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Arthur Parchet (1878-1946) est un musicien suisse.

Biographie

Enfance et jeunesse
Originaire de Vouvry (Valais), Arthur Parchet naît le 16 octobre 1878 à Clarens, près de Montreux où ses parents, enseignants émigrés en Russie dans leur jeunesse, ont ouvert un pensionnat pour jeunes gens de la noblesse russe. Après ses classes primaires à Montreux, le jeune Arthur fréquente le collège de Sion où sa vocation de musicien s'affirme :

 (Lettre à son père, Sion, avril 1892)

Période allemande
En 1894, son père le fait entrer au Technicum de Bienne, probablement pour lui assurer un métier plus sûr que celui de musicien. Mais assez vite, Arthur quitte Bienne pour l'Allemagne qui possédait alors les meilleurs conservatoires de musique. Il étudie à  Stuttgart, à  Berlin. À la fin de ses études, il est nommé chef d'orchestre de l'Opéra de Berlin, poste qu'il occupe durant 4 ans. Puis il officie dans diverses villes allemandes comme chef d'orchestres ou de chœurs et il compose. Ses œuvres sont jouées à Mannheim, à Munich. On lui prédit un avenir brillant.

Sa haute stature, son beau visage expressif  frappent les regards. Une femme de lettres anglaise, Aline Wakley, qui le rencontre en 1909, en fait le héros de l'un de ses romans « Un fils de l'Helvétie ». En 1911, Arthur Parchet épouse une jeune fille d'Heidelberg douée d'une belle voix de contralto, Marguerite-Flora Silbermann, professeur de piano.

En 1914, le musicien est appelé comme professeur de composition dans l'une des meilleures écoles de musique du moment : l'Académie de musique de Mannheim.

Retour en Suisse
Lorsque la guerre éclate, Arthur doit se résigner à quitter l'Allemagne et, démuni, se réfugie à Vouvry, le village d'origine de la famille Parchet, où il espère trouver de l'aide. Sa femme et son fils Rolf, né en 1912, le rejoindront plus tard.

Nommé professeur d'allemand au collège de Sion puis professeur de solfège à l'École Normale des Instituteurs, Arthur Parchet se sent bien à l'étroit. Son allure, sa liberté de pensée, ses méthodes d'enseignement originales, ses critiques envers les fanfares lui attirent beaucoup d'inimitiés.

Rencontres
En 1918, on retrouve Arthur ouvrier agricole dans la plaine du Rhône qu'on défriche :

 (Émilien Pot, Feuille d'Avis de Monthey, 3 mai 1957)

C'est le début d'une amitié entre les deux hommes, unis par leur destinée de réfugiés, leur originalité, leur goût pour la littérature contestataire. Par Istrati, Arthur Parchet entre en relation avec Romain Rolland, un écrivain, musicien et  musicologue distingué, prix Nobel de littérature qui vit en exil à Villeneuve. Istrati quitte le Valais pour le vaste monde en 1919. Quant à Parchet, il vit retiré à Vouvry, pauvre, isolé, incapable d'entrer dans le cadre des postes qui lui sont proposés. Il continue pourtant à lutter pour promouvoir sa musique dans un Valais intéressé seulement par l'harmonium, la fanfare et l'accordéon, dit-il. Il propose un chansonnier, une nouvelle méthode d'enseignement de la musique, la création d'un chœur mixte itinérant pour améliorer la qualité musicale des sociétés, toutes propositions qui ne trouvent grâce auprès de l'intelligentsia musicale valaisanne.

À la misère morale et financière s'ajoute le chagrin : la mort de sa femme en 1927, épuisée par son travail dans une pension de Leysin puis, en 1932, la mort de son fils Rolf, qui voulait devenir boxeur. Par bonheur, quelques amis fidèles lui viennent en aide dans la mesure de leurs moyens : Romain Rolland, Pierre Bioley, le chanoine Louis Broquet, René-Pierre Bille, Maurice Zermatten, mais aussi sa famille, sa commune et des villageois anonymes. Quant à Istrati, devenu un écrivain connu, il offre au pauvre musicien un piano de qualité, conservé par le Musée du Vieux-Vouvry.

Dernières années à Vouvry
En 1937, pour participer à la création de Terre Romande, une œuvre composée avec le chanoine Broquet, Arthur Parchet crée un groupe choral qui deviendra le Chœur-mixte de Vouvry, aujourd'hui disparu. Plusieurs concerts seront donnés par ces amateurs amenés à un excellent niveau. Ce petit chœur aura certainement été l'une de ses dernières joies car seul, sans travail, sans argent, malade :

 (Lettre à René-Pierre Bille 1.11.1944)

Arthur Parchet meurt à la clinique Saint-Amé de Saint-Maurice le 20 février 1946. Il repose à l'ombre du clocher de Vouvry. Un grande statue en bronze, oeuvre de Blaise Planchamp qui l'a représenté en pied et en mouvement, a été érigée en son honneur au centre de ce village.

Références
 Catalogue des œuvres musicales d'Arthur Parchet  1878-1946 avec une introduction biographique, établi par Jean Quinodoz.
 Notes tirées de « Vallesia » tome XXXVI, Sion 1981
 Musée du Vieux-Vouvry

Liens externes

 Chappaz et le Valais, avec un segment consacré à Arthur Parchet

Naissance en octobre 1878
Décès en février 1946
Musicien suisse
Décès à 67 ans

redpajama_set_name: RedPajamaWikipedia


Hello new and old readers!
I just wanted to take a moment and update everyone on summer, and my upcoming trip to Nicaragua.
School. Summer is well underway here in Dallas, with the temperatures to prove it! I've been done with the Spring semester for nearly three weeks, but the summer session began as soon as the spring semester ended! I'm taking just one class over the summer, The Gospels, online and so far I've been quite busy with it! My work schedule has stayed the same so far, with our summer session of lessons beginning in two weeks.
Nicaragua. Though my plane ticket has not been purchased yet, I plan to leave Friday, June 28 for Nicaragua, and to return July 6 or 7. There are a few details to be ironed out still, and I'm in need of $600-700 more to be completely funded for the trip. If you have more questions about my mission trip, please visit the Nicaragua tab here on my blog, and feel free to contact me by email if you have further questions, or would like to help support me financially to help with Vacation Bible School at El Padul in Nicaragua!
THANK YOU. Thank you to everyone who has prayed for me for this trip to Nicaragua, and just through the past year as I've jumped into the deep end of my seminary studies. God is so good, and I'm so grateful. Thank you to everyone who has given financially so far, enabling me to go once again back to Nicaragua. Words cannot say enough.


Most of you probably saw my earlier rant at Dell for removing Linux laptops from their UK website last week. The post caused quite a bit of interest it seems which is always nice and I'm grateful people read and enjoyed it. There's still quite an active discussion going on in the comments which you're quite welcome to join in with if you like. My reason for posting this quick follow up article is to address a couple of points that came out of the discussion.
Firstly, a lot of people said I should be supporting smaller companies like System76 who really promote Linux rather then large corporations like Dell who just pay lip service to open source. This is a fair point and I do try to support smaller companies whenever I can, I've said many times over the last 18 months or so that I'd love a System76 machine but they don't ship to the UK. They make really stylish computers and fully support Linux, so if you do live in the US I'd urge you to give them a look before purchasing from Dell. There's also other US sellers like Emperor Linux who do a great job. It seems as though there are far more options available to Linux fans in America than this side of the pond and I hope people check them out rather than just going to the big boys first. In the UK we only have a couple of companies I know of who specialise in Linux hardware, Efficient PC and the Linux Emporium. I met Dale from Efficient PC at LugRadio Live 08 and he's a lovely guy who works really hard, however there aren't any laptops on the company's website at the moment so I don't know what the situation is. They do still sell great netbooks with Ubuntu installed and MythTV boxes with multimedia remotes that make great PVR solutions out of the box. Well worth a look I'd say. The Linux Emporium has a nice range of Linux laptops and netbooks, I've just been having a look through their site and the range seems to have expanded dramatically since I bought this Dell machine. The last time I properly looked at them must have been Christmas 2007 so I was well out of touch. I'll be sure to rectify this situation and recommend the company to any other UK Linux lovers I know, if you're in the UK check them out!
If you browse to the Mini 9 and Mini 12 through the main site you get the option of Ubuntu or Windows. Although the Mini 12 Ubuntu Edition is running a 1.33Ghz processor and a 40Gb Hard Disk Drive compared to the XP version which has a 1.6Ghz processor and an 80Gb HDD!
Why deliberately cripple a machine like that!
I'm still looking at getting a laptop and was considering Dell, but with all this faffing around they're doing I'm not so sure anymore.
I'll head over and have a look then thanks, to be honest style isn't a selling point for me which is probably why I'm still not sold on Apple's products.
Another option I suppose would be to buy a regular laptop and then try claiming the windows license fee back, depends if I'm feeling up to the challenge.
I've just ordered a Dell XPS laptop and requested it to ship with no OS. They declined. I called up the OFT regarding issues I had with the invoice Dell sent (£51 for a 'free' printer, while the laptop cost £51 less than quoted over the phone – sneaky) and Dell have already refuse to cancel the order as I agreed to pay the overall price.
I WILL NOT use Vista as my traffic modelling software does not run on Vista and I have an XP license (like everyone else).
I am not in a hurry to use the laptop (thus I will not open it when it arrives until I sort this out) but is there ANY way I can get my money back for the Vista license??


The Richard and Annette Bloch Cancer Center at Truman Medical Centers (TMC) has received reaccreditation by the QOPI Certification Program (QCP™), an affiliate of the American Society of Clinical Oncology (ASCO). QCP builds on ASCO's Quality Oncology Practice Initiative (QOPI®), providing a three-year certification for outpatient hematology-oncology practices that meet nationally recognized standards for quality cancer care.
QOPI is a voluntary, self-assessment and improvement program launched by ASCO in 2006 to help hematology-oncology and medical oncology practices assess the quality of the care they provide to patients. Through the QOPI program, practices abstract data from patients' records up to twice per year and enter this information into a secure database. More than 700 across the nation oncology practices have registered in the QOPI program.
The QOPI Certification Program (QCP) was launched in January 2010. This certification for outpatient oncology practices is the first program of its kind for oncology in the country. Oncologists can achieve certification by demonstrating practice consistent with the highest standards of care. The QCP seal designates those practices that meet rigorous safety measures established by ASCO and the Oncology Nursing Society (ONS).


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How 'Welcome to Chechnya' used A.I. and machine learning techniques to mask the doco's subjects
By Ian FailesPosted on March 7, 2021 March 12, 2021
"For their safety, people fleeing for their lives have been digitally disguised."
– The opening title card to the film.
The use of machine learning, A.I. and deepfakes are gaining a whole heap of traction in VFX right now. Which is one reason the documentary film Welcome to Chechnya has also garnered attention. It used these visual effects techniques to help protect the identities of those interviewed for David France's film about activists working to help gay men and woman fleeing from persecution from the Russian republic of Chechnya.
After initially looking to filtering and rotoscoping and animation to cover the faces of his interview subjects, France turned to visual effects supervisor Ryan Laney and his team to 'mask' those on camera with the identities of 'face doubles' (the voices were also fabricated) using various techniques, including the machine learning ones. The idea was to preserve the emotional impact of the stories of these individuals without revealing who they were.
Here's how they pulled it off.
b&a: I'm curious what you 'called' your face swapping effect in the end, but first, as a filmmaker, David, how did you come to choose the kind of approach you would take to mask the identities of the people in the film?
David France: I had, of course never had a need to disguise anybody before in a documentary. And I promised everybody who I was filming that I would disguise them to the highest standard, which was that even their own mothers wouldn't recognize them. And I was sure I could do that. And it wasn't until it came back that I realized that I was taking on something that was going to be quite a challenge. So the first thing that we started working with and keeping in mind Ian that all of this was being done in secret because we were protecting the footage potentially from state actors. We worked only on encrypted drives. We spoke only on encrypted lines. We created an edit suite that was air gapped so that none of the computers that worked on the footage had ever been on the internet.
So then we brought people into the studio to do this kind of roto-mation approach with pulling people out of the film, filtering them, putting them back in. And we discovered to our surprise that that looked good, but it didn't disguise. And then we brought more people in, put more filters on the faces to expand the size of noses to alter the facial shapes, but it had the effect of actually making people more recognizable. It accentuated their noses and their foreheads and their ears, the things about them that their mother would know intimately. So we just failed over and over. We tried using kind of Snapchat-y kind of approaches, where we would put like glasses on people.
And we developed an entire language of masks where we tried like the Ninja Turtle masks. And we tried the stagecoach robber mask. And we tried a bunch of stuff that also didn't disguise, or if it did disguise, it erased the humanity of the person and certainly didn't fit or match the urgency and seriousness of the film. And that's what brought us to Ryan. And Ryan had been thinking with his team about ways to do some of this stuff already. So we found a mind already engaged in this, and we were lucky we did.
Ryan Laney: We call them 'veils', just to answer that first question. So, David luckily had spent a good amount of time trying some other ideas. And even though they didn't work, they were really valuable in giving us a message about what was working and what could work and where we needed to spend attention. We ended up drawing from academia and a few papers that have been written in previous years.
There's a face research lab in Glasgow that has a really interesting faces around the world. And we are, in our human form, we're very similar in a lot of ways, and we really kind of focused in on this idea that the changes we wanted to make were not big sweeping animation changes, but really subtle things. We talked about for a while, doing a bit like a prosthetic, like we were painting on new eyebrows or putting on different lipstick. That's really where our mind was when we discovered the deep machine learning. And that allowed us to give it a lot of data from the film and from stuff that we shot to sort of pair up and be able to paint on this new veil.
The machine learning part of it really helps correlate the face shapes between the two different people and so the emotion comes through really well. I think what we learned through this process is how much we telegraph how we feel, not necessarily through face shapes, but through face motion. Even from our first test where it was working at a lower resolution, it was impressive how well the emotion came through and how honest and truthful we felt like the solution was.
b&a: Could you explain from perhaps both of your points of view what the workflow ended up being?
David France: We had been doing our R&D in our own studio while we were in post. And we found Ryan and his team as we were getting close to lock. And at that point we had no plan for distributing the film because we hadn't found our solution yet. Once we saw what Ryan was doing and saw how successful it would be, we handed him a locked picture. We unlocked it after the effects came in, because it suggested a couple of things to us, but mostly it was a locked picture. And in that interim, Ryan had various approaches that he thought we could do it like this or this or that.
And we took them to another academic setting, to a neuropsych lab at Dartmouth, where the director of the lab is something of an expert in the Uncanny Valley. And we wanted to make sure before we pulled the trigger that we weren't pushing people out of the film in any sort of kind of unexpected ways. And that's how we settled on this final approach. She took it into a study, I think 200 people in the study, and confirmed that we were on the right track. And that's when we said to Ryan, here's our finished picture, take it from here.
b&a: And then what were your steps, Ryan, in actually completing this work?
Ryan Laney: Maxwell Anderson was the post supervisor on the production film side. He packaged up everything and all the original footage was actually delivered to us by hand on a drive for security reasons. So that was, I guess, unusual for today's ability to transfer stuff over the wire. We produced a bunch of tests. Dr. Wheatley at Dartmouth College, who David was mentioning—we were concerned that the softness of the face would be a trigger for people. And very interestingly, our hypothesis was wrong in the sense that without a veil people felt more concerned for the person in the film, because they felt like they were at risk. And with the veil, the unsettling rating was slightly lower for the veiled person.
So we felt really, really good that we were going down the right track with this particular solution. And then, in just the footage we shot, I went through the entire film, Piers Dennis, the effects coordinator on our end, went through the entire film and selected all the people that we needed to cover. There were 23, and for each person, we looked at, how were they represented lighting-wise? So we had everything from bright daylight to dimly lit, under-lit by a car, sort of nighttime shots. And so with this matrix of people by lighting scenario, we set up a shoot in Brooklyn, New York and shot for a week to capture the data and all the scenarios that we needed. And then after ingesting that it was really just a matter of elbow grease, I think you'd call it.
b&a: Deepfakes and machine learning are obviously exploding right now. I'd love to talk a little bit about how much of it really was classic deepfake work. David, what has that been like seeing so much deepfake discussion out there and then having a film that taps into that? I find that quite fascinating that you really are right there on the cusp of the discussion.
David France: You know, I come to documentary filmmaking through journalism. I'm an old investigative reporter and journalism is very concerned about deepfakes, and rightly so. I think historians are concerned about it, this idea that you could create, out of nothing, historical falsehoods. And I've been to workshops where these things have been discussed and there's been a lot of hand-wringing. I never saw this as being at all related to deepfakes. I think deepfake is the crime, not the technique. And when we first started talking about it with Ryan, we realized that, going further into journalistic ethics, we needed to do this very openly. We couldn't deceive the audience. So we certainly weren't deceiving the subjects. They had all agreed to do this conditioned on approval of the method that we were going to use.
And we weren't deceiving the people who lent us their faces as human shields. They were mostly LGBTQ activists, most had already been involved in bringing attention to what's happening in Chechnya. We cast them from their Instagram pages and kept sending images over to Ryan saying, will this one work for that one? Will this one work for that one, to see who would match, whose faces seemed to be ideal for it. And then we said to the audience, look, we're bringing you in on this.
We emphasized that fuzzy edge around the face, that kind of halo around the face, to telegraph to the audience that what they're looking at has been altered. We have a card in the front of the film saying they have been digitally altered. We worked on, I think Ryan said at one point it was like the first 20 shots in the film to overemphasize the halos on the face to teach the audience how to watch this. And so in that way, I don't think it has anything to do with it. In fact, just the opposite. It's a technique that is allowing a truth to be told that otherwise would have been repressed.
b&a: And Ryan, just on that deep fake implementation or the extent to which you used it, can you talk a little bit about that?
Ryan Laney: I think David's said before that A.I. is the tool and deepfake is the crime. And, sort of differently, deep fakes are inherently nonconsensual. And so if you're going to like define what a deep fake is, it's when somebody in a video doesn't know that somebody who was shot separately didn't know that their face was applied, right, in an attempt to trick the audience. So kind of on all three of those conversations, we are being open and honest.
We use Google TensorFlow. We certainly looked to the papers that inspired deep fakes. There was a 2017 paper about semantic style transfer, which looked at how you could correlate between two datasets, understanding basically what was in the picture before you did the style transfer. Machine learning is being used a lot in a lot of different ways these days. And so we liked the idea of using a tool for good and for human rights and to help very specifically in visual effects. Our job is to support whatever story is there. And it has really been incredible to be able to support David and the story he's telling that does affect human rights. So we feel like this is a, it's a really powerful message that David's crafted, and we're just really happy to have helped him tell that story.
b&a: At Imageworks or ILM or elsewhere, had you done any face replacement or anything like this over the years?
Ryan Laney: Well, I think Ant-Man was the most recent face replacement, but you know, it kind of has different ideas that are going on there where you're taking your key actor and you're putting them on a stunt man. And we're kind of doing the reverse. We're putting the stunt man, the stunt person, onto the real person. Except that we're also spending a lot of energy making sure that every micro-expression is there, which you don't always get in a face replacement. In the normal face replacement, you're more interested in the key actor.
b&a: And, David, I was curious, in a big visual effects film, the director gets to review shots and make notes. I'm wondering what were your notes that you would end up giving for these sorts of shots?
David France: It's interesting, Ryan talks about the pace that we were doing this at. So he was rendering overnight and sending in the mornings—often we were just reviewing together. I don't think that I gave him specific notes along the way. I mean, we were very concerned about when heads turned entirely away from camera and when the effect leaves the face and what that looks like. There was a lot of dialogue about that, because it would pop on and off at points. And then how do you smooth that out and make that a little less jarring? But our major conversation and dialogue was about adding the blurs, emphasizing the blurs, which was one of the things that I felt was going to be important at the beginning of the film to teach people about what we're doing, to actually make the VFX a character in the film.
And then for that character to then dissolve as it does in the press conference scene with Grisha, that was probably the most work that he and I did together on notes. Although the design, the idea of how to do it, was his purely. And I opened up a file he sent me and I was just blown away by his decision-making in that moment of reveal. So then the question for us was where do we put that reveal? And that was something that we had a lot of conversations about as a team collaboratively.
b&a: I love that reveal, Ryan. Do you want to mention anything about technically how hard that was to do?
Ryan Laney: It wasn't terribly hard technically compared to the other things that we were doing. David said he wanted something magical. And so, with visual effects, when you're doing something like a transition, there's always a balance between too much, not enough. So we peppered in, there's 20 or 25 layers in there of different colours and reveals going on to try to open up into from Grisha into Maxim, through the transition.
Also, David mentioned the first 20 shots a couple of times, I think it's worth mentioning from an editorial perspective that Max Anderson actually removed some dialogue from that first 20 shot section, that first several minutes of film, so that the audience wasn't reading subtitles and that they were looking at the faces so they can, this idea of training the audience, acclimating them to what was going on.
Tag: David France Ryan Laney Welcome to Chechnya
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redpajama_set_name: RedPajamaCommonCrawl


The Wordle to the left was created using all of the text from the standards addressed by the learning activities and strategies outlined in this project. How excited I was to see that the word "knowledge" is so significant, because wheather we teach writing, reading, social studies, or science, literacy is at the center of knowledge acquisition.
Below is my own standards map for the learning activities and strategies associated with helping students become confident, enthusiastic, and resilient writers.


Property Location When you stay at Myconian Naia - Preferred Hotels & Resorts in Mykonos, you'll be near the beach, within a 10-minute drive of Windmills of Mykonos and Panagia Paraportiani. This 5-star hotel is 1.4 mi (2.2 km) from Archaeological Museum of Mykonos and 3.1 mi (4.9 km) from Paradise Beach.Rooms Make yourself at home in one of the 2 air-conditioned rooms featuring minibars and flat-screen televisions. Rooms have private furnished balconies. Complimentary wireless Internet access keeps you connected, and satellite programming is available for your entertainment. Private bathrooms with showers feature complimentary toiletries and hair dryers.Amenities Relax and unwind with massages, body treatments, and facials. This hotel also features complimentary wireless Internet access and concierge services.Dining Satisfy your appetite for lunch or dinner at the hotel's restaurant, Naros, or stay in and take advantage of the 24-hour room service. Quench your thirst with your favorite drink at the poolside bar. A complimentary buffet breakfast is served daily from 7:30 AM to 10:30 AM.Business, Other Amenities Featured amenities include limo/town car service, a 24-hour front desk, and laundry facilities. Free self parking is available onsite.


text:
Somonauk es una villa ubicada en el condado de DeKalb en el estado estadounidense de Illinois. En el Censo de 2010 tenía una población de 1893 habitantes y una densidad poblacional de 302,02 personas por km².

Geografía
Somonauk se encuentra ubicada en las coordenadas . Según la Oficina del Censo de los Estados Unidos, Somonauk tiene una superficie total de 6.27 km², de la cual 6.25 km² corresponden a tierra firme y (0.21%) 0.01 km² es agua.

Demografía
Según el censo de 2010, había 1893 personas residiendo en Somonauk. La densidad de población era de 302,02 hab./km². De los 1893 habitantes, Somonauk estaba compuesto por el 96.3% blancos, el 0.21% eran afroamericanos, el 0.21% eran amerindios, el 0.26% eran asiáticos, el 0% eran isleños del Pacífico, el 1.32% eran de otras razas y el 1.69% pertenecían a dos o más razas. Del total de la población el 4.07% eran hispanos o latinos de cualquier raza.

Referencias

Enlaces externos

Villas de Illinois
Localidades del condado de DeKalb (Illinois)


Be nice not naughty this holiday season with new Christmas toys from Portable North Pole. The Do-Good Elf and Santa Letter Kit, sold separately, can be personalized and encourage good behavior while allowing kids to participate in some holiday fun.
The Do-Good Elf is a soft, poseable elf doll that's about 15 inches tall from the top of his hat to his feet. It comes with a passport that has stickers and space inside for kids to write about their good adventures with the elf. There is also a special code that parents can enter into the free Portable North Pole app in order to play four free customized Santa videos where Santa checks in on how well the child is teaching the elf to "do good".
The Santa Letter Kit lets kids send Santa their wish list, while also writing about the good deeds they've done. The kit includes one form letter for a child to fill out, an envelope, a pen, Christmas stickers, and an official North Pole post office stamp and ink pad. This kit also has a special code for use with the parent app so that kids can watch a customized video of Santa replying to the child's letter.
The letter kit is a fun way for kids to write their letters to Santa and the elf will encourage imaginative play. You can reuse the elf year after year, but the letter kit is kind of one and done. What kids will think is really cool are the personalized Santa videos. Those really make the countdown to Christmas more exciting.
Each of these products is for ages 3 and up. They will be fun toys to engage kids in the holiday festivities.
The Do-Good Elf retails for $24.99, while the Santa Letter Kit retails for $12.99. Each one is sold separately and is available exclusively at Walmart.


text:
Prof Michael Green
Department: Humanities
Michael Green is a novelist and Professor in English and Creative Writing at Northumbria University, Newcastle-upon-Tyne, UK.
Prior to joining Northumbria University, he was Senior Professor and Head of English at the University of KwaZulu-Natal, Durban, South Africa, and then Head of the university's School of Literary Studies, Media, and Creative Arts. He relocated to Northumbria University in September 2009 with the aim of returning to researching, teaching, and writing. In February 2009 he was inducted into the Society of the Fellows of the University of KwaZulu-Natal in recognition of distinguished academic achievements.
As Michael Cawood Green he has published three works of historical fiction, Sinking and For the Sake of Silence, winner of the Olive Schreiner Prize for Prose, and The Ghosting of Anne Armstrong (2019), completed under the auspices of an Arts and Humanities Research Council Fellowship and published by Goldsmiths Press/MIT Press.
Lipman 417A
NE1 8ST
Email Michael
Research Themes and Scholarly Interests
Michael is the author of Novel Histories: Past, Present, and Future in South African Fiction and numerous journal articles and book chapters, primarily on the uses of history in fiction and practice-led research. He is currently chair of the interdisciplinary Northumbria Practice Research Group and heads the university's Creative Writing Research Group. He has completed a full term on the UK Arts and Humanities Research Council's Peer Review College and continues to serve as an assessor on bids to the AHRC. He is also a project evaluator and individual ratings referee for the South African National Research Foundation. He serves on the Higher Education committee of the UK's National Association of Writers in Education and the Programming Committee of the international Historical Fiction Research Network. He was the Business and Engagement Lead for Humanities 2013-2016 and helped establish the extremely successful Northumbria/New Writing North partnership.
He set up the now well-established PhD programme in Creative Writing at Northumbria and served as principal supervisor for the first PhD in Creative Writing at the university; he has since supervised and co-supervised a number of Theses to completion. He serves nationally and internationally as an external doctoral examiner, primarily in the area of creative writing. He is also external examiner for 3 international research Masters programmes in Creative Writing.
His creative/research interests include:
Creative Writing – prose and verse fiction
Practice Research – research through creative writing/creative practice as a mode of research
Reflection as a generative mode in the creative process
Uses of History in Fiction
Postcolonial/Southern African Literature
As a student and lecturer in South Africa he performed regularly as a singer songwriter, drawing more attention from the apartheid-era Security police than the music industry; an album of original songs, White Eyes, was banned from air play.
Please visit the Pure Research Information Portal for further information
The Ghosting of Anne Armstrong, Green, M. 2 Apr 2019
For the sake of silence, Green, M. 2010
Coetzee, the archive and practice research: on Reflection, Green, M. 22 Apr 2021, J.M. Coetzee and the Archive, London, Bloomsbury
Ghosting Through Our Ruins, Green, M. 14 Jun 2019, In: Matatu
On reflection: The role, mode and medium of the reflective component in practice as research, Green, M., Williams, T. 30 Apr 2018, In: TEXT
The experimental line in fiction, Green, M. Jan 2012, The Cambridge History of South African Literature, Cambridge, Cambridge University Press
Professing Silence: Imaginative Writing and the Academy (Inaugural lecture as Professor of Creative Writing), Green, M. 2012, In: New Writing
Reflection and Reflexivity: The Archive and The Creative Process, Green, M. 31 Oct 2018, In: TEXT
Exorcising the past: voices for the present, Green, M. Aug 2009, Religion and spirituality in South Africa: new perspectives, Scottsville, University of Kwazulu-Natal Press
Generic instability and the national project: History, nation, and form in Sol T. Plaatje's Mhudi, Green, M. 1 Dec 2006, In: Research in African Literatures
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American Studies MA August 31 1979
English Literature BA (Hons) December 31 1978
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10th SABIS® Regional Tournament Draws 1,000+ Athletes
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Samir Selman, ISC-Choueifat, Class of 2004
Jun 2015 #AlumniInTheSpotlight
Samir Selman
Samir Selman is a talented and successful young man. From his school desk at the International School of Choueifat (ISC-Choueifat) in Choueifat, Lebanon, to a senior position in one of the world's leading social media companies, this is Samir's story of success.
Samir Selman joined ISC-Choueifat as a tenth grader in 2001. The rigorous science program at the school appealed to his interest in math and physics and motivated him to rise to the challenge. Drawing on his strong academic record, Samir became very involved in SLO® study groups and peer tutoring and was committed to helping others achieve their full potential. Through his support of fellow students, Samir also learned the value of teamwork and developed his leadership skills. He believes that his experiences at ISC-Choueifat contributed to the successes he enjoyed later on in life. "ISC-Choueifat prepared me for university through the advanced math and physics material we learned. It also helped me develop my leadership skills. ISC-Choueifat offers a great culture that sets a motivated student up for success."
Samir graduated from ISC-Choueifat in June of 2004. He was accepted to the American University of Beirut (AUB) in Lebanon, where he obtained a bachelor's degree in computer and communications engineering, consistently ranking among the top students in his program. After completing his degree at AUB, Samir moved to the U.S. to complete a research internship at the Massachusetts Institute of Technology (MIT). This experience opened the door to a fully-funded merit scholarship to pursue a master's degree at Stanford University, which he maintained with high grades while balancing an internship at Microsoft®. Upon graduating from Stanford, Samir secured a full-time position at Microsoft® as a software engineer. Three and a half years later, he joined Twitter and is now is a Technical Lead, running the Twitter Commerce Engineering Team. He also runs his own online security consulting company, which advises top commercial and private clients on how to make sure that their systems are safe from online sabotage.
Reflecting on his alma mater, Samir comments: "ISC-Choueifat provided me with a very strong academic background and helped me build my analytical skills. This continues to pay off."
On April 30, 2015, Samir appeared on "Talk of the Town," one of the top-rated talk-shows in the Middle East, to talk about his experience working in Silicon Valley, his vision for Lebanon as a technical hub in the Middle East, and the global phenomenon of computer hacking. To watch the full episode, click here.
Samir Selman is one of over 22,500 alumni in the SABIS® Network. We wish Samir the best of luck and are eager to hear about what his future holds.


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*This designation is without prejudice to positions on status, and is in line with UNSCR 1244 and the ICJ Opinion on the Kosovo declaration of independence.
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News archive - RCC with Western Balkan economies presented regional Open Science agenda at 4th EU meeting on Scientific Information
Regional Cooperation Council (RCC) and representatives of seven Western Balkan economies presented their draft plan of activities for the next period and the latest developments in the field of Open Science at the 4th meeting of the network of National Points of Reference on Scientific Information (NPR) of EU member states and the European Commission in Brussels, on 10 November 2016.
RCC-led regional Working Group on Open Science comprised of officials from Ministries in charge of science from Albania, Bosnia and Herzegovina, Croatia, Kosovo*, Montenegro, Serbia and The Former Yugoslav Republic of Macedonia got invited to attend regular meetings of the National Points of Reference of the EU member states in early October this year and this meeting was the first time ever that the RCC and representatives from the region could actively take part in the work of this forum.
RCC and representatives of participating economies from the Western Balkans had met a day earlier to work on the terms of references of the Working Group and the draft Work Plan, which was presented at the EU meeting on scientific information.
"Members of the Working Group met under the RCC auspices yesterday to finalise working documents including the terms under which the group will work and its plan of activities for the upcoming three-year period. All these will be shared with the participating governments for comments and approval, after which the Working Group will embark on the implementation", explained Mimika Dobroshi, RCC's Expert on Smart Growth adding that the agreed draft plan, although not final yet, was presented to the EU member states' representatives working in the open science area to illustrate direction and activities the region is ready to undertake.
RCC and representatives of Ministries in charge of science from the region established the Working Group on Open Science at the meeting organised by the RCC on the margins of the International Open Data Conference (IODC) in October 2016. Also the participants agreed to by the end of the year appoint national points of reference (NPRs) for the Open Science to represent the region in the EU Open Science meetings.
The Working Group on Open Science (WGOS) will work towards adoption of Open Science policies and associated measures in the Western Balkans. The emphasis of its activities will be on assisting the region to move closer to adoption of the EU 2012 recommendations on Open Science in the Western Balkan economies.
Source: RCC
Scientifc field / Thematic focus
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News: Western Balkans Joins the European Open Science Agenda
Entry created by Anna Sirocco on November 11, 2016
Modified on June 9, 2017
Western Balkan Countries Information Platform on Research Technology and Innovation is currently funded by the European Commission through the INT Service Facility for the Support of the Steering Platform on Research and Innovation for Western Balkan Countries (Specific Contract No. 30-CE-0864059/00-47). It builds upon the original platform WBC-INCO.NET.
Kosovo* (This designation is without prejudice to positions on status and is in line with UNSCR 1244 and the ICJ opinion on the Kosovo declaration of independence.)


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Home » Andhra Pradesh » Professor accused of abetting medico's suicide held
Professor accused of abetting medico's suicide held
A.V.V. Lakshm. a professor of Guntur Medical College accused of abetting the suicide of a post-graduate medical student was arrested in Bengaluru on Monday, police said.
By AuthorPTI | Published: 14th Nov 2016 5:49 pm
Vijayawada: A professor of Guntur Medical College accused of abetting the suicide of a post-graduate medical student was arrested in Bengaluru on Monday, police said in Guntur.
The professor, A.V.V. Lakshmi, is likely to be brought to Guntur later on Monday or Tuesday.
She was absconding following the suicide of B. Sandhya Rani in October.
Sandhya Rani (27), belonging to Nalgonda district of Telangana and a post-graduate student of the Department of Gynecology and Obstetrics, committed suicide by injecting in herself an overdose of anaesthesia. She died on October 24 while undergoing treatment at Guntur Government Hospital.
During investigation, police found Sandhya's diary in which she wrote that she is ending her life as she is unable to bear the harassment by Lakshmi.
Sandhya's classmates at the medical college had staged a protest demanding the immediate arrest and suspension of the Professor.
An inquiry committee of the college had found Lakshmi guilty of harassing the student.
However, Andhra Pradesh Police faced allegations from the victim's family that it is not doing enough to bring Lakshmi to book.
Denying the allegation, the police had formed special teams to track down the absconding Professor.
Lakshmi through her relatives had also moved a court in Guntur for anticipatory bail but the court refused her plea.
Following, Sandhya Rani's death her husband Ravi had also attempted suicide in Miryalaguda town of Telangana. Ravi, also a physician, tried to hang himself at his residence but was saved by his brother.
The couple had married a year ago. Sandhya was allegedly denied leave and burdened with additional work by the Professor.
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Sacred Native American burial sites are being blown up for Trump's border wall
Construction crews began blasting sites within Arizona's Organ Pipe Cactus National Monument as part of the construction of President Trump's border barrier, and the affected areas include sites sacred to Native American groups, according to a congressman from Arizona and advocates.
The Organ Pipe Cactus National Monument is an internationally recognized biosphere reserve — meaning it has plants and animals so rare that the United Nations has given it a special designation. It includes about 330,000 acres of designated wilderness and is home to ancestral grounds sacred to the Tohono O'odham Nation, one of at least a dozen Native American groups that claim connections to grounds within the monument.
Rep. Raúl M. Grijalva (D-Ariz.), whose district includes the reservation, said crews this week began blasting through parts of Monument Hill, which includes a burial site for the Tohono O'odham Nation.
"The construction contractor has begun controlled blasting, in preparation for new border wall system construction within the Roosevelt Reservation at Monument Mountain," A U.S. Customs and Border Protection spokesperson said in a statement sent to The Post. "The controlled blasting is targeted and will continue intermittently for the rest of the month."
Grijalva, chairman of the House Natural Resources Committee, visited the location ahead of the construction and described the site in a video posted to social media. Monument Hill, where he said explosions are now occurring, is a site where members of the Tohono O'odham Nation have buried members of opposing tribes.
"Where they were blasting the other day on Monument Hill is the resting place for primarily Apache warriors that had been involved in battle with the O'odham. And then the O'odham people in a respectful way laid them to rest on Monument Hill," Grijalva said in a video posted on Sunday.
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Rapper PnB Rock fatally shot during A robbery at Roscoe's Chicken & Waffles
DOJ names Oregon official to head sprawling, embattled federal prison system


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OSU women's basketball: Jim Littell's patience pays off for youthful Cowgirls
by Kyle Fredrickson
Published: Sun, February 26, 2017 4:56 PM Updated: Sun, February 26, 2017 4:57 PM
Oklahoma State coach Jim Littell instructs freshman guard Areanna Combs on the sideline during the Cowgirls' home victory against Arkansas State last November. [PHOTO BY KURT STEISS, FOR THE OKLAHOMAN]
STILLWATER — Jim Littell looked up from the Oklahoma State bench at times Saturday night in Gallagher-Iba Arena, and his five Cowgirls on the floor served as a reminder to keep things in perspective.
Two freshmen. One sophomore. Two juniors.
A lack of experience that would make any coach uneasy.
"Patience and Jim Littell usually don't collide in the same sentence," he said.
As the Cowgirls travel to Iowa State on Monday for their final regular season matchup, it would be difficult to blame the sixth-year head coach for sometimes losing his cool. OSU (16-12, 6-11 Big 12) is sure to miss the NCAA Tournament for the first time in four years after falling in nine of 10 games through the heart of Big 12 play. It will take an upset-filled conference tournament and likely WNIT run to reach 20 victories on the season; a mark Littell has reached in each of his previous five years.
New challenges required new thinking. It started with Littell's approach. He's cut down practice time to keep legs fresh, kept an extremely positive attitude with his players in the face of demoralizing losses, and focusing on what he called a "process oriented" approach.
Now, it appears those methods are proving fruitful.
"I believe our group is buying into it," Littell said.
OSU enters its 7 p.m. tipoff against the Cyclones as a winner in three of its last four games.
"Since we're struggling so much, right now it's nice to just keep the momentum pushing for this tournament," junior forward Kaylee Jensen said. "So that we can get the best run that we can."
The success of OSU's role players outside its leading scorers, Jensen and Mandy Coleman, has been key. In recent victories against TCU and Texas Tech, OSU featured five players in each game with double-digit scoring efforts; and then three more in its win over West Virginia. In nine losses over a month's span earlier this season, only three times did the Cowgirls have more than two scorers with at least 10 points.
"Very proud of our group," Littell said. "In a lot of respects, we've had a tough year. We've played some people tough, and it's gotten away from us in the fourth quarter. Our group has been pretty resilient at the end of the year, and I think they're getting better."
Littell's efforts haven't gone unnoticed by other league coaches, either. After OSU defeated WVU, 67-63, Mountaineer coach Mike Carey spoke glowingly of the Cowgirls' leader.
"I've watched them on tape and he's done a great job with them all year," Carey said. "I think he's one of the better coaches in the conference, I really do."
Kyle Fredrickson
Kyle Fredrickson became the Oklahoma State beat writer for The Oklahoman and NewsOK.com in July 2014. A native Coloradoan, Fredrickson attended Western State College before transferring to Oklahoma State in 2010 and graduating in 2012. Fredrickson... Read more ›
CommentsOSU women's basketball: Jim Littell's patience pays off for youthful Cowgirls


Villa Are in a Final, and Wasn't it Fun?
AVFC | Aston Villa Life - An Aston Villa Blog and Mobile Site for iOS and Android > Aston Villa Blog > Match Previews > Villa Are in a Final, and Wasn't it Fun?
I've been putting this off, largely because I haven't wanted to think about the play-off final. Why? Because it's terrifying and surreal. Terrifying for obvious reasons, surreal because we're actually poised to win something. Up til now, it's all been fun and games, always another day, another possibility. After the final, well, season two in the promotion stakes will be final, for good or bad. I really just want to wake up and see that we've won.
Maybe I'm confusing terror with the nausea brought on by me thinking about me watching the game and sweating every single second, never mind every single touch. Mainly it's about how excruciating 90 minutes of winner-take-all football can be. God only knows what penalty kicks would be like. Seems like strong drink is a virtual necessity. Other medications should be taken as needed. In the end, I know I'll watch every second, however triumphant or traumatic, even though I'd rather be hiding behind the couch. And that's what has me thinking about me watching the game. Maybe I'm too focused on the negative possibilities.
Because should we fail at the final hurdle, we know what comes next: wailing and gnashing of teeth; tears of regret pouring into our beers; walking around in a dazed and demoralized state for days or weeks; casting blame and aspersions; searching for answers; enduring the taunts of rival supporters. Debating Steve Bruce, the players, the performance, and of course the season overall. We'll wonder at the cruelty of coming so close only to be denied, of all that could have been.
Then we'd get stuck into the remaking of the team and the realities of FFP. Which will likely be just as hard to bear as losing. I would imagine the odds are high we'd be saying goodbye to Jack Grealish, for example, just as we've come to love him. John Terry, naturally. Which others? Hard to say, what with math, age, ambition, and all. Robert Snodgrass would likely be gone, for one, but I have the troubling feeling Ross McCormack will somehow still be on our books, even if we don't know where he's at. Josh Onomah and Axel Tuanzebe? Alas we hardly knew you. Sam Johnstone? Still a bit raw, but a keeper nonetheless. Does Henri Lansbury have a place? Would Birkir Bjarnason be around? Mile Jedinak? Albert Adomah? Scott Hogan? Alan Hutton? Johnathan Kodjia? Jedinak? Elmo? Taylor? It's a long list of question marks.
And then of course, Steve Bruce. After what he's gone through personally, and the remit professionally, it's hard to imagine him returning if Villa have a third season in the Championship ahead of them.
There's also the distinct possibility of winning and joining the scrap to stay alive in the second tier of the top tier. And getting stuck into the remaking of the team in a different way and the realities of FFP. Why does that keep coming up?
But before it all comes to pass, I will say that however much we moaned, it was a fun season. Perhaps we underachieved and should instead be sitting back, debating the PL remodel, and placing bets on who'll be joining us and Wolves. Perhaps we're exactly where we should've been.
Regardless, it was fun. It was football, a lot of it, and it meant something every week. We had proud days, dog days, and everything in between. Villa Park was full again a couple of times. Players played like it meant something—we grew to appreciate rather than despise them. Most of them, anyway. A degree of professionalism was restored along with the sense that we may indeed be exorcising the demons—that whether we go up or stay put, our club is finding its soul again. In other words, we do have things for which to thank Steve Bruce and Dr. Xia.
So, I'll get into the actual match-up against Fulham here in short order. Basically I just wanted to take a moment before the emotion takes over. Win or lose, Aston Villa are better off than the club have been in a long time. And that's something worth celebrating. And when it comes to the game itself, all I ask is that we give it everything we've got. Leave nothing on the pitch. If we lose, at least go down swinging and leave the supporters with the small consolation that it wasn't for lack of effort, invention, or application. Just give us a good showing, lads.
And while you're at it, go ahead and win the damn thing. Why not? Would certainly do me a world of good.
This entry was published on May 24, 2018 / John Clark. Posted in Aston Villa Blog, Match Previews and tagged "Ahmed Elmohamady", "Albert Adomah", "Aston Villa Football Club", "aston villa life", "aston villa match preview", "Aston Villa", "Birkir Bjarnason", "Cottagers", "Fulham", "Henri Lansbury", "Jack Grealish", "John Terry", "Johnathan Kodjia", "Neil Taylor", "Robert Snodgrass", "Ross McCormack", "Sam Johnstone", "Scott Hogan", "Steve Bruce", alan hutton, astonvillalife, Mile Jedinak. Bookmark the permalink.
Since the job's only halfway done, the business at hand tonight will be all about whether Boro can or will shuffle things around. Or whether you can negate Traore twice in four days using the same tactics. In other words, how will Adama and Tony Pulis react? And can Villa conjure up a repeat performance? Boro will be desperate, and Villa can't afford to retreat into a shell. Now's the time to roar and give Fulham something to think about.
Thanks for the writeup, & I couldn't agree more.
It's interesting that Bruce felt the need to let out that he had to cut the training short because it was getting feisty, & he didn't want us to peak too soon.
I won't be able to fully engage until there is no choice.
Well JC, I hope the players are not feeling the same as you describe in the early part of your script. Cup finals are for winning. There's no room for players that don't turn up.
I've played in finals (lower level of course) and seen excellent players the subject of intense bollockings because they've frozen by the occasion. A simple mindset applied during the whole of the game that "we just need one goal" should work. Spud and the players will know this.
Let's hope the occasion gets to Fulham more than us. After all, they couldn't handle small heath when the pressure was on. COYVB.
Come on John – remember the Monty Python song – Always Look on the Bright Side Of (Aston Villa) Life?
Positive thought is now essential if not for us but for the team; I'm glad the training showed the desire to be part of a winning side.
I think the body of your post comes on Sunday whatever the outcome on Saturday.
I for one will be sitting up at 2315 Thai time urging the team on, hopefully telepathically and wishing I was there with the Villa supporters.
Last time I was at Wembley was the last final at the old ground (I still have the pennant that was on the seat). Now we are Wise after the event (pun!) and will be strong in team spirit and not as nervous as our opponents who have never won a play-off.
which for me is a big blow.
effects snoddy too. those 2 have forged an excellent understanding down that side.
Yep, one hopes Bruce's experience comes into play handling the side. It will come down to mindset (as Plug says) as much as anything.
You're absolutely right about players and the occasion. We've gotten used to saying "Which Villa will turn up?" And it comes down to that, whether we've a bunch who embrace it.
Seems to me the side do better as underdogs. Also seems to me that the older players, especially Terry, should be a calming influence around the camp. We've talked about the mix, average age, etc., but you should be able to take confidence from someone who's been there and done it on the biggest stages.
I'm always terrible with these things…over a life supporting various teams in different sports, you tend to lose your share of big games. Never really matters how you feel going in. So I do like being slight underdogs. I think it helps the mentality all round.
I know that I'd much rather be playing than watching. You've no control as a supporter, but I know that as a player, I'd be able to do something, give every ounce, and go after the game.
Overall…let's just say it's somewhat ritualistic for me to take a certain approach as a supporter. Not negative, but wrapping my head around the worst case before the fact.
And like I say, as I do that, I really do have to look back over the season and be grateful for what's already happened.
Andrew Sky Sports says Elmo is fit.
Agreed, they play well together. But Bree grew into the Boro game after showing a few nerves in the beginning. If Elmo's not going to be available, then it's good he was out earlier and Bree had a chance to feel the occasion, the crowd, the pressure.
Elmo's been back in training, sounds like a decision will be made tomorrow.
It was a ride, one that's still got a happy ending in it, and I'm in a bit of an expansive mood at the moment. Always games you should win and don't, games you should lose and don't. That sort of thing. You'll note that I'm not considering the whole play-off business fun…unless of course we win through.
I think more than anything it's about the league, and Villa, being competitive. I want us back up, of course, but as a number on here have noted, it's a double-edged sword. I think the ambition is there, but cracking the ranks of relevancy in the PL is no sure thing.
What I'm hoping is that we've learned something about winning and losing along the way. Good teams seem to have gotten our attention lately, and we've been much better dealing with them. In all honesty, I'd have thought we could be more consistent and ruthless throughout the season, but it's water under the bridge. Until we get to the season in review.
Prutton has predicted a Villa win.
JG – Yes the road has been & is rocky.
Also the vibe is definitely better than 2 years ago as JC said.
If we lost it could all go a bit south of course.
But hey, the Birmingham Mail has said we are under dogs, so woof!
Getting down to the nitty gritty or the short strokes. The go big or go home game. The been there done that mentality Bruce must have by now should put him over the top again. All the wailing over his player personnel appears to be the big advantage Villa have over Fulham. The depth of experience is comforting.
After saying all that, the first goal will be a telling one. If it's fulham will the expectations of the Villa crowd be too much? Or if it's Villa, will it crush Fulham with waves of noise coming down.
Experience, talent, and supporters will do the trick and Villa have all of that.
Don't lose your grip boys—you've got this.
And in other news. . . .
You're sort of throwing your shyte before the game????
Hey JC,thanks for an outstanding summary,spot on.If we win great,if we lose,life goes on.maybe now I'm older,it doesn't hurt as much..,maybe a differnt semse of perspective dunno.
But,you're right,we are in decent shape,slowly we are being repaired,and I'm still proud of what we'be achieved,could've been better or a lot worse.
Snoddie my player of the season.Let's win for Steamer,you are still missed Gary.
Hey r0bb0 – "And in other news. . . .
And I hope your comments to r0bb0 weren't serious IanG or are you backing up JG's comments?
because it is others who are slinging the shyte at him doesn't make everything else positive, in fact to the contrary.
You too? How can both of us be wrong? Answer #2 is worth a point. Spend it wisely.
You were in the same situation??
And do you have a point to spend wisely?
Sadly, I can only claim half a point as I couldn't help the initial " but I did say". . . . . before stopping myself and appreciating how much more productive a day it will be if I spend it mixing concrete.
I think we will go at them and try to close their passing game down as they have to many good individuals to attempt an Adama again. This may work initially and I pray it brings a goal and if the Gods are kind two, then its all hands to the pump. If the worst happens and we concede all bets off.
Now we have an old experienced side, point to us, they have a young less experienced but versed in passing and keeping the ball side point to them. Saturday is supposed to be 26 C in London, I am hoping that changes as chasing a passing side in the heat might not be the best idea and after watching how Knackered they looked after the semi's where we mostly kept in shape?
Jack is crucial, we know that, I hope they think they do but ignore him enough.
On the ticket front, I would go as most of England is going to get rain and storms Saturday, this will leave you with no gardening, no Wembley final and an equally p*ssed off lady, this will be the only play off final involving us you might get, it certainly wont be the only telling off from your lady you will see in your lifetime (unless your proper thumbed up). Better still drop her in Harrods with your credit card while you go.
Yes it is quite a slagging, & that includes a third of it that I couldn't understand.
I hope he comes unstuck.
I too will be happier if we score first.
IanG- I can't understand what possessed him unless thats him being upfront and honest 🙂 at least he hasn't called Bruce Spud head? I'm looking forward to the game and probably will be for about 20 mins unless we score.
Loads of tickets floating about got offered one in a Box with a corporate bunch and apparently the Fulham fans can buy 5 tickets, don't think they are going to be heard much above our lot, in fact half there allowance could be our lot with a lot of selling going on.
Probably have already seen…Don't usually do this, and maybe it's a touch overblown, but not by much.
The Jedi alluded to it & called the game 'a sliding door moment'.
He & the others see it as a case of raising the determination level even more, one more time.
Got to start with high intensity & keep it going for as long as it takes, & leave the bus at home in the garage.
As for calling Bruce spud head, that was probably in the part that I couldn't understand.
We can slag him cos he's our spud head, but no one else can & get away with it.
Fulham's white wall looks like it's going to be a bit tattered, I mean 5 tickets each!
Anyway I haven't got a 13th Rolls Royce taking me to the door to be met by a man with a wheelchair, so it's making sure I've got a beer or 2, & hope the stream doesn't freeze.
Yeah, was really struck by the honesty from Jedi in the piece. Hope it is motivating rather than a millstone. Like he said, every drop of sweat.
Nice leader, JC. Thanks for that.
Like all of us I've learned to be a bit more realistic about our chances. That said I've put $27 on a Villa win. The first bet I've made in decades. The local betting agency has Fulham as firm favourites. They did beat us 2-0 earlier on and I remember our last trip to Wembley for the FA Cup final against Arsenal was a wee bit embarrassing. Nevertheless whatever happens will happen. Who knows? Villa might actually win and get what they've asked for. That'll be something to roar about.
Great leader JC, and a great piece from the Telegraph, which really brings home the point that this game is a one off for Villa, and as big to me as the 1957 Cup Final, where Villa were the under dogs, and a certain Peter McParland made the difference.
I hope today that the guy with the sleeked hairstyle of McParland is Jack Grealish, and that he smashes home two great goals to win the game for us!!!
Off to Villa Park shortly , taking a few of the local boys, but at the moment , I have no tickets for the coach or the game…..but hey ho! That i9s another story…..Got sent to the wrong address…!!
Let's hope that my next piece on here will be praising Steve Bruce and the boys for a fantastic result, but will not be before Sunday…!!!
JC – I had a link to a similar article that expands on the fortunes of teams that lose play-offs – I decided not to post it here until tomorrow whatever happens.
Like Paul I was at the 1957 final (aged 15) and also at the 'Dennis Wise (cheeky cockney) final – I still have the pennant that was on all the seats – last Final at old Wembley.
Let's save any inquests until after the game whichever way it goes and be thankful we got there considering where we were when SB took over.
Any sports scientists amongst us?
I've heard it suggested that on a warm day on a big pitch the younger team will have the advantage.
Really not sure that's the case. If anything, mightn't it be the younger players who struggle with stamina?
Hey, if we win we'll all be one big delighted happy family!
One big delighted happy family indeed, r0bb0.
Fresh sheet up for the game.


text:
Is Hollywood Co-Promotion Worse Than Brand Integration? Star Wars and FCA to Find Out
February 13, 2019, 4 pm December 12, 2015, 11 am by Tom Burkart
Product placement in movies has evolved radically since Bumblebee Camaro raced back into our hearts — and many driveways — following the 2007 Transformers remake.
In the last 20 years, paid PP was all about screen time and brand impact. The challenges were to say the name of the product on film and have it be a hero type of character. Without appearing saccharine. (Bad examples include Acura and Sony in every Hollywood media program they have ever done.)
For 'good' results, it was about showcasing the car organically throughout the film, with real-life displays of prop replicas generally involved in auto shows and premiers — photographed with the stars. This type of classic brand integration is still the most impactful, in our opinion, and is still a force to be reckoned with in 2015 hits like SPECTRE and sci-ti dramedy Mission Impossible: Rogue Nation for JLR and BMW, respectively.
In the old setup, the brands would pay at every step of the process. Pay to make the cars, pay to have them written into scripts, and pay for the hundreds of prop and stunt cars needed for a big-budget production.
STAR WARS: The Force Awakens is a bit unusual, however. Because the story is not earth-bound, actual LTC (label to camera!) orders in normal Hollywood product placement do not fit. Certainly not 2015 cars, unfortunately.
Did Lucasfilm and Disney just hold integrity of the storyline sacrosanct? No paid placement?!
Perhaps. But not really.
"Lease a new BMW 320i for just …"
The next stage of product placement seems like a sorry runner-up to actually having the cars in the movie… but whatever.
Star Wars 7 is going lifestyle instead: products to sell in the real world, dusted with just a bit of movie magic and brand association.
Fiat Chrysler Automobiles is one of 7 — get it? — title sponsors of the film worldwide. And most of the spend in this new branded content universe is not on stunt cars or concepts — it is about co-marketing. In order to participate in the deals, the brands — which also include Covergirl & Max Factor, Duracell, General Mills, Hewlett Packard, Subway and Verizon — are required to shell out major cash on TV spots. You know the ones: they start as movie action, end as sales promo.
Or go experiential: like Dodge has done with HotWheels and Uber in Manhattan, and solo this weekend in Ellay.
All in, co-promo can bump the global marketing budget of the any film dramatically. An estimated $10MM buy-in for USA partners ups Star Wars share-of-voice in the ad marketplace and is win-win. This new strategy omits on-screen appearances in favor of tapping into the superfans.
And these fans have money to spend! The big seven sponsors above, of course, do not include the hundreds of merchandise partnerships.
To make this new Co-Promo strategy work, you have to be more clever.
Dodge is taking the iconic, intimidating and future-sexy style of the new Storm Troopers to dress up the Charger and Challenger Hellcats, while the new ACR Viper dons an artful villain motif like Kylo Ren's getup in the movie.
The marketing force is in effect this weekend in LA: a trio of Dodge Star Wars cars are cruising tourist hotspots, posing for pictures and revving the evil empires under their hoods!
Does post-modern product placement pay out, in terms of sales? FCA is about to find out: all its global brands and regions are on-board for a heavy push for the new film, debuting December 17th. Part of the strategy here, by the way, is simply locking other car brands out of the franchise. A doubtless multi-movie contract for FCA makes them the exclusive automotive partner. But for what? The cost/benefit equation is heavily in Star Wars favor over its global brand partners. Regardless, being part of a big movie event is special and being celebrated with Force TV spots for all the big FCA brands.
In the US, the first five ads are ready for the car-buyer mindshare battle below.
All quiet on set!
Cue the Darth Vader music.
Start the engines!
Will this pay out for Dodge? Will RAM replace its awful voiceover grandpa with James Earl Jones — the original megavillain behind the mask? Watch this space.
https://www.youtube.com/watch?v=7ESP8bPldl0&authuser=0
https://www.youtube.com/watch?v=xOI03NSJ-WY&authuser=0
https://www.youtube.com/watch?v=s4W7F-ap0IM&authuser=0
https://www.youtube.com/watch?v=fRQthTlEn70&authuser=0
https://www.youtube.com/watch?v=juYtd3YfMVk&authuser=0
Specially Wrapped Dodge and Viper Vehicles Patrol L.A. Streets This Weekend in Celebration of Upcoming "Star Wars: The Force Awakens"
Fans can get their pictures taken with First Order Stormtrooper-themed white Dodge Charger SRT Hellcat and Dodge Challenger SRT Hellcat, plus Kylo Ren-inspired black Dodge Viper ACR
Vehicles patrol Los Angeles-area streets Friday, Dec. 11 – Monday, Dec. 14
Track vehicle locations in real time on Twitter using hashtags #Dodge and #TheForceAwakens
Dodge social media activation part of FCA US partnership with Disney and Lucasfilm to co-promote "Star Wars: The Force Awakens" opening in theaters December 18
December 11, 2015 , Los Angeles – The weekend before "Star Wars: The Force Awakens" opens in theaters worldwide, Dodge is taking to the streets of greater Los Angeles with a team of specially wrapped Dodge vehicles to give fans the opportunity to take photos and videos with them.
A pair of First Order Stormtrooper-themed white 707-horsepower Dodge Charger SRT Hellcat and Dodge Challenger SRT Hellcat vehicles will travel around the greater L.A. area, Friday, Dec. 11 – Monday, Dec. 14, along with an intimidating Kylo Ren-inspired wrapped black Dodge Viper ACR.
Star Wars and Dodge fans can track vehicle locations in real time on Twitter, using the hashtags #Dodge and #TheForceAwakens, and see the brand's daily fan favorites on the Dodge Facebook and Instagram pages.
Dodge is launching the weekend promotion in celebration of the upcoming release of "Star Wars: The Force Awakens," in theaters worldwide December 18.
Lucasfilm first announced in August that it was collaborating with FCA US and six other global brands to promote "Star Wars: The Force Awakens." In November, the FIAT brand displayed a custom-painted Fiat 500e Stormtrooper, inspired by the armor of the First Order Legion, at the L.A. Auto Show.
FCA Star Wars 7
FCA Launches Global Promotional Campaign in Support of Disney and Lucasfilm's Blockbuster "Star Wars: The Force Awakens," in Theaters Worldwide December 18
Seven co-branded televisions spots launch this week in United States for Chrysler, Dodge, Jeep®, Ram and FIAT brands
Global promotional campaign to roll out in Canada, Mexico, Argentina, Brazil and many European, Middle East and African countries
"Star Wars: the Force Awakens" is latest blockbuster movie partnership for FCA
S. campaign includes radio spots and social media extensions
Dodge brand brings Star Wars-themed vehicle to the December 14 "Star Wars: The Force Awakens" World Premiere in Los Angeles
In partnership with Disney and Lucasfilm, FCA begins rolling out a global marketing campaign December 3 co-promoting the much-anticipated "Star Wars: The Force Awakens" movie and the FCA Chrysler, Dodge, Jeep®, Ram and FIAT brands. The movie opens worldwide December 18.
Seven 30-second co-branded television spots were created to run in North America (U.S., Canada and Mexico), Argentina and Brazil, with individual countries deciding which spots they will air. Each ad includes various creative elements from the movie – images, music and/or sound design – interspersed with footage of Chrysler, Dodge, Jeep®, Ram or FIAT vehicles specific to those sold in countries airing the spots. Additional spots will be rolled out in countries throughout the FCA EMEA region (Europe, Middle East, Africa).
Five of the seven spots can be viewed on the individual brand YouTube pages:
Chrysler https://youtu.be/xOI03NSJ-WY
Fiat – https://youtu.be/s4W7F-ap0IM
Dodge – https://youtu.be/7ESP8bPldl0
Jeep – https://www.youtube.com/watch?v=fRQthTlEn70&feature=youtu.be
Ram Trucks – https://www.youtube.com/watch?v=juYtd3YfMVk
"Having our brands be part of the global conversation surrounding one of the most anticipated movies in recent years provides remarkable worldwide exposure for our Chrysler, Jeep, Dodge, Ram and FIAT brands," said Olivier Francois, Chief Marketing Officer, FCA – Global. "Collaborating with Disney and Lucasfilm on 'Star Wars: The Force Awakens' once again provides the opportunity to deliver the unexpected – relevant, entertaining and immediately noticed end-of-the-year Tier 2 commercials true to the individuality of each of our brands and featuring the Star Wars music and sound design known around the world."
The campaign is targeted to reach a wide demographic of consumers with the commercials airing throughout the United States in primetime, premier NFL and college football programs and programs in all other dayparts. Radio spots and social media extensions will augment the U.S. television campaign.
Additionally, Dodge plans to bring a Star Wars-themed vehicle to the December 14 "Star Wars: The Force Awakens" World Premiere in Los Angeles.
Lucasfilm first announced in August that it was collaborating with FCA US and six other global brands to promote "Star Wars: The Force Awakens." In addition to the new marketing campaign, the FIAT brand displayed a custom-painted Fiat 500e Stormtrooper, inspired by the armor of the First Order Legion, at the L.A. Auto Show. In September, Mattel's Hot Wheels offered Uber riders in New York the once-in-a-lifetime chance to catch a free ride in a custom-wrapped Dodge Charger uniquely styled after a "Star Wars: The Force Awakens" Stormtrooper.
"Star Wars: The Force Awakens" is the latest blockbuster movie alignment for FCA. Other 2015 partnerships include Dodge and "Furious 7" and the Chrysler, Dodge and Ram brands with "The Hunger Games: Mockingjay – Part 2."
SPOT DESCRIPTIONS
The U.S. spots promote the brand's year-end sales events, "The Must See Event of the Year," and close with "See Star Wars: The Force Awakens December 18." End tag in other countries will vary.
Chrysler's "First Time" spot celebrates the awe one feels when experiencing truly momentous occasions in one's life. From the first viewing of Star Wars in 1977, to your first love, through marriage and parenthood, to sharing Star Wars with the next generation, Chrysler is there to help enable those experiences. For as the spot states, "few things feel like the first time you saw Star Wars."
"The Force Gathers" pays homage to the iconic image of Darth Vader and his army of Stormtroopers. An armada of white Dodge Chargers, Challengers and Durangos, all led by a sinister black Dodge Viper, march towards some nervous valets at the red-carpet opening of the newest Star Wars film. This is all set against the famous "Imperial March" music.
In "Shooting Star," Industrial Light & Magic created custom content for the ad featuring an epic space battle between the rebel alliance and the Imperial forces. A TIE fighter explodes, which appears like a shooting star to our Jeep passengers admiring the starry sky many galaxies away. The spot concludes with a voiceover that says "Enjoy the freedom to go far, far away" as only a Jeep can take you to a place where you have an expansive view of the galaxy.
The Ram "Family" spot uses sound design and music from the movie trailer and features the voice of actor Mark Hamill (Luke Skywalker). First opening on a blurry image far off in the distance of a barren desert landscape, Ram vehicles power through the desert revealing a Ram 3500, 2500, 1500 and the new Rebel as Hamill says, "There exists an all-powerful force in the universe. It surrounds us. Gives us strength. Turns fear into hope. And to those who seek to harness such power … This is what you've been looking for…" The spot closes promoting the year-end Ram sales event and Star Wars: The Force Awakens.
FIAT:
"Awakening" embodies the classic Star Wars theme of balance between good and evil with black and white FIAT Abarths dueling it out on what looks like a landscape from a galaxy far, far away.
The ads were created in partnership with full-service advertising agency Doner. Industrial Light & Magic (ILM), the Academy Award-winning motion picture VFX company founded by George Lucas, created custom content for the Jeep "Shooting Star" spot.
Categories 2-Doors, CAR SHOPPING, COLORS, Concept Cars, CUSTOMS, Fun Cars, Future Cars / Rumors / Renderings, Gift Ideas, LATEST NEWS, LEDetails, Lifestyle Accessories, Movies, Muscle Cars, NEW CARS, Sports Cars Tags #DODGE, #RAM, #TheForceAwakens, Awakens, BMW, brand, BRANDING, Chrysler, co-promo, Co-promotion, copro, copromo, disney, Effective, FCA, Fiat, Fiat 500e Stormtrooper, Find, First Order Stormtrooper, Force, impossible, Integration?, Is Co-Promotion As Effective As Transformers-style Brand Integration? Star Wars and FCA to Find Out, JLR, lucasfilm, marketing, Media, mission, Out, placement, product placement, promo, Spectre, Star Wars, STAR WARS: The Force Awakens, StarWars, strategy, the, Transformers-style Post navigation
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text:
Q: using azure mobile services with MVC application I need to interact with my Azure Mobile API. Upon login I get an authentication token that is sent with every request. Adding Azure Mobile services to my MVC causes Html helpers to stop working.
How can I get around this? if it is not possible, can someone show me how to add an Header to an AJAX request for a Azure Mobile API request? And is it possible to pass the server response to my controller?
accessing the database without the API is not really a option. I have a client Xamarin Application that uses it.

A: OK, so I manage to work around my solution.
this link helped: http://developers.de/blogs/damir_dobric/archive/2014/04/29/consuming-azure-mobile-service-custom-api-with-net-backend.aspx
so basically this is how it works: Azure mobile library breaks any MVC project so it was uninstalled.
Include: Newtonsoft.Json this class is needed to map your response objects to whatever your classes look like.
Keep an close eye to what your uri looks like. Usually is something like https://Your-API-link.net/api/controller (remember that get requests have values added as part of the link and post as part of the header)
 I used JsonConvert.DeserializeObject<> for the response mapping

redpajama_set_name: RedPajamaStackExchange


text:
WW2010
> online guides
educational cd-rom
about ww2010
> meteorology
reading maps
projects, activities
air masses, fronts
clouds, precipitation
forces, winds
> hydrologic cycle
light, optics
midlatitude cyclones
severe storms
water budget
> groundwater
> text
NOTE: We've guessed that you're not using a client that supports colored tables and have tried to compensate. Low graphics mode looks much better on clients that do... we recommend switching to Netscape 3.0 or Microsoft Internet Explorer.
. Groundwater water that has penetrated the earth's surface
[Image: Groundwater Animation (83K)]
Animation by: Bramer
Groundwater is all the water that has penetrated the earth's surface and is found in one of two soil layers. The one nearest the surface is the "zone of aeration", where gaps between soil are filled with both air and water. Below this layer is the "zone of saturation", where the gaps are filled with water. The water table is the boundary between these two layers. As the amount of groundwater water increases or decreases, the water table rises or falls accordingly. When the entire area below the ground is saturated, flooding occurs because all subsequent precipitation is forced to remain on the surface.
The amount of water that can be held in the soil is called "porosity". The rate at which water flows through the soil is its "permeability". Different surfaces hold different amounts of water and absorb water at different rates. Surface permeability is extremely important for hydrologists to monitor because as a surface becomes less permeable, an increasing amount of water remains on the surface, creating a greater potential for flooding. Flooding is very common during winter and early spring because the frozen ground has no permeability, causing most rainwater and meltwater to become runoff.
Water that infiltrates the soil flows downward until it encounters impermeable rock (shown in gray), and then travels laterally. The locations where water moves laterally are called "aquifers". Groundwater returns to the surface through these aquifers (arrows), which empty into lakes, rivers, and the oceans. Under special circumstances, groundwater can even flow upward in artesian wells. The flow of groundwater is much slower than runoff, with speeds usually measured in centimeters per day, meters per year, or even centimeters per year.
Terms for using data resources. CD-ROM available.
Credits and Acknowledgments for WW2010.
Department of Atmospheric Sciences (DAS) at
the University of Illinois at Urbana-Champaign.


Leadership is crucial to every company's success. How you grow and develop talent in your organization will enable you to differentiate yourself from your competitions. Your ability to impact lives and care for your constituents will separate you from the rest.
By working together, I will help you and/or your team in the desired direction to reach your goals. My result-oriented outlook on life and my passion for helping others reach their goals led me to join the John Maxwell Team. I have over 24 years experience in Information Technology field holding various leadership roles. I'm a coach, mentor and champion for many people inside and outside my organization. My leadership journey started in 2001, when I attended Seton Hall University's Master of Arts in Strategic Communication and Leadership (MASCL) program, where I graduated with honors. I hold a Bachelor of Science Degree in Accounting from University of Santo Tomas in Manila, Philippines. In addition, I hold an MBA in Information Decision and Technology Management from IONA College, where I graduated with honors.