text:
Hoch Róbert (Budapest, 1926. július 19. – Budapest, 1993. november 3.) magyar közgazdász; egyetemi tanár. A közgazdaság-tudományok kandidátusa (1961), doktora (1972). Felesége, Hoszpodár Viola biológus, a Budapesti Konzervgyár mikrobiológusa volt.

Életpályája
Szülei: Hoch Tibor és Kaufmann Vilma voltak. 1944-ben kereskedelmi érettségit tett. 1944–1945 között munkaszolgálatos volt a második világháborúban. 1945–1946 között fuvarosként dolgozott. 1946–1948 között a Kollektíva Szövetkezet és a Kelet-európai Kereskedelmi Rt. munkatársa volt. 1948–1950 között a Kelimpex Külkereskedelmi Vállalat könyvelőjeként tevékenykedett. 1950-ben diplomázott a Marx Károly Közgazdaságtudományi Egyetem Általános Szakán; közgazdász diplomát szerzett. 1950–1952 között a Marx Károly Közgazdaságtudományi Egyetem, illetve a Marx Károly Közgazdaságtudományi Egyetem Politikai Gazdaságtan Tanszék tanársegéde, 1952–1955 között egyetemi adjunktusa volt. 1955–1961 között a Magyar Tudományos Akadémia Közgazdaság-tudományi Intézetének tudományos munkatársa, 1961–1972 között tudományos főmunkatársa, 1972-től haláláig tudományos tanácsadója volt. 1980–1990 között az Marx Károly Közgazdaságtudományi Egyetem címzetes egyetemi docense és az MSZMP Politikai Főiskola Politikai Gazdaságtan Tanszéke egyetemi tanára volt. 1985-ben a Magyar Tudományos Akadémia levelező tagja lett. 1989–1993 között a Lukács György-alapítvány kuratóriumának alelnöke volt. 1990-ben a Magyar Tudományos Akadémia rendes tagjává választotta.

Sírja a Farkasréti temetőben található.

Művei
 A kereslet szerkezete és a jövedelemalakulás (Budapest, 1960)
 A kereslet-rugalmasság számításának problémáiról (Textilipari Tervgazdaság, 1961)
 Az indifferencia felületekről szóló tanítás elméleti alapjainak bírálata (MTA Közgazdaság- tudományi Intézete Évkönyve. Budapest, 1962)
 Az áruforgalom köre a szocializmus és a kommunizmus építésének időszakában (Kereskedelmi Szemle, 1962)
 Fogyasztói árak a szocializmusban (Szabadi Gyulánéval, Budapest, 1963)
 Ár és minőség (Kereskedelmi Szemle, 1964)
 A lakosság áruellátása a szocializmusban (Budapest, 1964)
 A viszonylagos homogén jószághalmazok volumenének mérése (Közgazdasági Szemle, 1964)
 Piaci egyensúly és az árszínvonal alakulása a szocializmusban (Közgazdasági Szemle, 1965)
 Az élelmiszerek fogyasztói árképzésének kritikai elemzése (Budapest, 1966)
 A ráfordításarányos fogyasztói árrendszerről (Közgazdasági Szemle, 1967)
 Piac és vállalati árpolitika (szerkesztő, Budapest, 1968)
 Effect of Changes in the Consumption Pattern on the Growth of Total Consumption (Acta Oeconomica, 1969)
 A jövedelemszínvonal- és eloszlás politikájának aktuális elvi kérdései (Társadalmi Szemle, 1970)
 A jövedelem források szerinti tervezésének problémái (Gazdaság- és Jogtudomány, 1971)
 A reálfolyamatok és a piaci folyamatok (Gazdaság, 1971)
 Fogyasztás és ár. Monográfia és doktori értek. is. (Budapest, 1972; angol nyelvű átdolgozott, bővített kiadás. Alphen aan der Rijn–Budapest, 1979)
 A politikai gazdaságtan kisszótára (Budapest, 1981)
 Fogyasztás és jövedelem. Tervezés, elemzés, módszerek (Kovács Ilonával, Ördög Miklóssal, Budapest, 1982)
 Lét és tudat az életszínvonal-politikában (Életszínvonal és közhangulat. Budapest, 1984)
 A gazdaság nyitottságáról. Akadémiai székfoglaló. (Elhangzott: 1986. ápr. 30.; megjelent: Értekezések, emlékezések. Budapest, 1987)
 Belső piac, minőségi nyitás. Egy élénkítő gazdaságpolitika körvonalai (Radnóti Évával, Budapest, 1989)
 A reform kudarca. Akadémiai székfoglaló is. (Elhangzott: 1991. máj. 29.; megjelent: Közgazdasági Szemle, 1991)
 Changing Formation and Privatisation (Acta Oeconomica, 1993).

Díjai
 Munka Érdemrend ezüst fokozata
 Akadémiai Díj (1976)

Jegyzetek

Források
 Névpont.hu
 Nemzeti Örökég Intézete

További információk
 Sipos Aladár: Hoch Róbert (Közgazdasági Szemle, 1993)
 Sipos Aladár: Róbert Hoch (Acta Oeconomica, 1993)
 Falusné Szikra Katalin: Hoch Róbert (Magyar Tudomány, 1994)
 Csató Katalin: Hoch Róbert (Közgazdasági Szemle, 1996).
 Akadémiai kislexikon. Főszerkesztő: Beck Mihály, Peschka Vilmos. Budapest, Akadémiai Kiadó, 1989-1990.
 Díjasok és kitüntetettek adattára 1948-1980. Összeállította és szerkesztette: Magyar Józsefné. Kaposvár, Palmiro Togliatti Megyei Könyvtár, 1984.
 Magyar ki kicsoda 1990. Több mint 6000 élő magyar életrajza. Főszerkesztő: Hermann Péter, szerkesztő: Markóczy Mária. Budapest, Láng Kiadó–TEXOFT Kft., 1990.

 A Magyar Tudományos Akadémia tagjai 1825-2002. Szerzők: Markó László, Burucs Kornélia, Balogh Margit, Hay Diana. Budapest, MTA Társadalomkutató Központ, 2003.

Magyar közgazdászok
Magyar egyetemi, főiskolai oktatók
MTA-tagok
Akadémiai díjasok
1926-ban született személyek
1993-ban elhunyt személyek


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Andersen, Birgitte and Frenz, Marion (2010) Don't blame the P2P file-sharers: the impact of free music downloads on the purchase of music CDs in Canada. Journal of Evolutionary Economics 20 (5), pp. 715-740. ISSN 0936-9937.
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Andersen, Birgitte and Rossi, Federica (2010) The flow of knowledge from the academic research base into the economy: the use and effectiveness of formal IPRs and "soft IP" in UK universities. Project Report. IPO, UK.
Andersen, Birgitte and Rossi, Federica and Stephan, J. (2010) Intellectual Property (IP) marketplaces and how they work: evidence from German pharmaceutical firms. Review of European Economic Policy 45 (1), pp. 35-47. ISSN 0020-5346.
Andriani, Luca (2010) Social capital, community governance and credit market. Working Paper. Birkbeck College, University of London, London, UK.
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Andriani, Luca and Karyampas, Dimitrios (2010) Social capital, poverty and social exclusion in Italy. Working Paper. Birkbeck College, University of London, London, UK.
Antonelli, C. and Patrucco, P.P. and Rossi, Federica (2010) The economics of knowledge interaction and the changing role of universities. In: Gallouj, F. and Djellal, F. (eds.) The Handbook Of Innovation And Services: A Multi-disciplinary Perspective. Elgar original reference. Cheltenham, UK: Edward Elgar. ISBN 9781847205049.
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de Freitas, Sara and Rebolledo-Mendez, G. and Liarokapis, F. and Magoulas, George D. and Poulovassilis, Alexandra (2010) Learning as immersive experiences: using the four-dimensional framework for designing and evaluating immersive learning experiences in a virtual world. British Journal of Educational Technology 41 (1), pp. 69-85. ISSN 0007-1013.
Everson, Michelle (2010) Politics, power, and a European law of suspicion. In: Neyer, J. and Wiener, A. (eds.) Political Theory of the European Union. Oxford, UK: Oxford University Press. ISBN 9780199587308.
Everson, Michelle and Rodrigues, F. (2010) What can the law do for the European system of central Banks? Good Governance and Comitology 'within' the System. Discussion Paper. Zentrum fur Europaische Rechtspolitik, Universität Bremen.
Hein, Wendy and Ryan, A. and Corrigan, R. (2010) Pov: point of view... consumers and ethnographers in perspective... [Video]
Lawton-Smith, Helen and Bagchi-Sen, S. (2010) Triple helix and regional development: a perspective from Oxfordshire in the UK. Technology Analysis & Strategic Management 22 (7), pp. 805-818. ISSN 0953-7325.
Macmillan, Fiona (2010) Back to the future or forward to the past? Comment on Twentieth Century Fox Film Corporation v Newzbin Ltd. Intellectueel Eigendom en Reclamerecht (6), pp. 536-538. ISSN 0169-1074.
Macmillan, Fiona (2010) Copyright, creativity and cultural property rights: the case of arts festivals. Working Paper. HERA Joint Research Programme.
Macmillan, Fiona (2010) Copyright, creativity and cultural property rights: the case of arts festivals. In: Copyright and Art Festival: Seminar Series on IP and Competition, 29th April 2010, Angelo Sraffa Department of Legal Studies, Bocconi University, Milan. (Unpublished)
Macmillan, Fiona (2010) How big corporations are blocking reform of intellectual property law. The Guardian , ISSN 0261-3077.
Macmillan, Fiona (2010) Intellectual property and intellectual space: another excursion into hyperreality? In: The Epoch of Space: Thematizing the 'and' of Law and Space, June 2010, Birkbeck College, University of London, London, UK. (Unpublished)
Macmillan, Fiona (2010) Many analogies, some metaphors, little imagination: the public domain in intellectual space. Pòlemos: Rivista semestrale di diritto, politica e cultura (2), pp. 25-44.
Macmillan, Fiona (2010) The Venetian legacy: copyright protection of works of visual art. In: The Long History of Copyright and Its Consequences, October 2010, The Royal Society, London, UK. (Unpublished)
Macmillan, Fiona (2010) The World Trade Organisation and the turbulent legacy of international economic law-making in the long Twentieth Century. In: Faundez, J. and Tan, C. (eds.) International Economic Law, Globalization And Developing Countries. Cheltenham, UK: Edward Elgar. ISBN 9781848441132.
Macmillan, Fiona (2010) The World Trade Organization and the turbulent legacy of international economic law-making in the long twentieth century. In: Faundez, J. and Tan, C. (eds.) International Economic Law, Globalization and Developing Countries. Cheltenham, UK: Edward Elgar Publishing. ISBN 9781848441132.
Macmillan, Fiona (2010) The World Trade Organization, intellectual property and the transfer of environmentally sound technologies. In: The role of patents in investments and transfer of technologies, 28th April 2010, Università degli Studi Roma Tre. (Unpublished)
Macmillan, Fiona (2010) The emergence of the World Trade Organization: another triumph of corporate capitalism? In: Johns, F. and Joyce, R. and Pahuja, S. (eds.) Events: The Force of International Law. Abingdon, UK: Routledge Cavendish. ISBN 9780415554527.
Macmillan, Fiona (2010) A global jurisdiction for the internet. In: Il Futuro della Responsabilità sulla Rete: Quali regoli dopo la sentenza sul caso Google/Vivi Down, May 2010, Università degli Studi Roma Tre. (Unpublished)
Macmillan, Fiona (2010) The value of intellectual property. In: Intellectual Property, Innovation and the UK Economy, November 2010, Westminster Legal Policy Forum, Whitehall, London, UK. (Unpublished)
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Pearce-Lazard, D. and Poulovassilis, Alexandra and Geraniou, E. (2010) The design of teacher assistance tools in an exploratory learning environment for mathematics generalisation. In: Wolpers, M. and Kirschner, P.A. and Scheffel, M. and Lindstaedt, S. and Dimitrova, V. (eds.) Sustaining TEL: From Innovation to Learning and Practice. Lecture Notes in Computer Science 6383. Berlin, Germany: Springer Verlag, pp. 260-275. ISBN 9783642160202.
Poulovassilis, Alexandra and Wood, Peter T. (2010) Combining approximation and relaxation in semantic web path queries. In: Patel-Schneider, P.F. and Pan, Y. and Hitzler, P. and Mika, P. and Zhang, L. and Pan, J.Z. and Horrocks, I. and Glimm, B. (eds.) The Semantic Web – ISWC 2010. Lecture Notes In Computer Science 6496. Berlin, Germany: Springer, pp. 631-646. ISBN 9783642177453.
Rossi, Federica (2010) Le politiche dell'innovazione in Europa. In: Russo, M. (ed.) Processi di innovazione e sviluppo locale: Aspetti teorici e implicazioni per le politiche a sostegno dell'innovazione. Milano, Italy: Donzelli. ISBN 9788860364920.
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Rossi, Federica (2010) The governance of university-industry knowledge transfer. European Journal of Innovation Management 13 (2), pp. 155-171. ISSN 1460-1060.
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redpajama_set_name: RedPajamaCommonCrawl


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Welcome to the sixth mass extinction (and yes, it's our fault)
A weekly roundup of the best in science journalism, doodled.
Perrin Ireland
We might be going the way of the dinosaur if we don't get our acts together.
Studies suggesting that the planet is in the middle of a sixth mass-extinction event have gotten a lot of flak lately. So a group of scientists from Stanford, the University of California at Berkeley, Princeton, the National Autonomous University of Mexico, and the University of Florida all got together to determine whether the findings in question were, in fact, overblown—and alas, they weren't. The group of researchers found that the rate of extinction for the last 115 years was 50 times what it would have been under normal conditions (basically, without us humans around).
Based on conservative estimates for "background extinction"—the number of vertebrate extinctions that would naturally occur over a given period of time—the scientists found that a total of about nine species should have gone extinct since 1900. In reality, 477 vertebrates are believed to have blinked out of existence, and 198 are confirmed extinct. If we just consider the demise of those 198, the current extinction rate is 22 times higher than it should be. That ain't right.
gifnews/Tumblr
Bright-red crab bodies are carpeting SoCal beaches.
Photo: Tim Buss/Flickr
Photos like this one, showing hundreds of thousands of dead tuna crabs washed up on beaches in Southern California, have been upsetting me this week. These cute and delicate natives of Baja are carried to and fro on ocean currents most of their adult lives. The problem with that free and easy lifestyle is that when the water gets hot, the crabs get going—only in this case, they've gone and gotten themselves washed up on beaches farther north than they usually venture.
Scientists aren't sure exactly what's happening but think the die-off could be a result of warmer water currents related to El Niño. Tuna crabs have been known to wash ashore when they spawn in great numbers but never to this degree. The Pacific Ocean, from California to northern Washington, also has a toxic algal bloom problem right now, and that, too, could be killing the crabs. If that's the case, scientists are warning against eating the tuna crabs in case their meat contains toxins.
The beauty of symmetry, jellyfish style.
Image courtesy of Michael Abrams, Ty Basinger, and Christopher Frick, California Institute of Technology
Mike Abrams, a grad student at CalTech, had meant to study jellyfish immortality. These freaky-deaky invertebrates can revert to their younger polyp forms when they need to, essentially living indefinitely. Abrams' samples, however, were late to arrive. So he ordered some juvenile moon jellies to mess with in the meantime and, like any normal scholar, started amputating their limbs (don't worry, they were under anesthesia).
lovemanatees/Tumblr
What happened next was unexpected—and never before seen by scientists. When you cut off one of these jellies' arms, they can change the location of their other arms (they have eight) to re-achieve symmetry, all by just pumping their muscles as they would for normal movement. About 72 percent to 96 percent of the moon jellies he studied could do this—and they then went on to lead perfectly normal and productive adult lives, albeit with fewer tentacles.
We're slurping up groundwater quickly, and we don't know how much is left.
Matt's GIFs/Tumblr
We're taking so much water from the ground that aquifers can't recharge quickly enough to meet our demand. Two recent papers from scientists at the University of California, Irvine show that one-third of the globe's aquifers are overstressed. NASA's Grace satellites assess groundwater levels from space by detecting changes in the gravitational pull of water over time. Scientists can then use that data to determine which aquifers are running low the fastest. The amount of groundwater that actually remains, however, is unknown, so the authors are calling for a coordinated global effort to research the problem more closely before, well, chaos ensues.
The aquifers in the worst shape are in various shades of red on the NASA map below. The ones concerning scientists the most are those found in locations where people rely on them heavily—and where a combination of population growth and social unrest could create a humanitarian disaster. The Arabian aquifer system, for example, provides water to 60 million people. Other aquifers in dire need of replenishment are in northwestern India and Pakistan, northern Africa, Russia's Caucasus region, and California's Central Valley.
Groundwater depletion has huge ecological impacts, too. Land subsides and rivers run dry, leaving fish and other wildlife with nowhere to go and nothing to drink.
Illustrated by UC Irvine/NASA/JPL-Caltech
onEarth provides reporting and analysis about environmental science, policy, and culture. All opinions expressed are those of the authors and do not necessarily reflect the policies or positions of NRDC. Learn more or follow us on Facebook and Twitter.
onEarth Story
New Study Is First to Demonstrate That Biodiversity Inoculates Against Extinction
Researchers show why it's crucial that we protect biodiversity at all costs.
In the Game of Extinction, It's Good to Be Average
A new study finds that the world's largest and smallest species are closest to the brink of oblivion.
In the Game of Species, You Win or You Go Extinct
The world's endangered species are stuck in a cycle of woe and misery that even "Game of Thrones" author George R. R. Martin would find macabre.


Modeled after DMBAlmanac.com an amazing and very useful resource. I thought it would be cool to have basically a Flecktones Almanac, so I created this, and we'll see what happens. A huge thanks to the guys who put DMB Almanac together. Not only for their dedication and hard work, but also for creating such a monster of a site. Without DMB Almanac, I wouldn't have known where to start with the AiC.
Member section added December 2004, still a work in progress.
Why the name "Archives in Cowtown"?
Because one of my favorite Fleck tunes is Cheeseballs in Cowtown.
Who created those wonderful looking banners?
Banners were created by a friend of mine and a fellow Flecktone fan Nabil Abou-Harb (Trippinbill34). A huge thanks to him because graphics are one thing I just don't have the patience for.
Why so much BLUE, my eyes hurt?
As mentioned above, I don't do graphics. Right along with this, I'm not too good with color. The colors of this site changed a dozen times before I found and settled with the blue you see now. If you have better idea, please, PLEASE, let me know because I've grown used to the blue, I tolerate the blue, but I wouldn't hesitate to change to something else if it looked better.
Alright, there is a lot if information, what are your sources?
I would say 60-70% of the setlists come from Flecktones.com. It is what gave me the most information about setlists and show dates. Everything else comes from several different places. Things like the solo band members websites (victorwooten.com, belafleck.com, jeffcoffin.com . . .) help with more current information. Past information is taken from recordings I've collected, some have been submitted by fellow fans, and any other random place I can find setlist and show information. I'm not guaranteeing it's all 100% accurate, but I am going to say that there is more information here than anywhere else. Finally, I found the Flecktone Zoo. This site has a lot of information on setlists and shows that I currently have not put into the AiC. This is my current big project. I'm always working to add and fix the information I have. Another big thanks to the guys updating the sites I mentioned and the tapers for recording these performances. Without these sites and the tapers, this site would not exist.
What is with the lack of setlists for pre-'97 shows?
Since a lot of the information stored in the AiC came from the Flecktones main website (flecktones.com). It was a HUGE help when I was getting started because it had hundreds of setlists. But I finally got to the end of it, and ran out of setlists to enter. And as you can see, the setlist section on flecktones.com is lacking in the pre-97 category. Now I've turned to the massive world of the internet, and good ol' audience recordings to get new setlist information.
Why is the registration page down?
When the AiC switched servers, the new server used a different version of php. This caused conflict with the registration script, and I just haven't fixed this problem yet. Email me and I'll personally set up your account.
What if I have a setlist, or a scan, or a correction, or I just want to send you money?


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Todd Thorpe @toddrthorpe
Archbishop Wood vs. Gateway
at Mansion Park Stadium, Altoona, 3 p.m.
Last year: did not meet
In 2017, Wood defeated Gateway 49-14 in the state championship game in Hershey to earn the program's fourth in five years. Friday, the teams meet in the Class 5A semifinals. Gateway (12-2) is coming off of a 21-20 win over Peters Township in its quarterfinal on Saturday, a game in which it led 21-10 and had to hold on late to secure the victory.
The Gators, the District Seven (WPIAL) champ, enter Friday's game having won six straight, a stretch in which it has only allowed 55 points. Their three previous wins were by four, seven and one points so they've found a way to win close games too. The team is led by running back/defensive back Derrick Davis, the No. 5-ranked junior in Pennsylvania according to rivals.com. He has Division I college offers from heavyweights Clemson, Alabama, LSU, Notre Dame and Penn State, among others. Davis did miss the second half of Saturday's quarterfinal game with an ankle injury.
Since losing to Class 6A superpower St. Joe's Prep on Oct. 11, Wood (9-3) has won five straight, including Friday's 41-7 blowout of District 11 title-holder Southern Lehigh. Part of that has to do with a young-and-improving defense. The first-team defense hasn't allowed much of late, as most of its opponents' points have come after the winner had been apparent. For the season, Wood's defense allows just 16.1 points a game. Senior safety Ryan DiVergilis is the leader of this unit, but watch out for junior defensive end Robert Jackson and junior inside linebacker Shane Collier.
Offensively, the Vikings are a multi-dimensional squad with a handful of running backs led by senior Cardel Pigford (121 carries, 792 yards, 9 TDs) or the passing game of quarterback Max Keller, who completes 58 percent of his passes for 1,214 yards, 16 TDs and four interceptions. His favorite targets are sophomore Andrew McHugh or junior Ryan Woertz.
The winner of this game plays in the Class 5A state title game on Dec. 6 against the winner of the Cheltenham-Cocalico semifinal.


text:
Androkids
Published by Phelios
I am grinning as I type this. I have just played another game of Androkids, the children's version of our previous review Android.
Phelios, the people behind this simple yet addictive platform-and-ladders game, have produced the game for (they say) children aged three to seven. I have mental images of bored children standing by the computer saying "Dad, is it my turn yet?" Older players are, however, told to try the original version of this game, Android.
The aim is simple - rescue the princess. To do this you guide your little Androkid around each level, climbing ladders and swinging across vines, collecting all the gold coins. This will open the magical door and take you (in a swirl of stars) to the next level. Along the way, watch out for King Scribble's guards.
The first thing that hits you about Androkids is the graphics. The premise of the game is that it looks like a child's doodles on paper, with a little computer magic that makes them move. Even the characters in the game are named in this fashion, such as the evil King Scribble. All the elements, from the little men to the gold coins that you are out to collect, have been inspired by actual children's drawings, and they animate smoothly.
The game makes considerable use of vocal messages, which makes sense when aimed at such a young audience as they may have difficulty reading any written text. This is particularly clear in the tutorial, where the Magical Elf from Notebook City tells the player how the various objects in the game work. The background music is light and cheery, encouraging the player to have fun. And that's what the game is all about - fun. The controls are simple and, very importantly for smaller children, do not require great precision. None of the early levels present too much of a challenge, which gives you plenty of time to get used to them. There is no emphasis on score or lives - smiley faces show how you're doing.
Many features are aimed at parents, who can set time limits on play and password locks (so they can leave children to play without supervision). But the best news for parents is that this is a game without guns. There is a confetti bomb, which can blow open floors to trap the guards for a while, or provide an escape route - something of a relief now that every adventure seems to involve shooting everything that moves.
In fairness, I am considerably beyond seven years old. Children can be fickle, and any computer game runs the risk of being played once for five minutes and never looked at again. The graphics are a particular unknown when showing them to children. While adults are willing to see what the game is like beyond the graphics, many children might not bother to look further.
This is a game with great appeal, especially to parents, but it will be up to the parents to sell it to their children.
Keywords: androkids review, phelios reviews, phelios games, androkids scores, pc game reviews, indie game reviews, independent gaming.


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What happens when technicalities don't matter?
In this newsletter….
Let's get the ugliness out of the way first…
(and, like yesterday's corollary, if you don't want to read about off-court buffoonery, feel free to skip to the first bolded heading)
A small group of fans were kicked out of the game last night for chanting "Sell the Team" towards the end of the Knicks loss.
Or they weren't, depending on who you believe.
Ian Begley @IanBegley
Security is leading these fans out of their seats. This is semantics to me, but officials say no fans were escorted out/kicked out of the arena for 'sell the team' chants tonight.
Knicks Videos @sny_knicks
More "sell the team" chants led to fans being escorted out of MSG 😬 (via IG/tom_rochh) https://t.co/QuvzZ2XGpn
3:43 AM ∙ Mar 5, 2020
According to Stef Bondy of the Daily News, the fans "were leaving when they began to yell…and a security guard quickly approached them to make sure they left."
So no, the Knicks did not technically kick anyone out of the game.
But as Ian points out, this is semantics. It's another version of the Spike handshake photo and the "he said, she said" is ultimately meaningless when it comes down to it.
If you're view is "good riddance" to the fans, or you think they're not really fans at all and just attention-seekers, that's fine. You're well within your right to do so.
Personally, just like with whether Spike Lee did anything wrong, I don't particularly care. It's a horrible look that is terrible for the perception of the franchise regardless of who is in the right and who isn't. And of course both incidents stem from the same place: the insecurities of a man who needs to feel like he is in control at all times (and at any cost).
Lastly, please stop with the idea that this, like the Spike thing, is a media-driven story. Whether it is or isn't is wholly irrelevant. Sensationalism has always sold, and always will. Attempting to pick and choose which stories are and are not newsworthy is futile. Plus, this isn't a case of reporters digging up dirt and spreading it over an otherwise clean canvas, because there's been swaths of shit on this sucker for a long time.
Let's get to the game.
One Big Thing
In case you hadn't noticed, the Knicks have improved a good deal defensively under Mike Miller. After finishing 26th in defense last year and starting the year ranked 25th over the first 22 games, they've been 21st since, and are a tenth of a point away from being 18th.
This is part of why the Knicks are 15-25 under Miller - a 30+ win pace that is about where most optimists pegged them before the season began - and can stay in games more often than not.
They've gotten there by simplifying Fizdale's scheme and selling out to protect the paint in a way that (usually) does the trick. They still aren't a very good defense, but more often than not, they accomplish their stated goal. Under Miller, the Knicks are 10th in frequency of opposing looks at the rim according to Cleaning the Glass.
The problem is that for the math to work out in their favor, they either need to limit the number of threes teams shoot against them (which, somewhat by design, they don't; only six teams give up a higher frequency of threes than the Knicks under Miller) or hustle their little heinies off to make sure opponents at least feel the heat coming from around the corner.
This is where they often fall short, as shown by the fact that only three teams have allowed a higher conversion rate from deep since December 6 than New York's 38.6 percent.
The issue was glaring last night for two reasons:
The Jazz are the second most accurate 3-point shooting team in the league, and…
Without Mitchell Robinson, the Knicks needed to help off of shooters to protect the paint even more than usual.
Utah only shot 10-of-36 from deep, but did enough damage from downtown early, hitting on four threes in the first six minutes and were fouled on another deep attempt, converting all three free throws.
Looking at the four shots, it's easy to see what went wrong:
On the first make, Randle leaves his man Royce O'Neale (currently hitting 40 percent from deep on the season) in the corner to help wall off the paint. Technically, this is what he's supposed to do.
The only problem is that, like everything he does, Randle torpedoes into the paint like a bull in a China shop and gets himself completely out of position to revert back to his man. That he does this unnecessarily (Gibson is in good position to handle the rolling Gobert) makes it all the more frustrating.
This was a Utah shot that didn't go in, but it still shows the flaw in this system.
Once again, Randle commits too hard and too deep into the pain (again, in a way that's not really necessary) and leaves his man completely unoccupied.
Julius shows more urgency on this recovery, but it's too late. That O'Neale missed the shot shouldn't distract from the error.
Aside from Randle, RJ Barrett has low key been the most egregious violator of the "hustle your ass off and don't get lost on the play" rule that everyone needs to follow to make this defense work.
Here, he digs too far into the paint to deter a driving Mitchell, and his positioning/footwork is such that he can't get back to his man in the corner.
(You'd still like to have seen him try, although defensive effort really hasn't been an issue for RJ this year, so I'm willing to give him a pass. Also, he's 19.)
Last one: RJ again, this time falling asleep in the paint as his man evacuates the corner and comes to the top of the arc for a wide open look.
The Jazz would get one more three in the quarter to go up 23-11 with just over six minutes go, which was followed by a predictable Mike Miller timeout (during which RJ was pulled). Knicks would outscore Utah the rest of the game, but the damage was done.
After a bad defensive performance, you often hear Mike Miller talk about the fact that "we took nothing away," and that's kind of what happened last night. The Knicks improved defending the 3-point line from the mid-first quarter onward, but also gave up a ton of points in the paint (54), at least for them.
Again, without Mitchell Robinson, they were left to pick their poison. They ended up dead regardless, but moving forward, they need to make sure the young players improve their awareness and technique if they continue to run this scheme (and find free agents with the hoops IQ and effort necessary to lead the charge).
Now that I've bashed him, let me shower some praise on the man I've said repeatedly this year that I'd like to see star in the sequel to The Martian.
I don't feel too bad, of course, because I haven't been alone in my criticism of Julius Randle. Part of that has to do with plays like the ones above, where he doesn't display the urgency you'd ideally want from your supposed team leader. Part of it also has to do with the half a dozen infuriatingly bad shots/turnovers he seems to have every game.
Put together, there's ample reason for me to give Julius a place on my Mount Rushmore of frustrating Knicks, as I did on Tuesday's podcast (Enes Kanter is indeed the George Washington of the group, with Derrick Rose and late-career Carmelo Anthony occupying the other two spots).
The one thing all those dudes have in common (other than being incredibly damaging to my poor, poor liver) is that they all had immense talent during their time in blue and orange. I was never once frustrated by Andrea Bargnani or Jerome James. Why? Because those guys stunk.
But like his maddening predecessors, Julius Randle reminds you nearly every game why so many people were so excited to find out if New York was the place where he could put it all together. Like, you can't teach this:
For as many open men as Randle has missed/ignored this season and for as many spins into oblivion he's made, the Knicks have also done him no favors by using him in lineups with one or zero plus shooters (like, oh that's right…this starting five!)
We've had the same complaint about their use of RJ Barrett, which is why any discussion of Randle inevitably results in the conclusion that as long as Barrett is here, Julius probably can't be, at least not if the Knicks ever want to loosen the collar on an offense that is a sweaty mess far too often.
Even so, games like last night make me feel like Randle may just yet have a relevant moment in this league.
And who knows…if Barrett keeps working on his deep ball and the Knicks acquire a point guard who can actually hit an outside shot, maybe that moment will be here.
Humble Suggestion
It came during meaningless minutes when the game was already decided, but the Knicks closed the game with a lineup of Elfrid Payton, Wayne Ellington, Reggie Bullock, RJ Barrett and Kevin Knox.
Seeing that quintet reminded me of an (admittedly ridiculous) suggestion I once made to Clarence Gaines on Twitter about Knox moonlighting as a small-ball five later in his career.
It doesn't look like he's going to have quite the level of skill, feel or physicality to ever make such a gambit work, but it doesn't mean I wasn't pleased to see Miller end the game by trotting out his own version of the Pocket Rockets.
Would we have seen that grouping if Mitch was healthy? Probably not. Does it mean I don't want to see it again? Not at all.
The notion of surrounding Barrett with three shooters and someone else who can handle the rock has always been interesting to me, and as far as I can remember, this is the first time it's happened.
There are 20 games left and the team is 19-43. Really, what do you have to lose by trying it out a few more times?
I hope yesterday reminded everyone (including the Knicks) how important Mitchell Robinson is to the success of this team.
I say that because last night, we all had to witness KP go bonkers, a sight which I think we should all get more comfortable with. He's not here anymore in part because the team didn't do a good enough job of making him feel like a valued member of the organization .
(Yes, I know there were a hundred other things that went into it, but still…)
Mitch recently switched agents to Klutch Sports, an agency that is notorious for holding its clients' value in high regard (sometimes too high).
My point is this: Among Leon Rose's many early tasks has to be to make sure that Robinson never becomes disenchanted with the team like Porzingis did. I don't really care what it takes. Just do it.
The revolving door has to stop swinging at some point, after all.
PredictionStrike Contest Starting MONDAY!!!
We'll have one more PSA on this tomorrow which will include some specific instructions on how to enter, but consider yourself reminded that starting on Monday, all PredictionStrike users will have a chance to win $50 worth of cold, hard, investment cash.
Here's how it'll work:
If you don't already have one, click here to start a PredictionStrike account and enter code KFS to get $10 off the bat on your first investment of $10 or more.
Build (or add to an existing) portfolio of players.
You'll send in a snapshot of your portfolio, including the total value, and..
Whoever adds the most dollars in value over the course of one month will get $50 in investment cash.
That's it. As an added bonus, watching games becomes a lot more fun (did you take my "buy" advice on Donovan Mitchell last night? If you did, you made yourself five cents a share. SHOTS ON ME, B*****S!!!)
Marc Berman with a few goodies today, one about how Emmanuel Mudiay hopes the Knicks can put this Spike Lee thing behind them (don't we all), and one about the Knicks learning the ways of the coronavirus.
Here's Lauren Russell with a recap of last night's game for SI.com.
That's it…see everyone tomorrow.


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foi o método pelo qual o Japão se manteve informado sobre a tecnologia e medicina ocidentais, quando o Japão se encontrava isolado para o resto do mundo, entre 1641-1853, pela política imposta pelo Shogunato Tokugawa designada Sakoku.

Os comerciantes holandeses de Dejima em Nagasaki eram os únicos estrangeiros tolerados durante este período, e os seus movimentos foram cuidadosamente observados e rigorosamente controlados.

O rangaku tornou-se obsolento quando o Japão se abriu para o mundo exterior, no período Bakumatsu,  1853 - 1867. Os estudantes que viajavam para o estrangeiro e empregados de outros países (ou-yatoi gaikokujin) foram para o Japão ensinar e aconselhar um grande número de pessoas, levando o país a uma modernização sem precedentes.

Bibliografia
 Seeing and Enjoying Technology of Edo (), 2006, ISBN 4-410-13886-3 (Japanese)
 The Thought-Space of Edo () Timon Screech, 1998, ISBN 4-7917-5690-8 (Japanese)
 Glimpses of medicine in early Japanese-German intercourse. In: International Medical Society of Japan (ed.): The Dawn of Modern Japanese Medicine and Pharmaceuticals -The 150th Anniversary Edition of Japan-German Exchange. Tokyo: International Medical Society of Japan (IMSJ), 2011, pp. 72–94. (ISBN 978-4-9903313-1-3)

Período Edo

redpajama_set_name: RedPajamaWikipedia


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Hungary's Orban Says EU And Soros Trying To 'Muslimize' Europe
by L Todd Wood July 22, 2017 July 22, 2017 01208
Image by Gémes Sándor/SzomSzed
Hungarian Prime Minister Viktor Orban, locked in a struggle with the European Union for control over the safety of his country and the protection of its culture, declared that European Union leaders, in conjunction with Hungarian billionaire financier George Soros, are trying to 'Muslimize' Europe and create a new mixed race of people, destroying the culture of the Continent forever.
The conservative leader said the secular progressive leaders of the EU are trying to import migrants "who could change the country's cultural identity," and declared in Hungary "Western European Christians will always be able to find security," wrote Associated Press.
While speaking at a cultural festival in Romania, Orban also talked about his upcoming election for a fourth term.
"In the upcoming campaign, first of all we have to confront external powers…We have to stand our ground against the Soros mafia network and the Brussels bureaucrats. And, during the next nine months, we will have to fight against the media they operate."
He then turned his focus to the EU, saying Brussels was in an alliance against the people's will, reported Zero Hedge. "The main target of the inquisition, the example of national governance to be weakened, destroyed and broken is Poland…Hungary will use every legal possibility in the European Union to be in solidarity with the Poles"
"In order for Europe to be able to live, it has to win back its sovereignty from the Soros Empire… Once this is done, migrants must be taken back outside the EU. It sounds strict, but those who came illegally, must be transported back…We have to admit that the European continent cannot remain unprotected."
"As long as I remain the prime minister, the fence will stay in place. We will protect Hungary and Europe. We can never be in solidarity with ideals, peoples and ethnic groups who set out with the goal to change European culture… because the end result is collapse.
"Will Europe be inhabited by Europeans? Will Hungary be inhabited by Hungarians, Germany by Germans, France by the French, Italy by Italians? Who will live in Europe?"
EUGeorge SorosHungaryIslammigrantsMusicViktor OrbanShare00
Recreated In 3D: The Basement Room Where The Russian Royals Were Murdered
Images: Russian Warships Mass In Baltic Ports For Exercise With Chinese
Trump Says US Considering Permanent Military Presence In Poland
Russia Wants To Create An Aluminum OPEC
L Todd Wood February 27, 2017 August 7, 2018
Syrian Peace Talks Stall At G-20
Tsarizm Staff September 4, 2016 September 5, 2016


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THE INSIDE STORY: Sara Hahn and I CLOSE MY EYES IN ORDER TO SEE
2019-12-18T15:54:36-05:00September 17th, 2018|Tags: Navona Records|
Hailed by the Calgary Herald as having "beauty of tone and a wonderfully flexible phrasing," Sara Hahn has been Principal Flute for the Calgary Philharmonic Orchestra (CPO) since 2006. In 2005, she was Assistant Principal Flute/Piccolo with the Vancouver Symphony Orchestra, and in 2002, she completed a three week tour of Japan and Hong Kong with the National Youth Orchestra of Canada.
As a soloist, Sara has performed throughout Canada, the United States, and Brazil. She has also performed several concertos with the CPO including the Chaminade Concertino in 2015 (to critical acclaim), and the world premiere of "The Daughter of Elysium" by Arthur Bachmann in 2016. In February of 2018 she performed the world premiere of "Sea Dreams" by Peter Togni with fellow flutist Sarah Gieck and local phenom Luminous Voices under the direction of Timothy Shantz. Awards for Sara's solo flute performances include the University of Toronto's concerto competition and the Junior Musical Club Concerto Competition of Winnipeg, which gave her a debut performance as a soloist in front of an orchestra at the age of 17. In 2005, Sara won $10,000 as the winner of the Women's Musical Club of Winnipeg's Doris McLellan Competition for Solo Performance with Orchestra.
She graduated with honors from the University of Toronto, receiving a Bachelor of Music Performance under internationally renowned flutist Susan Hoeppner. Sara is proud to be a co-founder and active member of Green Banana Flute Studios, an innovative teaching and performing collaboration.
Today, Sara is our featured artist in "The Inside Story," a blog series exploring the inner workings and personalities of our artists. Read on to learn what happened when a wind storm struck during one of Sara's outdoor performances…
When did you realize that you wanted to be an artist?
I believe the moment I knew I wanted to be a professional musician was after my very first solo flute performance around the age of 14. I had taken piano lessons and performed many times as a young kid, but there was something different about performing on the flute. The performance had gone really well, and for the first time I really felt connected to the audience I was performing for. I think that's when I caught the performing "bug"!
What was your most unusual performance, or the most embarrassing thing that happened to you during a performance?
I'm constantly performing for my job with the Calgary Philharmonic, so there are certainly many embarrassing mistakes I have made over the years in live concerts (though truthfully I usually find mistakes hilariously funny!). I think the most unusual performance in recent years was with my Green Banana partner Sarah Gieck in the small town of Nanton AB. We were set to perform flute duets outside as part of a Canada Day celebration, and just as we started to play, an epic wind storm kicked up and blew our music stands/music right off the stage onto the ground. The wind got dirt and dust all over EVERYTHING, including our expensive flutes! We tried to play through but had to just stop mid-piece and say "thanks for coming… we tried!"
What is your guilty pleasure?
Honestly, my favorite guilty pleasure is cleaning my house listening to hip hop! It's pretty much the opposite of the classical music world, and so I love to just escape into the beats and rhythms while dancing and cleaning away.
What was your favorite musical moment on the album?
I really loved putting the album together – although the recording process can be rather daunting and I was recovering from a nasty chest cold throughout the recording process – so its difficult to pick one favorite moment! Thinking back and listening back, I think that the 3rd movement of Bachmann's I close my eyes… was the most satisfying to play and record. It is such a beautifully written piece of music, and both Laura and I enjoyed rehearsing and recording the piece without the usual nit-picky do-overs or stresses. We just played and enjoyed!
What does this album mean to you personally?
This album is a very personal one, as the title track I close my eyes… was originally written for me by my close friend Arthur Bachmann, to be performed as part of a benefit for the Canadian Cancer Society. My mother is a cancer survivor, and I wanted to honor her journey through this album, as well as highlight Bachmann's amazing work. He is, in my opinion, a very undervalued Canadian composer, and I hope that this album will expose many more people to his gorgeous writing!
Is there a specific feeling that you would like communicated to audiences in this work?
To me, music is all about feeling. As long as the audience feels SOMETHING, then I know I have done my job in performing. That being said, the liner notes can help the listener through the intended journey of someone going through a hardship – be it a cancer diagnosis or the end of a relationship, etc. – including the different stages of grief that we all go through during a tough time. Each piece is meant to represent a feeling or emotion, leading you from despair and confusion to peace, understanding, and finding a new pathway. It isn't a typical "meditation CD," but more of an expression of the intensity of emotions that we as human beings can experience!
I CLOSE MY EYES IN ORDER TO SEE is now available through Navona Records for streaming or purchase. Click here to explore this new album.
The Inside Story: Josh OXford and ETEREO
The Inside Story: Zara Lawler, Paul Fadoul, and CLICKABLE: THE ART OF PERSUASION
The Inside Story: Peter Greve and THE PALACE OF THE DREAMKING
December 23rd, 2019 | 0 Comments
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And another exciting picture: a promotional still featuring the leading ladies of "Nine" – including Marion Cotillard, Kate Hudson, Nicole Kidman and Penelope Cruz – has been released! Click the picture on the left to view it.
I'm so excited for this! What a cast!
What a beatiful cast!Great Photo! Wow!


RESTON, VA, July 21, 2014 – Comscore, Inc. (NASDAQ: SCOR), a leader in measuring the digital world, today released data from the Comscore Video Metrix® service showing that 186.9 million Americans watched online content videos in June 2014. Google Sites ranked as the top video content property, BrightRoll Platform was the top video ad property, and VEVO topped the list of YouTube partner channels.
Google Sites, driven primarily by video viewing at YouTube.com, ranked as the top online video content property in June with 153.3 million unique viewers. Facebook ranked #2 with 91.5 million viewers, followed by AOL, Inc. with 67 million, Yahoo Sites with 53.2 million and VEVO with 41.7 million.
BrightRoll Platform ranked #1 in video ad reach, serving ads to 49.8 percent of the total U.S. population in June. Specific Media came in second with 40.8 percent reach, followed by AOL, Inc. with 36.7 percent, LiveRail with 35.6 percent and Google Sites with 34.4 percent.
The June 2014 YouTube partner data revealed that video music channel VEVO maintained the top position in the ranking with 41.1 million viewers. Maker Studios Inc. held onto the #2 spot with 36.8 million unique viewers, followed by Fullscreen with 32.9 million, Warner Music with 24.4 million and warnerbros vfp with 23.1 million.


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The exterior features four soaring Doric columns across the portico and walls of stucco over stone and brick. The elegant rooms have 24-foot high coved ceilings, enormous windows and beautiful woodwork. There are two galleries on the main floor. Located on the lower level, with original exposed granite walls, is a large room that your caterer may use as a food preparation area, plus two restrooms.


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A Woman's Voice (Wonder Woman)
By Jessica Getman
Despite Steve Trevor's attempts to convince her otherwise, Diana continued to insist that Ares was behind The Great War. In the end she was right, and she saved the world.
Wonder Woman (2017, dir. Patty Jenkins) is remarkable as a film that employs narrative conventions from both the male superhero epic and the female coming-of-age story. As a classic hero's journey, it narrates Diana's origin story as she leaves her home on the protected Amazonian island of Themyscira, crossing a threshold into the "world of men," facing the ordeal at Veld to confirm her true identity as a warrior, and emerging even stronger after the pain of Steve's death and her choice to believe in humanity's potential for love. As Robynn Stilwell has pointed out, "boys' stories are outward and linear," and require the main character to overcome obstacles as they complete their quest. Diana, too, quests outward and through several barriers, moving away from home without returning. In remaining true to this masculine narrative, the creators of the Wonder Woman film very purposefully position Diana as an equally viable and inspirational hero in the male-dominated DC Extended Universe.
But they also imbue the film with conventions of the girls' coming-of-age narrative, which (again from Stilwell) "tend to be inward and circular as girls discover themselves, usually in relationship to others," as part of a network of relationships. These stories follow the main character as she matures, and usually bring her back home in the end, either to her parents or to a new husband. While Diana does not return "home" in this sense, the film clearly depicts her growing understanding of the world and her destiny as the God Killer.
The film also—and most strikingly—emphasizes Diana's voice. Unlike the typical girls' narrative, in which the main character generally moves from assertive, to silent, and finally to expressing herself within the confines of a socially acceptable feminine identity (see Stilwell), Diana maintains her assertive nature throughout, loudly and without shame, despite attempts to confine her. She concedes to social norms (as in the shopping scene) only to clear the path she knows to be right. Diana's insistence that she was born of clay, that her Amazonian clothes are necessary for fighting, that the life of the individual civilian or soldier is as valuable as the life of the general, and that Ares is in the world and at play, rarely falters. Try as the people around her might to correct and silence her, she refuses to be shushed. Even the structure of the film itself, which begins and ends with a voiceover by current-day Diana, moves against tradition to centralize her voice; as Kaja Silverman claims, female voiceovers in Hollywood film are historically rare, partial, and unreliable. Wonder Woman challenges the traditional trajectory of the maturing woman's expression of self, presenting a female hero with a remarkably unshakable and audible voice, who sets out on her quest with no intention of returning home, and who, along the way, discovers her true nature in concert with those around her.
The film's play with narrative conventions is paralleled by the choices of composer Rupert Gregson-Williams. As Grace Edgar and Caitlan Truelove (forthcoming) point out, Gregson-Williams inherited the project from Hans Zimmer and Junkie XL, who provided the soundtrack for Batman v. Superman (2016, dir. Zack Snyder), and who composed the striking electric-cello Wonder Woman theme employed in Wonder Woman's "No Man's Land" sequence and elsewhere.
Wonder Woman Theme (by Hans Zimmer and Junkie XL, heard in "No Man's Land," 3:20)
(See Grace Edgar's post for a more complete transcription and discussion of this theme.)
Gregson-Williams faced the challenge of writing a score that employed this theme sparingly—in its full form, the theme is too far from the musical language of his score to be used more than a few times. (It should be noted, however, that as a composer at Remote Control Productions, Gregson-Williams did employ a number of Zimmerisms; see Frank Lehman's essay on Zimmer's aesthetic.) He also needed to express Diana's development from a young, idealistic girl into the warrior who inspires this music. His response was to a write new theme for Diana, drawn from the Wonder Woman theme. He associates it with the Amazons of Themyscira.
Amazon Theme (from "Amazons of Themyscira," 2:20)
The melody and chordal accompaniment of this theme remains, in whole or in part, connected with Diana throughout the film (notice the reappearance of the i – VI – III - VII progression in the Hero theme, below—a progression that notably hints at the relative major). It accompanies her long after she's left the island, and is with her as she fights the German forces in Veld, as she defies Steve and attends the armistice gala, as she mourns the citizens of Veld after they have been gassed, as she later overcomes Ares, and as she stands at the top of a building overlooking modern London in the last shot of the film. It draws from Zimmer and Junkie XL's Wonder Woman theme first the rising third (adding a passing tone), and then the rising triad, lightly foreshadowing the power Diana will wield in those moments when we hear the Wonder Woman theme. But even after we hear Zimmer and Junkie XL's distinctive theme in "No Man's Land," the Amazon theme remains. As with the strong sense of self and voice she maintains throughout the film, her scoring demonstrates that the powerful Diana who left Themyscira remains the same idealistic, Amazonian woman.
One of the refreshing musical choices in this film is the use of a powerful fanfare in Diana's heroic moments, one that recalls the rising open intervals of Zimmer's Superman theme. (An analysis of the gendered topoi in this soundtrack will unfortunately have to be left for another study.) In fact, Gregson-Williams applies this theme not only to her heroic feats, but to a number of heroic acts performed by various characters throughout the film—she shares this theme with others.
Hero Theme (from "No Man's Land," 2:20)
This theme sounds in the string section when Hippolyta explains that Zeus used the last of his power to stop Ares, and then when Steve insists to his superiors in the war room that they should save their soldiers from Dr. Maru's new mustard gas; we hear it again, this time in the horns, when Steve, his friends, and all the soldiers at Veld run after Diana into no man's land. Thus, the heroism in this film is shared, and not wielded by Diana alone. This choice can be interpreted as emphasizing the collaborative nature of a superhero who works as part of a team and who inspires those around her, but it also could be due to the existence of Steve Trevor's own full, heroic arc; this more general theme allowed Gregson-Williams to highlight his noble moments without centralizing him further.
The focus on Diana as the primary hero is maintained, as well, through the sparing use of the love theme. In Hollywood film, the love theme is traditionally assigned to the female love-interest and acts as her theme, equating that music with her primary purpose in the film (see Rebecca Fülöp's work on the Feminine Romantic Cliché). In this instance, however—because the film's primary hero is a woman and because her love interest is a man—Gregson-Williams inserts some distance between these characters and the love theme.
Love Theme (from "Trafalgar Celebration," 2:32)
We hear the love theme only a few times in the film: in the caverns of Themyscira when Diana sees Steve stepping out of the pool; when she tells Steve about Clio's treatises on body and pleasure; in Veld when Diana invites Steve into her room; and at the end of the film, after Steve has died, when Diana lingers over his picture. It is particularly striking that this is not the theme we hear just before Steve sacrifices himself in the plane. Here, Gregson-Williams has employed Diana's Amazon theme instead; Steve comes to grips with his fate by remembering her, not their relationship. By reducing the connection between Diana and the love theme, Gregson-Williams removes a pitfall that could have condemned her to being defined through her relationship with Steve, and that might have undermined the powerful effect she has had on her audiences as a strong female superhero.
Diana's Journey
As a feminist film, Wonder Woman is not perfect. Among other failings, it continues to stereotype its non-white characters, and it lacks a necessary intersectional approach. What's more, Diana does choose in the end to strategically repress her voice in the service of humanity, living undetected in the human world, wearing the fashions expected of her and taking a quiet job as an archivist, only appearing again (so far) when the other superheroes cannot overcome a monster on their own (as in Batman v. Superman). But Wonder Woman also presents a strong woman who is unapologetic about who she is and what she aims to achieve, who can go neck-to-neck with the boys, surrendering her agency and sense of self only as she chooses. Gregson-Williams' soundtrack emphasizes this, supporting a strong femininity that nurtures and inspires others while remaining confident in its own power.
Jessica Getman is the Managing Editor for The George and Ira Gershwin Critical Edition at the University of Michigan, Ann Arbor. Her work in film musicology focuses on television production, science fiction, and the original series of Star Trek.
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It prompted the following open message to her.
As Scott Lewis wrote: "In regards to the gift economy, I don't think we've ever been without it." True, it persisted throughout human history but largely as an under current of economic activity. Now it is stepping into history's limelight a second time.
You wrote, "The more conversations we have, the better informed we'll be about what each of us has to offer, and what the most productive mix of people might be to have emergent, creative, innovative dialogues." You've just listed two of the key ingredients for augmenting collective intelligence in any social system: frequent conversations that matter, and a team that is hosting/facilitating generative dialogues. The third one is an enabling innovation infrastructure.
Looking at your "pay it forward" pattern through the lens of the "here and now" of your ecosystem, and the increasing social capital of all involved, what I see is not less inspiring. You wrote: " Anyone who adopts this model can choose what their Pay It Forward part looks like. Maybe for you, it's not an individual, but an initiative." Well, I will definitely play with ways to make use of a variation of the model in my mentoring practice. Besides that, it can also become the conduit for any group of service providers to sponsor the resource requirements for augmenting their own collective intelligence (infrastructure, hosting, etc.).
That boosting of CI is not optional if the group wants to grow capacity to help its Clients addressing increasingly complex challenges. What I wrote above is just one of the many possible scenarios that your ideas triggered in my mind.
I can hardly wait for that capacity to enable us to grow wiser together! Clearly, Junto has the potential to become a CI accelerator or, at least, a big part of such an accelerator. It comes just in time, when organizations and social systems in transition need that accelerator more than ever before. As ever vaster volumes of generative conversations recorded and transcribed become available to all, to help making meaning of them, the other parts of the CI accelerator also needs to be in place: the collective mapping and sensing organs. But that's another story.
Venessa, I see you standing in a precious spot of your "personal permaculture", where your courage, authenticity, wisdom opened ways to multiple yield to society, your ecosystem and yourself. I tried to sketch out a few but obviously, there's more to it.
I cherish the work that you've been doing on yourself to get to this point in your life. I'm holding it and your "pay it forward" pattern in their highest potential and am available to be your learning partner to fully realize it, if and when you can use one more.
Hope to Junto with you, sometime soon.
ps to Seb Paquet: thanx 4 calling my attention to Junto and Venessa's work!
This entry was posted in Co-intelligent Economy, Collaborative Sense-Making, Connecting Our Conversations, Methodologies associated with CI, Technologies That Support CI. Bookmark the permalink.
What's important IMO for the exponential growth of humanity's collective/shared highest consciousness, is the freedom to, and desire to, explore as MANY economic-system models as we have the creativity to invent.
So I too applaud your explorations, Vanessa, and I would love to hear from either of you what has happened since 2010!!!!
And George, I appreciate your pointing to various other elements which your wisdom and experience indicate are needed to support the systemic infrastructure for the kinds of approaches and endeavors for optimal functioning and evolution! I always learn a lot from your vast experience and passing along the nuggets, along with your seemingly tireless devotion to co-creating these, and encouraging them! Thank you!


text:
a constant state of beta
Thread starter NewAmerica
NewAmerica
Does it mean "a constant state of trying/attempting"?
Beta version in software industry is a version for testing.
A closer look at Paul's story reveals that he may not have changed as much as it seems. "I still believe in this country, its tremendous history, its example, and its potential," he says."America is in a constant state of beta. It's alwys getting better, and there are people who are always trying to improve it, especially in these challenging times."
-Supersurvivors by David Feldman
entangledbank
English - South-East England
Yes, it seems to be the software term. Something in beta works quite well, and can be sent out more widely for testing, but it's still not quite right, not ready for general release. Apply that as you will to America.


I think I'm done. Ended up with a 3 color design, depending on the color of shirt. It was fun getting a rough, blotchy look to his face by working very loosely. I ended up making his face seem scarred by leaving a jagged line crawling down from his eye.
Happy accidents like that are what make the whole process fun. I'm working hard at that these days…keeping it fun. It's something of a curse when the thing you love turns into your job. When pleasing art directors means compromising what you believed to be good. I'm hoping to be simple art directing myself for the most part in the coming weeks. I figure, if it sells, I must be doing something right!
So, here's the design. I made the smoke a slightly lighter grey. All of these colors can be tweaked of course. I think, if I was to print on white, I'd make the smoke a little lighter.
Previous story What? More Pirates?


text:
Disaster Relief Inventory Management: Horizontal Cooperation between Humanitarian Organizations
Fuminori Toyasaki, Emel Arikan, Lena Silbermayr, Ioanna Falagara Sigala
Cooperation among humanitarian organizations has attracted increasing attention to enhance effectiveness and efficiency of relief supply chains. Our research focuses on horizontal cooperation in inventory management which is currently implemented in the United Nations Humanitarian Response Depot (UNHRD) network. The present work follows a two-step research approach, which involves collection of empirical data and quantitative modeling to examine and overcome the coordination challenges of the network. Our interviews with members of the network identified several managerial issues for sustainable cooperative inventory management that the UNHRD network pursues. Using a newsvendor model in the context of non-cooperative game theory, our research has explored member humanitarian organizations' incentive of joining the network, a coordination mechanism which achieves system optimality, and impacts of members' decisions about stock rationing. Our results indicate that behaviors of member HOs do not necessarily align with the UNHRD's expectation. Our results suggest that for system optimality, a system coordinator should carefully assess the circumstances, including demand coefficient and stock rationing. Our research also proposes a policy priority for the first-best system optimal inventory management.
Production and Operations Management
https://doi.org/10.1111/poms.12661
humanitarian operations
inventory sharing and rationing
newsvendor model
non-cooperative game theory
pre-positioned stock management
GOAL 17: Partnerships to achieve the Goal
GOAL 12: Responsible Consumption and Production
Areas of Strength and Areas of High Potential (AoS and AoHP)
AoHP: Humanitarian and societal logistics
10.1111/poms.12661
Fingerprint Dive into the research topics of 'Disaster Relief Inventory Management: Horizontal Cooperation between Humanitarian Organizations'. Together they form a unique fingerprint.
Disaster Relief Business & Economics
Inventory Management Business & Economics
Disasters Engineering & Materials Science
Rationing Business & Economics
United Nations Business & Economics
Optimality Business & Economics
Optimal systems Engineering & Materials Science
Non-cooperative Game Theory Business & Economics
Toyasaki, F., Arikan, E., Silbermayr, L., & Falagara Sigala, I. (2016). Disaster Relief Inventory Management: Horizontal Cooperation between Humanitarian Organizations. Production and Operations Management, 26(6), 1221-1237. https://doi.org/10.1111/poms.12661
Toyasaki, Fuminori ; Arikan, Emel ; Silbermayr, Lena ; Falagara Sigala, Ioanna. / Disaster Relief Inventory Management : Horizontal Cooperation between Humanitarian Organizations. In: Production and Operations Management. 2016 ; Vol. 26, No. 6. pp. 1221-1237.
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abstract = "Cooperation among humanitarian organizations has attracted increasing attention to enhance effectiveness and efficiency of relief supply chains. Our research focuses on horizontal cooperation in inventory management which is currently implemented in the United Nations Humanitarian Response Depot (UNHRD) network. The present work follows a two-step research approach, which involves collection of empirical data and quantitative modeling to examine and overcome the coordination challenges of the network. Our interviews with members of the network identified several managerial issues for sustainable cooperative inventory management that the UNHRD network pursues. Using a newsvendor model in the context of non-cooperative game theory, our research has explored member humanitarian organizations' incentive of joining the network, a coordination mechanism which achieves system optimality, and impacts of members' decisions about stock rationing. Our results indicate that behaviors of member HOs do not necessarily align with the UNHRD's expectation. Our results suggest that for system optimality, a system coordinator should carefully assess the circumstances, including demand coefficient and stock rationing. Our research also proposes a policy priority for the first-best system optimal inventory management.",
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Toyasaki, F, Arikan, E, Silbermayr, L & Falagara Sigala, I 2016, 'Disaster Relief Inventory Management: Horizontal Cooperation between Humanitarian Organizations', Production and Operations Management, vol. 26, no. 6, pp. 1221-1237. https://doi.org/10.1111/poms.12661
Disaster Relief Inventory Management : Horizontal Cooperation between Humanitarian Organizations. / Toyasaki, Fuminori; Arikan, Emel; Silbermayr, Lena; Falagara Sigala, Ioanna.
In: Production and Operations Management, Vol. 26, No. 6, 18.10.2016, p. 1221-1237.
T1 - Disaster Relief Inventory Management
T2 - Horizontal Cooperation between Humanitarian Organizations
AU - Toyasaki, Fuminori
AU - Arikan, Emel
AU - Silbermayr, Lena
AU - Falagara Sigala, Ioanna
N2 - Cooperation among humanitarian organizations has attracted increasing attention to enhance effectiveness and efficiency of relief supply chains. Our research focuses on horizontal cooperation in inventory management which is currently implemented in the United Nations Humanitarian Response Depot (UNHRD) network. The present work follows a two-step research approach, which involves collection of empirical data and quantitative modeling to examine and overcome the coordination challenges of the network. Our interviews with members of the network identified several managerial issues for sustainable cooperative inventory management that the UNHRD network pursues. Using a newsvendor model in the context of non-cooperative game theory, our research has explored member humanitarian organizations' incentive of joining the network, a coordination mechanism which achieves system optimality, and impacts of members' decisions about stock rationing. Our results indicate that behaviors of member HOs do not necessarily align with the UNHRD's expectation. Our results suggest that for system optimality, a system coordinator should carefully assess the circumstances, including demand coefficient and stock rationing. Our research also proposes a policy priority for the first-best system optimal inventory management.
AB - Cooperation among humanitarian organizations has attracted increasing attention to enhance effectiveness and efficiency of relief supply chains. Our research focuses on horizontal cooperation in inventory management which is currently implemented in the United Nations Humanitarian Response Depot (UNHRD) network. The present work follows a two-step research approach, which involves collection of empirical data and quantitative modeling to examine and overcome the coordination challenges of the network. Our interviews with members of the network identified several managerial issues for sustainable cooperative inventory management that the UNHRD network pursues. Using a newsvendor model in the context of non-cooperative game theory, our research has explored member humanitarian organizations' incentive of joining the network, a coordination mechanism which achieves system optimality, and impacts of members' decisions about stock rationing. Our results indicate that behaviors of member HOs do not necessarily align with the UNHRD's expectation. Our results suggest that for system optimality, a system coordinator should carefully assess the circumstances, including demand coefficient and stock rationing. Our research also proposes a policy priority for the first-best system optimal inventory management.
KW - humanitarian operations
KW - inventory sharing and rationing
KW - newsvendor model
KW - non-cooperative game theory
KW - pre-positioned stock management
U2 - 10.1111/poms.12661
DO - 10.1111/poms.12661
JO - Production and Operations Management
JF - Production and Operations Management
Toyasaki F, Arikan E, Silbermayr L, Falagara Sigala I. Disaster Relief Inventory Management: Horizontal Cooperation between Humanitarian Organizations. Production and Operations Management. 2016 Oct 18;26(6):1221-1237. https://doi.org/10.1111/poms.12661


Author: Wells, Holly M.; Youngstown State University. Dept. of English.
Abstract: This thesis examines research in computers and creativity, pointing out that few studies exist to tell us how computers affect the creative products of adult writers. The first section of this thesis summarizes the existing research, noting where individual studies may be relevant to the study of creativity in adult writers. The second and third sections of this thesis describe an in-class writing experiment performed at Youngstown State University during spring semester, 2001. In the experiment, 68 beginning college writers in five "Writing I" classes wrote a narrative on a prompt. Half the students in each class wrote their essays by hand, and half used Microsoft Word 97, a popular word processing program. Three judges rated the essays on three creativity-related criteria: idea, word choice, and development/organization. The ratings, analyzed using an Analysis ofYariance (ANaYA), showed a slight, statistically insignificant tendency toward better performance when writers used word processors. Male students showed negligible improvement when using the computer; however, female students scored nearly 10% higher on the computer in both the idea and development/ organization criteria. Overall, word count increased by over 18% when subjects used the computer. The final section of the thesis discusses the results of a questionnaire, "Technology in the Classroom," which asked 56 students eight detailed questions about their history with computers, their experience and level of comfort with them, and their experience and satisfaction with research using the Internet. The vast majority of respondents have at least some computer, word processing, and Internet experience, and nearly half claim to have "extensive" experience.
Description: vi, 89 leaves : ill. ; 29 cm.


text:
Mario Petri
For the Italian rower, see Mario Petri (rower).
Mario Petri on stage (1955)
Mario Petri (21 January 1922 – 26 January 1985) was an Italian operatic bass-baritone particularly associated with Mozart and Rossini roles.
Petri was born in Perugia and began his career after World War II, making his stage debut in 1947 at the Teatro alla Scala in Milan, where he sang the following year the role of Creonte in the premiere of Stravinsky's Oedipus Rex, he also sang there his first Don Giovanni in 1950, a role he quickly became associated with throughout Italy.
He appeared in Rome, Florence, Venice, Parma, Bergamo, Verona, Naples. He sang opposite Maria Callas in the revival of Cherubini's Medea. In 1951, for the celebration of Verdi's 50th death anniversary, he sang on Italian radio (RAI) in I Lombardi, I masnadieri, and Simon Boccanegra.
Soon his reputation as Don Giovanni led to invitation to appear at the festivals of Glyndebourne, Salzburg, and Edinburgh. He sang relatively little outside Europe, though he made a few guest appearances in Dallas, in 1965.
His repertory included both Paisiello's and Rossini's Il barbiere di Siviglia, Le nozze di Figaro, L'italiana in Algeri, La cenerentola, Mosè in Egitto, Semiramide, opposite Joan Sutherland, etc.
On records, Petri can be heard in L'italiana in Algeri, opposite Giulietta Simionato as Isabella and Cesare Valletti as Lindoro, under Carlo Maria Giulini, as well as the aforementioned I Lombardi and Simon Boccanegra.
A 1960 Italian television production of Don Giovanni has been released on DVD, with a cast including Teresa Stich-Randall as Anna, Leyla Gencer as Elvira, Graziella Sciutti as Zerlina, Luigi Alva as Ottavio, and Sesto Bruscantini as Leporello.
From 1960 to 1965 he appeared in 18 motion pictures, mostly in the "Sword and Sandal" genre. He died at Città della Pieve, aged 63.
Figaro/Le Nozze di Figaro
Don Giovanni/Don Giovanni
Sarastro/Die Zauberflöte
Seneca/L'incoronazione di Poppea
Paisiello
Don Basilio/Il barbiere di Siviglia
Pergolesi
Count Robinson/La cambiale di matrimonio
King Creon/Medea
Galuppi
Don Tritemio/Il filosofo di campagna
Mustafa/L'italiana in Algeri
Don Magnifico/La cenerentola
Mose/Mosè in Egitto
Assur/Semiramide
Duke Don Alfonso/Lucrezia Borgia
Pagano/I Lombardi alla prima crociata
Macbeth/Macbeth
Massimiliano/I masnadieri
Jacopo Fiesco/Simon Boccanegra
Renato/Un ballo in maschera
Rodrigo, Marchese di Posa/Don Carlos
Ramfis/Aida
Jack Rance/La fanciulla del west
Ponchielli
Alvise/La Gioconda
Boito
Simon Mago/Nerone
Arkel/Pelléas et Mélisande
Pizzetti
Agamennone/Clitennestra
Operissimo.com
This page was last edited on 16 November 2021, at 23:00


FNTS offers a job shadowing program giving individuals interested in exploring the many careers in security, engineering, operations and tech adjacent roles within the IT industry.
FNTS offers job shadowing experiences for individuals interested in learning about careers in the technology industry.
Whether you are a student or career-focused professional, the job shadowing program at FNTS will provide you with a behind the scenes look at various IT and tech adjacent roles in your area of interest.
A job shadow experience is between 2-4 hours in length and offered for both morning and afternoon sessions for those age 19 and above. Based on your selected preference, you are matched with a subject matter expert within FNTS.
Interested in a job shadow experience? Simply fill out a request form on this page or if you would like additional information contact info@fnts.com or 800.820.6924, option two.
Please note, FNTS job shadowing is based on availability and is subject to change without notice. FNTS will make every attempt to match you with the department of your choice.


Part 1: Why is it difficult to deliver high performance in organisations?
"People make the place" (Schneider 1987).
Organisations struggle to deliver high performance not because their leaders are bad, but because they do not often have the right people in the middle. Right people – meaning those demonstrating behaviours, dispositions, inclinations that fit the culture and make team work effective and pleasurable. Those with the right attitudes.
A primadonna or a saboteur?
Much has been written about the limited effectiveness of the CV, the faulty interview process and about the frequent failure of recruitment outcomes. The addition of one or two popular psychometric tests is increasingly included as organisations move beyond simple recruitment techniques. However, even popular psychometric tests come with their own set of very real problems. And the most popular ones OR the really good ones (which is not always the same) measure the whole set of traits, arbitrarily chosen by the test creators and not necessarily what you would want or need to measure in your organisation. So, as a result you may get a very competent, experienced and skilled narcissist or a saboteur.
Technical, managerial, even leadership skills can be learned through company sponsored programs – provided there is the desire and commitment, i.e. the attitudes of employees to do so. Companies also expect employees to have the drive and desire to improve their skills, to practice and develop them over time (attitudes again). However, attitudes cannot be taught. A company cannot make a person into someone other than who they are. Hiring managers in modern, competitive organisations should be seeking talent with the attitudes and attributes that closely fit the particular job requirements as well as the corporate culture. Bear in mind that 'fit' very definitely does not mean a 'clone'. For example organisations seeking high performance may see 'fit' as including diversity.
Why do competency frameworks fail?
Many organisations employ a Competency Framework. Such frameworks typically define what an employee has to be able to do (skills), what an employee has to know (qualifications/knowledge) and how and where to deploy such knowledge and skills (experience). However, competency frameworks do not address how highly motivated someone might be to do these things, how stressed they may get and how good they are at handling stress and its impact on the quality of their decision-making processes. Competency frameworks, will not show whether someone is 'fatalistic' when things go wrong, or responsible, how much energy and effort they will expend to overcome a bad situation, how motivated they are to make things succeed through thick and thin. A competency framework does not indicate whether an individual is a highly motivated, team engaging, mentally resilient high performer. In short it is no help in guiding understanding of, and/or ensuring you have a high-performance workforce in the heart of your organisation.
Science of Attitudes Part 2Attitudes, attributes and selecting in the 'middle'.


text:
Town's end of war tribute is a triumph
CELEBRATIONS to mark the 60th anniversary of the end of the Second World War last Sunday were a triumph.
Macclesfield Express
Veterans and an army of people who played their part in the war at home were honoured at a special tribute.
Hundreds turned out to bask in war time nostalgia, dance to the music of the era, enjoy the day of memorabilia and tea and refreshments at Wilmslow High School.
Khumi Burton of Wilmslow Lions, who organised the event, said: "It was a very good day and we had a lot of exhibits which were really good.
"Everybody brought things, from family histories to letters sent during the war, some of which were really sad."
The 1940s music and tea dances also proved a hit.
"Everybody was dancing. Even one of the Normandy Veterans in his 80's came along with his dance partner", added Khumi.
To commemorate the event, a cake was also presented and cut by Lions President Margaret Royle.
And the commemoration continued at St Bartholomew's Church which was packed with over 300 people for a service conducted by the Bishop of Stockport, the Right Reverend Nigel Scott.
Khumi said: "The Bishop was very good.
"He spoke about the war in India and an uncle he lost in Kohima."
Alongside Bible readings, prayers and hymns including Praise My Soul and Great Is Thy Faithfulness, the Alderley Edge Scout Band and members of the Cheshire Regiment entertained the congregation.
Afterwards a veterans dinner was held at The Stanneylands Hotel in Wilmslow where actor William Roache gave a toast and former Tatton MP Martin Bell, representing the Japanese Labour Camp Survivors Association, spoke on behalf of the guests.
Khumi said the Lions were grateful to the Home Front Recall who provided the funding for the event.
Percy Redfern, Secretary of the Stockport Normandy Veterans, commented: "It was a wonderful day and it will be in our memory forever."


A agent is an individual who works to provide an agreement between landlords and tenants so that the house or apartment may be properly leased out. Letting agents are common at the United Kingdom, they allow tenants to curl up and not have to think about renting their property, the agent accomplishes them. But once you're choosing who to hire as a agent if you would like to rent the property, you will find some things that you need to keep in mind. All letting agents will vary and also their abilities and qualifications might be different also. Find a real estate agent having a rate that is affordable. Every agent deals money for his or her services. If you're able to locate an agent that has a speed, then you may save plenty of dollars. The majority of the time, these businesses charge commission from their sales. For instance, they might charge 7 percent to 12.5 percent. If you're looking for additional info on buy house leatherhead, view the earlier mentioned website.
Every time they can find a tenant to the property, they hope to be paid. Finding a real estate agent that has a affordable rate means you need to comparison shop. You might need to contact multiple agents within the area and find out what they bill for their services and if they could work alongside you. Find a real estate agent that's successfully properties previously. Selecting a new letting agent is a job best left for another property owner. You need to hire an agent that has successfully rented many properties in the past. This demonstrates that they have been a professional who is highly qualified to provide their services to you. In the event that you were to hire an agent that didn't have a track record you need to be worried about whether they're planning to successfully complete the job. Locate a real estate agent that has an internet presence.
Some agents now will invest in their internet presence. It's possible they have a site, and so they could even pay for internet marketing services. This demonstrates they are spending money to simply take their business to the next stage. This is the sort of business that you wish to hire so finding a letting agent with an internet presence is important. Often times, it's possible to get in contact with them. A lot of sites for letting agents will get contact forms and sometimes even telephone numbers so that you can get in contact straight away. Letting agents provide valuable services for property owners which will need to rent the property and they don't want to spend time finding a tenant by themselves. But prior to going hiring anyone, make sure you do your homework and comparison shop.


Heat oven to 375°F (if using dark or nonstick cookie sheet, heat oven to 350°F). In large bowl, beat 1/2 cup peanut butter, the shortening, granulated sugar and brown sugar with electric mixer on medium speed until fluffy. Beat in egg until smooth. Beat in flour, baking powder and baking soda.
Shape dough into 48 one-inch balls. On ungreased cookie sheet, place balls 1 inch apart. Flatten balls to 1/4-inch thickness by pressing with a fork in a crisscross pattern.
Bake 4 to 8 minutes or until bottoms are golden brown. Remove from cookie sheet to wire rack. Cool completely, about 30 minutes.
In small microwavable bowl, microwave chocolate chips uncovered on High about 1 minute or until softened; stir until smooth. Stir 1/4 cup peanut butter into chocolate until smooth. Cool to room temperature or until thickened.
Sandwich pairs of cookies, bottoms together, with 1 teaspoon chocolate mixture. Let stand about 1 hour or until chocolate is firm.
Chocolate and peanut butter come together in this bite-size treat.


Prestigious Arts Council National Portfolio organisation and national touring theatre company Dark Horse seeks a DSM (Technical) for it's national tour of Vanessa Brooks' highly successful SING SOMETHING SIMPLE (The Greatest Hits Volume 2) in March/April 2014. Opening at Cast, the new Doncaster venue, the production tours to seven further national venues and the DSM will be part of a Dark Horse stage management team of three, under a Company Stage Manager and with an Assistant Stage Manager.
Key responsibilities include: LX rigging, projection rigging, managing props and costume on the road, assisting with focusing (Work at height a requirement) and operating lighting cues. A knowledge of Q-lab is desire-able. The DSM must be a driver (Long wheel base transit van), a capable and speedy worker and a terrific team player.
Dark Horse is an integrated theatre company and an understanding of, and agreement with, the company's core principals of equality; excellence and grace under pressure are a must.
Dark Horse offers standard Equity/ITC rates and allowances and tour accommodation is in Travelodges, or similar, hotels. The contract runs from Monday 3rd March-Saturday 5thApril 2014. Interviews will be held at Dark Horses' base, the Lawrence Batley Theatre Huddersfield.


Our government health authorities care so much about us that they are putting nanotechnology implants in prescriptions, food and water. Modified Food Starch according to Dr. Hildegarde Staninger's research may be nanotechnology. Check the labels folks, it's in everything now. The govt only cares when someone is hurting their own profits and don't want supplements to take away from the fraudulent mainstream medical system that injects and infects. I know there are unscrupulou…s businesses selling diet pills etc. But i guarantee that the harm from them is nothing compared to the prescription meds, GMO foods, nanotechnology being put in our food, air, water and household products.
Even supplements that have very low levels of toxicity, which are prob. now in everything and unavoidable, are made to have warning signs on the bottle that it may cause cancer. While they, our government, are the ones spraying our air with the metals and toxins to begin with. It's like when they pretend to care about us and make us wear seatbelts, but then put smart meters on our homes to radiate us. There was this huge warning that went around the internet a couple of years back about how not to save onions after you cut them, as they may soak up the toxins in the air. And all the older people where all like oh my god, freaking out about onions. But the same people would be told about chemtrails and look at you like you had 43 eyes and 43 heads. And be like so what, that's not important as ONIONS. This whole dietary thing is such a game. The gov. always pretend to care while the dangerous stuff is allowed to happen and all the sheep fall for the fake reality.


Jerrie slept through the earthquake.
If Elaine dies, what'll we do?
Nadeem and Theodore plan to get married soon.
Patrice knows how to manage a company.
Let's see what Herbert left us.
Ralf and Kanthan seem to be enjoying each other's company.
Allan says he already knows the answer.
Vern showed it to Nicholas.
I'm sure Gerald will sober up by morning.
I'm worried. Takao hasn't been talking to anyone since his sister's accident.
We can't allow Lisa to continue behaving that way.
Greg doesn't need a babysitter.
Did you know Duane was in there?
Sandy got here last night.
I understand you need to speak with Emma.
I asked Casey to play my favorite song.
Hal can watch his snowglobe for hours.
Tobias wondered what Boston would be like.
Janet is driving me crazy.
Arnold missed the opportunity for a promotion.
Denis turned and walked out of the room.
Diane will tell Karen everything.
What's Valeria so worried about?
Craig and Rand both are artists.
I forgot that Jun was coming to dinner tonight.
Po asked Joni if she could do him a favor.
Steen wasn't the one who asked me to do this.
You need to share with your brother, Kayvan!
I think Takayuki is going to propose to you tonight.
I need to talk to Dawson.


Music has long been a boys club. It is only very very recently that women musicians have some control over their careers and it wasn't too long ago, that women musicians were thought capable of only playing certain types of instruments. If there is one genre that would seem utterly impenetrable for women, it would probably be metal, a genre that aims to celebrate certain aspects of human experience we stereotypically associate with manhood and maleness.
It should be celebrated, then, that it only took about a decade and a half, for a popular metal band with a female lead singer (and later band-leader). (It's worth noting that I'm guessing here. I don't know that Pesch was the first female singer to have success with a metal band, but this is certainly the earliest metal record I've heard with a female lead singer.) Assuming this is a landmark, a lot of what I have to say seems less important.
This is not my kind of metal – it's the kind of European '80s metal that goes for big choruses with really soaring vocals (and dumb lyrics), with technically proficient guitar playing, not quite fast enough to distinguish itself as "speed metal" for the most part, but still fast enough to distinguish it from the catchier metal bands. But it's still pretty rote, with most of the songs sounding roughly like each other, most of the performances striking similar notes, and just not heavy enough or weird enough for a fan like me.
But it is certainly successful for what it is – everything is good enough, I think, especially if '80s power metal is your thing. It's successful enough to regard the record as decent even if it isn't my thing, and even if it isn't the landmark I believe it to be.


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