Legendary choreographer Matthew Bourne's Romeo and Juliet will open at London's Sadler's Wells for a limited run from 7-31st August. The show will be a contemporary retelling of the classic Shakespeare tale and join Bourne's popular New Adventures repertoire, featuring some of dance's brightest young talent.
Matthew Bourne's acclaimed dance production of legendary film The Red Shoes returns to Sadler's Wells over the Christmas season. The double Olivier Award-winning show is based on the intoxicating film of the same name and sees life imitate art - with fateful consequences.
The Sadler's Wells theatre Box Office is located within the main Sadler's Wells Theatre building on Rosebery Avenue and is open from 10am to 8pm. Those collecting tickets from the Box Office may do so from an hour and a half before the performance is due to start. Collectors will need the card on which they made the payment and their booking reference number as proof of purchase.
"Sadler's Wells" as we know it today is the sixth theatre on the site since 1683, with the final theatre re-built in 1998. The name Sadler's Wells is derived from the original founder of the theatre, Richard Sadler and a well he found underneath the theatre that was thought to bring healing properties.
Back in the 17th century, the theatre was popular for its music concerts as well as it's healing spring! Music continued to characterise the theatre, especially opera, up until the Sadler's Wells Opera Company (now the English National Opera) moved out of the theatre in 1968.
The 18th Century saw veteran clown, Joseph Grimaldi, take to the stage throughout what was essentially a century of comedy and melodrama. Notable performances in the 19th centuries included early productions of A Christmas Carol (1841), a season of Shakespeare plays such as Macbeth (1844) and Anthony and Cleopatra (1849).
The Sadler's Wells Ballet School was established in 1931 and began touring the UK throughout World War Two, thus really putting Sadler's Wells as a dance house on the map.
Following the departure of the Opera Company in the late 60's, Sadler's Wells started to delve further into the world of dance, realising after the failure of their second Opera Company that dance was the venues niche.
Matthew Bourne's Swan Lake first performed at Sadler's Wells in 1995 before touring, which again drew attention to the theatre as a dance house.
The theatre was rebuilt in 1998 and opened with the Rambert Dance Company's Lolanthe. Since the grand reopening the theatre has exclusively hosted movement and dance performances and regularly host performances from Rambert, Northern Ballet Theatre, Birmingham Royal Ballet and the Scottish Ballet.
In 2019, two Matthew Bourne productions with play. A brand new production of Romeo + Juliet will play in the summer, and The Red Shoes triumphantly returns for the Christmas season.


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Production Job Descriptions
Administrative Producer
Collaborating with the Technical Producer, The Administrative Producer oversees a variety of administrative tasks and personnel necessary to the fabrication of the production from inception through performance.
Open Full Description
The Director works with producers and the creative team to orchestrate the mounting of the play or musical by unifying the many varied endeavours and aspects of production.
Technical Producer
Collaborating with the Administrative Producer, the Technical Producer manages the technical production team responsible for the fabrication of the performance from inception through performance.
Collaborating with the director, the Stage Manager organizes and coordinates all aspects of the theatrical production to ensure the smooth execution of each performance.
Working with other members of the creative team, the Costume Designer creates costumes for each character by designing clothes and accessories the actors will wear in performance.
The Costume Sewer
Working with the costume designer, the Costume Sewer acquires or arranges for costumes worn by actors during a production, and, as needed, sews, and makes alterations to the costumes.
Costume Dresser
The Costume Dresser is involved back stage to assist actors with costume changes and maintaining the quality and look of the costumes during the performance.
A theatre Lighting Designer collaborates with the director and creative team to create the lighting, atmosphere, and time of day for the production.
In consultation with the director, the Sound Designer plans and provides the music and/or sound effects in the play, and manages all necessary equipment to create the soundscape of the production.
In collaboration with the Director, The Set Designer designs the set or sets for the play, providing detailed drawings for the Set Construction crew and Set Décor crew.
Set Décor
Decorates set – including floor and wall coverings, furniture and all items that are not picked up by actors.
Working with the administrative producer, set designer and director, the Foyer Design team replicates the mood and style of the production within the foyer display-the first visual statement the audience encounters upon arriving at the theatre.
Props Manager
In coordination with the director and set designer, The Properties Master accesses and coordinates the large number of physical items used by actors onstage during a production.
Opening Night Coordinator
The Opening Night Coordinator arranges for drinks, light appetizers and other refreshments to be served in the foyer prior to the opening night performance.
Preview Night Coordinator
In consultation with the Administrative Producer, the Preview Night Coordinator facilitates invitations to members, schools and other invited guests to the Preview Night performance and acts as Front of the House Manager during that performance.
Final Night Party Coordinator
The Final Night Party Coordinator arranges for food and other refreshments to be served to the cast and the crew (and their spouses and dates) as well as the Powerhouse membership following the final performance of the production.
The Bar Manager will manage the foyer wine bar, foyer concession and green room concession.
Consulting with the Stage Manager, the Front of House Manager coordinates other front of house volunteers in the operation of the theatre during the night's performance.
Set Construction Head
In consultation with the director, set designer technical producer and stage manager, the Set Construction Head is responsible for the building and strike of all physical elements of the production's set.
Special Effects Coordinator
In collaboration with the director, technical producer and creative team the Special Effects Coordinator designs and implements special effects not readily conveyed through sound and lighting alone.
The Hair Dresser is responsible for the design and execution of hairstyle and color for cast members appearing on stage.
The Make-Up Artist is responsible for preparation and application of make-up to cast members.
Working under the direction of the Stage Manager, the Lighting Operator works in the booth to operate the light board following a pre-determined set of cues while the play is in progress.
Working under the direction of the Stage Manager in the booth, the Sound Operator cues predetermined sound effects and music using the sound board to create the soundscape for the production
Set Construction Crew
The Set Construction Crew works under the direction of the Set Construction Head for the pre-production building and post-production strike of all physical elements of the production's set.
Stage Hands
As needed, the Stage Hands follow the cues of the Assistant Stage Manager to move the set, remove and set props, assist with costume changes and other duties necessary to the successful execution of each scene in the play.
The Membership Coordinator supports the Powerhouse Theatrical Society to assist in the delivery of its programs and services by ensuring a diverse pool of members. This includes directly coordinating members and/or providing guidance, support, resources and tools to members.
Executive Job Descriptions
VP Facilities
VP Productions
Director of Communications and Marketing
Artistic Committee Liaison
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redpajama_set_name: RedPajamaCommonCrawl


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Tag Archives: Games Criticism
July 30, 2015 · 00:00
When I sit down to produce a singular piece of writing, I generally do a few things to spark creativity and get the ball rolling. I generally search Google Scholar, Critical Distance and my own library for things that might be related to what I'm writing and skim through whatever turns up. However, when I sat down to write this (actually more like the three or four times I tried to write this), I couldn't find too much on the subject. I posed questions about fun and its meanings on Twitter in hopes that someone would get me an easy citation, something I could look at and move on from, but there isn't much out there discussing the explicit definitions of fun. And I'm not going to offer much here as a clear direction either.
We talk about fun a ton, but do we know what fun is and how it works? Jesper Juul maintains that failure can be fun. Miguel Sicart tells us choice and agency are fun things. We might even be able to argue that Bogost lets us extend that fun is persuasive, but I doubt we want to take him that far. Like play, fun is one of those concepts that is difficult to pin down, but there have been fewer attempts to do so than play. It's nebulous not because we dismiss it, but because we talk around it, just missing it before we circle back around, again skipping by tangentially. Chris Franklin is probably our best resource on this, as will be the case throughout this essay.
It should be noted that I probably am not looking in the best place for the definition of fun. While parts of academia have embraced games as worthwhile objects of study, the role of fun has been diminished, if not outright dismissed. Fun is taught in game design classrooms (as an aim, not a concept) to prepare future developers and used as a reason for the influx of serious and educational games that we have seen in the past few decades. However, that is where academia's interest with the subject dies out. And even when we look to the use of fun in relation to serious games, it is something that is set up in, at best, conjunction with an outside motive (increased attention or retention) or, at worst, an infantilizing throw-in to boost an endeavor's rhetoric. Fun is merely enjoyment that can be coerced to productive and positive ends for students, instead of the mindless pleasure they might get from their Sonics and Marios.
This sort of negative position isn't enough to give us a robust definition of fun and definitely not enough to get serious games off the ground. If we look to the usage of 'fun' for insight, we know that it can be used as an adjective or a noun and thus is automatically attached to people, places, objects, or events through different verbs. We 'have fun' or some thing/place/person/event 'is fun.' At least grammatically, fun doesn't necessarily function on its own, unable to be 'pure' or essential. Instead, it's meaning is always joined with another.
I think we can agree that fun is inherently subjective and its manifestation flows from individual to individual and context to context. If I weren't afraid of its current meanings and uses, I might be more forceful in saying that it is emergent – created in moments of play within particular contexts (times, spaces, objects). In relation to time, the things we see as fun change and cycle around: They move from things we do to things we remember to things we have nostalgia for. I might enjoy fishing more than many people because it reminds me of the times my dad would take me to the state park near our house to fish. That memory gets invoked in the act, while also being reinforced in any enjoyment that comes out of present experiences. It is invoked and reinforced at the same time, in the experience of fun. Here it becomes attached to objects, events, actions, and people, where fun is not detached at all, but tied to a web of memory and knowledge.
Memory is one reason that I question the relationship between fun and meaning. Meaning in these situations might be tied to fun in some ways, but it is largely attached to an object, emotion, or feeling. It is the creation of fun that is meaning and not just some free-floating fun. This is where we get to the curious case of pure fun and its possible existence. What would such a fun look like? When I originally tweeted these questions, Lindsey Joyce suggested that the play of children would be something that might be an essential fun. However, not having children, being allergic to their laughter, and having sprouted from Zeus' head a fully-formed, humanity-destroying robot, I haven't experienced it personally. Or, at least, I don't have the memory of it.
If there is some kind of pure fun, what does it offer us? Does it still have meaning? I think it does, but I don't necessarily now how. Charlotte Hyde argues that this kind of play can be restoring, therapeutic even, and I can agree with that. But I often wonder if this function of fun is for our own self-edification or for our eventual service in the social worlds we inhabit. If we look at Caillois or Huizinga, play (and possibly fun by extension) exists mostly in the negative to labor or work, as that kind of restorative act that alleviates the pressures of everyday life. But, then again, this might just be a socially derived function that we read into fun, not necessarily how it can, should, or does function.
I think we have to treat pure fun as a kind of double-edged sword – something that can aid in our overall well-being and important for moving through every day, but also with a consistent possibility to harm us at the same time. Harm isn't the best word, but the other words I think of – mystify, distract, numb, etc. – don't offer the right amount of gravity to the issue.
Pure fun is what I think a lot of gamers want and something that game scholars have consistently fought against. Maybe it is a possibility, but maybe it is also just a dream that is too far out of reach in our socio-economic climate. Pure fun is a bastion of normative culture with walls of uncritical thought and gates of disengagement. It allows us to hide ourselves away in a space, allowed to disregard fun as important in any way. It's one of the reasons that serious and educational game studies took off – the object had 'real-world' implications unlike all the other things that players were dealing with. Here fun begins and ends in the act of play and never carries anything into or out of these experiences.
But at the same time, I recognize the importance of pure fun. I also recognize that my thoughts on education and fun and meaning are all tied up in an educational system that de-emphasizes its possibilities and usefulness. But, being in school for most of my life, and within media studies programs for the past six or seven years, has also taught me that we need reprieves from these places. We need arenas where we can turn off our minds and not care about the underlying issues within every minute of experience in our lives. Some people can do that easily and some can't do it at all. I'm kind of lucky that I came to games late and am not destroying my own protected space through my work (music has been one of the few things that I've sequestered). Pure fun is a necessity and a possibility, but also maybe a retreat into a fantasy that is unsuainable, conservative, and naïve. Playing with that line is something that we will always have to do.
That being said, I think we can say that not only is fun's definition flowing from context to context, but also its value flows in our various cultures. On a more micro scale, I wonder how we value something like pure fun, possibly as being set aside from the consistent value in games writing of 'just fun.' In games criticism, fun doesn't carry as much weight as it does in the popular presses. It is important, for sure, but when we aren't rating things on a zero-to-ten scale it doesn't matter as much. I think we agree that fun is constructed for the sake of sales and hype, certainly not for our own architecture.
Games criticism, if we can take it as a whole, has cared about the influences of games on players and their worldviews, valuing the experiences videogames have provided players. This de-values fun in some ways. But the de-valuing of that fun is important in one of games criticism's central thrusts: to legitimate games as a medium that does not necessitate fun. That process is a conscious and political act, not necessarily a denial of videogames' power in creating fun environments.
However, we cannot discount the role of fun within these experiences. Fun can make us overlook parts of experiences, disregard negative aspects of videogame texts, or remember things through rose-colored glasses. It's a mask that games can wear, directly impacting how we think of what we play and the experiences we have with them. It is a very real effect of gaming. There is another very obvious influence of fun on games criticism, but it is usually on the selection of texts and not necessarily on the reading of those texts. We pick games that are fun, or at least have caused fun, because we know that fun is a value of gamers – a way into their lives. Fun, for both its ability to create popularity and its capacity to disengage, is a strong force in even the most critical of environments.
Taking all of this into account, I think we have to understand fun as a kind of tool. It has politics and values. It has uses and abuses, sometimes within the same game or object. Mark Filipowich discusses jumping back and forth on that line in relation to Saints Row IV, writing, "I think we can believe in the idea of pure fun even while accepting that it doesn't exist." I think I agree with Mark on this, with one caveat: we need to understand the practices that keep beliefs from turning into dogmas, or from habits into mindsets. How do we ensure that we can construct a kind of pure fun that is responsible, sustainable, and conscious? Our work must not only try to influence the development of games that foster these kinds of fun, but we also need to teach players how to have different kinds of fun. Pure fun doesn't exist, but recognizing that its ghost can be just as destructive and limiting as it can be creative and liberating is a step towards unlocking its potential.
Tagged as Bogost, BoRT, Definition, Fun, Games Criticism, Juul, Serious Games, Sicart
March 22, 2014 · 11:18
"I think that we need to do more to come into productive conversation with each other, rather than just talking about each other. Many of us had a vaguely similar kind of education – probably too many of us, to be honest. At university I was trained to write about people, rather than writing with them. That's how essays work: you read up on your topics in journals and books, and then pour short summaries of each prior work into a self-aggradising historiography that only exists to prove that your work is new and unique in some way. It's the rubric: you have to shit on other people in order to get ahead."
– Zoya Street, "Reaching Criticity"
I would have liked to get this post out a few days earlier, but I think the work-induced ruminating and marinating isn't all that bad. For those of you who don't know, Critical Proximity (CP) was a conference put together by Zoya and others to discuss the state of the art, what games criticism might have been/be/become. Unfortunately, I was not able to attend, but since they're considerate people, there was a Twitch stream available to the public and the videos and transcripts of talks have been archived. This is a lengthy post because I want to treat each of the talks individually, there was just too much of value happening there not to. I start with a short essay on the collective conference and then offer individual responses to the talks that have transcripts posted alongside them.
Unfortunately, this is a solo act, but CP itself wasn't. Why put on a conference about games criticism? Why take this proposed solitary act – criticism – and craft a collectivity out of it? Well, to put it bluntly, without that collective, there aren't many of us doing this work, and if there are still people doing it, the knowledge produced isn't anywhere near what has been produced. I'll talk about this a bit more when I specifically discuss Zoya's talk, but I would like to note that I know that I'm definitely not writing this post if there isn't some sense of collective within games criticism. Honestly, I don't know how seriously I would be taking games at this point in my life if not for that collective of authors and ideas.
The big, over-arching issue that I'd like to talk about in this intro is the audiences of the conference (Sorry, I'm a one-trick pony). As I was watching the talks and looking at the Twitter feed (search #CritProx for some great, short responses to talks) there was a sense that everyone was talking to a slightly different audience. Why is this?
Well, to start with, everyone who sees themselves as being part of this thing has a pretty different background. We've studied different things, had different experiences inside and outside of games, and have different expectations of criticism (among other differences). This isn't a bad thing, but it is an added complication. While Kirk Hamilton and Gaines Hubbell talked about audiences very briefly, I never got a sense of what the audience of CP was, or what the proposed audiences of games criticism for each talk were. Yes, there was this immediate audience – those that showed up to the conference or those tuning into the Twitch stream – but it feels like only looking at that audience would be doing CP a disservice.
Of course, there's the audience that the name pokes some fun at. CP became something of a pre-conference to the Game Developer's Conference (GDC). I'm not certain how that happened or how the conference was organized, so I'm unsure of how strong the tie is there, but let's run with it for a second. It has been central to this generation/movement/period of games criticism to at least purport a utility to games design and development. We're writing because we love video games and we want to see them get "better" in the broadest sense. We see criticism as a possible vehicle for this. We hope that developers read our work and think about issues like representation, consumerism, player experience and a whole host of other issues. It is a hope and not a reality for the majority of us and I think many are alright with that being the case. We're just not OK with sitting on the sidelines when it comes to games.
However, many have talked about this before, so how about we expand the audience even more? CP wasn't about persuading a developer, writer, journalist, designer, etc. Many of the talks might have been addressed to these individual groups, but this wasn't an individual thrust, it was a collective one. Who was the audience of CP? I think it might be easier to ask: Who wasn't the audience of CP? For me, CP was saying to everyone who would listen – and there were a good number of people listening – games critics exist, games criticism is a thing, and we're going to be here whether you care or not. No, that's too toned down for CP. It was really, we're going to keep writing and fuck off if you don't think we should be taken seriously or if you don't think this knowledge is valuable. It was an amplified and indirect response to those calling for Lester Bangses, Roger Eberts, and Pauline Kaels of games criticism. It highlighted our own celebrities, yes, but also rejected the ideal of that kind of celebrity in its own way.
However, it didn't come with the stench of trying to legitimate itself. There was no sense of adolescence at CP like in so many other areas of games discourse. There was no mention of the Citizen Game of Video Kanes nor was anyone upset that people might not be listening. What we saw were a group of people who let go of the legitimacy of games argument a long time ago, freeing them up to discuss games themselves. It was a group of people that were hungry for more, of course, but not dependent on it. At the very least, it was refreshing. Much more than that, though, it was empowering. It was a call to action and an invitation. CP said, "Let's go out and critique games and make games and critique each other. If you're interested we'll be here, come over whenever you want to."
Responses to Individual Talks
Tagged as #GDC2014, Critical Proximity, Criticism, CritProx, Game criticism, Game Developers Conference, Games Criticism, GDC


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You are here: Home / Press Release Wire / Nevada State Bank Claims "Best in State" Honor Again for Third Year
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Nevada State Bank Claims "Best in State" Honor Again for Third Year
November 19, 2019 By Press Release Wire Leave a Comment
LAS VEGAS – For the third straight year, Nevada State Bank earned top honors in popular polls in Las Vegas, Reno and Elko.
"We're very excited and proud to once again claim 'Best in State' for Nevada State Bank. This is the third year in a row that our clients across Nevada have recognized our high standards of service," said Terry Shirey, president and CEO of Nevada State Bank. "We've been serving Nevada families and businesses for 60 years, and these statewide honors are a direct reflection of our colleagues' efforts, and their commitment to our clients."
Nevada State Bank's first 2019 award came in August with the announcement that it won in the categories of Best Bank and Best Local Place to Work in the "Best of Northern Nevada" poll of Reno News & Review readers. The publication reported that tens of thousands of readers voted in nearly 300 categories covering everything from their favorite people and places to the best businesses in the Reno-Sparks area.
The bank scooped up more awards in October, when the Las Vegas Review-Journal released its 2019 "Best of Las Vegas" results. Nevada State Bank earned the Gold award for Best Bank and received Bronze for Best Mortgage Lender. This year's "Best of Las Vegas" poll generated more than 9.4 million votes from all over the world, according to the newspaper. More than 2,500 companies competed in 316 categories.
The final award came in November, when Nevada State Bank won four Readers' Choice Awards. Readers of the Elko Daily Free Press selected the bank as the Gold winner in the "Best Bank" and "Best Lender" categories and the Silver winner in "Best Customer Service, Finance & Professional" and "Best Mortgage Lender" categories.
About Nevada State Bank (@nevadastatebank)
Nevada State Bank, a division of Zions Bancorporation, N.A., is a full-service bank offering a complete range of consumer, private and business banking services with branches statewide. Founded in 1959, Nevada State Bank serves 20 communities across the state of Nevada. Zions Bancorporation, N.A. is included in the S&P 500 and NASDAQ Financial 100 indices (NASDAQ: ZION). For more information on Nevada State Bank, call 702.383.0009 or access www.nsbank.com.
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After graduating from Concordia University's communication studies program, Nicolas worked in corporate communications and public relations for two years before taking the leap into film and television, and completing a masters in scriptwriting at the Université de Montréal.
He has since produced different types of projects such as short films, documentaries and fiction pieces. He has also helped shape Locomotion Distribution, a frontrunner in distributing short films worldwide. Last year, he produced Made in MTL, a short subject documentary series about Montreal, helmed by various up and coming directors, as well as the highly acclaimed web site Madeinmtl.com that has since then received 15 awards and distinctions worldwide.
Nicolas is presently producing and directing a feature length documentary about Globalisation and Identity Into the Mix, and developing several projects with other writers and directors. He is particularly interested in projects that explore multimedia.
Mouna joined BlueSponge in 2001 after she received a Bachelor's degree in Arts from Concordia University with a focus in Communication Studies and Liberal Arts. At BlueSponge, Mouna worked on more than 40 (many of them award-winning) mandates for a diverse range of clients from both the corporate and cultural world, including Bell Canada Enterprise, Bombardier, CBC/Radio-Canada, Tele-Québec, FIND (International Nouvelle Danse Festival), Seville Film Pictures, and the Montreal Museum of Contemporary Art. She also wrote and directed the more experimental web project SavedByTheBelles.com.
She has been invited to present her work in numerous venues across Canada and abroad, including INIS (Quebec film and multimedia professional school), Concordia University, the Banff New media Institute, the FCMM (New Cinema and New Media Festival), Horizon Zero (BANFF), Canadian Pavilion at Expo 2005 in Aichi, and was appointed to the jury of the Bell Fund Cyberpitch 3.0 prize. Her latest project, madeinMTL.com –a co-production between BlueSponge and Locomotion Films- recently won 15 international awards and disctinctions among which a Best of Show & Best of Art at the South By South West web awards, a CyberLion in Cannes and a BIMA in Art & Culture at the British Internative Media Awards. She is currently completing her Master's degree at the Interactive Telecommunications Program (ITP), Tisch School of the Arts, New York University, where she hopes to pursue her work on physical interactive experiences and product design.
Chosen by Playback magazine as one of their "Top Ten to watch", and by the Mirror's Best of Montreal readers' poll as "Best Local Filmmaker" (after Denys Arcand of course..), Ziad Touma is one of Canada's fastest rising filmmakers, working in film, television and new media.
Through his production company Couzin Films, Ziad produced, directed and co-wrote Saved by the Belles!, an award-winning feature film starring local nightlife celebrities and debutante starlets, which won Best Feature Film at Toronto's Inside Out Film Festival (2003) and was nominated for three 2004 Genie Awards (Best Achievement in Cinematography, Best Achievement in Art Direction and Best Achievement in Music – Original Song).
Amongst its many adventures, the Belles' journey introduced the innovative web site www.savedbythebelles.com, co-produced with BlueSponge, which won the Boomerang Awards for Best Arts & Culture Website and was nominated as Best Extreme Entertainment Site at the SXSW Awards.
From 1995 to 2001, Ziad delved into a wide range of topics and events involving cinema, music, fashion, pop culture, politics and lifestyle as a producer, director and on-air videographer for Canada's music television station MusiquePlus/MusiMax. His most recent television projects include directing TVA's popular weekly entertainment magazine Star Système Showcase's hit docu-soap series Webdreams produced by Galafilm, Showcase's third season of Kink (2004) for Paperny Films, writing and directing two short documentaries for the series Made in Montreal (2004) broadcast on CTV and TV5 International and produced by Locomotion.
As a freelance journalist, Ziad has reported on the latest tracks and trends of the local and international urban culture for some of Quebec's top publications such as LaPresse, Voir, ICI, Clin d'Oeil and Summum magazines. Ziad also penned a social commentary column for over four years in the monthly magazine Nightlife, after which he acted as its creative director.
Integrated Theater Arts Workshop Facilitator. Having encountered people's drama in Asia at a Japanese drama company Black Tent Theater, Hanasaki joined a local thatre in New Jersey in 1994. After learning Viola Spolin's improvisational drama methods and creative drama, she returned to Japan and started integrated theater arts workshops and performances in various parts of the country. She also focuses on Forum Theater, where she deals with such issues as family, gender and domestic violence. Her activities encompass a variety of fields including figurative arts workshops. Currently a part-time lecturer at College of Art, Nihon University and at Musashino Art Umiversity.
Immediately after entering Musashino Art University, Arakawa encountered workshops that utilizes art, design and drama. At Ruskin College Oxford (MA course) she analysed the modalities of workshops in Japan based on the theory of Public History, and published her studies in a book "Multi-Vocal-Reality: the Japanese Workshop Unveiled through Oral Records and its Past, Presence and Future" in 2004. Major specialities are workshop incubation and public history. Currently a part-time lecturer at Musashino Art Umiversity and Joshibi University of Art and Design.
Complete Nagoyan. Engaged in the tea ceremony and the Japanese flower arrangement for about 38years. Runs Rivernet, translation office in Nagoya.
Born in Kyoto. Collector of old Kimono from the Meiji to the Taisho period. Runs free school for junior and senior high student. In charge of conference decorating section in Rivernet.
Born in Taiwan. After graduating from National Cheng Kung University (Taiwan), Robin worked for an electronic appliances company before enrolling in the Master's Program in Art and Design of University of Tsukuba (Japan) where he became interested in interface design. During his studies there, he received merit award from the Street Furniture design competition '90 of the Kawasaki Steel Corporation. Upon graduation, he returned to Taiwan and established his own design firm and received numerous design awards as well as serving on the Board of CIDA (China Industrial Designers Association). From 1993 to 1997, he was a lecturer at the Industrial Design Department of Da-Yeh University and a researcher for CCL(Computer & Communication Research Laboratories) of ITRI(Industrial Technology Research Institute) in Taiwan. In 1997, he enrolled in the Ph.D. Program of University of Tsukuba. Robin was one of the organizing members of ICSID (International Council of Societies of Industrial Design) '95 Congress in Taipei and the ADC (Asian Design International Conference) '98. His specialties are industrial design and interface design. He has worked with the IT industries in Taiwan to develop many 3C products since the 90's. Robin was an Associate Professor at Tohoku University of Art & Design before joining Nagoya University of Arts and Sciences in 2003. He is a member of Japanese Society for the Science of Design.
Born in Yokohama, Japan, Chika holds a B.A. in History of Art from International Christian University (Tokyo), with a year abroad on exchange program at the University of Leeds in UK. As a coordinator at Japan Graphic Designers Association Inc. (JAGDA), Chika is responsible for implementing joint projects between Japanese designers and the international design community through project planning and publishing.
At the 2003 Icograda (International Council of Graphic Designers Association) World Congress Nagoya, Japan, which attracted 3,800 participants from 49 countries and regions with 40 sessions by 90 speakers under the theme VISUALOGUE, she was engaged in assisting the concept developing team, editing a wide range of promotional publications, organization of Japanese delegations to the previous congresses in Seoul 2000 and Johannesburg 2001, and coordinating speakers from around the world.
and theaters. He has worked as a free lance designer since graduation.
City Arts & Craft School.
Leimei Julia Chiu has spent most of her adult life working to help designers and students of design promote their work across national and cultural barriers. To this end, she has striven to help them achieve true cross-cultural experiences that will add to their lives and enrich their output as professionals. Born in Taiwan, raised and educated in the USA and later in Japan, Leimei has acquired a diverse cultural and academic foundation. Her areas of formal study were Mathematics, Chemistry, Linguistics, and Cross-cultural communications.
As a genuine product of multicultural education and life experiences, Leimei has made the best use of her abilities by concentrating on strategic development, execution, and consulting for design promotion around the world. Leimei serves as Director of Global Communications for the International Design Center NAGOYA (IdcN). IdcN is a multi-disciplinary joint venture between the Japanese government and a consortium of 102 corporations. It is one of the largest institutes in the world devoted to the promotion of design. In her capacity there, Leimei has instigated and acted as creative director for a multitude of design promotion projects. Her goal has always been to promote and inspire designers as individuals. This determination has led her to conceive of unique and challenging projects suited to the participants and their work. Leimei's workshops and competitions have consistently proven fruitful; those involved would certainly agree that the more demanding the project, the greater the results.
In her design promotion projects, carried out in both private and public sectors, Leimei has worked with major Japanese corporations as well as with governments and academic institutions in countries across Europe, North America, and the Pan Pacific Rim. From 1997 through 2001, Leimei acted as Vice President of the International Council of Graphic Designers Association (Icograda). A recipient of The Mainichi Design Award (jointly with the 2003 Icograda Congress 'VISUALOGUE' Planning team) and Icograda President's Award, she has served on numerous competition juries, including Red Dot Award, Brno Biennial, Design for Asia Award; and currently serves on the Jury of the Good Design Award, Japan's only overall system for evaluating and promoting design.


With stagnant iPod shipments, analysts are looking for a Mac revival to keep Apple's financial results on a torrid pace.
A small, handheld music player was responsible for vaulting one of the computer industry's most storied companies back into prominence. But it's the original Mac that has Apple Computer investors looking forward to Wednesday's third-quarter earnings call.
New designs, new features and snarky new commercials have been the highlight of Apple's renewed focus on pushing its personal computers. Analysts and investors are eagerly awaiting word Wednesday from company executives as to whether the new products and marketing strategies have paid off in terms of increased Mac shipments. The average estimate compiled by Thomson First Call points to $4.4 billion in revenue, and earnings per share of 44 cents, slightly ahead of the company's own guidance issued in April, following its sales, financial analysts have been closely studying iPod shipment data as they prepare for Apple's earnings announcement. Some analysts say Apple has finally run into the inevitable law of large numbers: It's really, really hard to sustain eye-popping growth rates as the installed base of any product increases. A few analysts have trimmed their expectations for this year's iPod sales and Apple's overall performance. The company's stock price has also dropped from about $90 earlier this year to $52.90 at the close of trading Tuesday.
But Apple chose to focus on that other franchise, the Mac, during the first part of this year as it weaned itself off PowerPC chips in favor of Intel's new processors. With that transition nearly complete, analysts will be closely watching Apple's guidance for the second half of the year for signs of market share improvements and new directions for the iPod.
Even modest share gains on Apple's part will translate into a healthy addition to the company's financial results. At Apple's shareholder meeting in April, Chief Financial Officer Peter Oppenheimer said each percentage point of market share gained would translate into about $2 billion in revenue.
However, it's still early in the transition to Intel's chips to make a completely informed prediction about Apple's market share, said Shaw Wu, an analyst with American Technology Research. The new Intel-based MacBook, one of Apple's more popular products, didn't start shipping until the middle of May and likely took a little longer to become available in large volumes, he said. Also, Apple acknowledged earlier this year that it felt some pain from purchases that were delayed pending the introduction of the new Intel-based systems.
But iMacs and MacBook Pros have now been available for several months, and the general interest in the new designs and new software needed for the Intel chips is providing a boost for Macs, Wu said. "Technology changes are what drive upgrade cycles, and that's what Apple is enjoying," he said.
Not only does Apple have new Mac designs to market, but it also has partially addressed one of the most frequently cited objections that Windows users brought up when asked if they would buy a Mac: the Mac's lack of compatibility with Windows applications. The beta version of the company's Boot Camp software allows Intel-based Macs to boot either Windows or the Mac OS. Apple plans to make this software a default feature in Mac OS X 10.5, scheduled for release later this year.
Boot Camp isn't a perfect solution, since users have to shut down one operating system to start using the other one. But it does let those who were tied to Windows applications for work or school use Macs, said Roger Kay, an analyst with Endpoint Technologies Associates. "Apple's done a very good job of explaining to people that there isn't a compatibility penalty anymore," he said. But other options are available: Those looking for a more seamless transition between the Mac and Windows computing environments can use products like Parallels' Desktop for Mac to run both operating systems at once.
Apple has also returned to mass-market retailers in its quest to move more Mac units. The company expanded a partnership with Best Buy earlier this year to test out Mac sales in several Southern California Best Buy stores. Apple will be closely watching the results of those tests to determine if the program will go national, said Samir Bhavnani, an analyst with Current Analysis.
It hasn't been the greatest of quarters for the rest of the PC industry, facing component weaknesses and softening demand. But those forces tend to have less of an impact on Apple because of its low market share, Wu said. Apple also has doubled its efforts to win customers in the educational realm, many of whom have to finalize their contracts in May, said Tim Bajarin, an analyst with Creative Strategies.
With the Intel transition almost out of the way, Apple can now focus on updating the iPod for the upcoming holiday season, Wu said. The are pointing to enhanced video for the new iPods, as well as an iPod Nano casing that is more . The company, as usual, has said little, but details about changes to the next-generation of iPods have trickled out, such as the news that longtime iPod supplier will be excluded from the next generation of the Nano.
Even though iPod growth looks like it's slowed this year without a major product refreshment, Apple is one hit away from keeping that train rolling, Bajarin said.
"There are still a lot of people who have not bought iPods. When you look at how many people worldwide own PCs and are digital consumers, I could see Apple having a number of years ahead of them driving demand," Bajarin said.


Brother employ precision engineering in the development of ink. These inks are specially designed to give you high quality results from your Brother printing technology every time. Brother original supplies produce images that are true to life, every time.
Brother's color matching process is designed to work with Brother's own ink formula. Low cost individual cartridges, just replace the empty color cartridge reducing wastage and cost.


Discussion in 'iPhone' started by markfc, Apr 15, 2009.
Does anyone know if there are better restrictions in iPhone OS 3.0?
We have a few to roll out but would prefer to be able to lock them down.
At the moment the only addition to restrictions in 3.0 is, I believe, the ability to remove in-app purchases from taking place.
What sort of security policies were you looking to implement?


The Adam Clayton Powell State Office Building is a 20-story tower built in 1970. The building facades combine limestone and granite cladding with aluminum and glass curtain walls. SUPERSTRUCTURES investigated the building facades from suspended scaffolding. A comprehensive report was issued with prioritized recommendations and detailed estimates. SUPERSTRUCTURES prepared construction documents for facade and curtain wall restoration, including the replacement of 1042 single glazed pivoting sashes with new thermally efficient windows and insulating glass. The firm also provided construction administration services.


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Street Fighter V the first SF game to feature a full blown story mode
Capcom just announced that they'll be adding on a free story mode expansion to Street Fighter V coming in June
By: Jeff Williams from Jan 25, 2016 @ 14:03 CST
Capcom just announced that they're going to be releasing an extended story mode for Street Fighter V coming up this June. This updated and extended story mode will be different then what'll be in the game when it releases.
The new story mode coming in June will add a lot of backstory to all the exuberant characters that are found in the game, letting even new players get fully acquainted with Street Fighter V. Capcom will have a mixture of real-time in-game engine cinematic's as well as over an hour of animated scenes to help bridge the gap between Street Fighter V and III, which will somehow be connected.
The main focus of the story will be on Ryu and M. Bison, though they haven't released any of the juicy details just yet on what direction the story will take. Hopefully they can cohesively explain the universe in a greatly connected fashion. Capcom plans on supporting Street Fighter V for a few years, which means we might see other story expansions in the future.
"We knew there would be a lot of new players who are jumping into the franchise for the very first time so we wanted to provide a way for everyone to become familiar with the eclectic personalities of each fighter. Each character has their own storyline that provides background information on what drives them to fight, and what their relationships are to the other characters."
NEWS SOURCES:twitter.com, blog.us.playstation.com, capcom-unity.com
>> NEXT STORY: iPhone 5se rumored to feature faster A9 and M9 chips, 16GB storage
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Our experience with NEPIRC, for both the Lean Enterprise training and Leadership Development training, was very positive. NEPIRC was willing to go beyond our expectations to provide the resources we needed without interfering with production. They worked around our schedules and our unique business needs very well. Frank Yamrick
Belrick Corporation
Swoyersville, Pennsylvania
Four Regional Manufacturing Executives Selected to Play Key Roles in Statewide Manufacturing Initiative
Four regional manufacturing executives were recently selected by Governor Tom Corbett to help lead the Governor's Manufacturing Advisory Council as part of a statewide Team PA Foundation-led initiative.
Frank Epifano, CFO of Sanofi Pasteur, Scott Meuser, Chairman and CEO of Pride Mobility Products Corp., Louay Mishu, Plant Manager at Procter & Gamble, and David Simpson, President of Diamond Manufacturing will join other manufacturing leaders, trade association representatives, Industrial Resource Center Executive Directors and Department of Community & Economic Development Secretary C. Alan Walker during the initiative.
The Governor's Manufacturing Advisory Council will address topics such as the Commonwealth's tax structure, regulatory environment, regional workforce issues, barriers to innovation, alternative energy options and international trade opportunities in an effort to develop policy and strategy recommendations that are designed to help Pennsylvania remain competitive in today's global manufacturing economy. The ultimate goal of the Council is to make recommendations that will further strengthen the manufacturing industry and allow manufacturers to add jobs for Pennsylvanians.
"Our region is fortunate to have such diverse and well-qualified representation on this very important advisory council," said Eric Joseph Esoda, NEPIRC's Executive Director.
At a broader level, small and mid-sized manufacturers will also be represented by Jack Pfunder, Executive Director/CEO of the Manufacturers' Resource Center of Bethlehem, Pennsylvania.
Northeastern Pennsylvania manufacturers who desire to express their particular views on the matters above are encouraged to submit written testimony to Eric Joseph Esoda, NEPIRC's Executive Director, via email to eric@nepirc.com. All testimony will be forwarded to the appropriate Advisory Council representatives.


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Q: Can USB to RS232 converter completely "mimic" classic RS232 port on motherboard? I bought notebook few days ago and of course it doesn't have serial port :)
I'm interested in satellite technology and most satellite receivers use serial port for communication with computer. That's why I need serial port.
Since my notebook doesn't have it, only solution is to use USB to RS232 converter. Can it completely "mimic" serial port which can be found on older PC motherboards? Are there some limitations?
Best regards

A: My experience has been that at least the control signals DTR/DSR and RTS/CTS are usually supported in USB to RS232 cables.  Don't know whether any other seldom used pins are.
I would stick with cables using FTDI chipsets, as I know they have these four handshake signals (along with TXD and RXD):

This chipset even has DCD and RI, so it has all the signals present on an RS232 DB-9 connector.
There are several USB to RS-233 cables on Amazon, search for USB RS232 FT232R.  Drivers are included in Windows 8 and later; you may have to download them for Windows 7 and earlier.

A: Look at commercial grade USB RS232 adapters such as Edgeport by Digi, they are about 2-4 times as expensive as the cheap USB adapters, but they can give you as close to a pure RS232 experience as possible, even maintaining the same Com port regardless of the USB port they are connected to. These will also give you all signal lines including RI as well.

A: Digi Edgeport, Moxa, but also cables with FTDI chipset should offer the full handshake logic.
The problem was in the past sometimes that on the Windows driver side, more exotic things like BREAK states or "RTS On Send" (RTS_CONTROL_TOGGLE in Windows Communication API) were not supported.
In the recent years I have not run into any related issues any more.

redpajama_set_name: RedPajamaStackExchange


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Donations to food banks and children's charities total $72,500
Farrow continues tradition of giving back to communities! - Donations to food-banks and children's charities total $72,500
Farrow today announces donations of $72,500 dollars to food-banks in locations where Farrow has offices and employees, as well as three children's charities, to which the organization has been linked recently.
Rick Farrow, Chairman and C.E.O., together with his brother John, Vice-Chairman, announced the annual charitable donations to local foodbanks company-wide totaling over $70,000.
"We've had another successful year, better than we anticipated, and as such, would like to help the communities in which our employees live and work. Since my father's time we've helped food-banks and other community support organizations in the Windsor area; organizations like the Goodfellows. More recently, it has become a company-wide tradition - this is now the fourth year in which we've donated to food-banks in cities across North America, which started as part of our 100th Anniversary celebrations. This year, we've added three charities which expand that concept – Children of Hope Uganda, Harmony in Action, and the Windsor-Essex Children's Aid Society are three organizations which do tremendous work for children in their respective communities. John and I are pleased that the success of our organization allows us to think of others at this time of year."
The recipient organizations were selected based on input from local area managers, employees and clients, and are listed on the page following.
Randy Motley President Farrow Canada
2001 Huron Church Rd. Windsor, ON N9A 6L6
randy.motley@farrow.com
www.farrow.com
The list of charitable organization to which the funds have been allocated:
Food Banks (Canada)
Bissell Centre (Edmonton)
Daily Bread Food Bank (Windsor)
Downtown Mission - Windsor
Essex Area Food Bank
Salvation Army - Windsor
The Food Bank of Waterloo Region
Unemployed Help Centre (Windsor) Windsor
Goodfellows Club
Windsor Lifeline Outreach
Food Banks (U.S.A.)
ACRS Food Bank (Seattle)
Second Harvest Hartland (Minnesota)
Capuchin Soup Kitchen (Detroit)
Greater Chicago Food Depository
Food Bank of South Central Michigan
Gleaners Community Food Bank (Detroit)
Food Bank of Western New York
Children of Hope Uganda
Harmony in Action (Windsor)
Windsor-Essex Children's Aid Society
Back to Community Involvement
Farrow Limited Donates Much Needed Trucks to The United Way
Food Bank of South Central Michigan Partnership with Hi-Lex


Boasting over 4,000 digital and multichannel retail professionals and 200 exhibitors, the Shop.org Annual Summit 2013 is right around the corner! Cuker CEO and Chief Creative Officer, Aaron Cuker will take the stage with the likes of Indochino CTO, Dennis Rohm, Tommy Hilfiger VP of eCommerce Jared Blank and True Religion Director of Global eCommerce, Gary Penn for a breakout session on Mobile Responsive Design.
By now we all know designing for mobile is no longer a luxury feature, but mandatory for brands to effectively market and sell to the 56% of smartphone users. This year alone, US retail sales on mobile are expected to increase 68.2% YOY to $41.68 billion. So with this rapid shift, how can brands keep up with the mobile joneses?
The answer lies in developing a comprehensive mobile strategy completely unique to your brand. In Aaron's discussion, he will analyze a variety of mobile tactics from mobile websites to responsive design and native mobile apps, tackling the steps in choosing the right approach for brand's specific goals and budgets. The presentation will also give insight to the strategies behind each panelist's mobile success and what's next for these leading brands in their mobile future.
Published on September 26, 2013 .


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Tribune Archives
Sports(Opens in new window)
RYAN DOESN'T CARE TO CHANGE HIS PUNCH LINE
By Don Pierson and Tribune Pro Football Writer
Buddy Ryan refused to apologize Monday for punching fellow Houston Oilers assistant coach Kevin Gilbride Sunday night in front of a national TV audience.
"Actions speak louder than words," Ryan said at a press conference called to clear up the bizarre incident just before halftime of the Oilers' 24-0 victory over the New York Jets in the Astrodome.
Offensive coordinator Gilbride was contrite and "embarrassed." Defensive coordinator Ryan stayed defiant.
"I said my part about it last night, and that's all I have to say," Ryan said.
Head coach Jack Pardee called it a "very serious incident" and said: "We've got to make sure our opponents are all wearing different color jerseys."
Oilers owner Bud Adams issued a statement: "I am very concerned and disappointed about the incident that took place last night between Buddy Ryan and Kevin Gilbride. I understand that what took place occurred during the heat of battle, but that does not excuse it. This type of situation will not be tolerated within our organization, and I certainly don't expect it, or anything similar to it, to happen again."
The feud between Ryan and Gilbride has been simmering all season, and not even the team's current 11-game winning streak has stifled it. Ryan openly ridicules Gilbride's run-and-shoot offense as the "chuck and duck," accusing it of putting his defense in vulnerable positions with turnovers and a lack of ball control.
After the Oilers fumbled on a pass attempt Sunday night, Ryan didn't like the play selection and reportedly called it "a high school play." Gilbride heard him and as the two moved toward each other, Ryan threw a punch at Gilbride's head.
After the game, Ryan called it a "difference in philosophy." Asked whether it might affect his chances of landing a head coaching job, Ryan said, "I don't see why it should."
Gilbride wouldn't comment Sunday night.
"Obviously, I was upset enough that I didn't want to say something I would regret," Gilbride said Monday. "What transpired last night was something that has been building for a long time. It was an unfortunate incident."
"After all we've been through this season, this is nothing," said receiver Ernest Givins. "This team is laughing about it."
The incident apparently spawned a scuffle in the press box between quality control coach Frank Bush, a former Oilers linebacker, and receivers coach Charlie Baggett. Assistant General Manager Floyd Reese reportedly had to separate the two coaches.
Pardee said: "It was nothing. It happens every day in everybody's press box."
The NFL said Monday it is strictly "a club matter." Although such incidents might not happen everyday, it is not uncommon for coaches to argue among themselves and even come to blows.
Ryan and Bears coach Mike Ditka came close to a fight at halftime of their only loss in 1985, to the Miami Dolphins. Ditka also has been captured on film yelling at former coordinators Vince Tobin and Greg Landry.
In 1989, Buffalo Bills assistant coach Nick Nicolau punched fellow assistant Tom Bresnahan during a Monday meeting, then got Bresnahan in a headlock and rammed him through a plasterboard wall.
The Bills' coverup failed when Bresnahan showed up in sunglasses and a turban to cover the stitches.
"Coaches have arguments all the time," explained head coach Marv Levy, to which an amused former Bills nose tackle Fred Smerlas added: "That's right. They beat the heck out of each other like that once a day. Sometimes twice. There are blood-spattered holes in every wall in the stadium."
What made the Bresnahan-Nicolau fight more shocking than Ryan-Gilbride was that Bresnahan and Nicolau were both offensive coaches, unaffected by normal bickering between offense and defense, and former roommates.
Adams hired Ryan to inject exactly the kind of fire and brimstone that seemed missing from the Oilers when they set an NFL record by blowing a 35-3 lead against the Bills in the AFC playoffs last January. Nobody punched then-defensive coordinator Jim Eddy that day, but Adams fired Eddy and defensive backfield coach Pat Thomas the next day.
In 1985, just before halftime of the Bears' Monday night game against the Dolphins, Ryan and Ditka got into a shouting match because Ryan was using linebacker Wilber Marshall instead of a cornerback to cover a wide receiver, Nat Moore. In the locker room at halftime, the two men came close to blows.
"We had a pretty good shouting match on the sideline right before the half. The players saw it," Ditka related later. "When we got into the locker room, I said: `We can do it any way you want to do it. We can go right out back and get it on or you can shape your (rear end) up.' "
The Oilers have won 11 games in a row despite abnormal circumstances. Offensive tackle David Williams was criticized by coaches for missing a game to be with his wife and newborn child. Defensive tackle Jeff Alm committed suicide three weeks ago after a friend died in a traffic accident.
"We just want to make sure we have a good working situation. Everybody doesn't have to be best buddies," Pardee said.
Bears coach Dave Wannstedt said Monday none of his assistants fought this season.
"We never threw the ball well enough to become a controversy," Wannstedt said.


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Savvas Savvas (, * 7. Juli 1997 in Drama, Griechenland) ist ein griechischer Handballspieler, der für den ASV Hamm-Westfalen aufläuft.

Karriere
Savvas begann mit fünf Jahren in seiner Heimatstadt bei GS Drama 86 mit dem Handballspielen. Im März 2014 wechselte er nach Deutschland und spielte im Jugendbereich von Eintracht Hildesheim. Anschließend lief er mit nur 17 Jahren für die erste Mannschaft in der 2. Handball-Bundesliga auf. 2015 wechselte der gebürtige Grieche nach dem Abstieg von Eintracht Hildesheim zum ASV Hamm-Westfalen, um dort weiter in der 2. Liga zu spielen. Im Sommer 2017 kehrte er nach Hildesheim zurück, wo er mit 289 Toren in 36 Spielen Torschützenkönig der 2. Bundesliga 2017/18 wurde. Zur Saison 2018/19 wechselte er zum deutschen Bundesligisten GWD Minden, erlitt jedoch bereits in der Vorbereitungsphase einen Teilriss des vorderen Kreuzbandes. Nach der Saison 2019/20 verließ er Minden. Im Oktober 2020 schloss er sich dem Zweitligisten TV Großwallstadt an. Im Sommer 2022 kehrte er zum ASV Hamm-Westfalen zurück.

Am 8. März 2023 bestritt er sein erstes Spiel für die griechische Nationalmannschaft gegen Belgien.

Weblinks
 Savvas Savvas auf der Website der Bundesliga

Einzelnachweise

Handballnationalspieler (Griechenland)
Handballspieler (Griechenland)
Handballspieler (Eintracht Hildesheim)
Handballspieler (GWD Minden)
Handballspieler (TV Großwallstadt)
Handballspieler (ASV Hamm)
Rückraumspieler
Grieche
Geboren 1997
Mann

redpajama_set_name: RedPajamaWikipedia


text:
OVP VMIX rolls out VoD rental platform for Facebook
Mar 29, 2011 11:30am
VMIX, the carrier-class online video platform, is rolling out a solution for live and on-demand video rental for content owners and studios looking to play in social networking site Facebook's big backyard. The company says the platform is the first of its kind, giving programmers a way to showcase and rent rights-managed video on Facebook fan pages, and giving consumers the option to watch the video immediately in Facebook, or later on a smartphone, tablet, computer or Internet-connected TV. VMIX co-founder and CTO Greg Kostello sees the initiative as a huge opportunity for the company and for content owners. "It's big," he said. Article


text:
Змагання з плавання в естафеті 4x100 метрів вільним стилем серед жінок на Чемпіонаті світу з водних видів спорту 2017 відбулись 23 липня.

Рекорди
 світовий рекорд і рекорд чемпіонатів світу були такими:

Результати

Попередні запливи
Початок запливів об 11:39.

Фінал
Фінал відбувся о 19:03.

Примітки

естафета 4x100 метрів вільним стилем (жінки)


The 1st episode of Keeping It Casual Podcast, get to know MJ & Bree & catch up with the girls every Wednesday!
MJ gets a friend request from a long lost ex…which spawned the question...CAN YOU BE FRIENDS WITH AN EX, IF YOU ARE IN A SERIOUS RELATIONSHIP?
As always, thank you for listening! PLEASE SUBSCRIBE & RATE US!


text:
1MATCH URL: https://assets.rappler.com/7CF3AC2FFAC24F40878B4D25A96E27B5/img/611751F2CF4A4DF881FAD2DAB05E35BA/danielmatsunaga.jpg
Erich Gonzales confirms breakup with Daniel Matsunaga
'It's true po that we're not together anymore,' Erich says
Published 4:16 PM, February 09, 2017
Updated 11:00 PM, February 09, 2017
BREAKUP. Erich Gonzales confirms she and Daniel Matsunaga have broken up. File photo by Alecs Ongcal/Rappler
MANILA, Philippines (UPDATED)– Erich Gonzales confirmed that she and Daniel Matsunaga have broken up.
"It's true po that we're not together anymore. It's over, " she said in an interview with ABS-CBN Thursday, February 9.
Erich said she would rather not reveal the reason of their breakup. The two were together for two years.
"I just want to move on. Hindi po kami nag-uusap. (We're not talking to each other) It's not true that we're talking. Hindi po kami magkaibigan. Walang third party po (We're not friends. There's no third party in the breakup)," she said.
She confirmed that she deleted photos of her and Daniel on her Instagram account. As of now, Erich said she would like to focus on herself.
Erich was asked if money had anything do with the breakup. However, she said: "Tungkol sa pera, ayoko na po magdetalye tungkol diyan. (With regards to money, I don't want to talk about it.) Like what I said, I just really wanna move on."
When asked what she's learned from this relationship, the actress said: " Lesson siguro is pag nagmahal ka, kailangan mo magtira ka pa para sarili mo." (The lesson I guess is when you love someone, you need to leave something for yourself.)
Meanwhile, in an interview with Pep, Daniel denied that they never broke up because of money.
"It was never about money like what a lot of people are thinking right now," he said.
Daniel also said that he's leaving everything at this point to God.
Rumors of the couple's breakup surfaced when Erich deleted their photos on her social media accounts and unfollowed Daniel and his family on Instagram. According to a report from Pep, Daniel pleaded fans to stop speculating that a third party was the reason of their breakup. He also asked for privacy for him and Erich.
The two first confirmed their relationship back in 2015. They met during the taping of Kris Aquino's Palawan trip. (READ: How Erich Gonzales and Daniel Matsunaga became an item)
They worked together on the set of Two Wives before having their show Be My Lady last year. – Rappler.com
Filed under:Erich Gonzales•celebrity breakups•Daniel Matsunaga


Traditionally this is where you find a long spiel about why we are different and frankly most of the time it is purely lip service. We launched in 2012 in an attempt to disrupt the RECRUITMENT industry by being different. Our mission statement is fairly simple and beneath that you will find various ways of making contact with us!
Businesses are built on relationships, and on that basis Purple Squirrel is a talent acquisition and recruitment business that enjoys connecting like minded companies and individuals.
We believe in game changing candidates. Talented individuals who are brilliant at what they do and in their chosen careers. That is the definition of a Purple Squirrel.
In terms of companies that we represent our standards are even higher and we work with some of the best, brightest businesses in the Tech/IT and Digital industries.
We are proudly South African and people. Openly admit to having a soft spot for start-ups (get in touch if you are in hiring phase - special rates apply). Based in Cape Town we specialise in Tech/Digital and IT recruitment as we are passionate about those spaces which makes it easier for us to get the job done!


text:
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Dinosaur Alert!
Book #40 of Nancy Drew Notebooks
By Carolyn Keene
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NANCY DISCOVERS DINOSAUR FOOTPRINTS IN HER OWN BACKYARD!
The most annoying boys in Nancy's class offer her a deal. If she can prove that a giant footprint they've found on the school grounds was really made by a dinosaur, they'll stop teasing her and her friends -- forever!
Always ready to take on a case, Nancy agrees, though she thinks the boys are wrong. Dinosaurs never roamed River Heights -- or did they? But then she gets a mean note: "Don't go where you don't belong!" When Nancy finds huge footprints in her own backyard, she's hunting everywhere for answers. It's a monster of a mystery, and she doesn't have a zillion years to solve it!
Carolyn Keene
Carolyn Keene is the author of the ever-popular Nancy Drew books.
Publisher: Aladdin (November 16, 2001)
Age 4 - 8
Children's Fiction > Girls & Women
Children's Fiction > Mysteries & Detective Stories
Children's Fiction > Readers > Chapter Books
Book Cover Image (jpg): Dinosaur Alert!
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(H) 09/11/18 4:00 PM vs Palisades Moravian Academy- Glasser Fields .
(H) 09/13/18 4:00 PM vs Blue Mountain Middle School Moravian Academy- Glasser Fields .
(H) 09/14/18 3:30 PM Practice Moravian Academy- Glasser Fields .
(H) 09/17/18 3:30 PM Practice Moravian Academy- Glasser Fields Cancelled .
(H) 09/24/18 3:30 PM vs Faith Christian Academy Moravian Academy- Glasser Fields .
(H) 09/25/18 4:00 PM vs Brandywine Heights Moravian Academy- Glasser Fields Postponed .
(H) 09/26/18 3:30 PM Practice Moravian Academy- Glasser Fields .
(H) 09/27/18 3:30 PM Practice Moravian Academy- Glasser Fields .
(A) 10/02/18 4:00 PM vs Blue Mountain Middle School Blue Mountain Middle School .
(A) 10/09/18 4:00 PM vs Palisades Palisades - Community Field MS Soccer .
(A) 10/12/18 4:00 PM vs Faith Christian Academy Faith Christian Academy-Sellersville .
(H) 10/15/18 4:00 PM vs Brandywine Heights Moravian Academy- Glasser Fields .


MANILA, Nov 6:—Manila, Nov 7: Hounded by declining circulation and rising costs, Philippine media entities are turning to the Internet for new sources of growth in revenue and readership.
"We're reaching a wider audience now that we're on the Web and we operate on less funds," says Marites Dañguilan Vitug, editor-in-chief of 'Newsbreak', which in February 2007 dropped its hard-copy fortnightly magazine format it had been putting out for the previous six years and transformed itself into a mainly online news and current affairs publication (Newsbreak.com.ph).
A community newspaper, 'Sunday Punch', published out of Dagupan City in the country's northern province of Pangasinan, is counting on its website, www.punch.dagupan.com, for more meaningful growth that will complement its print version.
Ermin F. Garcia Jr., the weekly's publisher-editor, says that most of the 'Punch's' online readers are Pangasinan folks who live overseas, who also encourage their relatives back home to subscribe to the print version. Subscribers of the print edition also ask their relatives abroad to log on to the website for updates.
"I am seeing a complementing role for each [of the print and online versions]," Garcia told the Asia Media Forum.
Meanwhile, industry chatter has it that one of the country's broadsheets is finalising moves to launch an e-paper that will be highly interactive accessible only to paying subscribers.
Internet usage in this country of 90 million people has surged over the past three years. From 21 percent in 2006, the percentage of the Philippine population who access the Internet has grown to 28.3 percent towards the end of 2008, according to studies made by market research firm Nielsen Media and Internet search engine Yahoo! conducted over October-November 2008.
The growth — noted both in Internet access from home computers and from Internet cafes — was observed not just in Metro Manila but also in all major cities around the country, and in all economic classes and age groups as well.
This surge in Internet usage came as readership of newspapers and magazines declined (from 20 percent to 15 percent, and from 18 percent to 7 percent, respectively, over the same period), along with television viewership (from 97 percent to 92 percent), the same survey said. Only radio registered a higher performance — from 69 percent in 2006 to 80 percent in 2008.
Increased competition among telecoms providers has resulted in improved connectivity and affordable rates, and Internet usage can only be expected to grow further. For instance, Philippine Long Distance Telephone (PLDT), the country's leading telecommunications provider, reported broadband subscribers of 1.2 million as of mid-2009, up 22 percent from the level the year before. This was on top of a 16 percent increase in its affiliate Smart Telecommunications' cellular phone subscriber base to 38.5 million over the same period, PLDT has reported.
Other service providers — Globe Telecom, Sky Broadband, Sun Cellular and Bayan Telecommunications — account for smaller market shares but are offering competitive rates, enabling more and more Filipinos to gain access to the Internet from their computers at home.
Media companies have yet to fully cash in on this phenomenon, however. Alexa Internet, which tracks usage of websites around the globe, lists only four news providers among the Philippines' top 100 websites: the two leading broadsheets 'Philippine Daily Inquirer' (www.inquirer.net) and 'Philippine Star' (www.philstar.com), and the two leading broadcast networks GMA Network (www.gmanews.tv) and ABS-CBN (www.abs-cbnnews.com). Philippine Entertainment Portal (www.pep.ph), which offers entertainment news, is also on the list.
These news providers have succeeded in embracing technology. For instance, GMANews.TV made its presence felt during the critical hours when two major typhoons whipped large parts of the country in September and October this year. It did not only report the news but also aggregated storm-related information from various sources. Its interactive 'disaster maps', which detailed the extent of damage and the conditions of people stranded in certain areas, proved useful to both ordinary viewers and people involved in rescue and relief operations.
Severino says it was an "exhilarating experience" to be at the centre of that "rapid interaction using cutting-edge social media in the service of the public".
In the case of 'Newsbreak', the shift from print to mainly online operations has meant thinking "in terms of being interactive, more visual," Vitug says. She notes that while the publication's older readers miss the hard copy and have not switched to the Web, the younger ones are "comfortable with our transfer to cyberspace".
'Newsbreak', which specialises in in-depth, investigative reports, funds much of its operations from grants. Revenue from its tie-ups with ABS-CBN and the 'Philippine Star' as a content provider also helps, but that now forces the group to ensure that Newsbreak.com.ph still carries content that is unique to it. Newsbreak also still prints occasional special reports in magazine form.
When will it start turning in profits? "We are sure it will come and we need to be ready when the media revenues migrate online," Severino says.
The Dagupan weekly, recently named by the United Nations Educational, Scientific and Cultural Organization (UNESCO) as "one of the 10 most successful newspapers in Asia", is actually one of the first provincial publications to go online. In 1997, 'Sunday Punch' set up a website and actively invited other community newspapers to follow suit, with the objective of eventually setting up their own portal.
Daily broadsheet 'BusinessWorld' was one of the first major Philippine broadsheets to go online, launching its website, http://beta.bworldonline.com/, in 1994. Back then, recalls BusinessWorld Online COO and editor Mike Marasigan, the cost of getting connected was exorbitant — about 10,000 U.S. dollars a month for a 64kbps line and about 100,000 dollars a month for a 2Mbps bandwidth, which now are available only for a few thousand pesos. BusinessWorld Online tried to keep its expenses down by also being an Internet service provider (ISP) for the paper's subscribers.
But "challenges on the revenue side, the conflicts in culture within the company, as well as the marketing side", says Marasigan, were too much to handle. BusinessWorld Online has recently been folded back into the main BusinessWorld Publishing Corp. as a department. Marasigan had by then left the company.
The Philippine media industry is adopting a wait-and-see attitude it seems, as it still does not see clear, sustainable opportunities online. It is clearly a 'developing story' as shown by the state of influx on said issue ( *From Asia Media Forum).


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The competition for junior talent between sporting codes has never been tougher with more options available to young athletes than ever before. More athletes than ever are switching codes if their chances of making it big their primary sport start to fade...but what about the ultra-talented young people who never get a genuine chance to excel?
I've just finished reading a fantastic book titled Outliers: The Story of Success by Malcolm Gladwell - a book that asks:
Why do some people achieve so much more than others?
Most people will think that traits like hard work, determination, skill and maybe genetics all play a significant part and Gladwell doesn't argue that these attributes are in any way unrelated to success. But what Gladwell does argue, and very successfully in my eyes, it that opportunity is one of, if not the biggest, influence on future success.
My favourite chapter discusses how date of birth impacts the opportunity for success in sport. Young people that are born within 4-6 months of the cut-off date for underage representative teams have a much greater opportunity to develop into elite athletes. This makes sense, 6-8 months can see huge differences in strength, size, coordination and maturity among young people. Those born soon after the cut-off date may have up to a 364-day advantage over the youngest in the same age group.
Gladwell goes on to provide an example of a world-beating Czech underage Ice Hockey team that had more than half of the squad born in the 3 months after the January 1 cut-off date. The eldest in the age-group are more likely to stand-out amongst their peers, get selected for representative teams and then benefit from the additional high-level coaching and training that comes with selection.
I've witnessed this transformation myself, as young guys would come into senior cricket, say as a very talented spin-bowler but possibly lacking in other areas of the game. Given 12-months in a state training program, their batting and fielding would improve significantly, as well seeing great improvement in their primary skill.
Those born soon after a sport's cut-off date may have up to a 364 day advantage over the youngest in the age group.
This all sounds great in theory, but a single example of a Czech Ice Hockey team seems a pretty small sample size. So I decided to do my own research. Below is a table showing the number of players born in each month from the 2017 U19 National Cricket Championships. Keep in mind the cut-off date for cricket is the 31st August, except in the NT where they play a winter season and the date is 1st Jan.
A completely equal distribution would result in each month having 8.33% of annual births. It is logical to assume that as some months have more days than others and that other factors may also have an impact on birth timings, that not all months would have exactly 8.33% of births. This is true; ABS data from 2005-15 shows that the highest number of births take place in March and October, 8.6% of births occurred during each of these months in the 11 years to 2015. The lowest month was February with just 7.9%, but clearly there is not a significant difference in Australia between the month of birth. The table above shows that in Australia between 2005-15, 33.3% of births occurred between September and December and 49.4% between September and February - only slightly more than a completely equal monthly distribution.
We can now see a clear advantage for cricketers born between September and December - in fact 48% of players in the U19 Nationals were born in this 4-month period and 60% were born in the 6 months after the August 31 deadline. This increases just slightly when NT, Vic Country and ACT/NSW Country players are taken out of the calculation; it seems that the birth month is a little less important for players from regional areas. This may be a product of the greater opportunity or expectation for country players to compete in adult competitions once they are capable. So there is a slight discrepancy from the norm, but this alone is not necessarily indicative of a clear disadvantage to those born later, so let's look at the 2017 U17 National Championship for cricket now.
The U17 Nationals show an even stronger advantage for those born within 4-months of the cut-off date. More than half (54%) of participants are born within the first 4 months after the 31st August and 73% are born within 6 months of this date. It seems the advantage is stronger at the younger age-group, perhaps because it is more likely that these players are still playing in junior rather than senior competitions. Players born in July and August need to be super talented to get a look in at this level. This data clearly shows that Cricket Australia is potentially missing up to 40-50% of the age-group that may be equally talented, but are over-looked because they are not standing out in their age-group.
Think about that! Up to 50% that may be changing codes or giving up sport altogether because they are not recognised by the talent pathway. Not to mention the players that may never play for their state or country, but give up the sport simply because they struggle against, bigger, stronger and more advanced players. These players could have become stalwarts at the community level if they had stayed with the sport. After all, who wants to spend 6 hours in the field not getting a bowl and batting at 8 while older players dominate? Is it any wonder the attrition rate between junior and senior competitions is well over 50% in most clubs, most seasons?
We have seen a clear trend in underage cricket, but what about at the elite level? Does this carry through to Test cricketers representing Australia? It certainly does - Steven Smith is a freak and a clear exception to this trend (b. 2nd June). But look at the birth months of the 13 players that represented Australia in the recent Ashes series. Once again, more that half (54%) of players were born within 4 months of the end of August while nearly 70% were born within 6 months. If you are born in August, you can almost give up your dream to wear a Baggy Green!
Returning to the title question; given this information, it is time to rethink our elite pathway structures? We now know the problem, but what is the solution? Well, there are several possible options that Cricket Australia, state associations and other NSOs could look at, as it should be noted, that further investigation would likely find similar statistics across many if not all sports.
Option 1 - Create B Teams
Create B teams for representative squads that are solely for players born more than 6 months after the sport's cut-off date. This will provide that cohort of athletes more opportunities to gain elite level coaching and training. Games or even carnivals can be arranged for B teams to keep these talented players involved and help them to develop to the next level.
Option 2 - Vary cut-off dates
Varying the cut-off dates for representative squads will ensure it is not always the same players being selected and given the opportunity to access elite coaching and training. This needs to be managed at a national level to allow all states to reward talented players that do not meet the traditional age-group requirements.
Option 3 - Quotas for age-groups
Representative teams could be restricted to having half representation from players born more than 6-months after the cut-off date. This may discourage some of the older players who do not get selected, but should not be have as severe impact as they are more likely to still be performing strongly in their age-group levels.
Option 4 - Coordinate adjacent representative carnivals
Run the traditional U17 or U19 Carnivals but also run adjacent carnivals for B Teams or those born more than 6 months after the cut-off date.
Yes this would cost a lot more, but what is the return on investment for doubling your talent pool?
http://playerwelfare.worldrugby.org/?documentid=110
https://psychcentral.com/blog/archives/2013/03/23/the-relative-age-effect-in-sports-its-complicated/


so yet again wargaming released another update which we all know just opens more problems for non-HD users... well this time around i get stuck at the login screen either continually showing "logging in" or "synchronizing consumables", i left the game for like 30 minutes to come back to it STILL being stuck at loading screen. i removed XVM and tried again, repaired game files and tried again, tried safe mode, same thing, uninstalled the game and re-downloaded it, nothing. then i simply just tried another account which loaded in perfectly fine, but other than that nothing worked. GG wg.
Perhaps there's something wrong with your account. Without dxdiag reports and crash files, we're just speculating.
As for releasing updates, well, it's a free to play game. We have content cycles, and you'll be hard-pressed to find a free-to-play game that doesn't release frequent updates. We do our best to make sure the graphics changes etc. will run on low-end machines but we're also making graphical improvements etc. to the game which will inherently affect machines that are below the minimum requirements for the game in the first place.
i submitted a ticket this morning but haven't received any help yet, so im bound to my own resources for now. quite annoying.
Try rebooting your PC. I've had same problem once, there was also no sound while the game was loading and the background video was playing. Reboot fixed it for me.
Edited by BeigyIsGod, Jun 14 2018 - 21:35.
If your comfortable downloading it, I have a link in my signature to a utility I made for Mac users. If you download it and click "repair wrapper" in the WoT tab that ~should~ help. If you don't feel comfortable downloading a strangers piece of software, then in the the same forum post that link takes you to it tells you how to do it manually on your own.
Basically your getting rid of all the background files that are in your library folder, the ones that it "syncs" with. This will restore it to default and usually fixes the startup sync issues.
Edit: sorry, I mean the reset wrapper button, that should do it.
Has Wargaming Policy changed for the WoT Mac Wrapper in regards to Support Tickets?
Here is an except from the [READ THIS BEFORE DOWNLOADING/LAUNCHING THE MAC WRAPPER!] Forum - http://forum.worldof...he-mac-wrapper/ - which states that all Support Tickets will be redirected to the WoT Mac Wrapper Forums.
You do not know me however I have been very active in the WoT Mac Wrapper Support Forum and have some success in providing solutions for users.
I strongly recommend you follow the instructions from dstud208 exactly especially in regards to the use of his utility - Study Utility. His utility has solved problems for what seems like countless individuals including myself who were experiencing issues with WoT Mac Wrapper. The utility is easy to use and provides a quick and simple [just click some buttons] interface.
I noticed that you mentioned that you were running XVM - have you tried launching the WoT Mac Wrapper in [Safe Mode]?
Completely delete the WoT Mac Wrapper - using either the Study Utility or following dstud208's instructions exactly step by step.
Download the Game directly from the Wargaming web page. Do not use an [old] download.
Launch the WoT Mac Wrapper and click on [PLAY] and you reach the Garage without issues then this confirms that a Mod was most likely causing an issue.
If you want to install Mods - I recommend that you only use Mods available through the MOD HUB WORLD OF TANKS - https://wgmods.net - versus downloading from individuals.
Edited by black_colt, Jun 16 2018 - 00:14.


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It's been way too long since I posted here. It's not because I haven't been interested in cycling, advocacy, complete streets, or simply getting the word out... it's because I've been looking for a new job.
OSU proved not to be the place for me, and now I'm looking for something else. No, this isn't a request for help or plea for you to look for jobs for me, but it's just an explanation of where I've been, especially with all the crazy news going on with cycling in Columbus recently. But I haven't even been on my bike more than a couple times in the month of July, unfortunately... interviewing in the summer sort of means you need to arrive at your interview looking something less than a sweaty mess, and since it generally also means wearing a suit... you get the idea. Hopefully the search will be over soon and I'll be able to get back to work.
But this brings up an interesting point that I haven't really thought about before, as I was sort of expecting for too long (hence my staying there so long) to retire from OSU eventually and not having to change my commuting habits. Every time I've heard from a company that wants to interview me, I've been checking the length of the trip to the job site to see if it's bikeable. And getting away from the simple up-and-down High Street commute is proving to be more challenging as I look at jobs in Dublin, Westerville, Worthington, and downtown.
So bear with me while I complete this search and get back to work. And I'll keep you posted with what I'm doing to stay on the bike - it's another chance for us to all learn together what we can do to keep on cycling!
I've been sort-of job hunting on & off for a few months. One of my criteria is that it's bikeable from my house. I was recently asked about taking a promotion at my current company, which would relocate me. I turned down the opportunity and explained why. Good luck w/ the search!
If you want to see some dumb looks, ask the interviewer where you can park your bike. I've tripped up a couple people with that.
I have also made bikeability a priority in my job search. In fact, I turned down a job that was 50 miles from my house.
Things are going well thus far, so thanks for the kind words both of you!
I'm going back into the consulting world, so I haven't yet had the chance to ask a client about the racks in an interview yet. It should be interesting, though.
Good luck, brother. Might be a good chance to ditch the Midwest and move to California. It worked out for me.
Around here, winter = rain. Bikes? Big deal, see 'em all over. Just sayin'.
Oh, incidentally, I did have the chance to ask an interviewer about bike parking... and the company was so progressive that the interviewer just said "Oh, they're out in back by the on-site fitness facility."


text:
Looking for the latest news on projects that impact you? You've come to the right place.
Utility work to close section of alley between 12th Ave NE and Brooklyn Ave NE
Construction crews building the U District Station will be installing underground utilities in the alley between 12th Avenue NE and Brooklyn Avenue NE beginning on Monday, Mar. 31. The underground power lines will provide power for construction activities, as well as for the tunnels and future light rail station. The utilities are located within the project construction site and cross the alley just south of NE 43rd Street. The utility work is expected to take approximately two weeks.
The northern section of the alley between 12th Avenue NE and Brooklyn Avenue NE will be closed to traffic and pedestrians. Motorists will be able to access the alley south of the work area using NE 42nd Street. A flagger will be assisting local motorist traffic. No vehicular traffic will be allowed through the work zone.
Pedestrian Access
This section of the alley will be closed to pedestrians. Alternate routes for pedestrians include 12th Avenue NE and Brooklyn Avenue NE using NE 42nd Street.
The pedestrian path on NE 43rd Street will be temporarily shifted to the east during this work.
U District Station
The U District Station is under construction on Brooklyn Avenue NE between NE 45th and NE 43rd streets. The station is part of the future 4.3-mile Northgate Link Extension connecting Northgate, Roosevelt, and U District neighborhoods to downtown Seattle and Sea-Tac Airport.
Email: northlink@soundtransit.org
Construction Hotline: For issues that need immediate attention after normal business hours, call Sound Transit's
24-hour construction hotline: 1 (888) 298-2395.
See more project updates for Northgate Link Extension
See more project updates for University District Station


Rustic, casual and family friendly!! The perfect floor plan for family gathering and entertaining! Rustic woods, leathers, and lighting create a warm and inviting feel!
Tuscan Inspired Living Room. This space is elegant yet approachable, and family friendly. Our client wanted a space that they could entertain in and not be afraid to use. The warm colors evoke a sense of comfort. Down the hall past the wine cellar on the right is a beautiful custom bar for added entertainment space.
The ultimate home entertaining space. It is right off of the living room and opens up to the family room! It features Custom- made cabinetry in a Tuscan inspired style. And a sitting area with 4 unique (and gorgeous) leather barrel chairs. Love this space!