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Wisconsin biotech sector featured in scientific magazine
Schools, tech transfer and government cited as major advantages MADISON, Wis. – Wisconsin's biotechnology community is once again in the limelight thanks to feature appearing in the June issue of Modern Drug Discovery. The article examines Wisconsin's growing biotech clusters in Madison...
13 June, 2004 / 0 Comments
Hey Willie, Wisconsin Manufacturing Doesn't Need an Aid Concert!
The beginning of a whole new round of Wisconsin economic growth. Six months ago I wrote an article which the Milwaukee Journal Sentinel published, entitled "Barron's Article Knocks the Rust Off State Manufacturing Outlook," that recounted the predictions of a hedge-fund manager named...
What's in a name? Quite a bit, when you're competing in biotech
SAN FRANCISCO – The sign hanging over the Badger state pavilion at the annual BIO convention proclaimed, "Wisconsin – Room to Breathe." But you had to visit the New York State exhibit to breathe gardenia-scented oxygen at that state's "oxygen bar."...
Analog people in the digital revolution
You've heard the drumbeat about IT project failure rates. You've probably heard mention of all the usual suspects like the lack of sponsor support, poor requirements and scope definition, lack of business relevance or bad communication. What might not be so apparent in all of...
Life Science: From the arts to the outdoors: Living and Playing in Wisconsin
You may know about Wisconsin's outdoors attractions: It is home to four seasons, 15,000 lakes, 5.7 million square miles of parks, trails and wilderness areas, 1,017 miles of Great Lakes shoreline, and 435 golf courses. You may even know a bit about Wisconsin's cultural heritage:...
Wisconsin places high in nanotech venture capital, average in innovation
Small Times editor discusses nanotech trends at conference MADISON – Speaking at the Bionanotechnology conference last week at the University of Wisconsin-Madison, a man with a long view of the science and industry behind making really small stuff said Wisconsin is bursting...
API health care software rolled out on WellStar computers
Hartford, Wis. – What does it take to make a payroll and personnel tracker specifically for health care? API Software just announced it has taken its tracking systems, originally generic, and made them into a health care-specific package for
WTN exclusive interview with Tom Still, Wisconsin Technology Council
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Upcoming technology conferences look at government tech and RFID issues
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The quest for the perfect headset
Almost by accident, I find myself on what must surely be a quixotic quest for the perfect mobile headset. Over the past few months, I have tried the best designs from Plantronics, Shure, and Etymotic Research. Each of the products I've tried has great strengths...

redpajama_set_name: RedPajamaCommonCrawl


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Locations > Instructors > Ricardo Reese
About Ricardo Reese
Ricardo Reese
Education: B.M., Instrumental Music Performance (Virginia State University, 2000) M.M. Percussion Performance (University of Nevada-Las Vegas, 2019)
Performance Experience: Ricardo has performed with many professional bands in Las Vegas as well as managing his own band for 15 years.
Teaching Experience: Mr. Reese has served as a private music instructor for the past 20 years, and has also worked with local school programs as a percussion coordinator and clinician (Western High School, Canyon Springs High School, and Cheyenne High School). Mr. Reese provides one-on-one and small group instruction on rhythmic and melodic percussion instruments.
Teaching Philosophy: I believe that all children are musical, and that they should have a role in designing or selecting their musical path. I encourage students to explore music in ways they can connect with and relate, and I allow them some flexibility or decisions when we meet to create their curriculum and plan of study. I also believe in the value of parental engagement and support of the student and their musical interests.
Get to know Ricardo Reese
A native of Denver, Colorado, Ricardo Reese is a musician and private music instructor with over 30 years of experience. He has performed with various musicians throughout the Las Vegas area as a professional drummer, and also created and managed his own band for 15 years. He received his Bachelor of Music in Instrumental Music Performance from Virginia State University in 2000, and a Master of Music in Percussion Performance from University of Nevada-Las Vegas in 2019. Mr. Reese is the founder of Rhythm and Reading, a literacy program geared towards early childhood and elementary level students, combining music and reading. Additionally, he is the creator of the HBCU Drumline Talk, an online podcast chronicling the history, traditions, teaching methods, and current trends of marching drumlines at our nation's Historically Black Colleges and Universities.
Ricardo Reese teaches at:
Summerlin NV
8700 W Charleston Blvd Suite 104
643 N Stephanie St Suite 13
With over 150 locations nationwide, Music & Arts is the nation's leading provider of private music lessons, band and orchestra instrument sales, rentals and repairs. Our remarkable story of growth has everything to do with the countless unshakable relationships we've formed with students, parents, music educators and musicians of every stripe in the local communities we serve across the country. Since opening our first store back in 1952, we've been owned and operated by the same family, and there's nothing we do as a company without our values in mind. For whatever you're doing in music, we're here to help. We hope you visit our Henderson location soon! Our friendly staff can't wait to meet you.


Scotus's account of the two affections of the will (the affection for advantage and the affection for justice) has received extensive attention from recent scholars, in part because this is often seen as one of Scotus's key departures from Aquinas and from the eudaimonist tradition more generally. Curiously, however, the early modern followers of Scotus seem largely to ignore the two affections doctrine. This paper surveys the reception of the doctrine in Francisco Lychetus, Francisco Macedo, Juan de Rada, Sebastian Dupasquier, and Claude Frassen.


text:
Preston Park to Durrington-on-Sea
Preston Park (PRP)
DeparturesPRP to DUR ArrivalsDUR to PRP
Durrington-on-Sea (DUR)
DeparturesDUR to PRP ArrivalsPRP to DUR
Preston Park Railway StationDurrington-on-Sea Railway Station
London Bridge 20:49 3 21:16 Littlehampton
London Bridge 19:47
East Croydon 20:02 20:03
Gatwick Airport 20:18 20:21
Haywards Heath 20:32 20:34
Burgess Hill 20:39 20:39
Hassocks 20:42 20:42
Preston Park 20:49 20:49
Hove 20:53 20:53
Portslade 20:56 20:56
Southwick 20:59 20:59
Shoreham-By-Sea 21:02 21:03
Lancing 21:07 21:07
Worthing 21:11 21:12
West Worthing 21:14 21:14
Durrington-On-Sea 21:16 21:16
Goring-By-Sea 21:19 21:19
Angmering 21:23 21:23
Littlehampton 21:33
Seat Reservations possible from any station (white diamond symbol)
London Bridge 23:18 3 23:45 Bognor Regis
Ford 23:59 23:59
Barnham 00:04 00:12
Bognor Regis 00:18
Haywards Heath 07:49 3 08:14 Littlehampton
Haywards Heath 07:34
Tables common to Preston Park and Durrington-on-Sea stations
London, Croydon, Gatwick Airport and Brighton to Hove, Worthing and Littlehampton
Other Preston Park timetables
Bedford, Luton, St Albans, Peterborough, Cambridge and Stevenage to East Croydon, Gatwick Airport, Horsham, Brighton and the South Coast
London, Croydon and Gatwick Airport to Haywards Heath and Brighton
Other Durrington-on-Sea timetables
London, Croydon, Gatwick Airport, Horsham, Brighton, Worthing and Littlehampton to Barnham, Bognor Regis, Chichester, Havant, Southampton and Portsmouth


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Miejscowości w USA:
 North Liberty – miejscowość w stanie Indiana, w hrabstwie St. Joseph
 North Liberty – miasto w stanie Iowa, w hrabstwie Johnson
Gminy w USA:
 North Liberty (ang. North Liberty Township) – gmina w stanie Karolina Północna, w hrabstwie Yadkin

redpajama_set_name: RedPajamaWikipedia


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Perceptual Dialectology and Dubbing of Dialects
By Günter Koch (University of Passau, Germany)
In order to find varieties in a target language corresponding to dialects in the source language, I suggest methods of perceptual dialectology. First of all, the target group has to prove its knowledge of the dialects in question by mental mapping. Furthermore, it is important, which social schemes are triggered by using the different varieties. At least, the speech forms evoke holistic impressions which can be visualized by drawings. Along with this, feedback to the pictures of a movie is given. The case study on "Manitou's Shoe" (Germany 2001) with its synchronization in English and Russian will demonstrate how these methods work[url=#n1][1][/url].
German varieties, Russian varieties, English varieties, Linguistic stereotype, social stereotype, perceptual dialectology, mental map
©inTRAlinea & Günter Koch (2009).
"Perceptual Dialectology and Dubbing of Dialects"
Usually, varieties of any language employed in movies are not dubbed. The main question is whether it is necessary - and if necessary, whether it is in general possible - to translate, or better, to transpose (cf. R. Jacobson 1959: 197 "creative transposition") a dialect from the original language into a variety of the target language. The most evident reason may be that very little is known about the varieties of both, the target language (language index 2) and the original variety (language index 1), except perhaps a vague impression, and therefore it seems to be an unsolvable problem to find an adequate transposition apart from a translation into standard variety with perhaps a few characteristic lexical items. Therefore, to make a virtue of necessity, the use of standard variety goes along with best comprehensibility, that is to say, speech can be recognized easily, clearly and fast, and a production gains the widest average audience, albeit the widespread use of standard language is like cleaning up the language (cf. Nadiani 2004: 59). Even the attempt to find actors of a certain variety is not as easy as one might think; the directors of the famous German TV-serial "Tatort" took great effort to employ characters speaking the local variety1 of Cologne, but they were not successful (cf. Koch 2008). Because of that, the problem of transposition is not solved by "just" finding an adequate variety - this should be difficult enough - furthermore, when this first hurdle is cleared, one has to engage suitable actors/speakers for the variety2 desired.
To cope with these difficulties, I suggest to use evidence given by folk linguistics, that is to say, to interpret attitudes of ordinary speakers towards dialects and their knowledge about dialects in general with a set of methods elaborated in perceptual dialectology (drawing of mental maps and componential analysis). But first of all I want to justify the indispensable necessity for transposing varieties by discussing the social implication of dialects and their correlation to stereotypes. A case study (Manitou's Shoe, Germany 2001) shall show, how these methods are applied in finding Russian varieties2 matching the German varieties1.
2. Social and linguistic stereotypes
The most evident argument in favour of varieties was outlined by Th. Herbst (1994: 92):
Der Akzent von Sprechern kann [...] Klischeevorstellungen auslösen, die sich auf ihren Charakter beziehen.
However, the thesis, that accents evoke clichés which modify the character of a figure does not mean that a character has to correspond to the cliché in every case, but there may be a play with clichés to build up a complex figure. Considering this point of view, the existence of varieties shows far-reaching consequences for dubbing:
Für die Synchronisation ergibt sich daraus, daß sie [...] der Tatsache Rechnung tragen muß, daß im Originalfilm Akzent bzw. Dialekt nicht nur Aufschluß über regionale Herkunft, soziale Stellung und Rasse gibt, sondern daß mit bestimmten Varietäten auch Stereotypen verbunden werden, was auch filmisch genutzt werden kann. (Herbst 1994: 93)
The question is, whether the implications of varieties employed in movies are intended to design characters, and it has to be taken into account that there will result a modified character by using different varieties. At this point translation works hand in glove with interpretation.
The lexeme "stereotype" as used in the common language refers to a one-sided view of a subject, primarily drawing attention to the negative features involved. As a scientific term, "stereotype" was coined in the social sciences, first by W. Lippmann 1922:
For the most part we do not first see, and then define, we define first and then see. In the great blooming, buzzing confusion of the outer world we pick out what our culture has already defined for us, and we tend to perceive that which we have picked out in the form stereotyped for us by our culture. (Lippmann 1946: 61)
A stereotype works as a cognitive scheme, reducing the complexity of the perceptual recognized reality to socially relevant facts. In this way, it results in order by abstraction and allows identity where still multitudinous differences at a lower level exist, and this is essential in contrast to other social groups with different stereotypical features. This is due to the conventional, relatively fixed structure of a stereotype. This definition by no means refers to primarily negative features, it is in general a cognitive categorization of complex entities. In linguistics as well as in social sciences, this term often is used in the negative sense: a stereotype is a remarkably simple categorization, generalizing in an inadequate way, unjustly using negative values (cf. Konerding 2001: 153). To distinguish this negative stereotype from the neutral one it is called prejudice[url=#n2][2][/url], or to follow the terms suggested by Konerding (2001), limitation-stereotype (Limitationsstereotyp), in contrast to basic-stereotype (Basis-Stereotyp). Limitation-stereotypes are simplifying evaluative categorizations, they cause identity in in-groups by excluding outgroups. Additionally, the members of outgroups seem to be more similar than the members of the in-group (outgroup-homogeneity effect, cf. Kristiansen 2003: 81). Basic-stereotypes have a quite different function: they allow a quick orientation of speakers in different situations. For my further argumentation two main characteristics will be important: basic-stereotypes are useful in evaluating complex, but conventional situations very quickly, and stereotypes are holistic entities, the features are amalgamated and therefore not recognized as single features. Furthermore, limitation-stereotypes are essential for in-group and outgroup differentiation.
In linguistics, stereotype is a term mainly used in semantics and pragmatics, but Kristiansen (2003) draws attention to stereotypes on a phonetic level, referring to a relationship between accents and society, for which terms like "indexical feature" (Abercrombie 1967) or "social deixis" (Levinson 1979) are in use (cf. Kristiansen 2003: 71). Typical phonetic features of a dialect are known as shibboleths, and these shibboleths are evoking linguistic stereotypes, which Honey defines as
popular and conscious but imprecise general characterizations of the speech forms of particular social groups (Honey 1997: 99).
In this way, linguistic stereotypes operate like basic-stereotypes, as
cognitive reference points, as abstractions relative to which speaker and hearer may locate each other and position themselves (Kristiansen 2003: 82).
Limitation-stereotypes result when speakers of other varieties exaggerate conspicuous features to caricature a dialect.
Concerning the topic of this essay, dialects and accents have social implications, and these implications are not triggered by lexical items only, but mainly by phonetic features. The non-translation of these features effect a social change of the role model. Nadiani (2004: 57-58) shows three ways of employing dialects in movies: the imitation of dialect, the imitation of dialect with clichés, and the use of genuine dialects. The first two possibilities are artificial creations of dialects and therefore refused by Nadiani. However, linguistic stereotypes as shown in media also have advantages: the few linguistic features allow a quick categorization of the speakers social origin, they act as a trigger. A dialectal speech form does not follow the formula "the more dialectal, the more typical", even a few features are sufficient to recognize a dialect (cf. Hundt 1992:80). Artificial dialects in multimedia, i.e. multimedialects (cf. Koch 2008), can on the one hand result from reducing genuine dialects, they are then normalized speech forms, or on the other hand they are standard language enriched with some frequent dialectal features. Because the main interest in communication is focused on the meaning of speech, not on the form, a few, even one or two very frequent features are sufficient to indicate regional and social origin, for instance
Missingsch: combination of the consonants st, sp
Franconian: spirantization of g to j
Upper Saxon: centralization of the full vowels, lenition of the fortis consonants
Swabian: s-palatalization in the inflection of the 2sg., reduction of unstressed syllables to schwa
Bavarian: back a, voiceless s.
Linguistic stereotypes are easy to create, have a wide range and are, in most cases, recognized as artificial only by speakers, who know this dialect in its genuine variety. A contrast to a non-dialect speaking counterpart enforces the impression - as a holistic entity - that the other part speaks at least a kind of dialect related to a well-known dialect scheme.
3. Perceptual dialectology
When confronted with the problem of dialect dubbing, the question of which variety to choose is the first to arise: a genuine dialect with many features on all linguistic levels differing from standard language is most true to create authentic characters who fit into the setting, but this dialect will be hardly understood by non-members of this speech community. Therefore, the primary function of speech, the transfer of information and acting by speech is jeopardized and especially in movies the single scenes have to be tightened by the spoken word . And returning to the thesis that schemes are perceived as a whole with the single features amalgamated, the question is whether emotions, attitudes towards the dialects are included in this entirety, triggered by the acoustic character of the linguistic features. Therefore, I think that two factors are crucial and object to perceptual linguistics:
1. What varieties are well known by ordinary speakers, can they be allocated to geographical and social dimensions?
2. How are the different varieties perceived, what emotional evocations are triggered?
The two methods to find an answer are to draw a mental map and to connect an auditory impression with a picture. Additionally, the amalgamated features of a speech impression may be identified by using a componential analysis.
3.1. Drawing mental Maps
When a speech form is recognized, especially a genuine dialect, the hearer will allocate it in geographic dimensions. This allocation implies social categorizations. To test the knowledge about dialects, hearers of different geographic origin are asked to draw the region where they think the dialect in question is spoken on a map which only shows geographic features and towns but no politic or linguistic borderlines (cf. Kelle 2000, Auer 2004, Preston 2002). P. Auer describes the result in a centre-periphery-model, leaving undefined gaps on the map, "white spots". The concentric circles show in most cases a well-known city of this area in its centre (cf. Auer 2004: 152-153), and adding all drawings of the interviewees in one overlay, a picture emerges which shows the region thought as typical for the speech form by all interviewees. I think that for dubbing those dialects are most suitable for which ordinary speakers from different regions are able to establish a clear correlation between the dialect and a region.
3.2. Evocation of pictures by speech forms and component analysis
The idea that speech forms may correlate with pictures arises from psychological sciences, a discipline called Gestalt psychology. It was Köhler in 1929 who first established a relation between certain sound patterns and visual form. Famous is the resemblance of the nonsense words "takete" and "maluma" with angular and round forms: each sound evokes a visual impression, and interviewees asked to assign the sounds to a given form do not hesitate to relate "takete" with the jagged lines, "maluma" with the bended, rounded lines (cf. Köhler [1929] 1947: 224-225). Berthele (2006) transfers this knowledge to German dialects, and he asks the question: "Wie sieht Berndeutsch so ungefähr aus?" (What would Bernese German approximately look like?). He offers twelve different drawings made by the Swiss artist Andreas Gerber (Bern, Swiss) with the aim to create a broad selection of visual patterns to evoke speech stimuli, but not with a certain variety in mind. Then, a test with 45 students originating from all regions in Switzerland, showed, that certain Swiss dialects, standard German, other well-known German varieties (Bavarian, Swabian) and even other national languages (English, French, Italian) show - more or less - clear distinctions when assigned to a drawing. For example, standard German is related by 43% to a sharp angular picture, by 17 % to a picture showing sharp arrows. This may lead to the conclusion - by using the jagged and rounded drawings of Köhler as prototypes - that standard German resembles more the impression of "takete" than Bavarian, which is closer assigned to forms similar to "maluma".
Additionally, the speakers can describe the attitudes towards the speech forms by a choice of adjectives like 'soft, smooth' or 'sharp, cold', and by this, the amalgamated features of the holistic impression are visualized. In the case study of "Manitou's Shoe" I want to show how this data can be used in a component analysis.
4. Case study: Manitou's Shoe (Germany 2001)
In 2001, a western-parody called "Manitou's Shoe" was created by Michael Bully Herbig, and this movie was to become the most successful German movie ever, awarded three times with the "Deutscher Filmpreis". In this comedy, different varieties of the German language are employed and distributed to the characters, and it is obvious that the speech forms are essential parts to the design of the figures. The main characters are presented in a black and white manner: The "bad guy" Santa Maria speaks very clear standard German whereas the two good guys, the cowboy Ranger and the Indian Abahachi, are portrayed by actors speaking a kind of reduced Bavarian regional vernacular - of course, this is part of the parody. Additionally, the twin brother of the Indian called Winnetouch is gay and speaks the same vernacular with an emphatic intonation and nasalized voice. The friend of the protagonists, a Greek, speaks a kind of artificial ethnolect used by migrants of the first generation. These varieties trigger stereotypes, holistic schemes together with the appearance of the figures: the bad guy wears a black suit, in the first scene his eyes are covered by black sun glasses and heavy rock music underlies the action. The gay Indian Winnetouch wears pink clothes, his gestures are campy. Abahachi and Ranger are dressed like a typical Indian and cowboy, the Bavarian dialect associates them with the countryside, they speak and act in a casual way. In a holistic view, Santa Maria evokes a cold and hostile feeling, the other actors leave a warm and friendly impression, and this is confirmed throughout the whole movie by their actions. By choosing these speech forms, the schemes are kept alive, in case of the Bavarian variety the movie as a parody is kept in mind. Therefore, in dubbing, one has to consider suitable equivalents in the target language with regard to "translating" the function of triggering stereotypes, in order to sustain the designed character.
4.1 The English Synchronization
Taking a look at the English synchronization, the varieties employed are indeed parallels to the German varieties concerning the function transported: The bad guy is speaking with a British English accent (Received Pronunciation) while the good guys are speaking General American English, or the so called Network English. The effects are the same as caused by the German varieties, standard English sounds - especially in contrast to the other varieties - cold and clear, emotionless, but the Network English works along with a casual behaviour. Some linguistic stereotypes are (cf. Trudgill/Hannah 2002:35-42):
General American English in contrast to Received Pronunciation (RP):
Consonants:
[r]: greater retroflexion than in RP
rhoticity: pronunciation of postvocalic /r/, (card, bird, car); RP is non-rhotic
[t]: flapped consonants: [t] , [nt] → [d̯ ]
[l]: 'dark' / l / in all positions: [ɫ]; RP: allophonic differentiation [l] - [ɫ]
Vowels:
/a/ → [æ]: before voiceless fricatives (path, grass), before /nt/, /ns/, /nd/, /ntʃ/, /mp/
The possibility to distinguish, recognize and allocate these two varieties is given, and therefore the English synchronization compared to the German original works in the intended way. However, at least no regional dialects are employed, but national varieties, and the question arises, whether no genuine dialects can be found. One scene plays with a parallel in location of dialects: The barkeeper says "Ihr müsst Ranger sein! Der Mann mit dem Südstaatenslang!" ('You must be Ranger, the man with the slang from the Southern States'; synchronized version: "You gotta be Ranger, right? I was hoping to meet you one day." Min. 39:46). The Southern States of the USA, where the action is located, is paralleled to the "German" South due to the use of Bavarian dialects, which means Bavaria and Austria. This parodic play is not translated, obviously because Ranger actually does not speak this slang but Network English. Here, the results from perceptual dialectology can be brought in: As Preston (2002) shows with the method of drawing mental maps, the south-eastern part of the United States is the best known area associated with a different dialect, and this dialect is perceived as the most dialectal one, it corresponds the least with a correct standard variety. This Lower Southern accent bears special linguistic features:
Special Features of the Lower Southern Accent:
Lower Southern accents are non-rhotic
'Breaking': [ə] – offglide in stressed monosyllables (bad [bæijəd])
/ai/ as monophthong [a:] (high [ha:])
/ɪ/ = /ɛ/ before a nasal consonant (pin = pen)
verbforms wasn't, isn't: [z] → [d] ([ɪdnt] , [idn])
These few but frequent features could be used to enrich the speech of Ranger; then an allocation to the South is possible. But does it make sense to trigger socio-cultural stereotypes of the Southern States with linguistic features? One can achieve an alienation as well as with the Bavarian dialect: the Afro-American population of the Lower South is, in its ethnicity, as exceptional as the Indian population to which Ranger is associated by sharing the same speech form with Abahachi. A parodic play could be initiated like Ali G does, when pretending to be black (speech form, clothes), but obviously being a white man (cf. Sebba 2003: 281), which is as strange as speaking Bavarian in the Wild West, but on a different level. But there is no evidence that the dialect of the Lower South will be understood, recognized and then trigger social schemes in other English speaking countries, e.g. Australia, and, perhaps to ensure a wide range, this alienation effect was avoided - or quite simply, nobody considered this solution. On the whole, the English synchronization is well done, even Santa Maria's accomplice was carefully supplied with a Mexican English variety.
4.2 The Russian synchronization
In the Russian synchronization no dialects are employed, all characters are speaking standard Russian. This means that no schemes are evoked by different varieties, so that a fundamental process, the transfer of the Indians into another culture, does not occur: the alienation by speech variation, which is a fundamental requirement to create the parody, is neither used to provoke a first laugh nor to assign different schemes to the characters maintained throughout the whole movie.
The question is, whether there was no other way to translate the speech forms, or whether there were no methods to find adequate varieties. I assume that there are Russian varieties to be employed in the movie and that the methods to find suitable vernaculars are on the one hand mental mapping and on the other hand the evocation of holistic impressions by pictures, supported by a description in words.
The Russian people are conscious of different regional speech forms. One of the most prominent examples is the former president of the Soviet Union, Mikhail Gorbachev, whose speech is coloured by features belonging to the South of Russia, and this way of speaking was successfully used to parody Gorbachev [url=#n3][3][/url]. In order to find vernaculars to be employed in the synchronization of "Manitou's Shoe", one has not only to look out for different vernaculars, but for vernaculars well known by the target group. Because this movie firstly aims at young people, it was the students knowledge about Russian dialects which I considered for this investigation [url=#n4][4][/url]. Therefore, a blank map, only showing the borders of western Russia, some Rivers, the Ural, and some important towns, was provided to 11 Russian students (female, age 18-30) at the German department of the University of Nizhny Novgorod, Russia [url=#n5][5][/url]. They had to draw the borders of dialect regions they know into the map. Then they were asked whether they speak a dialect themselves. The different lines were either demarcation lines throughout the map (Fig. 1)
or circles surrounding a town (Fig. 2).
All lines put together in one overlay resulted in map Fig. 3.
At first glance, one gains the impression of a confused tangle of lines, but in building up the overlay step by step a large degree of convergence becomes apparent. At least four regions are emerging, designating four dialect regions: the North (Arkhangelsk), the North-West (Petersburg), the East (Kirov), the Middle (Moscow) and the South (Voronezh, Volgograd). This differentiation has its correspondence in linguistic research, which divides the Russian language into three large regions, the North, the Middle around Moscow, and the South (cf. Berger 1999: 559). The demarcation lines, taken from this map and projected into the overlay of the mental maps (Fig. 4), show basically that general knowledge is - approximately - mirrored by scientific research.
Now, to return to the movie, at least three dialects - and this is sufficient - can be used to design the characters even in the Russian synchronization. It does not matter whether genuine dialect speakers are engaged, but there is also the possibility to enrich standard language by very frequent dialect features:
Table 1: Features of Russian Dialects (cf. Berger 1999: 564-565)
However, the question is, whether the dialects are evoking approximately the same schemes as the dialects in the source language do. In order to solve this problem, the students were asked to describe the dialects marked in the map with a short component analysis, that is to say, whether they are rather perceived as hard or smooth, cold or warm, muffled or clear, monotonous or a singsong, round or sharp, pleasant or curt, and calm or hectic. This analysis concentrates on adjectives of perception, in a further research social implications (rural - urban, antiquated - modern, non-elaborated - elaborated etc.) have to be taken into account as well. The results are shown in Fig. 5 [url=#n6][6][/url].
The predominant characteristics are:
Northern Russian: hard, cold, muffled, singsong, round, curt, calm
Middle Russian: smooth, warm, clear, monotonous, round, pleasant, calm
Southern Russian: smooth, warm, muffled, singsong, round, pleasant, calm
Whereas the Middle and the Southern Russian variety are perceived as quite similar - only the speech melody [url=#n7][7][/url] makes a clear distinction possible -, the Northern Russian variety seems to be a perfect counterpart to the other two varieties. Why not use a Northern Russian dialect, which is hard, cold, curt for the bad guy Santa Maria, and a Southern Russian variety - smooth, warm, singsong - for the Indians and Ranger? Regarding the environment where these dialects are spoken in reality, the Northern Russian variety is more suitable to rural, natural, traditional figures like the Indians, the Middle Russian dialect around Moscow, which is close to standard Russian, aims in its modernity and urban way of life at characters like Santa Maria. Mainly the clear distinction of the varieties and their social implications are important, the perception of the speech can be modified, in addition to the character of a dialect itself, by the individual way of speech. To prove this thesis a sample of the voices2 was offered to the 11 Russian students2, and the same sample1 [url=#n8][8][/url] was offered to 46 German students1 [url=#n9][9][/url], with the task to assign them to drawings, taken from Berthele (2006). I selected six drawings, five of them were most often chosen for standard German and Bavarian in the test of R. Berthele, picture 6 was neither selected for standard German nor for Bavarian dialect. The results are given in Fig. 6 and 7 [url=#n10][10][/url]:
Abahachi1 is assigned to drawing 1 with clear, sharp arrows, two students even chose drawing 5 with its sharp angular blocks. Ranger2 gathered the most votes on drawing 5. In contrast to this, Santa Maria2's voice was perceived as a 'round' impression, assigned to drawings 2 and 3. As for Berthele's results on German and Bavarian, this is just the other way round. Therefore, I decided to give the same samples but in German to German students, and the result was not too different from the Russian samples: Santa Maria1 is assigned to the 'round' drawings as well, but the more fuzzy variant 6 was most often chosen, next to the flowery variant; Ranger1 was assigned to the sharp and clear drawings 1 and 5, and only Abahachi1 was most often named with drawing 2, a round and clear form, which comes close to Berthele's results for the Bavarian dialect. Therefore, the impression of the German students on the German samples is quite similar to the impression of the Russian students on the Russian samples. So, why do both samples evoke impressions different from Berthele's results? One reason may be the artificial character of the speech Abahachi1 and Ranger1 are using, a kind of reduced dialect which is closer to the standard. Another factor may be the quality of voice itself, Santa Maria has a very dark, sonorous voice; Abahachi and Ranger, compared to this, a normal to high-pitched voice. According to Herbst (1994: 84-86), biological features are important to create character equivalence, that is to say, the quality of voice implies character traits. Therefore, with designing Santa Maria1's voice by using standard German with a dark, sonorous touch, the producers of this figure play with contrasts and clichés. The influence of the voice quality on a character is the chance to meet the character evoked by a dialect, and is a useful instrument to design a character if a transposition of a dialect does not seem to be possible. In the case of the synchronization of Ranger1 and Abahachi1 into Russian dialects, the Northern Russian dialects with its rather hard, curt, muffled qualities seem to be suitable to design a equivalent character, and the triggered rural implications fit as well. Even the play with the Southern States can be transposed: then, Ranger2 is the character with the slang from the Northern States. And in case of Santa Maria2, the modern, urban dialect of Moscow, with warm, round, pleasant features, would make a good contrast to the appearance and behaviour of this figure.
The most striking argument for finding a suitable dialect in synchronization is that dialects, together with the quality of voice, trigger a holistic impression, which is reflected in the pictures of the movie - or it is not, in case the designer of the character plays with the difference of implications and the behaviour and appearance of the figure. Then the 'mere translation' is to become an interpretation.
The purpose of this investigation was to demonstrate that folk linguistic knowledge can be used to select adequate dialects in translation. These dialects can be normalized dialects or even artificial dialects, multimedialects, which show only a few but frequent and very characteristic features of these dialects. They will be recognized by the viewers, and the characters will be associated with cultural and social stereotypes, of which the viewer is reminded each time the character opens his mouth. Especially in a comedy, when one joke follows the other, leaving no time to reconsider all details, this is a crucial item. Linguistic stereotypes work like basic-stereotypes and enable quickly the reference to social schemes. Finally, the triggering of clichés and schemes by linguistic stereotypes does not exclude an artificial design of characters, quite the reverse, it allows a sensitive play with - apparently - contrasting features.
Der Schuh des Manitu (2001). Produced and directed by Michael Bully Herbig, distributed by Constantin Film, Munich.
Abercrombie, David (1967). Elements of General Phonetics. Edinburgh.
Auer, Peter (2004). "Sprache, Grenze, Raum". In: Zeitschrift für Sprachwissenschaft 23, 149-179.
Berger, Tilman (1999). "Dialektologie". In: Jachnow, Helmut (ed.), Handbuch der sprachwissenschaftlichen Russistik und ihrer Grenzdisziplinen. Wiesbaden (= Slavistische Studienbücher, Neue Folge 8), 553-588.
Berthele, Raphael (2006). "Wie sieht das Berndeutsche so ungefähr aus? Über den Nutzen von Visualisierungen für die kognitive Laienlinguistik". In: Klausmann, Hubert (ed.), Raumstrukturen im Alemannischen. Beiträge der 15. Arbeitstagung zur alemannischen
Dialektologie, Schloss Hofen, Lochau (Vorarlberg) vom 19.-21.9.2005. Graz, Feldkirch
(= Schriften der Vorarlberger Landesbibliothek 5), 163-175.
Herbst, Thomas (1994). Linguistische Aspekte der Synchronisation von Fernsehserien. Phonetik, Textlinguistik, Übersetzungstheorie. Tübingen (= Linguistische Arbeiten 318).
Honey, John (1997). "Sociophonology". In: Coulmas, Florian (ed.), The Handbook of Sociolinguistics. Oxford, 92-106.
Hundt, Markus (1992). Einstellungen gegenüber dialektal gefärbter Standardsprache. Eine empirische Untersuchung zum Bairischen, Hamburgischen, Pfälzischen und Schwäbischen. Stuttgart (= Zeitschrift für Dialektologie und Linguistik, Beihefte 78).
Jakobson, Roman (1959). "Linguistische Aspekte der Übersetzung". In: Wilss, Wolfram (ed.) Übersetzungswissenschaft. Darmstadt 1981(= Wege der Forschung 535), 189-198 [On Linguistic Aspects of Translation. In: Brower, R. (ed.), On Translation. Cambridge/Mass. 1959, 232-239].
Kelle, Bernhard (2000). "Wo wird Alemannisch gesprochen? Einschätzungen von Besuchern des Wissenschaftsmarktes 1997". In: Funk, Edith / König, Werner / Renn, Manfred (ed.), Bausteine zur Sprachgeschichte. Referate der 13. Arbeitstagung zur alemannischen Dialektologie in Augsburg (29.9.-3.10.1999). Heidelberg (= Sprache - Literatur und Geschichte 19), 353-355.
Klein, Josef (1998). "Linguistische Stereotypbegriffe. Sozialpsychologischer vs. semantiktheoretischer Traditionsstrang und einige frametheoretische Überlegungen". In: Heinemann, Margot (ed.), Sprachliche und soziale Stereotype. Frankfurt/Main, Berlin, New York (= forum angewandte Linguistik 33), 25-46.
Koch, Günter (2008). "German dialects as multimedialects on television". In: Helin, Irmeli (ed.), Dialect for all Seasons. Cultural Diversity as Tool and Directive for Dialect Researchers and Translators. Münster, 77-96.
Köhler, Wolfgang (1947 [1929]). Gestalt Psychology. An Introduction to New Concepts in Modern Psychology. New York.
Konerding, Hans-Peter (2001). "Sprache im Alltag und kognitive Linguistik: Stereotype und schematisiertes Wissen". In: Lehr, Andrea / Kammerer, Matthias / Konerding, Klaus-Peter et al. (eds.), Sprache im Alltag. Beiträge zu neuen Perspektiven in der Linguistik. Berlin, New York, 151-172.
Kristiansen, Gitte (2003). "How to do things with allophones: Linguistic stereotypes as
cognitive reference points in social cognition". In: Dirven, René / Frank, Roslyn / Pütz, Martin (eds.), Cognitive Models in Language and Thought. Ideology, Metaphors and Meanings. Berlin, New York (= Cognitive Linguistics Research 24). 69-120.
Levinson, Stephen C. (1979). "Pragmatics and social deixis: Reclaiming the notion of conventional implicature". In: Chiarello, Christina (ed.), A Psycholinguistic Approach. Cambridge, Mass., 219-252.
Lippmann, Walter (1946 [1922]). Public Opinion. New York.
Nadiani, Giovanni (2004). "Dialekt und filmische Nicht-Übersetzung. Der einzig mögliche Weg?" In: Helin, Irmeli (ed.), Dialektübersetzung und Dialekte in Multimedia. Frankfurt am Main, Berlin, Bern (= Nordeuropäische Beiträge aus den Human- und Gesellschaftswissenschaften 24), 53-74.
Preston, Dennis R. (2002). "Perceptual dialectology: aims, methods, findings". In: Berns, Jan / van Marle, Jaap (eds.), Present-day Dialectology. Berlin, New York (= Trends in Linguistics, Studies and Monographs 137), 57-104.
Sebba, Mark (2003). "Will the real impersonator please stand up? Language and identity in the Ali G websites". In: Arbeiten aus Anglistik und Amerikanistik, 28, 279-304.
Trudgill, Peter / Hannah, Jean (2002). International English. A guide to varieties of Standard English.(4th edition). London.
Zimmermann, Gerhard (1992). "Das Sächsische. Sprachliche und außersprachliche Einschätzungen der sächsischen Umgangssprache". In: Muttersprache, 102, 97-113.
[1]I thank Karin Häusler for carefully reading the English typoscript.
Cf. Konerding 2001: 153 with reference to G.W. Allport (1954. The Nature of Prejudice. Cambridge, Mass.) and B. Schäfer (1994. "Stereotype und Vorurteile als Voraussetzungen und Barrieren gesellschaftlicher Kommunikation". In: Wessels, K.F. / Naumann, F. (Hg.), Kommunikation und Humanontogenese. Bielefeld, 460-470); see also Klein (1998: 27-30).
[3]Notice by Dr. Nikolai Bazhaykin (University of Nizhny Novgorod, Russia).
[4]The investigation was carried out by Dr. Nikolai Bazhaykin, University of Nizhny Novgorod, to whom I owe a debt of gratitude.
[5]This investigation has to be regarded as a pilot study, further investigations shall include male students as well, and the number of intervewees will be increased.
[6]The totals in the table deverge from the number 11, because not every student marked each dialectal region on the map, and even in case the regions were marked, sometimes they were not evaluated in the componential analysis.
[7]The different intonation of dialects is a well recognized feature in German dialects (cf. Zimmermann 1998).
[8]Abahachi: "Brauchst Du einen Nussknacker?" (51:05); Ranger: "Es geht rein um das Messer, das kostet alles Geld" (55:48); Santa Maria: "In Kürze bin ich der reichste Mann im Wilden Westen. Ich könnte Dich zu meiner Frau nehmen!" (57:15).
[9]The students participated at an introductory course for German linguistics, summer term 2007, University of Passau, Germany.
[10]I counted only the questionnaires with very clear decisions, that is to say, every sample corresponds to one picture. Therefore, the totals in the table do diverge from the number 46.
Günter Koch was born 1972 and has a PhD in German Linguistics. He studied German linguistics, literature and history at the University of Passau, Germany, and at the University of Stirling, U.K. His main research interests are dialectology and morphology, the ongoing projects deal with intonation of varieties. He is teaching German Linguistics at the University of Passau.


Bread & Butter Berlin trade show is over.
It's been a wild year for Bread & Butter, the once leading-edge fashion and denim trade show in Berlin. On June 8, 2015, Zalando the Berlin-based online platform for fashion bought Bread & Butter and the intention seemed that it would continue the tradition of the show.
With the help of Zalando, insolvency proceedings would be closed by 1st October 2015.
The summer show did take place on July 7-9 in the Airport Tempelhof, but only two halls had exhibitors and the reviews were poor. The energy and character of the show, including the depth of brands just was no longer there.
Urban base area from Bread & Butter Berlin last summer.
Ironically, other shows across Berlin Fashion week were doing quite well, including Bright, the streetwear and action sports show which was located next to Seek, and later during the show, announced they were bought by Premium. Other shows such as Selvedge Run moved into the space once dominated by Bread & Butter.
The team at Label Networks has visited Bread & Butter several times, and we were always incredibly impressed with this show. Not only did Karl-Heinz Muller and his team seem to be leap-years ahead of the trade show world in terms character and design, they provided networking and inspirational opportunities that soon became the highest standards for fashion trade shows. Everyone wanted to be like Bread & Butter.
Yesterday, July 14, 2015, Bread & Butter sent out the following email below. They are now officially over. We will miss this show.
And in the end, your understanding.
THANK YOU for 14 wild and wildly intense years.
BREAD & BUTTER is dead, long live BREAD & BUTTER!


text:
The Votives Project
Offerings to the Gods from Antiquity to the Present
Votives on display (Part 1)
E-J Graham / April 19, 2015
Last weekend I was at the 2015 Classical Association Conference in Bristol and, after my paper on the sensory experience of dedicating infant votives, I was asked a question about where these votive objects were placed and how were they 'displayed'. If they were placed on an altar or something similar, I was asked, could they roll off? Unfortunately I wasn't really able to answer the question very satisfactorily, since very few infant votives – or indeed many Italian votives full stop – are found in their original place of dedication. I could safely say that the relatively flat back of most baby votives, combined with their weight, most probably meant that they couldn't roll, but it got me thinking: where did people put their offerings and why?
Terracotta swaddled infant from Falerii, lying safely on its back.
In some modern settings, such as the Catholic shrines and churches of southern Italy and South America, the public display of votives is really important. These objects, paintings and other dedications are there to be seen by subsequent pilgrims and to testify to the healing or protective powers successfully sought and obtained in that place. Indeed, one of the things that imbues them and the stories and miracles associated with the divine figure with power is their very collectivity. Offerings of all types are curated together as a form of witness to this power. The same was probably true for the ancient world – a build-up of offerings commemorating acts of healing, divine support, successful birth or even just evidence for the ongoing stability of the community via objects which marked key rites of passage such as puberty, marriage and birth, must have acted as visual confirmation of the power of a particular deity in that place. Jörg Rüpke (2007, p. 164) has noted that 'failed vows produce no votives; the system renders its failures invisible,' but the reverse holds true as well: a sacred space full of votives renders its success very visible indeed.
Frustratingly, we know little about what form votive display took for the ancient world. For sites in Italy nearly all votives, with just a few exceptions, are found out of their original context. They may be found within the sacred area (temenos) of the shrine or sanctuary at which they were dedicated, but the majority are not found on the exact spot where they were left by the dedicant (if they were even carefully placed by that person in the first place – perhaps offerings were given to cult officials who were then responsible for arranging them on, near or around the cult statue?). The majority are found buried in pits (sometimes known by modern scholars as favisae, stipes or bothroi) or collected together in another location within the confines of that sacred place. The implications seem to be, then, that if votive objects were ever on public display the expectation was that they would not stay in that place forever, eventually being cleared away to make space for new offerings.
There is some evidence for the display of votives in other parts of the ancient world, most notably from Greece. An inventory from the Asclepieion at Athens (IG II2 1534A; see Aleshire 1989; 1991) make it possible to reconstruct what would have been seen by a person entering the temple around the year 275 BC. Objects, including anatomical offerings, plaques (typoi) showing people in the act of worship and coins, were placed on shelves on the wall, laid on the rafters and placed in the hand of the cult statue of the god. The upper parts of the walls were perhaps covered with paintings. Examples of anatomical votives from another Greek site associated with Asclepius at Corinth are pierced by suspension holes which suggest that they were designed to be hung up, from walls or rafters, by leather thongs or cords, whilst others were freestanding or placed up against a wall.
Terracotta votives from the Asclepieion at Corinth.
But this evidence only takes us so far. The Athenian inventory is unique, and it only records the most precious examples from a single temple. Valuable items made from precious metals, such as gold and silver, were evidently of more interest to the inventory makers (who had an eye on determining the economic value of the temple's contents) than other items, so who knows what other objects they chose not to record? There is little mention, for example, of cult equipment and painted vases. Sara Aleshire (1991, p. 46) suggests that these were 'kept routinely in a place which was deemed less vulnerable to theft' but this, along with the emphasis on the value of other items, reminds us that the inventory may not be as complete as we would like. Indeed, although Aleshire (1991, p. 46) describes the temple as resembling 'the most jumbled and crowded antique store or museum storeroom that most of us can imagine' the reconstruction drawing that she provides (Plate 11) is actually remarkably sparse, with the floor left entirely bare and gaps between most of the objects shown adorning the walls and roof space. Similarly, as the only site from Greece known to have substantial numbers of terracotta artefacts we'd be foolish to generalise from Corinth and suggest that all terracotta anatomical votives were designed to dangle from nails even if this is sometimes also the case in the modern world. Holes are certainly known in examples from Italy, but their placement is different – they are more frequently on the back of the object and do not pierce it entirely. Most were more likely to be air vents, designed to prevent these mould-made objects from shattering in the fierce heat of the kiln.
We lack inventories from sacred sites in Italy, a great many of which were small, local and rural, without the level of organisation exhibited by the great Asclepieia of the eastern Mediterranean. Most Italian ex-votos are excavated from unstratified dumps or pits. From this we know that offerings were periodically cleared away, presumably to make way for more, and based on this we might reasonably suppose that sacred areas, perhaps around a cult statue, came to be quite cluttered with gifts making the addition of more problematic. Although, of course, we can't know this for sure and we can't even estimate how regularly clearance activities took place. Perhaps there were dates within the religious calendar where this was appropriate, or maybe it was prompted by threats to the security of the sanctuary or other concerns that we haven't yet thought of.
The sanctuary at Gravisca. The infants and wombs were found in one of the rooms (Room M) in the area at the top left.
Some sites are a bit different. At Gravisca – the great international sanctuary associated with the port of Tarquinia – there appears to be some evidence for the clustering of 'types' within a series of rooms which led Annamaria Comella (1978) to suggest that some spaces were associated with particular deities. All but two of the 28 swaddled infants known from Gravisca were found in one room, along with terracotta wombs and an inscribed bronze vessel dedicated to Hera-Uni the goddess of women and marriage (in her Roman form she was Juno, associated also with fertility and motherhood). Comella suggests that these offerings therefore represent requests associated specifically with reproduction, whereas the 2 infant votives found in the courtyard outside might have been associated with the more general matrimonial and maternal elements of the cult of Aphrodite-Turan known to have been celebrated at the sanctuary. But the subtle differences between these cults elude us and comparable evidence is lacking from other sites. Nor is it clear whether this clustering of offerings represents the original place of dedication or choices made by officials who were clearing items away from elsewhere and who decided, independently of the dedicants, that these types belonged in 'storage' together. The plan of the excavated room shows a jumble of objects and reveals little about whether they had once been carefully arranged and whether the room had once been lined with shelves.
At less monumental sites we find a different state of affairs. At Fontanile di Legnisina at Vulci, for instance, offerings were placed in a cleft in the face of a cliff, much like a grotto, in front of which stood an enclosure containing a monumental altar (Ricciardi, 1992). Sometime after they were placed in the grotto an earthquake or something similar, caused them to spill out of this cleft covering the area of the altar. It may be that they were placed in the grotto at the moment of dedication, perhaps as part of a cult with chthonic associations, but equally it might be that they were cleared away from the vicinity of the altar to this natural cavity in the rock after a period of time. Perhaps, then, we might think of votive dedication as a two-stage process. At sites where the location of the temple or sanctuary was determined by particular geological features –springs, grottoes – perhaps the ultimate destination was always intended to be that natural context, with the human-made temple or shrine merely a transitional point between the mortal world outside and the divine world which could be accessed via the spring or grotto. A similar argument might be put forward for the secondary collation and sorting of votive objects at Gravisca.
Votive offerings hung on the wall at the shrine of Santa Quitéria das Frexeiras, Brazil.
Indeed, in some respects this two-stage process is also what we see in the case of modern examples. Ex-votos on display at Catholic shrines, for instance, are not always in their original place of dedication. Those in Naples associated with WWI, that I wrote about in an earlier post, have been gathered together, arranged carefully in creative symmetrical patterns before being placed on display as a curated assemblage of offerings. This is certainly not how they were original dedicated but reflects a later process of decision-making, re-interpretation and display. Similarly, the wooden limbs at the sanctuary of Santa Quitéria das Frexeiras in north-eastern Brazil were not placed high up on the wall by dedicants themselves but were exhibited there later. It is the job of those who oversee and maintain these sacred spaces to make choices about the 'afterlife' of these items and their subsequent display or disposal and, as a result, to determine their ability to communicate with pilgrims and onlookers about the divine power associated with that place. Once a dedicant has made their offering, they have relinquished that object to the divine, but also to its new human guardians.
So, in some cases we might argue that it seems to be less important to ancient dedicants how their offerings were displayed and where, at least in the long term. For someone making an offering, the act of dedication itself was significant, with the ex-voto materialising the connection between divine and mortal on that occasion. But, at the same time, choices were made about what to do with these dedications – by dedicants and others – and these might reveal something about how they were perceived or the meanings associated with them. But I'll save that for Part 2 …
E-JG
Aleshire, S.B., 1989. The Athenian Asklepieion: the people, their dedications, and the inventories. Amsterdam, J.C. Gieben.
Aleshire, S.B., 1991. Asklepios at Athens: epigraphic and prosopographic essays on the Athenian healing cults. Amsterdam, J.C. Gieben.
Comella, A., 1978. Il materiale votivo tardo di Gravisca. Rome, Giorgio Bretschneider Editore.
Ricciardi, L. 1992. Canino (Viterbo) – Il santuario etrusco di Fontanile di Legnisina a Vulci. Relazione delle champagne di scavo 1985 e 1986: l'altare monumentale e il deposito votivo. Notizie degli Scavi di Antichità Series 8, vol. XLII-XLIII (1988-1989), pp. 137-208.
Rüpke, J., 2007. Religion of the Romans. Cambridge, Polity Press.
April 19, 2015 in Ideas. Tags: Etruscan, fertility, infants, Italy, terracotta
Wax infant votives in Cyprus: ancient and modern parallels
When is a womb not a womb?
← Votives and conflict: postscript
Votives on display (Part 2) →
8 thoughts on "Votives on display (Part 1)"
helen king says:
At Brauron the items of clothing may have been moved away from the main display when they got tatty – inventories list them as 'ragged' (which Mommsen interpreted as 'rags', coming up with his 'dedication of menstrual rags to Artemis' theory…).
Gina Salapata (id:gsalapat) says:
Great posting, Emma-Jane.
There is an interesting case from Penteskouphia, near Corinth, supporting the idea that small, inexpensive offerings may not have been exhibited at all or only for a very short time. Among the terracotta plaques found there, some were painted on both sides but with scenes in a different orientation. In one example, Poseidon is placed vertically on one side while the craftsman scene on the other side is placed horizontally. If the plaque was ever displayed, the more important side would have been that of the god because this is the side where the two holes were positioned correctly, on the edge above his head. The implication is that, as you said, the act of giving counted for much more than how long the offering remained in the sanctuary.
I have discussed some aspects of the display and disposal of votive plaques in the following article: https://www.academia.edu/1146359/Greek_votive_plaques_Manufacture_Display_Disposal
E-J Graham says:
Yes Helen, that is a good point and the same may be true of infant swaddling bands if, as I suspect, these pieces of fabric were dedicated alongside infant models. I think we also have to remember all of the other more ephemeral offerings too – food and drink etc. – none of which was designed to last in the way that (we suppose) terracotta and metal was.
Thanks very much Gina that is a fascinating example! I had never thought about 're-using' votives in that way. Probably because I work largely with anatomical votives that it is difficult to imagine being reused (not to mention being a sort of inalienable, one-time gift). But if it is the painting itself which is the offering, as much as the plaque on which it is painted then that makes a lot of sense. I shall look up your article now – thank you!
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Jedediah Caesar says:
This idea of a "two stage process" is really fascinating. Might it imply then that votives found as collections in pits might be in fact be being viewed in situ? Do you know if this possibility has influenced the treatment of particular excavations?
Hi Jedediah, that is a good point. I'm not aware of this being considered when excavating any specific site but I'll keep an eye out for any examples. It does raise the question of whether pits were immediately covered and closed or left open (which also raises the related question of whether displays of offerings were cleared away all at once or more regularly).An open pit full of offerings could have been quite striking!
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text:
The 4 Best Vocal Harmonizer Pedals – Reviews 2023
Posted by Micah Johnson · 1 Comment
Photo by David Martyn Hunt / CC BY
If you happen to be a one-man band type of performer, or one half of a duo, or if simply none of your bandmates can sing, then you are in dire need of a vocal harmonizer.
This pedal will make a significant impact on the portion of your performance that many listeners notice the most – the vocals. Musicians tend to het focused on minute instrument adjustments, completely neglecting that a properly utilized harmonizer could improve their show way more than any tweak in the instrumental department.
Therefore, we've carefully sifted through all the products on the market to bring you our list of 4 best vocal harmonizer pedals:
TC Helicon Harmony Singer
TC-Helicon Harmony Singer 2
The TC Helicon Harmony Singer is a very frequently used harmonizer; hence, it deserves an opening spot on the list. The pedal has it all – a compact package, top-notch sound for an intermediate user, quality sound output, fair versatility, and an affordable price.
The gizmo features a set of three control knobs – Vocal Harmony, Tone and Reverb – allowing you to change the type of harmony the device will deliver, along with a few tonal adjustments.
The Harmony Singer is capable of delivering up to two harmony voices, which can be automatically guided by your guitar via the In-Thru connection. This should be on any list of the best vocal harmonizer pedals.
TC - Helicon Harmony Singer - Demo
TC Helicon VoiceTone Harmony-G XT
TC-Helicon VoiceTone Harmony-G XT
TC Helicon is a dominant company in the vocal harmonizer realm; hence, we decided to give a nod to the renowned manufacturing team with two items on the list. We'd said we'd offer you the crème de la crème, and if team Helicon has more than one representative then so be it.
Anyhow, in the high-end realm, one of the best selling items of its niche, and an incredibly budget-friendly device for such quality, we bring you the TC-Helicon VoiceTone Harmony-G XT vocal processor.
This pedal is packed with top-quality circuitry and incredible versatility. It does an amazing job both in the studio and onstage, utilizing the renowned NaturalPlay technology. It has the ability to "listen" to your guitar and create correctly harmonic parts, meaning that if you don't want to spend too much time tweaking the processor. You can just plug it in and let the device to its thing on auto-pilot. It will never let you down.
As for the price, the VoiceTone is well worth it, but if you find a good deal online, you might be able to fetch this baby for even cheaper! This is easily one of the best vocal harmonizer pedals for your money.
Testing TC-Helicon Harmony G-XT
Boss VE-2
Boss VE-2 Portable Vocal Processor
The VE-2 vocal harmonist is a multi-effects pedal that will give you an incredible variety of ways to enhance your vocal performance. It gives your live sound the same professional quality you'd get in the recording studio, in a battery-powered, portable stompbox. The real-time vocal harmonizer can be set to get its pitch from the chords on an attached guitar, making it especially useful for self-accompanying vocalists. It also features real-time pitch correction, delay and reverb effects, and two dozen harmony types with both one- and two-voice options. The user-friendly interface is easy to use, even if you don't have much effects pedal experience, and the three onboard memory slots let you save favorite settings for quick set-up or changes at a gig. All in all, this is one of the best vocal harmonizers period.
BOSS VE-2 Vocal Harmonist featuring Annekei
Boss VE-8 Acoustic Singer
Here's one from Boss that's a vocal harmonizer and then some. You can think of it as an all-in-one solution for any singer-songwriter, with all of the effects and tools you'll need to make both your voice and your acoustic guitar sound their best.
Even just focusing on the harmony controls the VE-8 Acoustic Singer is a pretty impressive little unit. You can seamlessly harmonize in real time, either with your voice or with your guitar tone, with options for doubling and other more elaborate vocalization effects. There's also a live pitch correction that sounds incredibly natural.
The Boss VE-8 can honestly take the place of pretty much all the equipment a gigging singer/songwriter needs. It includes mic preamps, both improving your tone and bringing your signal to line level for mixing. It also has built in chorus and loop effects, which are just as fully-customizable and easy to use as the harmonization. If you want the ultimate vocal effects unit, you want the Boss Acoustic Singer.
BOSS VE-8 Acoustic Singer instruction by Laura Davidson
"So how does a vocal harmonizer work?"
To put it plain and simple, a vocal harmonizer takes the vocals you're singing into the microphone, and raises or lowers the original pitch. While you're singing, it simultaneously sends the pitch-altered version into the speakers. Essentially, vocal harmonizers provide you with backing vocals.
You can manually adjust the type or the pitch of backing vocals you want the pedal to provide you with. But some devices have a cool feature which allows them to "listen" to what you're performing on your instrument at the moment and automatically provide you with the type of backing vocals you need at that specific time. This is a very cool feature typically associated with high-end items, so if you're able to get your hands on one of these models, we say go for it.
"Do I need a vocal harmonizer?"
Much like with every effect pedal, it depends. If you don't perform live often, the need for having a vocal harmonizer significantly drops, since you can sing a countless number of vocal lines yourself in the studio.
But if you are a live performer, then a different set of question arises. Do you perform on your own or with a band? If you're on your own, you will definitely need the best vocal harmonizer pedal you can afford. Believe us when we say it, a proper pedal will boost your quality performance through the roof.
If you're with a band, then it all depends on how well your bandmates can cover backing vocals. If they're not too good, well, get a vocal harmonizer.
But even with a vocal harmonizer, you need to get your singing chops right, so get to practice!
Written and Reviewed By
Marko Jovanovic
Marko is the senior editor and writer on Ultimate Guitar, the No. 1 guitar spot on the web, since early 2013. His work was also featured on a variety of other notable gear spots such as Guitar Fella, Consordini, and, of course, Song Simian. His musical journey began at a very young age, and he finally opted to pick up an instrument in his early teenage years. A fan of King Crimson. A travel enthusiast.
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ronjazz says:
Excellent overview, nicely done.


If you're planning to get married in Miami, then you've picked a great location. With wonderful weather for most of the year, along with many exceptional venues to choose from – it's safe to say that getting married in Miami will make for a wonderful occasion. But one of the most important things you'll need to arrange for the wedding day will be the car rental because a prestigious arrival and departure can make all the difference to the memories you'll be making on the big day.
With this in mind, it's often a good idea to invest in wedding car rental in Miami, so let's take a closer look at some of your options. First of all, there are many great cars to choose from when you're searching hire a wedding car in Miami, so the world is truly your oyster when you're choosing the car. Perhaps you would like to arrange for a traditional and prestigious limousine to collect the bride and deliver her to the venue? On the other hand, you may be interested in renting some a little more fanciful or exotic – perhaps even an exotic sports car like the Lamborghini Aventador? Regardless of what you decide, there's always an option available for you, and if you're willing to book in advance, you'll be able to secure some excellent deals that will stretch your budget further than you may have thought.
One of the best cars to use for a celebration like this has to be the Rolls-Royce Silver Dawn. This car has a rich history going back to the 1950s, and it's one of those iconic cars that has a great deal of class and style. Of course, it's also sure to be a big hit on your special day, too. Alternatively, you may be interested in the Bentley Arnage. As you would expect, Bentley is another prestigious name that gets great reviews for their luxurious cars, and they are often used for weddings and similar events. It's safe to say that being driven to and from the wedding venue in one of these stylish and elegant vehicles is enough to make anyone feel like royalty for the day.
Yet another reliable option is the Aston Martin Vanquish – and while it doesn't come with the same old-school feel as the other cars, it packs a ton of style that will make anyone feel amazing on their special day. Of course, the Aston Martin brand has a rich heritage to it, and this car truly has the 'James Bond' feel as well. At the end of the day, it's easy to say that a Miami wedding is sure to be a special event, so it's only right to ensure you have a suitable wedding car rental to make sure everything goes without a hitch. In this guide, we've presented several top choices when it comes to choosing the right car for you, but there's also plenty of other options that are sure to tick all of the right boxes as well.


what is the meaning of your stool is green-What's Considered "Normal" Poop? what is the meaning of your stool is green-What's Considered "Normal" Poop?
the term meaning passage of black tarry stools is-In practical terms, according to a study, the hydrochloric acid in your stomach is strong enough to even dissolve a razor blade. the term meaning passage of black tarry stools is-In practical terms, according to a study, the hydrochloric acid in your stomach is strong enough to even dissolve a razor blade.
what is stool meaning in tamil-... 67. what is stool meaning in tamil-... 67.


text:
Meningitis fells SDSU student's restart
Conejo Family YMCA shared this and other photos of Sara Stelzer on Facebook Thursday night, memorializing her as "an amazing young woman."
( / Conejo Valley YMCA/Facebook)
By Maureen Magee
This was supposed be the beginning of a new chapter in Sara Stelzer's young life. But barely two months after starting freshman year at San Diego State University, Stelzer remained on life support Friday after an aggressive and short battle with suspected meningitis.
An 18-year-old from Moorpark in Ventura County, Stelzer was described Friday as kind, a hard worker and for the enthusiasm she seemed to infuse into everything she did.
"She was very sweet — quiet, hardworking, very sweet," said Haley Lu, who just Monday worked with Stelzer on a speech about Australia's Aboriginal culture for a communications class. "This is just surreal. It's very odd. It's hard for me to get my head around this. I saw her Monday and she seemed fine. She wasn't in class on Tuesday. And then…"
Stelzer went to a hospital Tuesday with flu-like symptoms. She became "gravely ill," and was placed on life support where, according to county health officials. The Kappa Delta sorority posted a photo of their sister, a blonde beauty smiling on a San Diego beach, on its Facebook page. The Conejo Valley YMCA in Thousand Oaks also posted photos of Stelzer, who served as a youth and government delegate for the organization while she was a student at Moorpark High School.
SDSU tries to prevent meningitis outbreak
Growing up in Moorpark, Stelzer "was always smiling, making funny faces, and enjoying life," said Mike Lipka, a teacher who knew her.
"She was involved at the high school. She even dressed as one of our three musketeers, the school's mascot," he said in an email.
Stelzer's Twitter feed served as a sort of countdown for the start of her new life. At high school graduation on June 10, she tweeted: "Believe in yourselves. Dream. Try. Do good," and another, "In 41 days I'll be living in San Diego." On Aug. 30, she tweeted, "I love it here," and on Sept. 4, she followed up with two photos of Mission Bay and "Tadaaaa my home." On Sept. 23, she tweeted a picture of a sign that read, "Live a great story."
Stelzer's demise has been difficult for Moorpark. Lipka said it is the latest in a string of tragedies to hit young residents in the small town of about 35,000 in recent years: two suicides, and a student who died from a heart condition.
"Many people, especially students, have experienced too much tragedy over the past few years in losing peers," he said. "So you can understand that Sara's (situation) not only adds to those tragedies … but easily because of who she is."
Maureen Magee
San Diego school board yanks invite to DeVos amid teacher union protest
It was to be a symbolic, if not political gesture that ultimately fell flat.
San Diego Unified braces for budget cuts
A looming $124 million deficit to the San Diego Unified School District's $1.3 billion budget is stirring anxiety among parents and teachers over what programs and jobs are headed for the chopping block.
San Diego veteran graduates high school 67 years later
The judge's ultimatum came 67 years ago: enlist in the military or face juvenile detention for repeatedly skipping classes at San Diego High School.
Schools take on sex trafficking
A 16-year-old girl from San Diego was among those rescued during a recent two-day anti-human trafficking operation that resulted in hundreds of arrests across the state.
Stuff the Bus campaign collecting school supplies for homeless students
The drive seeks pencils, pens, notebooks, backpacks and others to help homeless students start the school year off right.
Poway launches pilot program aimed at mainstreaming special ed students
Three campuses serving elementary and middle school students tasked with rewriting the textbook for special education.
San Diego Unified gives progress report on $8.4 billion in bond projects
The district has spent about $2 billion of the more than $8 billion that voters have approved for projects since 2008, with efforts including adding air conditioning and security
Grossmont, Cuyamaca colleges collectively get $1 million grant for online studies
Grossmont and Cuyamaca colleges have each secured a $500,000 grant to build online career education programs
'Things are looking brighter:' San Ysidro School District made strides under new leader
Gina Potter stepped into the top position at a time when the small district faced financial problems and leadership instability
Southwestern College confronts racial tensions on campus
Black-Latino tensions on campus continue to affect a college that has struggled to overcome other challenges over the years, leaders say.
Some charter school leaders made more money than San Diego Unified's superintendent
These appear to be outliers, as many if not most San Diego County charter school leaders were paid less than $200,000.
LGBT advocacy goes back decades in San Diego Unified
Today the district says it focuses on youth advocacy, anti-bullying and curriculum to support LGBTQIA+ students.
Sweetwater school district investigates sexual assault allegations against Beiser
School employees can be fired for immoral conduct, according to state law.
Grad fulfills educational goal first set in high school and earns his master's degree at 79
More than 3,000 National University students received diplomas Sunday at the San Diego Convention Center. Many of them are adult-learners, juggling full-time jobs and families on top of school work.
Southwestern College withdraws public records request it sent to student newspaper
The Sun student newspaper told the college that it is protected by California's shield law and would not turn over a requested video.
One of San Diego's most expensive apartment complexes opens
Palisade at Westfield UTC will be the most large-scale expensive apartment rental complex in San Diego County history.
Hollendorfer, trainers group file court complaint against Del Mar
Complaint by Hall of Fame trainer contends Del Mar Racetrack has not provided him with hearing over denial of stalls for meeting that begins Wednesday.


To celebrate Lunar New Year 2019, CMP will have an early closing on Monday, 2/4/19, at 1 PM, and will also be closed on Tuesday, 2/5/19. We will resume regular business hours on Wednesday, 2/6/19.
Newer PostWant to Be a City Employee?


If you create an online store that looks exactly like your competitors, you cannot beat the competition. The most excellent way to create a brand identity is by being unique. Shopify is a great international e-commerce platform because of its customization feature. It will allow you to change the look of your store. You can customize the check-out process as well as add unique elements that will differentiate you from your competitors.
Going mobile is a great way to win more global customers. In current days, the use of a mobile device is increasing. Almost all the customers use mobile to search for quality products. Thus, you need to create a store that will look great on all the mobile devices. Shopify stands out from other international e-commerce platforms because of its responsive templates. It contains over 100 which are designed for all types of businesses.
International e-commerce involves selling different types of products. The best way to be ahead of your competitors is by providing a variety of products on your online store. With this, customers will view you as a seller who cares for the customers' needs because they will not move from store to store looking for products. With Shopify, you will be on a safer side. It does not give restrictions on the number of items to provide in your store.
A great way to convince customers to make purchases is by uploading adequate and high-quality images. It is for this reason why you need to give Shopify a priority. It will allow you to store large files without interfering with the loading speed of your site. Many international e-commerce platforms lack this feature. It is essential because a speedy site will improve ranking on search engines and you will drive traffic.


Our affiliate partners fro China R2HOBBIES sent us Turborix 162W motor. This RC shop has modest prices and good shipping offers. Packages are shipped by airmail, so it's cheap and fast. (4-6$ to ship this motor). So I suggest to buy at this shop – it helps us!
In the photos you see the motor and included connectors with colored termoplastic. Quite nice setup setup for 8$ .
Here you see photos of preparation for second FPV flight with 500mW transmitter. Flight itself was horrible, it was windy, elevator broke up and plane was grounded. Once again, it requires rebuild almost for the scratch.


text:
Std. Gauge Tinplate #9 Pay-As-You-Enter Trolley - Traditional
#9 Pay-As-You-Enter Trolley - Traditional - Pittsburgh (Red & Cream)
Std. Gauge
This product is compatible with all Std. Gauge 3-Rail track systems including those systems offered by Gargraves and Lionel and Ross Custom Switches.
Introduced in 1909, the No. 9 Pay As You Enter Trolley is one of the ultimate collector's items for tinplate trolley enthusiasts. Two different models were created, with a slightly larger version appearing in the No. 9's second year, 1910, and lasting to the end of production in 1912.
The 1910 version was actually created from the No. 8 Pay As You Enter Trolley, also introduced in 1909. In fact, the only difference between the 1910 No. 8 and this 1910 No. 9 was that the No. 9 was equipped with two motors. The body was identical to the No. 8 and was painted the same dark olive green and cream colors.
Like all MTH Tinplate Traditions products, our version of the No. 9 Pay As You Enter Trolley is a faithful reproduction of the pre-war classic. The body and running gear are made entirely of stamped metal, and all painted surfaces are finished in beautiful baked enamel. This model will undoubtedly become a favorite on your standard gauge layout or display.
Choose from versions equipped with Traditional motors or Contemporary electronics and Proto-Sound 2.0. The Contemporary version features transit stop simulation available only from M.T.H. Designed specifically for our municipal transit cars, the unique Proto-Soundr 2.0 transit program features Station Stop Proto-Effects, allowing you to program the No. 9 to stop automatically at designated station stops. When configured to run on automatic, the trolley stops itself at locations you define and calls out station names; the trolley essentially runs itself. And when you program the No. 9 for an out-and-back route, it even reverses itself and heads back downtown when it reaches the end of the line - stopping along the way at each station to broadcast the name of the stop and the hustle and bustle of passengers coming and going.
Metal Wheels, Axles and Gears
(2) Motor Operation
Operating Headlights
Unit Measures:19 1/4 x 3 7/8 x 6 1/8


Apple has revoked approval of the Steam Link app citing 'business conflicts', according to a statement released by Valve today.
The highly anticipated Steam Link app would have let users play their Steam library of games on the iPhone, iPad or Apple TV while connected to a host system on the same network.
On Monday, May 7th, Apple approved the Steam Link app for release. On Weds, May 9th, Valve released news of the app. The following morning, Apple revoked its approval citing business conflicts with app guidelines that had allegedly not been realized by the original review team. Valve appealed, explaining the Steam Link app simply functions as a LAN-based remote desktop similar to numerous remote desktop applications already available on the App Store. Ultimately, that appeal was denied leaving the Steam Link app for iOS blocked from release. The team here spent many hours on this project and the approval process, so we' re clearly disappointed. But we hope Apple will reconsider in the future.
It's unclear what these business conflicts are exactly; however, Apple may be concerned that users will choose to purchase games on Steam rather than the App Store.


A very sunny day as we gaze and explore North East side of Taiwan, the outskirt as what normally tourists call it. I stopped thanking how beautiful this wonder could be, no matter how sunny it was, for me it was better than a heavy rainfall for a trip.
In this blog, I'll share with you my 1 day trip in Yehliu-Shifen-Jiufen, all activities you should look at and how to manage it as well.
Research will tell you that locating each of this place would really take time, and series of transportation vehicles is needed to really explore all of it. I was happy to have researched and figured out instead, the 1 day trip in North East.
I booked via kkday.com, it was my first time to see this site – if you are familiar with klook.com it works the same way. You reserve and book online, print or save the voucher on your phone and enjoy the trip!
It was a hassle free trip for the day, and I thank myself for having this trip than doing it DIY – it was possible to do it, however there is no direct bus or mrt trains that would take you straight to this site and places, you'd be spending so many hours locating it plus you'd be carrying everything with you.
Upon securing our seats to our bus seat, a short video presentation shown in the bus for the expectations for the day. After almost 1 and a half hour travel time we made it to Yehliu Geopark.
There is an entrance fee of (Php 140.00 / NTD 82 / USD 2.66 ) and is not part of the package of KKday so you may need to line up to secure for your ticket.
AS for my end, I already booked for our entrance ticket via Klook.com and paid it online already before the start of our trip – I just printed the voucher for entrance and they only used the QR code for entry.
It was striking hot in Yehliu!! To tell you but it was soo beautiful and great to see! You'll see tourists everywhere so make sure you plan accordingly how you'd want to explore the place.
That's me and my BFF Sybil enjoying the sun!
We were given 90 minutes to stay in the park, and was requested to return back to the bus terminal for the meeting point on to our next place to see.
During rainy season, you may still enjoy this view and scenery as it is near the ocean as well, not recommended for swimming or to play around — just enjoy it's view and walk around. Bring a bottled water and a cap or umbrella to protect you from the striking sun.
You'd enjoy its view and a photo op is a must!
After 40 minutes – 1 hour travel time from Yehliu, our next stop – Shifen Old Street.
Alighting our buses, we went straight to the the Pingxi Lane where you have the chance to write your wishes and have it lighted in sky lanterns.
The cost of the lanterns depends on what color and how many colors you'd want, each color also have respective meanings – they have a signage for you for your reference.
One Colored Lantern – NTD 150, Four Sided Colored Lantern – NTD 200, and Eight Sided Colored Lantern – up to NTD 250 – 300. Each of the part in the railway offers the same costs so you may choose everywhere actually.
May all of my wishes do come true hahaha!
Write your wishes and have it lighted up in the sky. Since we are in a tour group, it was lunch time when we get here, you may want to experience it before midnight to appreciate the lighted lanterns better when you opt to have it DIY.
Buy the famous Boneless Chicken Stuffed Rice in this stall!!!
Here in Shifen, you'd be able to buy the small lantern keychain as well, make sure to keep a remembrance with you.
As for this place, we were given around 90 minutes to stay, take our quick lunch and roam around.
Just about 10 – 15 minutes away from the Pingxi Lane, we made it to the waterfalls. You'll be able to pass thru Shifen Bridge as well, and walk towards the Waterfalls that would take around 20 minutes of your time.
*Note : If you'll take this tour via kkday on a weekends, they usually skip this place as part of the itinerary, since peak of the tourists visit this as well. That is why I scheduled this trip on a Friday to make sure we'll get to see it as well.
For Filipinos, the waterfalls is not too much to be awed at (*primarily if you have seen more bigger waterfalls in the country) however, it may seem better to see this place if there is heavy rain. Since it was summer when we visited, it is said that there were no rain in the past week in Taiwan.
We only stayed here for 40 minutes, then went straight back to our bus. There are also restaurant around to buy food and drinks.
After around 40 minutes – 1 hour travel time, we made it to Jiufen to see and explore Jiufen Old Street.
I was so excited to see this place, it was like a picturesque view in my mind that I wanted to see first hand!
Our tour guide was very informative as well, he lets us tour around the Old Street and showed us sites to consider, photo op everywhere, buy food and souvenirs, pasalubongs and stuff were all here. If you have more time to spend, check out the famous Amethyst Tea House, a spirited away inspiration. Upon seeing this, it was like a reality out of the picture I had in mind. So happy to finally see it myself.
I so love how this old street looks and feels like, there were tons of shops to check out, the ambiance was really great as well.
After 90 minutes we headed back to our meeting area, where our bus and the rest of the tourists we're waiting.
We were given the chance to roam on our own — but since it is a group tour I preferred to hang on with our tour guide as he explains everything about the place! You'd be amazed and happy as well to have a lot of free taste hahaha!! as you go around.
Our tour ends at 5PM and we were back in Taipei Main Station in time for dinner.
As a whole, we enjoyed this day trip tour by kkday.com! I couldn't imagine being into all those places for a day if I did it the DIY style HAHAHAHA!! It could have been more stressful changing different transportation services the entire day.
It was also strikingly hot since it was summer, so the bus service as transpo was really convenient. As it was airconditioned plus minus the hassle of checking out and waiting for your next transpo.
Lighting the sky lantern was one on my bucket list and was happy to have tried it! No matter how many colors you'd like it still depends on you. The staff would also assist you and take a photo and video of you while you release the lantern to the sky.
For some, they'd want to do it by the latter time of the day or during sunset so they get to appreciate the lighted lantern better – this is also okay, but only feasible if you do it the DIY style since most of the tours usually end by 5PM.
You'd see Pineapple Cake for sale in Jiufen, but I tell you that the cheapest we've seen and bought was in Ximending Night Market! *don't tell me I didn't tell you.


NemID is the key to all of digital Denmark. The contract on NemID expires and the work to create the successor, MitID, is well under way.
NemID is the official digital signature for public digital services. You can use your NemID as secure login regardless of where you use it - whether you are accessing your online banking service, e-Boks or the local public authorities' self-service or whether you are checking your insurance or retrieving your tax return form from the Danish tax authorities, SKAT.
NemID is comprised of two components: your password, which only you know; and a code card with one time codes, which you have in your possession. Therefore, NemID offers strong protection against intruders and hackers.
NemID does not need to be installed, and therefore you can easily use NemID from other devices than your own. You can for example borrow a computer from your family, use a computer in the library – or use a computer in an internet café abroad. You only need to remember your user-ID and your password and bring your key card.
On nemid.nu you can read more about digital signatures in general and NemID, the official digital signature for public digital services. The page contains information describing what a digital signature is, how and where to use it, and where to get it. For authorities, there is a digital toolbox offering various information material that may be used free of charge for marketing digital services.
The next generation of NemID, MitID, is sent out to tender.
A digital signature is an electronic signature that may be used in various situations, for instance when it is essential to know who you are communicating with electronically.
A digital signature enhances the scope for communication between citizens and the public sector. Citizens are able to use public services all the 24 hours of the day, and users of a digital signature may eventually replace physical documents with electronic ones. By establishing digital services and using digital signatures, the public sector will be able to offer better services to citizens and businesses, while at the same time improving efficiency in the administration.
In connection with our work to promote e-government, a key area is the establishment of digital signatures, also known as OCES (Offentlige Certifikater til Elektroniske Services) (Public Certificates for Electronic Services). A digital signature is based on PKI (Public Key Infrastructure). This is an infrastructure which enables authentication and confidentiality in electronic communication between two parties.


Tomorrow, SCRAP will hold a compost bucket giveaway on the Main Green from 11 a.m. to 3 p.m.
SCRAP is a member of emPOWER, Brown's umbrella association of environmental student groups. In 2009, several undergraduates started SCRAP to encourage the University and its students to adopt good composting practices.
The group plans to give away around 60 buckets to students this afternoon. To save the buckets from fates as secondary trashcans (a possibility that may keep members of SCRAP up late at night), representatives from the group will be available to discuss the benefits and challenges of composting. Willing participants will also have the option of playing a pretend teach-me-how-to-compost game to prepare for the real thing.
Remember that time it snowed two months too soon?
Note: this is the oversimplified version of the explanation, get at me for the dirty deetz.
Beyond Beyond the Bottle is a new weekly column that discusses environmental sustainability in the context of life here at Brown. It's about incorporating environmental awareness into our every day actions in simple, realistic ways with the potential for big impact. Beyond Beyond the Bottle aims to prove that we don't have to inconvenience ourselves to lead more sustainable lives.
I care about aesthetics. I will notice when you wear a new shirt or when you re-arrange those photos on your wall. I will also always notice those big, inconvenient-looking plastic Nalgenes some choose to carry around. I appreciate that they are a reusable alternative — I really, deep down in my heart do — but my inner aesthete cannot help but cringe. This post is for all of you who haven't bought a water bottle because the Nalgene look is just not your thing. You have cooler other options, I swear.
The ubiquitous red cup. An icon in the undergraduate community and the universal sign that it's party time. Intended to conceal whatever you're illegally chugging away at, but let's be real – who doesn't already know?


At Harbor Internet Marketing, we use cutting-edge marketing tactics to help you achieve your business goals. Email marketing is one of the most effective ways to encourage customer conversions and repeat customers, and it's incredibly effective. You'll reach a huge audience of potential customers, and you won't get bogged down by printing, delivery, or maintenance costs.
With an email marketing campaign, you get your message right in front of your target audience, and they choose to read it. With every campaign, you foster customer loyalty and nurture qualified leads that will later pay off to grow your business — and all you have to do is send a couple emails.
Our team of email marketing specialists knows exactly what to say to get recipients to open emails, read them, and click the links inside. With our team of professionals on your side, you can reach the largest number of current and potential customers using a reliable, low-cost, and effective strategy.
Our email marketing experts don't use templates to get the results you want. We'll develop a unique, customized email marketing campaign that is based on your business, your goals, and your sales demographics to get the results that you want to see. Whether you want to sell products, inform customers, or promote your brand, we'll pull out all the stops to deliver.
After we partner to create your email marketing strategy, you're welcome to be as involved in the process as possible — in fact, we want to hear your input so we can be sure we're making the best emails possible. The more we communicate, the more we understand what you want to achieve with your email marketing, whether that's attracting customers from around the country or appealing to other local Baltimore businesses.
When you want to grow your business and draw more customers to your website, our email marketing strategists will get you the results you want to see.
Even though we know email marketing inside and out, we'll still need some time to perfect your campaign. We use cutting-edge tools to learn essential data about the effectiveness of your campaign from the very first email. After that, we make minor adjustments here and there to get the best possible results with every message.
Our email marketing team can also provide you with a detailed conversion analysis of easy-to-follow information that lets you know just how your campaign is running. That way, you know we're not just taking shots in the dark — we're working with actionable, reliable data. With this powerful information, we can help your business achieve growth on a large scale and over long periods of time.
Do you want your business to make more money? Contact us today to get started on creating your own unique email marketing campaign!