inside the sedan, so that was what we focused on.
Aspects of the sporty design was kept for consistency with the exterior. The overarching frame and interface were designed for the driver, focusing on a sporty driving experience.
The Sonata's unique interior design
Hyundai Motor is taking design away from the typical family-car look of the past. The global market has diverse demands, and Hyundai is answering them. There is a common concept across all models, but each model does have its own personality. The recently released Palisade's interior is similar to the new Sonata for this very reason, but the Sonata has elements added that are appropriate for a mid-size sedan.
The SBW (Shift By Wire) transmission buttons are a textbook example of the new interior concept of the Sonata
Q. So that explains some of the similarities between the new Sonata and the Palisade. Then what are the key differences in interior design?
the Sonata's interior conveys a relatively lighter, sporty, dynamic image befitting a mid-sized sedan. Differences can be found also in detail and choice of material. The button-controlled transmission SBW (Shift By Wire) is a major example.
The Sonata and the Palisade do in fact, share common SBW components. In the Sonata, the SBW button sits on a slightly different design that reflects the interior, and the high-gloss black material feels more exclusive. Plenty of attention was given to less visible areas. For example, the turn indicator and windscreen wiper lever tips both have diamond patterns on them. A similar pattern can be found on the HVAC dials, and are intended to improve tactile experience and usability.
The carefully detailed finish of the HVAC dial is a great example of the luxuries of the latest generation Sonata
Q. The SBW was such a breakaway function from previous Sonatas. Was it implemented without hesitation?
We knew that the 8th Generation Sonata in many ways represented Hyundai Motor, and also convey a forward-looking message in terms of our design. We wanted the new Sonata to present a step forward in design and technology. We boldly went forward and implemented the SBW.
Once the decision was made for SBW implementation, the team collaborated with the engineers to find the most ergonomic design for the driver to press the button.
Usability of the area around the center console was enhanced by the SBW
Q. The missing stick shift, or even the transmission lever might be a point of contention from more conservative drivers. There is a certain tactility or viscerality that comes with it. How has the response been?
I am confident that those drivers will be won over.
You don't look back once you've used the SBW. That's how convenient it is. You'd be surprised how quickly you adapt to it, and beneficial it is. It frees up so much space on the center console, for example, and that space can be repurposed for so many other things.
In the case of the new Sonata, this includes 2 large cup holders to the right side of the center console, as well as spacious storage area just in front. Even the overall design is cleaner and more compact. These changes may seem trivial, but I hope that our efforts to present a refreshing driving experience does cause an impact.
Striking balance between cutting-edge tech and design
The full-digital cluster is the most apparent of the new Sonata's high-tech features
The 8th Generation Sonata's interior has several eye-catching features in addition to the SBW buttons. For one, the display screen is larger than the previous model. The latest iteration Sonata took steps forward with the 12.3-inch full-digital cluster and the 10.25-inch large-screen AVN. The 12.3-inch cluster uses a sporty UI with a youthful sensibility, appropriate for all the included driving modes such as sports and eco.
Shin says advancements in technology allowed the sleek design throughout the interior
Q. Latest technology allows for conveniences, such as the large display, but does it also pose challenges in terms of design flexibility?
This is quite clear. Better technology does help us implement high-tech design. For example, we're getting thinner bezels and panels. These advancements open up new opportunities and options to achieve sleeker designs.
The chrome from the door handle, and the ambient lighting on the dashboard bring together the interior design into a unified language
Q. Anything in addition to SBW that you want to discuss?
I do want to discuss the door handle. It is the possibly the most interacted part of a car that gets the least amount of attention or appreciation.
The chrome line starts from the door handle and brings the perception of the whole interior being a connected space. A similar design decision can be found on the outside as well, and that is the DRL, which connects the hidden lighting and the chrome line. It was a means for us to emphasize uniformity of design throughout the interior and exterior.
The interior design of the Sonata was certainly very challenging, but all the positive reviews have made it more than worthwhile
Some pressure is unavoidable because the Sonata is such an iconic flagship model for Hyundai, but I am pretty sure I am content with the end result. The market response to the new Sonata's design has been more positive.
What I am not sure about, and would love to know is, what are the potential Sonata owners saying on the showroom floor after experiencing the new design in person for the very first time
The_new_Sonata 8th_sonata 8th_sonata_interior_design interior_design HMG HMGjournal
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Amnesty International » Pete Jones Productions - I'm a professional commercial photographer working predominantly in London and the South East of England, but with a vast range of locational work both nationally and internationally.
I was asked to come in to Amnesty's newly refurbed offices in Islington and photograph, reportage style, members of staff as they go about their daily work. They were a fantastic team of people - so dedicated and focused on their goals - a very inspiring place to be.


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Michael D. Whinston is an American economist and currently the Sloan Fellows Professor at Massachusetts Institute of Technology. Previously he was the Robert E. and Emily H. King Professor at Northwestern University and is also a Fellow to the American Academy of Arts and Sciences and Econometric Society.

Education
Whinston received a bachelors of science in economics and an MBA in finance from Wharton at the University of Pennsylvania. He then went on to receive a PhD in economics from MIT.

Personal life
Whinston is married to political theorist and Brown University professor Bonnie Honig.

Honors
Frisch Medal: awarded the Frisch Medal in 2015 for a paper he co-authored with Ben Handel and Igal Handel titled "Equilibria in Health Exchanges: Adverse Selection Versus Reclassification Risk."

Distinguished Fellow: received the Industrial Organization Society Distinguished Fellow Award for his contributions and leadership in the field of Industrial Organization.

Robert F. Lanzilliotti Prize: won the 2014 Robert F. Lanzilliotti Prize for his paper "Internal Vs. External Growth in Industries with Scale Economies: A Computational Model of Optimal Merger Policy," co-authored with Ben Mermelstein, Volker Nocke, and Mark Satterthwaite. The award is given to the best paper in antitrust economics.

References

Living people
MIT School of Humanities, Arts, and Social Sciences faculty
21st-century American economists
Wharton School of the University of Pennsylvania alumni
MIT School of Humanities, Arts, and Social Sciences alumni
Fellows of the American Academy of Arts and Sciences
1959 births
Fellows of the Econometric Society


Amy Berryhill is widely recognized as one of the Treasure Valley's best professional Realtors. Born and raised in Boise, Amy's well known for her experience and commitment to excellence in housing and real estate, having worked locally in the residential market since 1996. Clients and industry peers alike know and trust her for her Idaho values, market knowledge, and proven abilities to problem solve. Amy joined Ralston Group in 2014 and exemplifies Ralston Group's brand, focusing on always providing "client-first" services.
With early education at St. Joe's, North Junior High and graduating from Boise High, Amy received her Bachelors of Arts in Health Science at Boise State in 1994. She entered the housing/real estate industry in 1996 where she joined O'Neil Enterprises, serving as Community Director, a sales and marketing position for new home construction for the Surprise Valley subdivision. Later she served on the sales team for the Rockhampton and Harris Ranch developments with Thornton Oliver Keller. She spent 11 years with Windermere, specializing in Boise downtown to the Boise East Side, focusing on residential housing, including condominiums, vacation and investment properties, and re-locations.
With nearly two decades experience, Amy is a skilled practitioner at local market analysis, negotiation, and all transactional aspects of real estate – she's a pro. However, what differentiates Amy from many of her peers is her passion and intuition in truly understanding client wants and needs, and her ability to provide them the tools, applied knowledge, and even emotional support to guide them to successful outcomes in selling or buying property. Recognizing that every client has differing objectives and accompanying life-circumstances, she always goes the extra mile – that's reflected in the fact that well over 90% of her client-base comes from referrals and repeat business.
Amy personifies Boise's healthy life-style and is a highly accomplished multi-sport athlete. At age 14 she started competitive bike racing and was quickly brought into the US Olympic Development Program. Placing in the US National Championships, racing for Team USA, and eventually competing in the World Championships in Denmark, her commitment to excellence is evident both in her personal life, and as a professional Realtor. Amy's family is well known in Boise – her dad Mike Gibson is a prominent family physician, and her husband John is the founder, owner and operator of the landmark downtown restaurant Berryhill & Co. and BACON. Son Gibson is a sophomore at the College of Idaho where he excels in academics and basketball. Go Yotes! Amy loves to spend time with family and friends, staying fit, enjoying get-away weekends in McCall, and helping John keep the restaurants Boise's very best.
Contact Amy @ 208-890-2069, or amyberryhill@ralstongrp.com.


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A superb blue and white brushpot, Transitional period
Lot 317. A superb blue and white brushpot, Transitional period. d. 18.6 cm, 7 3/8 in. Estimate 100,000 — 150,000 HKD. Lot sold 1,375,000 HKD (147,783 EUR). Courtesy Sotheby's.
of cylindrical form, the exterior delicately painted in fine details with a scene from the story Fengshen yanyi, depicting Wen Zhong riding on a mo qilin and leading his equestrian soldiers battling against another group of equestrian warriors, all amongst ferocious leaping tigers and soaring cranes before a city gate, the rim encircled by a band of pine branches and the foot skirted with dabs of cobalt-blue splashes.
Provenance: Collection of T.Y. Chao (1912-1999), and thence by descent in the family.
Note: This brushpot is striking for its dynamic and lively design that extends throughout the surface of the vessel. Rendered in fine almost pencilled lines, it depicts a scene from the story Fengshen yanyi/Investiture of the Gods, a major vernacular work written in the 16th century, narrating the military campaigns of the last evil king of the Shang dynasty against the sagacious founders of the Zhou dynasty. The central figure depicts the grand master to the King Zhou of Shang, Wen Zhong, mounted on the mythical animal mo qilin, the strongest among its kind. Although outnumbered by the opposing Zhou entourage led by a variety of deities, magicians and mounted cavalries bearing banners, he demonstrates his military prowess through his spiritual power to summon animals to fight against the enemy. Wen Zhong ultimately became the Daoist God of Thunder, Puhua tianzun, for his unprecedented loyalty and dedication to his people.
Brushpots of this type were often adorned with scenes from popular literature, such as one in the Palace Museum, Beijing, illustrated in Compendium of Collection in the Palace Museum. Ceramics, vol. 21, Shunzhi (1644 – 1661) and Kangxi (1662 – 1722) Period of Qing Dynasty (1), 2013, pl. 181; another sold in these rooms, 28th November 1979, lot 183; and a third sold at Christie's New York, 22nd March 2012, lot 1279.
An unusual large blue and white brush pot, Kangxi period (1662-1722). 6 7/8 in. (17.5 cm.) high. Sold for 108,100 USD at Christie's New York, 22nd March 2012, lot 1279. © Christies Images Ltd 2012
Sotheby's. Chinese Art including Selected Works of Art from the T.Y. Chao Family Collection, Hong Kong, 30 Nov 2017, 02:00 PM
Posté par Alain Truong à 17:07 - Chine, Blue & White Porcelains - Commentaires [0] - Permalien [#]
Tags : blue and white, brushpot, Collection of T.Y. Chao, Transitional period
AN EARLY TWENTIETH CENTURY NATURAL PEARL AND...
Lot 585. An Early Twentieth Century Natural Pearl and Diamond Necklace, by Tiffany & Co., Circa 1910. Estimate...
A BLUE AND WHITE EWER, LATE MING DYNASTY
Lot 318. A blue and white ewer, late Ming dynasty. 20 cm, 7 7/8 in. Estimate 50,000 — 70,000 HKD. Lot sold...
A blue and white brushpot, transitional
Transitional period blue & white porcelains @ christie's
A fine blue and white porcelain brushpot with a scene of the famous general lü bu. transitional period
A large blue and white brushpot. transitional period, circa 1640
A large blue and white brushpot (bitong), transitional period, 17th century
A large blue and white brushpot, bitong, transitional period, ca. 1640
A finely painted blue and white brushpot, bitong, transitional period, ca. 1640
A small blue and white brushpot, bitong, transitional period, ca. 1650
A blue and white brushpot, bitong, transitional period, ca. 1640
A blue and white jar and cover, transitional period
Commentaires sur A superb blue and white brushpot, Transitional period


In a landmark decision, Abu Dhabi has included Hindi as the third official language for use in its courts, alongside Arabic and English, as part of a move designed to improve access to justice.
The inclusion of the language – which is common among the UAE's millions of Indian expatriates – will allow foreigners to lodge claims and conduct other legal procedures in their own tongue.
The move follows a decision last year that require plaintiffs to translate court documents into English in all civil and commercial cases lodged in Abu Dhabi courts if the defendant does not speak Arabic.
Additionally, the move will allow Hindi speakers to better familiarise themselves with litigation procedures and their rights without the need for translation and will see Hindi-language forms be included on the website of the Abu Dhabi Justice Department.
"The adoption of multilingual interactive forms for claim sheets, grievances and request aims to promote judicial services in line with the plan Tomorrow 2021 and increase the transparency of litigation procedures through the provision of bilingual forms with allow foreigners to know the litigation procedures, their rights and duties without a language barrier," Al Abri said.
Abu Dhabi authorities have also created bilingual language guides to help explain complex legal terms and infographics in a bit to help people understand court processes.