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Snow covers the traffic circle around the monument of Confederate General Robert E. Lee on Monument Avenue in Richmond earlier this month.
Many schools and businesses were closed Wednesday because of snow. But lawmakers in Richmond were hard at work. And, as Michael Pope reports, they are considering two snow-related bills.
Many of the bills lawmakers are considering here in Richmond come directly from their own personal experience. Take Delegate Mike Mullin, a Democrat from Newport News. He has a bill that would create a new penalty for drivers who don't remove snow from their cars before getting on the road.
And then there are all those sidewalks that clogged with snow. Delegate Steve Landes, a Republican from Augusta County, has a bill that would allow local governments to create penalties for homeowners who don't remove snow from their sidewalks.
Some local governments in Northern Virginia already have the authority to do this, but others don't. Landes introduced the bill because county leaders in Albemarle are interested in creating a new penalties for homeowners who don't remove snow from their sidewalks.


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Singer/Pianist Bob Dorough Plays SF's Jazz at Pearl's May 4-6
(Published: May 02, 2007)
Swinging, Whimsey and the beloved songs of "Schoolhouse Rock" on tap in North Beach
"[Bob Dorough] is one of the great joys of modern music. A true force of nature, standard bearer of the concept of 'heart and soul' - hipster saint . . . and all around righteous teacher. He's like some kind of giant smile that rose with the sun seventy-some years ago and stayed up there in the sky, shining down for all to see." -- Mike Zwerin, International Herald-Tribune
Singer, pianist, composer Bob Dorough has been smiling out at his audience since his first LP, Devil May Care (1956), with witty, crowd pleasing songs like "You're the Dangerous Type." Jazz Times reviewer Joel Siegel called Dorough's 2000 CD, Too Much Coffee Man, "54 minutes of pure pleasure."
Dorough will swing this Friday through Sunday night (May 4-6) at Jazz at Pearl's, at 256 Columbus Avenue in the heart of San Francisco's historic North Beach District. Shows are at 8:00 and 10:00 pm nightly, with doors open at 7:30.
Of course, many know Dorough best for his role with the beloved children's show "Schoolhouse Rock," for which he wrote and sang enduring favorites like, "Conjunction Junction" and "Three is a Magic Number."
No matter how or why folks love Bob Dorough, his three-night set at Jazz at Pearl's is bound to please everyone, as he romps through his own witty and heartfelt jazz tunes, adds special touches to the Great American Songbook and offers up smiling renditions of those "Schoolhouse Rock" favorites.
Dorough was born in Arkansas (he was inducted into the Arkansas Hall of Fame in 1996) and grew up in Texas. He played in an Army band during World War II, then went to North Texas State University, where he majored in composition and minored in piano. He moved to New York City around 1950 and was playing piano in a Times Square tap dance studio when he was introduced to the boxer Sugar Ray Robinson, who had temporarily left boxing and was putting together a song and dance revue. Dorough was hired and later became the show's music director; the revue traveled to various U.S. cities and then to Europe.
Dorough left Robinson in Paris and lived there from 1954 to 1955, recording with Blossom Dearie during that time. He returned to the United States and moved to Los Angeles, where he played various gigs, including a job between sets by comedian Lenny Bruce.
That first album, Devil May Care, originally released in 1956, since rereleased twice and still available, caused quite a stir. The buzz has continued over nearly five decades since then, with Dorough recordings issued on a variety of labels, both large and tiny. Along the way, Bob became the first - and the last - halfway decent singer to appear on a Miles Davis record (Sorcerer). Among Bob's more illustrious songwriting collaborators over the years have been Fran Landesman and Dave Frishberg. His tunes now appear on albums recorded by dozens of other vocalists - and many have found special favor as instrumentals, too.
But a whole generation of Americans know Dorough's warm, distinctive voice best from his dozen years (1973-1985) as the musical director and artistic guru of "Schoolhouse Rock."
Jazz at Pearl's is an "all ages" venue. For more information about the club, please visit www.jazzatpearls.com.
Submitted By: Jerry Karp

redpajama_set_name: RedPajamaCommonCrawl


Available for 2-5 month stay.
Fully renovated 3 Victorian home with three large bedrooms and two bathrooms. There is a stunning light filled living room with glass sliding doors to large courtyard garden. This home is a wonderful place for a holiday or corporate stay. Period charm has been carefully preserved and blended with contemporary elements in a location just minutes away from Acland Street shops and restaurants and the beach.
The home has laundry facilities, free Wifi, and car parking for one car. There is heating throughout, for those chilly Melbourne mornings.


Macrofun ^^ - following pictures and video are photography, not 3d cgi!
Ground is done with displacement, scatter and some particle systems - top is 3 layer (surface, clouds, atmosphere) - surface with displacement. Waterfalls on the edge is a simple bend plane with some deformation, noise, texture and opacity.
took me long time to finish this portfolio project, still not 100% lucky with some details, but anyways, DONE!
Just some test images of a project i work on whenever i have enough time.
This ist a test of a futuristic tunnel i was playing with, some time ago - not finished yet.
Just art - i would like to render more scenes like those, maybe you have an idea.
I was testing the fR subsurface scattering - and what would be a better example than grapes - Still Work in Progress, because i would love to make a nice picture with more sourroundings like leaves.


PIRSA Fisheries and Aquaculture has completed its comprehensive formal assessment process of the Oceanic Victor Pty Ltd marine aquaculture pilot lease and licence application.
The assessment process was conducted according to the requirements of sections 22 and 28 of the Aquaculture Act 2001.
This application sought approval for a pilot lease area of 12.25 hectares in the waters of Encounter Bay near Granite Island, Victor Harbor, for the purposes of tourism.
interact with aquatic animals through a set of touch tanks.
The aquaculture application to PIRSA formed part of an overall proposal by Oceanic Victor Pty Ltd submitted to State Government and managed under the unsolicited proposals process. The Department of Environment, Water and Natural Resources website has further details regarding the unsolicited proposal.
A 4 week public notification period (2 to 30 July 2015) and a public information session in Victor Harbor on 23 July 2015.
Development of a response document that considered all relevant issues raised in public submissions. Download the submission response (DOC 396.0 KB).
Approval by the Minister for Transport and Infrastructure for the proposed area of the pilot lease.
Native Title notification to South Australian Native Title Services.
Development of an ecologically sustainable development (ESD) risk assessment of the licence application, including those risks raised in public submissions.
Referral of the ESD risk assessment to the Environment Protection Authority (EPA). The EPA reviewed and provided their approval for the aquaculture licence to be granted.
Referral of the application assessment, to the Development Assessment Commission (DAC), with development approval for the venture granted on 23 December 2015. This authorisation does not become operative until any appeals have been addressed through the Environment Resources and Development Court. See the Development Assessment Commission website.
The licensee must undertake a PIRSA Fisheries and Aquaculture and EPA approved environmental monitoring program.
Oceanic Victor Pty Ltd also referred this matter to the Commonwealth Department of the Environment for their activity to be assessed against the Environment Protection and Biodiversity Conservation Act 1999 (EPBC Act). It was the decision of the delegate of the Australian Government Minister for the Environment that the activity did not constitute a controlled action in relation to matters of National environmental significance. See the Australian Government Department of Environment website.
Based on the outcomes of the assessment, the Aquaculture Pilot Lease (Miscellaneous) LA00358 and Aquaculture Miscellaneous Licence AQ00315 has been granted to Oceanic Victor Pty Ltd.
Consultation on this pilot lease and licence application has now closed.


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Q: Entity Framework migration and product versioning Scenario:
I'm using EF6 with one of our software product (network base web application) and we've different versions of products installed on customer machines. All customers have support period of x months so they are running on different versions of product and their respective databases are on different EF migrations.
I have a few other colleagues helping me with support of the product and they regularly deal with support phone calls from customer for different versions of product.
Problem:
Product only supports upgrading EF database and downgrading is not supported due to data loss concerns. So when we need to support an older version we use an internal tool to up/down-grade EF database. Problem is my colleagues are not aware about which database migration goes with what version of our product.
So my question: is there a way to attach our product version to migration history row?
What I've considered so far:

*

*Embed product version in the name of the migration.
This is doable but I need to train other devs to make sure to include product version in the migration.

*Create an empty migration with each major release of the product.
This one has the same issue as approach 1. I can automate this into the product release script but that involves too much effort and not to mention possible issues.
What I want:
I'm planing to attach product version with migration itself. Meaning, I want to add a new column to the MigrationHistory table which will hold this information (will be deriving my new class from HistoryRow).
What I'm not sure about is, how to intercept database migration template so that I can embed product version (assembly version) to the migration and I don't have to remember to do it manually.
I'm sure one of you must have feel this pain and possibly there is a better solution out there. Any ideas/suggestions?

A: You can customize the Migrations History table by implementing and registering a custom subclass of HistoryContext.  Then you have all the interception methods for a normal DbContext: SaveChanges, ValidateEntity, etc.
But I don't think this really helps.  You don't actually care when the Migration is applied, which is what the HistoryContext will tell you.  You care when the Migration was created relative to your releases.
There is, in fact, nothing in your source that will tell you this.  You can't know what release a change will end up in when you make it.
I think your idea to "Create an empty migration with each major release of the product." is the right one.  In that empty migration you can add code to update some table that stores the name of the release.

redpajama_set_name: RedPajamaStackExchange


For a healthy mind and body, residents can avail of services such as physiotherapy, yoga, chiropody, aromatherapy, hairdressing, occupational therapy, dietary consultation, Sonas sessions and language therapy.
An arts, crafts and entertainment programme provides meaningful recreation for our residents. We have a full-time activity coordinator, Pamela O'Regan, who organises person-centred activity sessions for each resident based on their needs and ability.
Activities such as bingo, board games, quizzes, reminiscence therapy, painting, singing and movie viewing are always on offer and exercise programmes are also available.
The vast majority of our residents are from the Roman Catholic tradition. Mass is celebrated in the home every Tuesday. The priest visits residents who cannot attend after mass. The spiritual needs of all our residents are catered for and arrangements for Pastoral Care or the attendance at religious services of other denominations are made as the need arise.


Japanese 3 major mobile phone companies NTT DoCoMo, au (KDDI), and SoftBank provide the maps, showing how far each company's frequency reach.
"高野山の壇上伽藍, 和歌山県高野町" by 663highland is licensed under CC BY-SA 2.5.
Koyasan Okunoin is one of the most tourist spots, which got huge popularity in 2017 at TripAdvisor. You can read over 800 feedback in English to Koyasan Okunoin at TripAdvisor.
Koyasan has provided a great website for the area in multiple languages.
As for connectivity in the area, you need to pay some attention as Koyasan Okunoin is located at the middle of mountains.
According to my research, today, SoftBank is the best. They offers a good network even around the area to some extent. NTT DoCoMo provide good next to that.
On the contrary, among the three, au (KDDI) is the weakest on the area at this point. You might be connected just on the spot, however, you might lost the connectivity if you go even further from it.
If you want to check it through the links below by yourself, put Japanese "奥の院" into their search windows.
The contents of this article are from the data taken as of October 22nd, 2017, and each company's connectivity is changing (mostly improving) monthly.


Online shopping is growing in popularity year after year. There is a good chance you have bought something on eBay or even Amazon. There are considerable marketplaces that exist beyond these two major internet online retailers.
As a parent you may feel compelled to lock away your children and not let them on the internet, but if you are willing to work with your child you might be able to use a new website called imbee (imbee.com) that allows parents to monitor their child's blogs and posts and their friends they come in contact with online.
LCD computer monitors have come down in price over the past few years. Most places will offer 19" LCD monitors for around $250, but they do go up in price from there. There are a few features you want to consider including ms response time, resolution, view angle and tilt. The better models have built in transformers, so you don't have a box at the end of your power cable.
You hear clicking sounds emitting from your hard disk drive, either in a form of clicking or grinding sounds. This can happen when you power up your computer from start or halfway while working on your projects.
The Electronic Frontier Foundation (EFF) warned computer users to not use the Google Desktop feature called "Search Across Computers". According to the foundation, it makes personal data vulnerable to government subpoena, private litigants and hackers.
The EFF headline reads "Google Copies Your Hard Drive – Government Smiles in Anticipation". The new Search Across Computers feature stores copies of the user's files including Word documents, PDF files, spreadsheets and more.


text:
Senate to hold test vote on Iran nuke bill
Published on May 7, 2015 | Updated 5:00 a. m.
WASHINGTON — Legislation giving Congress a chance to review and possibly reject any final nuclear deal with Iran is facing a test vote in the Senate.
The vote, scheduled for 10:38 a.m. today, comes after months of wrangling over the legislation while the U.S. and five other nations engage in delicate negotiations with Tehran. Negotiators have been hurrying to reach final agreement by June 30 on a pact to curb Iran's nuclear program in exchange for relief from sanctions stalling the Iranian economy. The talks resume next week in Vienna.
The bipartisan legislation would block President Barack Obama from waiving congressional sanctions for at least 30 days while lawmakers weigh in on any final deal with Iran. It also would stipulate that if senators disapprove the deal, Obama would lose the current authority he holds to waive certain economic penalties Congress has imposed on Iran.
The bill stalled last week after Sens. Tom Cotton, R-Ark., and Marco Rubio, R-Fla., proposed changes that drew the objections of Democrats as well as some Republicans who want the bill kept free of controversial provisions that could prompt the White House to withdraw its support.
A 60-vote majority on today's test vote would likely jettison both senators' proposals, and greatly improve the bill's chances of passage.
The bill has gained tacit approval from Obama. He says he will sign it as written, but the White House warned earlier that he would reconsider if the bill was substantially changed.
Republicans have repeatedly challenged the administration's negotiations with Iran and have tried to change the bill to make it difficult for any deal to be reached.
"It is a virtual certainty that no matter how terrible this deal is, it will go into effect and this legislation is unlikely to stop it," said Sen. Ted Cruz of Texas, who is running for the GOP presidential nomination.
Cruz argued that the legislation wouldn't stop Obama from pressing ahead with any deal.
The bill would require Congress to pass a resolution of disapproval to reject the deal, which would almost certainly be vetoed by Obama. Then, Congress would be required to muster votes from two-thirds of each chamber to override the veto.
"All the president would have to do to force a bad Iran deal on America" is keep 34 senators of the Democratic Party or 145 members of Congress on his side, Cruz said.


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Tim Chamberlain, former manager of the Downtown Hotel in Port Angeles, left, speaks with sisters Margaret Carr of Port Angeles and Trish Holden of Sequim, right, at the hotel's front desk during final open house Tuesday. (Keith Thorpe/Peninsula Daily News)
Last glimpse: Tour explores Port Angeles hotel headed for demolition
by Keith Thorpe
Friday, September 6, 2019 1:23pm
NewsClallam County
PORT ANGELES — Curious visitors got one last look at the Downtown Hotel in Port Angeles, and many were surprised at what they saw.
Gwen Porterfield of Port Angeles, a member of Soroptimist International of Port Angeles-Jet Set, said Tuesday's open house was her first as well as her last visit to the 17-room hotel. She said she was unprepared for how immaculate and stately it seemed.
"I was born and raised here and I've never seen anything like this," she said. "It's marvelous. Absolutely marvelous."
The Soroptimist club arranged an open house with admission by donation to support its scholarship fund.
Dozens of people took them up on the offer to see the hotel's rooms and hallways.
Numerous visitors commented that the inn was nicer than they expected for such an old building. Roaming through the two floors of the hotel, some were surprised to find that many rooms shared bathrooms off the hall and that other rooms came complete with kitchenettes.
The hotel checked out its last guests Monday in preparation for the building's demolition to make way for a new $24 million luxury hotel being planned by the Lower Elwha Klallam Tribe. The Cornerhouse Restaurant, which occupied the lower story of the structure, closed Aug. 23.
The D.W. Morse Building, which housed the two businesses, is part of a larger acquisition by the tribe. Also slated for demolition are the buildings that housed the Necessities & Temptations gift shop, Cock-A-Doodle Doughnuts, Harbor Art Gallery and Budget car rental.
Tim Chamberlain, former general manager of the hotel and principle partner in the family-owned company that previously owned the Port Angeles auberge, sat at the front desk in the second-floor lobby Tuesday, answering questions and greeting visitors for perhaps the last time.
He said he had come to grips with the end of an era.
"It's been a long time coming so I'm very well prepared mentally," he said. "I've been here for 15 years so I'm ready for a change of pace.
"It's been my home away from home, my job and my hangout. And the most consistent source of my worry and frustration."
Chamberlain said he was unsure about what would happen to the hotel's fixtures and furnishings.
"I don't know, the tribe owns it all now. That's a question that's on everybody's mind."
Soroptimist member Patty Rosand suggested that some of the furnishings would end up going to the Lower Elwha Klallam Tribe's domestic violence program.
Kathy Estes, executive director of the North Olympic History Center (formerly the Clallam County Historical Society), spent part of Tuesday taking one last look inside the hotel, which opened in 2003 as the descendent of the Hotel Pershing and then the Pershing Rooming House.
She remained philosophical about the demise of the 106-year-old edifice.
"The building is really cool," Estes said. "I'm sad when old buildings go down, but you can only look at it as 'it's the way it is.'
"This was new at one point and people came with a vision for something. And now it's a vision for something new."
Soroptomist Jean Hordyke, who arranged Tuesday's open house, was a bit more melancholy.
"It's progress," she said.
"It's kind of sad, but history happens. It changes all the time."
Photojournalist Keith Thorpe can be reached at 360-452-2345, ext. 59050, or at [email protected].
Visitors to the Downtown Hotel in Port Angeles gather at the top of the top floor stairs during an open house and tour hosted by Soroptimist International of Port Angeles-Jet Set on Tuesday in Port Angeles. (Keith Thorpe/Peninsula Daily News)
Soroptimist Patty Rosand, center, talks about the Downtown Hotel with Jennifer owens, left, and Mark Owens, both of Port Angeles. (Keith Thorpe/Peninsula Daily News)
Downtown Hotel visitors, from left, Carmen McElroy, Linda Capps, Jennifer Chenoweth and Pat McElroy examine the furnishings of a guest room Tuesday. (Keith Thorpe/Peninsula Daily News)
Lynae Hall of Port Angeles takes a photograph of the view from one of the hotel's deluxe rooms. (Keith Thorpe/Peninsula Daily News)
Port Angeles to keep parking rules
PHOTO GALLERY: 150 gather to highlight hope, healing in Overdose Awareness Day walk
COVID-19 vaccine clinics on Peninsula to resume Tuesday
State announces plan to provide 45,000 shots daily
Summer tastes are still alive
Volunteer gleaners share with schools, friends and family
Clallam County Heritage Board accepting applications for grants
The Clallam County Heritage Advisory Board is accepting applications for historic preservation… Continue reading
Port of Port Angeles nearing deal for harbor cleanup
Potential liable parties also include city of Port Angeles
Port of Port Townsend resubmits grant application for Point Hudson breakwater repair
Application now for a 50 percent matching grant
More than 1,300 in Clallam County receive shot for COVID-19
Jefferson to begin vaccinations this week
Appointment-only system used in Port Angeles
An appointment-only system of scheduling allowed Port Angeles to… Continue reading
Sequim group forms against present council
Petition urges reinstatement of city manager
Students to get more in-person learning
Schedules vary among districts
North Olympic Peninsula vaccination clinics set
Where, when and for whom
Clark quits as Sequim superintendent
Officials mum on cause
COVID vaccination appointments fill up fast
Over 70 in Clallam, over 85 in Jefferson
Federal sentence set for Port Townsend man
Kelly to serve total of 5 years, 6 months
Vaccine supply limited, Peninsula officers say
No new cases reported in Clallam, two in Jefferson counties
An appointment-only system of scheduling allowed Port Angeles to…
Jefferson Healthcare breach possibly affects 2,550 people
Phishing attack hits employee email, not medical, financial records


text:
SBS announces cast for The Hunting
January 18th, 2019 By David Knox 2 commentsFiled under: News,
Asher Keddie and Richard Roxburgh will lead an ensemble cast in the new four-part SBS original drama The Hunting (previously titled as The Hunt).
The cast also includes Sam Reid (Bloom, Lambs of God), Jessica De Gouw (Arrow, Deadline Gallipoli), Luca Sardelis (Nowhere Boys, Deadlock), Yazeed Daher (The Heights, Safe Harbour), and newcomers Kavitha Anandasivam and Alex Cusack.
Also appearing are Pamela Rabe (Wentworth), Leah Vandenberg (The Letdown), Rodney Afif (Ali's Wedding), Sachin Joab (Lion) Elena Carapetis (Look Both Ways) and Anni Lindner (Wolf Creek).
Produced by Closer Productions for SBS, The Hunting imagines the lives of four teenagers, their teachers and families throughout the lead up, revelation and aftermath of a nude teen photo scandal.
When two high school teachers discover students are sharing explicit photos of their underage friends and peers online, the revelation has unbearable consequences for the students and their families. Tackling themes of misogyny, privacy, sexuality and sexualisation, online exploitation, toxic masculinity and gender, the series uses this singular event as a way of exploring some of the most pressing issues of our time and offering a vital portrait of modern, multicultural Australia.
SBS Director of Television and Online Content, Marshall Heald said: "SBS is committed to telling stories that spark debate and drive understanding about some of the uncomfortable and often untold realities impacting contemporary Australia. The Hunting joins SBS's critically acclaimed slate of local dramas, including Safe Harbour, Sunshine and On The Ropes as an intense and compelling series that delves into what is arguably one of the biggest issues of our 'social media era' – cyberbullying.
"We are delighted to be partnering with the hugely talented team at Closer Productions, who bring their impressive film and television credentials to this new series."
Producer/ Director Sophie Hyde said, "With The Hunting we explore teens using technology within sexual context and reframe the conversation to be about trust and consent, considering how we are culturally responsible and exploring how we all navigate this. As co-creator and producer of the show I couldn't be more delighted to work with our skilled, empathetic team and partners to tell this story, and to be joined in directing by Ana Kokkinos, a filmmaking hero of mine, who brings her considerable skills and talent to this vital work."
Director Ana Kokkinos said: "This is a powerful, thought-provoking story, imbued with complex characters, and drama with big ideas and questions. It is exciting to be working with such high calibre experienced actors as well as talented newcomers, who between them all, reflect the rich cultural diversity of our society."
Production begins in Adelaide today. It will screen later in 2019.
The Hunting is created by Sophie Hyde (Animals, 52 Tuesdays) and Matthew Cormack (52 Tuesdays, F*!#ing Adelaide), directed by Ana Kokkinos (Mustangs FC, Seven Types of Ambiguity) and Sophie Hyde, and produced by Rebecca Summerton (Animals, F*!#ing Adelaide), Sophie Hyde and Lisa Scott (Pine Gap, Janet King).The series is written by Matthew Cormack and Niki Aken (The Secret Daughter, Janet King), executive produced by Sue Masters (SBS). Director of Photography is Bonnie Elliott (Palm Beach, Romper Stomper) and Editor is Bryan Mason (Animals, 52 Tuesdays).
The Hunting is a Closer Productions production for SBS, with major production investment from SBS and Screen Australia, in association with the South Australian Film Corporation. International sales are handled by DCD Rights.
Tags: The Hunt, The Hunting
Matilda R January 19, 2019 6:34 pm
Love Pamela Rabe, will definitely watch.
J Bar January 18, 2019 8:36 am
Just "Hunting" or something more imaginative would have been a better title. All these shows with "The" at the start of their title become very forgettable.


in Mobile Marketing Both comments and trackbacks are closed.
Mobile commerce is in its infancy, with relatively few consumers making purchases directly from their mobile devices, and relatively few retailers and marketers offering an easy way for consumers to do so. Yet consumers are increasingly shopping via mobile handsets, as they research products and services before completing transactions in stores or online. Coupons delivered via mobile media are sending more consumers to stores, and several competing formats of mobile barcodes are delivering product information largely to smartphone users. The accelerated intersection of mobile, local, social and commerce is erasing the distinction between online and offline environments.
This is the sixth and penultimate POV in a series on mobile marketing. Read the previous editions on 360i's Digital Connections blog, where you can also subscribe to receive subsequent updates.
Compete illustrated mobile's role in research in a study of the travel industry. It reported that less than 1% of consumers use mobile exclusively for travel research and booking, but 30% of consumers use mobile in conjunction with online research, and 22% use mobile in conjunction with online booking. Even if it will take some time for consumers to be comfortable planning and booking trips using mobile devices, it's already playing a role in the process, a role that will only grow as marketers develop and enhance their mobile offerings.
Compete further broke down all the ways smartphone users shop. The greatest numbers use their phones to get second opinions while they shop (62%) and look up store locations or hours (53%). Another 44% have downloaded a shopping application to their phone, and 39% seek retailer or product coupons.
Mobile commerce is starting to become more commonplace as well. A Mobile Marketing Association Survey from May conducted with Luth Research noted that 17% of U.S. adult mobile phone owners used their phone to purchase apps, ringtones and other content. Another 6% received coupons or discounts from their phone, and 6% purchased physical goods or non-mobile content from their handsets. Not surprisingly, responses varied based on the type of mobile device respondents used, with more than half of iPhone owners and 34% of BlackBerry owners having purchased content for their phones.
A Forrester Research study in conjunction with Shop.org released in June indicates the progress being made, noting 74% of U.S. online retailers have a mobile strategy or are developing one. Yet retailers say consumers using mobile web browsers account for less than 3% of total site traffic and 2% of revenue.
M-commerce revenue can add up. Amazon reported in July 2010 that in the previous 12 months, it earned over $1 billion from selling products through mobile devices, including its Kindles.
Couponing is already a booming industry in a global economy bouncing back from a recession. The New York Times cited retail technology firm Inmar's figures showing 50 million coupons were redeemed in 2009, up 263% over the previous year. Coupons are attracting even more interest now thanks to advents in mobile marketing. ClickZ cited Borrell Associates' forecast that US mobile coupon spending will climb from $90 million in 2009 to $6.53 billion in 2014, though it's still well below internet coupon spending, which will grow from $4.2 billion to $22.6 billion over that span.
Mobile couponing is promising in that it rewards consumers for trekking to retail stores. Like the age-old store-distributed paper coupon, mobile coupons incentivize purchases, but go one step further to capture handset data for future marketing efforts. Creating a mobile-friendly environment is crucial for local store managers, who should ensure that signal levels on all major carriers are strong within their floorspace. Otherwise, prospects may leave to find a signal.
There are several indicators that consumers are warming up to mobile coupons. A July 2010 Harris Interactive survey commissioned by location-based mobile marketing firm Placecast showed that among consumers interested in receiving opt-in promotional text message alerts, grocery coupons and promotions beat out all other categories, drawing interest from more than two-thirds of respondents.
Mobile couponing can be effective for customer retention, driving consumers to the store, or reaching consumers when they're in the store. A benefit of mobile coupons compared to their print counterparts is that consumers always have their mobile devices with them.
Set up an SMS program for consumers to retrieve coupons through their mobile devices; IHOP offered consumers a free short stack of pancakes to anyone who texted "IHOPFREE" to a certain shortcode.
Allow consumers to sign up online — through a website, a deal or coupon site, or a branded presence elsewhere such as through a social network — to receive offers to the phone.
Partner with location-based ad networks and technologies such as Placecast, iLoop Mobile and NearbyNow to target consumers with offers in specific locations.
Consumers can receive offers directly from the mobile ads.
Offer coupons through out of home technologies such as Blue Bite that deliver coupons in select stores or outdoor environments via Bluetooth or Wi-Fi networks.
Coupons can generally be redeemed in-stores at a register by having the consumer show the cashier the coupon, and the cashier can enter the code. It's also possible to scan the phone directly. A pioneer in the space is Target (see image at right), which in March 2010 claimed to be the first national retailer offering scannable mobile coupons. Consumers can sign up online, at Target's mobile site, or by texting "coupons" to 827438 (TARGET). Consumers are then directed to a landing page with multiple offers available at the nearest Target, all of which can be redeemed by scanning a single barcode at checkout.
Other forms of coupons are evolving through social media. Foursquare reported that when Starbucks offered $1 off any size Frappuccino for its mayors, there were 50% more check-ins at its locations. Milwaukee hamburger restaurant AJ Bombers offered a free cookie to any Foursquare user that added a tip and a free burger for mayors, and it netted a 30% increase in menu item purchases. During the summer of 2010, Twitter is launching its @earlybird account to deliver exclusive offers from marketers, and marketers should expect the program to expand to local and mobile versions if it's successful.
Mobile applications can also connect with marketers' loyalty programs. For instance, dessert chain Tasti D-Lite allows consumers to earn points (and ultimately free product) by broadcasting their check-ins and orders across Foursquare, Twitter and Facebook. The CardStar mobile app for smartphones provides a way for consumers to manage their reward cards for a range of marketers while also offering coupons and deals.
The technology behind mobile couponing is still in its early stages but is progressing rapidly. The New York Times covered an IBM product called Presence, reporting, "Shoppers who sign up can be detected as soon as they set foot in a store. That enables Presence to offer real-time mobile coupons. And tracking shoppers' spending habits and browsing time in various departments can help the system figure out who might be moved to suddenly buy a discounted item." IBM further noted it is employing "predictive analytics," a field that has developed rapidly online. Through mobile media, analytics can connect online and offline behavior.
Credit cards: While credit cards are ubiquitous for most mobile phone owners, entering a 16-digit credit card number can try consumers' patience, especially when consumers must also enter billing and shipping information.
Stored registration by site or application: Sites like Amazon have many users' registration data on file, and billing and shipping preferences carry over to their mobile sites and applications. It's a major time saver for users, but only for loyal customers who already made a purchase through that site.
Stored registration by handset: The defaults for making purchases for applications via the iPhone and Android respectively are through iTunes and Google Checkout payment services. These make it easy to buy mobile content, but also consumer products, as Apple demonstrated with its Apple Store app that accepts payment via iTunes logins.
Credit card applications: Visa developed its In2Pay application that works with a custom iPhone case that can be scanned at retailers' contact-free terminals to instantly process the transaction. Rival MasterCard is letting developers use its payment technology in their mobile and web apps and launched its MoneySend app as a PayPal rival.
Pay via phone bill: Services like Boku allow charges to appear on a consumer's mobile phone bill after opting in via SMS.
Peer to peer payments: Paypal created an app incorporating Bump Technologies that allows users to pay one another by tapping their iPhones together; payments can also be sent from the app via email. Startups like Venmo also allow mobile money transfers.
Scan credit cards with mobile devices: Square, launched by Twitter co-founder Jack Dorsey, allows any merchant or user to accept credit card payments directly from the mobile device. Retailers could provide these devices to their sales associates or collect payments at events.
Square turns any smartphone into a credit card terminal.
Another quickly developing technology within mobile marketing is the use of mobile barcodes, and there are many competing formats. While most barcodes require applications to read them and are much more accessible via smartphones, they're often an efficient vehicle for linking the physical world with mobile media.
Some barcode scanning applications like ShopSavvy and RedLaser center around standard UPC (1D) barcodes that are commonly printed on product packages. 1D barcodes have the advantage of already existing on countless consumer products, but they're more difficult to create and customize.
There has also been traction with 2D barcodes, often thought of as QR codes (beyond QR, there are other similar formats such as data matrix). Additionally, there are many propriety barcode formats built on 2D technologies, several of which are discussed below. 2D barcodes tend to be easy to create, and they can bring up a range of content such as links to mobile websites, text messages, click-to-call phone numbers and multimedia.
Google in particular is especially bullish about QR codes, incorporating them into Google Places. Local businesses can download QR codes that link to a mobile edition of their Google Place listing, or a mobile coupon. The business can then use these codes in stores, in print ads or on other promotional materials.
Additionally, Google has emphasized QR codes to promote apps for its Android devices. Since Google currently has no app store online, app developers use QR codes to link to their mobile applications, as Yahoo did to promote its suite of apps.
To promote the release of the Jude Law film "Repo Men" that included barcode scanning as an integral (and gruesome) part of its plot, Universal Pictures incorporated barcodes into its print movie posters in a program developed in conjunction with 360i. When accessed with the popular barcode scanner RedLaser, a landing page appeared with exclusive content related to the film. This was a rare example of 1D barcodes leading to entertainment content instead of product information.
To promote its VitaFresh refrigerators in Germany, Bosch placed oversized, wrapped packages of meat purportedly coming from dinosaurs, mammoths and saber-toothed tigers in supermarket freezers. The packages included QR codes that linked to product information for its appliances, garnering 75,000 views from customers in the stores.
When Unilever launched its new men's grooming product Axe Twist, it created custom branded barcodes with Jagtag. The codes could be photographed and sent via MMS (multimedia messaging service) to 524824. Consumers in return received exclusive video clips that Axe produced with comedy site Funny Or Die.
There's more than one way to scan a barcode. Here are some of the more interesting scanners to consider for marketing programs, included because of their consumer popularity, marketing applications, technical capabilities or all of the above.
Features: Consumers take a picture of the JagTag barcode and send it via MMS to receive special links, content, deals or other information. See the Unilever case study above for more information.
Features: Microsoft emphasizes the control marketers have over creating and tracking barcodes through this format that must be scanned with a proprietary reader. Microsoft reported that more than 1 billion tags have already been printed. A range of marketers and publications are using tags, from the Mall of America to Get Married magazine. Scan the code at right to access a must-read blog.
Features: Scan product barcodes to look for local and online retailers, food allergens, nearby libraries for books, and other information. See the Universal Pictures case study above for more information.
Features: With a user base of over 5.5 million, the app includes inventory and pricing information from over 20,000 retailers. Big in Japan also offers AdOns — ads targeted based on the product scanned and its location. Ads can include content such as product information and video, and its offerings in the works include food and allergy information, comic book previews, event tickets, coupons, trailers and product reviews. Ads are sold on an auction basis for popular barcodes or locations.
Features: The Stickybits scanner, powered by RedLaser, allows anyone scanning a product's barcode to leave comments with text or multimedia and view every "bit" others have recorded. The scanner also works with Stickybits codes available for free on the site or as stickers that can be ordered for a fee. Brands can work with Stickybits to have their own content listed first when their products are scanned.
The good news for retailers, packaged goods brands, travel marketers and others is that there are no longer technological hurdles to deliver product information, offer coupons and complete transactions through mobile devices. All of this is especially easy to accomplish with smartphones, and in 2011, smartphone penetration should handily surpass the more limited feature phones in the U.S.
Other hurdles are numerous. Coupon scanners can be difficult to implement at the point of sale. Staff in stores must be trained how to accept mobile barcodes or SMS-based coupon codes. The wide variety of barcodes — including the names (1D, 2D, UPC, QR, etc) — create confusion among marketers and consumers alike, and both seek a more consistently reliable experience. With completing transactions, the challenges trigger flashbacks to online retailing in the 1990s; security concerns, on-site usability issues and widely varying capabilities by merchants create a chicken and egg dilemma.
Mobile shopping in many ways will be easier for marketers and retailers than the 1990s migration to the web. First, consumers and marketers alike have become far more technologically savvy. Mobile devices are also much more convenient for some aspects of shopping. Coupons can be delivered directly to devices rather than requiring the intermediary step of printing when offering them online. It's also much easier to create a seamless experience for consumers with mobile media to fulfill immediate needs based on exactly where they are; consumers take the mobile web with them wherever they go. Barcodes themselves are evolving from a novelty to a necessity, delivering detailed product information, discounts and relevant content, and the value proposition is starting to catch on with consumers.
Mobile shopping by many measures has arrived, and it is well on its way to becoming ubiquitous. For the vast majority of marketers working with major brands, the question is not whether consumers are engaging in mobile shopping. Marketers instead need to ask how their consumers are shopping with their mobile devices and how they can reach these audiences as behavior and technologies rapidly evolve.
Contact your strategic advisor at 360i to figure out how to further your goals through mobile marketing.


text:
SEL Studies in English Literature 1500-1900
After Sovereignty/After Virtue
Julia Reinhard Lupton (bio)
This response reads the phrase "after sovereignty" as a turn on Alasdair MacIntyre's After Virtue. I then recommend the virtue of respect as a way of reframing key scenes in Measure for Measure, including the bed trick and the duke's final proposal. Respect belongs to the Kantian realm of a universal, maxim-based moral theory that replaces the Aristotelian regime of virtue championed by MacIntyre, Martha C. Nussbaum, and Hannah Arendt, but also has its roots in liturgical practices of the sublime that affiliate respect with political theology and the carnal sublimations of courtly love. Shakespearean drama both participates in the Aristotelian virtue tradition and tests its limits, predicting the modernization of aretê in liberalism.
Even for our kitchensWe kill the fowl of season. Shall we serve GodWith less respect than we do ministerTo our gross selves?
—Shakespeare, Measure for Measure1
In these lines, the novitiate Isabella, advocating to Angelo on behalf of Claudio, draws on the bloody decorum of the kitchen in order to present her brother as an animal sacrifice that is not yet "of season" for temple service. The passage is ripe with many of the issues raised in this special issue: for instance, Isabella's use of the word "minister" in a quasi-liturgical context recasts the sovereign power of the state over life and death as a form of pastoral care, the very transformation explored by Jennifer R. Rust in her article on conduct and counterconduct communities in Michel Foucault and Ben Jonson. Whereas Rust would focus here on the term "ministry," David Glimp might call our attention instead to "administration": Isabella's jarring comparison of the kitchen, the managerial heart of the oikos, and the prison, which houses the incarceral power of the state, suggests the compositional and assembled character of early modern government. Finally, while the simultaneous sacralization and animalization of Claudio's living being is at stake in the various biopolitical readings pursued in this issue, this dynamic is perhaps most pertinent to Benjamin Parris's account of nutritive aretê in Aristotle, Marlowe, and Shakespeare. [End Page 205]
What stands out to me in this passage is the word "respect." As I will argue in the second half of these remarks, respect belongs to a virtue tradition undergoing transformation during this period. Drawn from both aristocratic and religious contexts that codify the ritualized awe and reverence owed to God and prince, respect would eventually become the touchstone of Kantian ethics, grounded in the moral equality of persons rather than the status landscape of the sovereign. Measure for Measure, I argue, participates in this transformative work, inviting us to consider virtue and the virtues not only as an area for political-theological analysis, but also as a resource for humanistic education.
Sovereignty, Joseph Campana suggests in his introduction, "is best understood as an argument in search of debaters, a theory in search of a practice, a theatricalization of legitimacy and unity and power, an incitement to the embodiment of ideals (especially political ideals), and an architecture of symbols and figures that solicit constant interpretation and reiteration" (p. 3).2 What does it mean to come after such a dynamic topic of inquiry? Most of the contributors pursue concepts that supplement sovereignty with other forms and figures of social life. Such modes include communitarian and governmental alternatives to sovereignty (Russ Leo, Glimp, Rust); biopolitical and erotic exits from sovereign seizure (Parris, James Kuzner); and the queer temporality introduced by the feedback loops of mediation that plugs every after into its own before (Jen E. Boyle). Although Daniel Juan Gil argues that any effort to remediate sovereignty devolves into neoliberal nostalgia, he ultimately suggests that Shakespearean theater opens an aesthetic easement from complete capture by state power. In each of these articles, "after sovereignty" points to a form of life, historical possibility, moment, or antimoment that we might variously discover, embody, enjoy, or refuse through our critical work and dispositional stances.
The phrase "after sovereignty" echoes the title of Alasdair MacIntyre's 1981 After Virtue. Gil, the only contributor in this collection to refer to MacIntyre directly, cites the messianic conclusion of After Virtue, "We are waiting not for a Godot, but for another—doubtless very different—St. Benedict," as indicative of the "communitarian drop-out fantasy" that plagues all attempts to find alternatives to sovereignty (p. 86).3 Taken up by conservative Christian thinker Rod Dreher in a disturbingly literal fashion, MacIntyre's critique of modern moral philosophy, Gil argues, is the boldest version of less noxious forms of communitarianism manifested in projects such as Paul Yachnin's "Making Publics" [End Page 206] research initiative or my own Citizen-Saints.4 Dreher's "crunchy conservatism" draws broadly on medieval and early modern theology and social experiment to draft contemporary calls for renovated forms of life.5 In other words, Dreher is attempting to lead what Rust, following Foucault, calls a "counterconduct movement" that "seeks salvation through other modes of governance discovered within the Christian tradition, inspired particularly by communitarian, ascetic, and eschatological impulses" (p. 99). Whereas Gil's "Shakespeare Option" is implicitly secularizing, Rust proffers a more complex relationship between religion and modernization: "Rather than the narrative of the secularizing transfer of religious values into political concepts that is the common motif of discourses of sovereignty, Foucault urges us to think of modern governmentality as arising on the basis of the 'proliferation' and 'intensification' of pastoral concerns and 'techniques'" (pp. 96–7). In this issue, Leo's brilliant account of the Diggers spells out just what a counterconduct community could achieve in the worlds of both action and ideas: for Gerrard Winstanley, "power is constituted from below, just as reformation is first a matter of transforming the bodies, habits, and practices of a community that is aware of its constitutive power. Winstanley effectively shifts both the meaning and site of politics from sovereignty and its most august institutions to the living labor of the autonomous community" (p. 186).
The word "virtue" appears only once in Rust's article, in the context of alchemy: "According to Paracelsus, quintessence is 'a nature, a force, a virtue, and a medicine'" (p. 104).6 Virtue here carries the broadest possible sense of power and potentiality, both human and nonhuman; thus Parris uses the concept of nutritive aretê manifested in the restorative state of sleep to activate the full scope of virtue in Aristotle. Sleep, Parris writes, concerns "the virtues of the nutritive soul in its Aristotelian capacity to preserve its possessor" (pp. 65–6), that is, the living substratum of the person apart from and as the precondition of conscious action in the public sphere—what Isabella in Measure for Measure calls "our gross selves." Whereas MacIntyre explicitly excludes Aristotle's biology from his account of aretê in After Virtue, in his 1999 Dependent Rational Animals, he looks to Aristotle and Thomas Aquinas for ways to think about the sharing of capacities such as phronesis among human and nonhuman animals.7 The Aristotelian virtue tradition broadly conceived—including human and nonhuman interactions, attachments, dependencies, powers, and capacities—belongs to the virtue horizon in which Shakespearean [End Page 207] drama unfolds. In this issue, such a virtue orientation is most pointedly visible in Rust's discussion of conduct and counterconduct, Parris's analysis of the nutritive soul, and Leo's outlining of the "human capacities for action" (p. 184). Yet I think similar impulses also subtend Kuzner's discussion of friendship, a classical Aristotelian virtue; Glimp's understanding of sovereignty as a "compositional process" that organizes diverse "agencies and capacities" (p. 24); Boyle's interest in Aristotelian dynamis as a principle of potentiality (p. 154); and even Gil's affirmation of "countervailing forms of association" that are not fully captured by sovereign power (p. 86). Virtue, of course, provides just one radiating term for identifying a possible field of inquiry after sovereignty shared by these diverse pieces, and these authors may well prefer not to have their work considered under the many-ribbed but nonetheless normative umbrella of aretê.
In both its secular and its religious phases, MacIntyre's project, as I understand it, is to retrieve the breadth and creativity of Aristotelian ethics before virtue had become rule bound, divorced from the passions, instrumentalized by utilitarianism, and identified with impoverished concepts such as altruism, benevolence, and sexual propriety. Not surprisingly, Shakespeare holds a transitional place in the great turn of epochs that MacIntyre charts. Virtue in MacIntyre's sense was fully eclipsed in the late eighteenth century by the moral philosophies of David Hume and Immanuel Kant, the Scotsman spawning the utilitarianism that jettisons the good as an end in itself and the German espousing universal rules dislodged from local practices and historically transmitted traditions. In such a chronology, Shakespeare would still belong to the great era of Aristotelian virtue. Yet MacIntyre argues that Thomas Hobbes and Niccolò Machiavelli as well as Martin Luther and John Calvin were already wringing sea changes in Aristotelian aretê, and we know that Shakespearean drama reveals affinities with these thinkers of modernity.8 Shakespeare writes not only within but also at the end of the virtue tradition recovered by MacIntyre, and both his creative transmission of the classical virtues and his critical contribution to their demise are at stake in the ethical concerns and capacities explored in his plays.
In my ongoing work on Shakespeare's virtues, I would like to borrow several key claims from MacIntyre in order to test the variety, elasticity, and perdurability of Shakespeare's virtuous exercises. These insights include the historicity of moral philosophy, the constitutive basis of virtues in practices and traditions, and the contribution of narrative to the intelligibility of human discourse [End Page 208] and life. Yet there is much that I do not like in MacIntyre's work, including his antimodernism, his suspicion of pluralism, and his increasingly orthodox Christianity. With these reservations in mind, I am supplementing MacIntyre with the work of two other great Aristotelians, Hannah Arendt and Martha C. Nussbaum. Arendt rejects the Thomist reading of Aristotle as an economic thinker in order to insist on the continued validity of the classical polis as the space of human appearing.9 In her account, the polis is kept open and illuminated by the classical virtue of courage, which Arendt defines as the willingness of the speaking, acting person to exit the privacy of the oikos and make herself known. Rather than simply closing the door on the kitchens, barnyards, and counting rooms of the household, however, the oikos/polis threshold remains an active zone in Arendt's work, and her attention to the phenomenology of work, labor, and action affiliates her thinking with the biopolitical and political-theological discourses of Foucault and Giorgio Agamben explored in this issue.
Whereas Arendt renovates civic humanism in order to critique both liberal capitalism and communism, Nussbaum strives to integrate Aristotelian and Stoic virtue traditions—including an affirmative account of the passions—with a rights-based, capabilities-oriented liberalism that embraces pluralism, globalism, and feminism.10 In her powerful early book, The Fragility of Goodness, Nussbaum develops the idea of moral luck to bring out the context- and status-bound constraints on the individual exercise of virtue, finding in Aristotle a view of the human "as a being both capable and vulnerable, in need of a rich plurality of life-activities."11 In Women and Human Development, Nussbaum argues that the classical virtue of justice involves "not only promoting appropriate development of [citizens'] internal powers, but also preparing the environment so that it is favorable for the exercise of practical reason and the other major functions."12 I am using Nussbaum to build the idea of a virtue ecology, a setting for action composed of social, political, economic, and environmental formations that differently afford and constrain the capacities for self-realization and civic participation for a range of persons and other actors on the scene. Aristotle asserts that ethics belongs to politics, not only because virtuous actions aim at building a common good, but because the particular polis in which people live and the status that polities confer shapes their possibilities for action and their capacities for flourishing.13 Reading Shakespeare with MacIntyre, Arendt, and Nussbaum, I wager, will help us better understand the range, thrust, momentum, and meanings of [End Page 209] virtue in the plays, providing an urgent opportunity to articulate what continues to be dynamic, aspirational, and capacity building in Shakespeare.
With such questions in mind, I would like to return to Measure for Measure. The duke's opening speech to Escalus ("The properties of government to unfold") belongs to political science, whereas his second speech, to Angelo, turns to ethics:
God doth with us as we with torches do,Not light them for themselves; for if our virtuesDid not go forth of us, 'twere all alikeAs if we had them not. Spirits are not finely touchedBut to fine issues; nor nature never lendsThe smallest scruple of her excellenceBut, like a thrifty goddess, she determinesHerself the glory of a creditor,Both thanks and use.
(I.i.33–41)
The image of torches alludes, of course, to the parable of the candle and the bushel from Luke 11:33 and Matthew 5:15; a version of the parable also appears in James I's Basilicon Doron and had become broadly proverbial by Shakespeare's time. The parable communicates the idea that virtues are best realized in action: the unlit candle is dormant, an instrument of stored and latent potential (Aristotle's dynamis), whereas the burning candle is fulfilling its intended end or telos. Moreover, in fulfilling its purpose or final cause, the burning candle is also manifesting itself as virtuous, lighting up a zone of visibility and publicity that others can share, extend, enact, and commemorate, whether in art or in life. At the end of the play, Mariana, in a rush of luminous equations, will associate light, heaven, virtue, breath, word, truth, and promise, identifying the performance of excellence with the realm of speech and action (V.i.221–3). For Shakespeare, theater is a form of candlelighting, and virtuous action is a form of theater. In Nussbaum's gloss of virtue as performance, "Activity, energeia, is the coming-forth of that good condition from its state of concealment or mere potentiality; it is its flourishing or blooming … Like an actor who is always waiting in the wings and never gets a chance to appear on the stage, it is not doing its job, and, in consequence, is only in a shadowy way itself."14 The stage cleared by virtuous exercise in Nussbaum's analysis resembles Arendt's space of human appearing; in both Nussbaum and Arendt, the [End Page 210] dance of light and the retreat of shadows suggest the flickering phenomenality of human action that politics and drama share, distinguishing their outcomes from the durable products of work.15
Yet Shakespeare immediately blends the biblical proverb with the more charismatic and vitalist image of Jesus curing the woman with the issue of blood through his touch.16 Sliding from virtue as the light cast by action in the world (bios) to virtue as charismatic touch between porous corporeal beings (zoe), the duke's discourse on virtue begins to secrete the smirch of creaturely life inside more expansive images of light and flow, channeling the ambiguities of procreation and erotic expenditure explored in Shakespeare's sonnets. The polis of mutual appearing is thickened and rankled by the approach of rampant venereal disease, neglected bastards, sexual harassment, and cynical libertinism, loading the phenomenal theater of sound and light with a ranker, darker, more tangible theater of touch, taste, and aroma. Pulsing between Aristotle and Augustine, eudaemonia and original sin, the passage picks up a biorhythm within virtue that will be measured and remeasured as the play moves through its extraordinary paces.
Thus, when Angelo is called upon to exercise his talents as a magistrate and judge, and to light the candle of his stored knowledge and ethical training, what flares up instead is his concupiscence. The duke's assurance to Isabella—"Virtue is bold, and goodness never fearful" (III.i.199)—implicitly acknowledges the opposite: namely, that deeds expose actors to the dangers of harm, failure, crime, and sin, revealing who they are in a manner that can be both subjectively devastating and socially catastrophic. Moreover, what kindles Angelo's candle is the vision of Isabella's own flickering virtue, taken out of the cloister and drawing air in the semipublic space of his law chambers. While she discovers and exercises new capacities for speech and moral reasoning that will remain with her through the end of the play, the judgments she finds herself making in the heavy middle of Measure for Measure expose her as a virtuous extremist blinded by her own commitments to the counterconduct community of the convent.17 Placing her chastity above her brother's life, Isabella ignores Claudio's own moral limitations and actively wills his death when he tries to argue with her. When at the end of their calamitous interview he twice cries out, "Hear me" (III.i.147–8), dropping his obscene suit and pleading instead for forgiveness, she denies his request for recognition or repair, and leaves him in a more desperate state than the one in which she had found him. [End Page 211] Both Angelo and Isabella are surprised by virtue: snared in each other's counterconduct demands, they become equally though oppositely entangled in virtue's postclassical division between sexual propriety narrowly conceived and the exercise of a broader, more elastic, and relational menu of capacities.18
The play's dominant virtues are justice and mercy, their dependency played off of each other in a dazzling string of comparative cases that repeatedly ask the audience to judge anew. Yet I glimpse another virtue being produced by the end of the play, a virtue that borrows features from both justice and mercy but is distinct from both. Measure for Measure notoriously ends in a sequence of marriages in which romantic love plays little or no role. What might, however, inhere in the contract between the duke and Isabella and endow it with some legitimacy and promise is the virtue of respect. Respect means to look again, a form of seeing that is redoubled, focused, and deliberate; in fact, according to the OED, the original meaning of respect meant simply "[r]egard, gaze; visual attention."19 Respect combines the intellectual virtue of observantia with the moral stance of reverentia.20 The re- also asserts an element of distance, both emotional and physical, between the person who manifests respect and the object of that respect, be it another person, office, idea, or element of the cosmos. Although respect is traditionally one-sided and hierarchical (Lear and Richard II both demand respect as kings), in modernity, that re- becomes increasingly reflexive, affording the new dimensions of self-respect and mutual respect that will become crucial to the ethics and politics of liberalism.21
Yet the narrative is not so simple: if respect historically shifts from a political-theological liturgy of reverence to a liberal-humanist ethics of equality, then the Kantian renovation of respect takes sustenance from the philosophy of the Stoics and elements of monotheism. As Nussbaum points out, the Stoics argued very early in the philosophical tradition that "the bare possession of the capacity for moral choice gives us all a boundless and an equal dignity."22 Indeed, if Kantian respect is essentially secular, then the elements of distance, reserve, and awe that attach respect to the sublime continue to harbor a political-theological charge, investing the child, the woman, the fool, the slave, and the beggar with a special sovereignty and a residual sacredness.
Looking (respicere) backward and forward, respect straddles the epochs of virtue and its aftermath addressed by MacIntyre. Respect's original relationship to inherited social roles and religious traditions would make it appealing to MacIntyre's conservative [End Page 212] assessment of virtue; he would likely be adverse, however, to Kant's universalizing and dehistoricizing separation of respect from inherited practices that are local, faith based, or status conscious. In a powerful recent response to the Kantian argument, moral philosopher Andrea Sangiovanni argues for what he calls "opacity respect," based not on the universal dignity but the particular vulnerability—physical, mental, or legal—of the person owed respect. Opacity concerns the reserve of privacy and non-disclosure that respect acknowledges in the vulnerable person: "The distance required by opacity respect … create[s] space for the self-presentation intrinsic to our sociable nature."23 Whereas virtue's main impulse is to show itself through self-realizing action, respect introduces a second-order theatricality that allows persons the social space to keep aspects of their being in reserve. The bushel has its virtuous purposes after all.
The word "respect" appears twelve times in Measure for Measure. In the early exchange between Elbow and Pompey, the two speakers become giddy with the word: "the house is a respected house; next, this is a respected fellow; and his mistress is a respected woman" (II.i.138–9). The comic exchange is not without a serious core, since their banter establishes respect as an aspect of marriage in both its private and its political-theological functions. In The History of King Lear, the King of France declares to Cordelia after her public debasement, "'Tis strange that from their cold'st neglect / My love should kindle to inflamed respect."24 Sanford Budick glosses these lines as an anticipation of Kant's "kingdom of ends": Cordelia's royal suitor "has discovered the generative relation between passionately felt respect for an other's moral being and love for that other. His love has found its ground in respect."25 Isabella resembles Cordelia in her fierce commitment to love as bond, what the Jews call chesed or covenant love, a passionate duty that can appear as coldness or legalism. So too, the duke shares something with the King of France in discovering love for Isabella by observing and honoring her actions (observantia and reverentia).
In his tragic reading of Kant, Budick argues that respect for the moral law is born from an experience of radical negation and humiliation of the self, epitomized by heroes such as Job, Samson, Oedipus at Colonus, and Lear. The bed trick is perhaps the baldest moment of such an undoing in Measure for Measure. Angelo's "garden circummured with brick" (IV.i.25), borrowed from the medieval iconography of the hortus conclusus, endows the profane action with a sense of sacred mystery and heroic initiation, and [End Page 213] the whole device totters uncomfortably between exaltation and debasement, sacramental consummation and legalistic entrapment.26 As the duke hands Mariana over to Isabella for counsel, he asks, "Do you persuade yourself that I respect you?" (IV.i.50). Well might he ask, given the social risk that each assumes in the dubious enterprise: what the duke's respect establishes here is his recognition of the women's moral standing, an assurance that will give them the courage to undertake the subterfuge.
Isabella refers to the rendezvous with Angelo as a "repair i'the dark" (IV.i.40): to repair is to journey, "return," or "resort" to a place, but also to "mend," "fix," or "restore" a damaged thing.27 We have come a long way from the candle shining for all to see. To attempt a repair in the dark is to undergo a certain blindness, take a moral risk, tap the other senses, and accept a subjective undoing. If their courage affiliates Measure for Measure's bold women with the tragic heroes of Budick's Kantian poetics, then Mariana is not a modern Oedipus so much as a latter-day Alcestis, a sublime surrogate descending into a sexual underworld in the place of another.
Respect recurs in the scene with Barnardine. When the duke realizes that he cannot justly execute the unregenerate prisoner, himself a prime instance of Parris's sleepy virtue, he is discovering a kind of respect for Barnardine's person apart from any merit. Acting the part of a rogue chaplain, he comes into that respect from something like Isabella's earlier posture of pastoral ministration. "Barnardine" sounds like "barnyard": the drunken prisoner has become the fowl that is not yet "of season" for the carceral kitchen.
Finally, respect may help us understand the duke's marriage proposal in a mode other than romantic or erotic. Bridging Aristotle and Kant, Arendt explicitly contrasts romantic love and respect: "what love is in its own, narrowly circumscribed sphere, respect is in the larger domain of human affairs. Respect, not unlike the Aristotelian philia politikē, is a kind of 'friendship' without intimacy and without closeness; it is a regard for the person from the distance which the space of the world puts between us, and this regard is independent of qualities which we may admire or of achievements which we may highly esteem."28 Arendt's description of respect captures the measured mood and action at the end of the play, in which Isabella and the duke, like the King of France and Cordelia, appear to be joined in a kind of philia politikē rather than an amorous liaison. Yet even the sexless character of their [End Page 214] union manifests a certain kind of respect for Isabella, whose own sexuality at the beginning of the play expresses itself in the form of a negation. Respect sublimates the sexual matter that had seeped into virtue discourse from the very beginning of Measure for Measure, not in the sense of eliminating or disavowing sexuality and the creaturely condition, but in Jacques Lacan's sense of raising an object to the level of the Thing, granting it the dignity, sublimity, and insistence of the real.29 Sexuality so understood might cease to be simply the unruly object of biopolitical and ecclesiastic regulation—that is, virtue in the narrow regulatory and prescriptive sense—and instead come to be acknowledged as an interactive domain for the creative and exploratory practice of a broader set of virtues, as explored in this issue by Kuzner in his study of Katherine Philips. Respect inheres in the contract of masochism as well as in modern innovations in marriage law, from Love v. Virginia to Obergefell v. Hodges.
In Measure for Measure, respect involves the exchange of glances, the harboring of distances, the acceptance of opacity, the ministration of needs, the observance of times and tempos, the acknowledgment of sexual complexity, and the cultivation of sublimity in a landscape of vulnerability and degradation where light creates shadow. Shakespearean respect is not yet Kantian, since it remains rooted in status distinctions, pastoral care, and liturgical reverence. But it is also no longer purely aristocratic, since respect is increasingly exchanged among persons of different ranks and extended to creaturely life, in the form of sleeping, mortal, unregenerate, amorous flesh encountered as sublime things worthy of regard. Shakespearean respect both inheres in the traditional tropes of sovereignty and suggests their undoing, posing a resource and a challenge to contemporary responses to the play. What forms of respect encourage honest exchange and thoughtful evaluation in the public spheres constituted by our classrooms and scholarly bodies, and when is the idea of respect used to intimidate or inhibit courageous speech? What forms of observantia and reverentia are practiced in the theater, whose ensemble work depends on the full attunement of the assembled company in relation to each other and the audience? What would it mean to retrieve a thick, ambivalent, multisensory account of respect for humanistic education? These are some of the questions that Measure for Measure after sovereignty poses for me. [End Page 215]
Julia Reinhard Lupton
Julia Reinhard Lupton is Professor of English at the University of California, Irvine, where she has taught since 1989. She is the author or coauthor of five books on Shakespeare, including Shakespeare Dwelling: Designs for the Theater of Life (2018).
1. Shakespeare, Measure for Measure, ed. N. W. Bawcutt, Oxford Shakespeare (Oxford: Oxford Univ. Press, 2017), II.ii.87–90; https://doi.org/10.1093/actrade/9780198129080.book.1. Subsequent references to Measure for Measure are from this online edition and will appear parenthetically in the text by act, scene, and line number.
2. All articles in this special issue will be cited in the text parenthetically by page number.
3. See Alasdair MacIntyre, After Virtue: A Study in Moral Theory, 2d edn. (Notre Dame IN: Univ. of Notre Dame Press, 1984), p. 263.
4. See Paul Yachnin and Marlene Eberhardt, eds., Forms of Association: Making Publics in Early Modern Europe (Amherst: Univ. of Massachusetts Press, 2015); and Julia Reinhard Lupton, Citizen-Saints: Shakespeare and Political Theology (Chicago: Univ. of Chicago, 2006), pp. 1–18.
5. Rod Dreher, Crunchy Cons: How Birkenstocked Burkeans, Gun-Loving Organic Gardeners, Evangelical Free-Range Farmers, Hip Homeschooling Mamas, Right-Wing Nature Lovers, and Their Diverse Tribe of Countercultural Conservatives Plan to Save America (or at Least the Republican Party) (New York: Crown Forum, 2006). The phrase "crunchy con" and "crunchy conservatism" appears throughout the book, e.g., p. 181.
6. Jennifer R. Rust finds this definition in Paracelsus, The Archidoxies of Theophrastus Paracelsus, in The Hermetic and Alchemical Writings of Aureolus Philippus Theophrastus Bombast of Hohenheim, Called Paracelsus the Great, trans. Arthur Edward Waite, 2 vols. (London: James Elliott, 1894), 2:3–93, 22.
7. See MacIntyre, Dependent Rational Animals: Why Human Beings Need the Virtues (Chicago: Open Court, 1999), p. 5.
8. See MacIntyre, "Luther, Machiavelli, Hobbes, and Spinoza," in A Short History of Ethics (New York: Macmillan, 1966), pp. 121–45.
9. Hannah Arendt, The Human Condition, 2d edn. (Chicago: Univ. of Chicago Press, 1998), pp. 27–8.
10. See Martha C. Nussbaum's controversial "Recoiling from Reason," review of Whose Justice? Which Rationality?, by MacIntyre, New York Review of Books, 7 December 1989; and Alexander Green, "MacIntyre and Nussbaum on Diversity, Liberalism, and Christianity," Perspectives on Political Science 46, 2 (April–June 2017): 137–47. Green contrasts MacIntyre's conservative particularism to Nussbaum's liberal universalism but locates both within virtue ethics and a renovated Aristotelianism. He sees both as ultimately Christian thinkers.
11. Nussbaum, The Fragility of Goodness: Luck and Ethics in Greek Tragedy and Philosophy, 2d edn. (Cambridge: Cambridge Univ. Press, 2001), p. xviii.
12. Nussbaum, Women and Human Development: The Capabilities Approach (Cambridge: Cambridge Univ. Press, 2000), p. 85.
13. See Aristotle, Nicomachean Ethics, trans. and ed. Robert C. Bartlett and Susan D. Collins (Chicago: Univ. of Chicago Press, 2011), 1094b. Also see Aristotle's comment that "it is not the same thing in every case to be a good man and to be a good citizen" (1130b).
14. Nussbaum, Fragility of Goodness, p. 324.
15. See Arendt, p. 187. [End Page 216]
16. Compare the lines from Measure for Measure, "Spirits are not finely touched / But to fine issues" (I.i.36–7), to Luke 8:43–8. The woman's issue of blood is presumably menstrual, touching on problems in Jewish law.
17. In unpublished work on Measure for Measure, Rust looks at conduct and counterconduct in the play ("'Of Government the Properties to Unfold': Governmentalities in Measure for Measure" [unpublished manuscript, 2017]).
18. In After Virtue, MacIntyre credits the Victorians with reducing vice and virtue to sexual matters, but I think we owe at least some of this narrowing to Christianity, especially with regards to women's "virtue," often rendered as synonymous with chastity (p. 233).
19. OED, 3d edn., s.v. "respect, n. (and int.)," 1a.
20. See Robin S. Dillon, "Respect," in Stanford Encyclopedia of Philosophy (Stanford Univ., 1997–), article published 10 September 2003, last modified 4 February 2014; https://plato.stanford.edu/archives/win2016/entries/respect/.
21. See Andrea Sangiovanni, Humanity without Dignity: Moral Equality, Respect, and Human Rights (Cambridge MA: Harvard Univ. Press, 2017).
22. Nussbaum, Fragility of Goodness, p. xx.
23. Sangiovanni, p. 90.
24. Shakespeare, The History of King Lear: The 1608 Quarto, ed. Stanley Wells and Gary Taylor, Oxford Shakespeare (Oxford: Oxford Univ. Press, 2012), I.i.237–8; https://doi.org/10.1093/actrade/9780198182900.book.1.
25. Sanford Budick, "Shakespeare's Secular Benediction: The Language of Tragic Community in King Lear," in Religious Diversity and Early Modern English Texts: Catholic, Judaic, Feminist, and Secular Dimensions, ed. Arthur F. Marotti and Chanita Greenblatt (Detroit: Wayne State Univ. Press, 2013), pp. 330–51, 339.
26. On the hortus conclusus, see Rob Aben and Saskia de Wit, The Enclosed Garden (Rotterdam: Rotterdam 010 Publishers, 1999).
27. OED, 3d edn., s.v. "repair, v.1," 1a and 4; and OED, 3d edn., s.v. "repair, v.2," 1a and 2a.
28. Arendt, p. 243.
29. See the chapter on courtly love in Jacques Lacan, Seminar Seven: The Ethics of Psychoanalysis, ed. Jacques-Alain Miller, trans. Dennis Porter (New York: Norton, 1992), pp. 139–54. [End Page 217]
Copyright © 2018 William Marsh Rice University
Epilogue: The Solecism of Power
Recent Studies in the English Renaissance


The new National Western Center will house more cattle and llamas, but what will it do the rest of the time? - Denverite, the Denver site!
The new National Western Center will house more cattle and llamas, but what will it do the rest of the time?
It's not exactly clear. The campus wants your ideas, though.
Mar. 20, 2019, 3:05 p.m.
The vast National Western Center campus slowly changing the face of Elyria-Swansea will host rodeos, mutton bustin' and pretty much everything else Western enough to grace the annual stock show — but that's just two weeks out of the year.
For the rest of the year, the nonprofit corporation in charge of the project wants the public's help bringing to life a space that will eventually span 2.2 million square feet.
The center's mission is about "Western heritage, connecting urban and rural communities, and the global food production," according to Brad Buchanan, CEO of the National Western Center Authority. He wants people, nonprofits and companies to submit their ideas for activating the space along those lines.
That could mean activities, online experiences, office tenants, retail shops, art, or pretty much anything else. It's wide open, in part because the campus won't be finished until 2024.
Everyone has a month to submit their ideas to the authority — the deadline is April 20. They can expect to hear back in the spring or summer.
That's just the first round. National Western Center will make plenty more calls for ideas, which Buchanan says can go live well before the campus actually opens. Online experiences, for example, don't need a glistening new building to exist.


text:
Matteo Carlo Ardemagni (* 26. März 1987 in Mailand, Italien) ist ein italienischer Fußballspieler, der als Stürmer agiert und beim AC Perugia Calcio auf Leihbasis spielt.

Karriere
Ardemagni begann seine Karriere in der Jugend des AS Sancolombano und wechselte später zum AC Mailand. Dort stieg er in den Profikader auf, wurde jedoch dreimal hintereinander an kleinere Vereine verliehen, um Erfahrung zu sammeln. Danach wechselte er zur US Triestina, blieb jedoch nur ein Jahr, da er sich der AS Cittadella anschloss. Dort konnte er sich erstmals richtig etablieren und erzielte in 38 Spielen 22 Tore. Dennoch wechselte er zu Atalanta Bergamo und steckte sich so höhere Ziele. Nach einer weiteren Leihe zu Calcio Padova folgte ein eineinhalbjähriges Leihgeschäft mit dem FC Modena, wo er besonders in der Saison 2012/13 stark aufspielte und Zweiter der Torschützenliste mit 23 Treffern wurde.

Weblinks

 Matteo Ardemagni in der Datenbank der FIGC (italienisch)

Fußballspieler (AC Mailand)
Fußballspieler (AC Perugia Calcio)
Fußballspieler (Aurora Pro Patria)
Fußballspieler (US Triestina)
Fußballspieler (AS Cittadella)
Fußballspieler (Atalanta Bergamo)
Fußballspieler (Calcio Padova)
Fußballspieler (FC Modena)
Fußballspieler (AC Chievo Verona)
Fußballspieler (Spezia Calcio)
Italiener
Geboren 1987
Mann
Fußballspieler (FC Carpi)

redpajama_set_name: RedPajamaWikipedia


text:
organrecitals.com
Wednesday 29 January • 7:30 • Liverpool Blue Coat School (Shirley Hall), L15 9EE • Ian Tracey (Liverpool Cathedral / Liverpool City Organist) • admission details unknown
Tuesday 4 February • 12:45 to 1:30 • St George's Hall, Liverpool, L1 1JJ • Ian Tracey (Liverpool Cathedral / Liverpool City Organist) • admission £5.50
Tuesday 3 March • 12:45 to 1:30 • St George's Hall, Liverpool, L1 1JJ • Ian Tracey (Liverpool Cathedral / Liverpool City Organist) • admission £5.50
Saturday 28 March • 7:30 • St Michael's, Kingsteignton, TQ12 3BG • Ian Tracey (Liverpool Cathedral / Liverpool City Organist) • admission details unknown
Bank Holiday Monday 13 April • 11:15 • Liverpool Cathedral, L1 7AZ • Ian Tracey (Liverpool Cathedral / Liverpool City Organist) • admission £5
Tuesday 21 April • 12:45 to 1:30 • St George's Hall, Liverpool, L1 1JJ • Ian Tracey (Liverpool Cathedral / Liverpool City Organist) • admission £5.50
Wednesday 22 April • 7:30 • St James Road Methodist Church, Southampton, SO15 5HE • Ian Tracey (Liverpool Cathedral / Liverpool City Organist) • admission details unknown
Saturday 9 May • 7:30 • St John's, Kenilworth, CV8 1HY • Ian Tracey (Liverpool Cathedral / Liverpool City Organist) • admission details unknown
Wednesday 13 May • 7:30 • Aylesbury Methodist Church, HP20 2NQ • Ian Tracey (Liverpool Cathedral / Liverpool City Organist) • admission details unknown
Thursday 14 May • 7:30 • St Andrew's, Biggleswade, SG18 0AL • Ian Tracey (Liverpool Cathedral / Liverpool City Organist) • admission details unknown
Tuesday 19 May • 12:45 to 1:30 • St George's Hall, Liverpool, L1 1JJ • Ian Tracey (Liverpool Cathedral / Liverpool City Organist) • admission £5.50
Wednesday 20 May • 7:30 • St John the Evangelist, Upper Norwood, SE19 2RX • Ian Tracey (Liverpool Cathedral / Liverpool City Organist) • admission free / donation requested
Wednesday 3 June • 7:30 • St Gregory the Great, Dawlish, EX7 9QR • Ian Tracey (Liverpool Cathedral / Liverpool City Organist) • admission details unknown
Saturday 6 June • 12:00 to 1:15 • Victoria Hall, Hanley, ST1 3AD • Ian Tracey with Liverpool Cathedral Choir • admission £10.50 / concessions £9
Saturday 6 June • 7:30 • St Peter's, Wolverhampton, WV1 1TS • Ian Tracey (Liverpool Cathedral / Liverpool City Organist) • admission details unknown
Tuesday 16 June • 12:45 to 1:30 • St George's Hall, Liverpool, L1 1JJ • Ian Tracey (Liverpool Cathedral / Liverpool City Organist) • admission £5.50
Tuesday 14 July • 12:45 to 1:30 • St George's Hall, Liverpool, L1 1JJ • Ian Tracey (Liverpool Cathedral / Liverpool City Organist) • admission £5.50
Saturday 5 September • 7:30 • Christ Church URC, Port Sunlight, CH62 5EF • Ian Tracey (Liverpool Cathedral / Liverpool City Organist) • admission £5
Tuesday 8 September • 12:45 to 1:30 • St George's Hall, Liverpool, L1 1JJ • Ian Tracey (Liverpool Cathedral / Liverpool City Organist) • admission £5.50
Saturday 19 September • 7:30 to 9:15 • Buckfast Abbey, TQ11 0EE • Ian Tracey (Liverpool Cathedral / Liverpool City Organist) • admission £10 / season ticket £50
Monday 21 September • 1:05 to 1:55 • Leeds Town Hall, LS1 3AD • Ian Tracey (Liverpool Cathedral / Liverpool City Organist) • admission free
Wednesday 7 October • 7:30 • Gillingham Methodist Church, SP8 4AG • Ian Tracey (Liverpool Cathedral / Liverpool City Organist) • admission £12
Tuesday 13 October • 12:45 to 1:30 • St George's Hall, Liverpool, L1 1JJ • Ian Tracey (Liverpool Cathedral / Liverpool City Organist) • admission £5.50
Saturday 17 October • 3:45 to 5:00 • Liverpool Cathedral, L1 7AZ • Ian Tracey (Liverpool Cathedral / Liverpool City Organist) • admission £5
Tuesday 10 November • 12:45 to 1:30 • St George's Hall, Liverpool, L1 1JJ • Ian Tracey (Liverpool Cathedral / Liverpool City Organist) • admission £5.50
Tuesday 15 December • 12:45 to 1:30 • St George's Hall, Liverpool, L1 1JJ • Ian Tracey (Liverpool Cathedral / Liverpool City Organist) • admission £5.50