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America Needs A Data Privacy and Security Law
When police finally captured Joseph D'Angelo, the alleged Golden State Killer who had eluded arrest for decades, they used DNA evidence to track him down. The forensic team that finally pieced together enough information that led to D'Angelo's arrest relied on law enforcement data bases.
But few people realize that if they purchase a DNA kit from a commercial site such as Ancestry.com or 23andme.com, the privacy policies each state that information in your DNA may well be sold to other businesses and even the police without your knowledge or consent.
Other than the attorneys who write them, few – if any – people bother to read the privacy policy of any website they visit or business they buy something from online. So, it's unlikely that anyone who ordered a DNA kit from the two most-popular testing sites realize how their information might be used once they send off a swab. Facebook users were largely unaware that the social media leviathan was reaping huge profits by selling information about their friends, likes, click-throughs and comments made on various posts.
Likewise, hardly anyone who sends off a kit to learn if they are likely to suffer from celiac disease, contract cancer or go bald realize that they also are likely to have all of that data sold off to other businesses.
A doctor or hospital is prohibited from doing this thanks to the Health Insurance Portability and Accountability Act (HIPAA). Yet a commercial business is allowed to profit from your very private information, whether it's DNA markers, financial matters or what you "like" on a social media site.
Watching the growing number of hacks, leaks and deliberate exploitation of people's information, as a privacy, data security and protection attorney I believe strongly that it is time for the United States Congress to enact a statute similar to Illinois' BIPA that's been around for a decade, the GDPR in the European Union coming into force at the end of May, and the Canadian PIPEDA law which becomes effective Nov.1.
In the U.S., there is a patchwork of laws, regulations and agencies with authority to compel businesses to take proactive steps to protect their customer's private information as regulators have under GDPR and PIPEDA. Responsibility is decentralized and there is no equivalent of the GDPR or PIPEDA.
Given the attitude of the Trump Administration towards regulation in general, it seems unlikely that a Republican-controlled Congress will tackle writing and passing any meaningful data protection and privacy legislation. This is unfortunate because, as we saw first with Facebook and Twitter more recently, many businesses have no qualms about profiting from the data they collect on users and customers. Indeed, Twitter had the audacity to announce unequivocally that it will sell content generated by tweeters to businesses, colleges and universities, and even police departments monitoring non-criminal activities such as protest marches and demonstrations.
Perhaps the only real hope for a genuine American data protection and privacy law is if Congress changes hands in November, or if enough state legislatures follow Illinois' lead and enact their own version of BIPA. Such a law is way past due; the United States is about to become the last major industrialized nation that doesn't protect the privacy of its citizens against the use and misuse of their data.
By Marcus Harris
Category: Privacy May 12, 2018
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Project acronym 2D-TOPSENSE
Project Tunable optoelectronic devices by strain engineering of 2D semiconductors
Researcher (PI) Andres CASTELLANOS
Host Institution (HI) AGENCIA ESTATAL CONSEJO SUPERIOR DEINVESTIGACIONES CIENTIFICAS
Summary The goal of 2D-TOPSENSE is to exploit the remarkable stretchability of two-dimensional semiconductors to fabricate optoelectronic devices where strain is used as an external knob to tune their properties. While bulk semiconductors tend to break under strains larger than 1.5%, 2D semiconductors (such as MoS2) can withstand deformations of up to 10-20% before rupture. This large breaking strength promises a great potential of 2D semiconductors as 'straintronic' materials, whose properties can be adjusted by applying a deformation to their lattice. In fact, recent theoretical works predicted an interesting physical phenomenon: a tensile strain-induced semiconductor-to-metal transition in 2D semiconductors. By tensioning single-layer MoS2 from 0% up to 10%, its electronic band structure is expected to undergo a continuous transition from a wide direct band-gap of 1.8 eV to a metallic behavior. This unprecedented large strain-tunability will undoubtedly have a strong impact in a wide range of optoelectronic applications such as photodetectors whose cut-off wavelength is tuned by varying the applied strain or atomically thin light modulators. To date, experimental works on strain engineering have been mostly focused on fundamental studies, demonstrating part of the potential of 2D semiconductors in straintronics, but they have failed to exploit strain engineering to add extra functionalities to optoelectronic devices. In 2D-TOPSENSE I will go beyond the state of the art in straintronics by designing and fabricating optoelectronic devices whose properties and performance can be tuned by means of applying strain. 2D-TOPSENSE will focus on photodetectors with a tunable bandwidth and detectivity, light emitting devices whose emission wavelength can be adjusted, light modulators based on 2D semiconductors such as transition metal dichalcogenides or black phosphorus and solar funnels capable of directing the photogenerated charge carriers towards a specific position.
The goal of 2D-TOPSENSE is to exploit the remarkable stretchability of two-dimensional semiconductors to fabricate optoelectronic devices where strain is used as an external knob to tune their properties. While bulk semiconductors tend to break under strains larger than 1.5%, 2D semiconductors (such as MoS2) can withstand deformations of up to 10-20% before rupture. This large breaking strength promises a great potential of 2D semiconductors as 'straintronic' materials, whose properties can be adjusted by applying a deformation to their lattice. In fact, recent theoretical works predicted an interesting physical phenomenon: a tensile strain-induced semiconductor-to-metal transition in 2D semiconductors. By tensioning single-layer MoS2 from 0% up to 10%, its electronic band structure is expected to undergo a continuous transition from a wide direct band-gap of 1.8 eV to a metallic behavior. This unprecedented large strain-tunability will undoubtedly have a strong impact in a wide range of optoelectronic applications such as photodetectors whose cut-off wavelength is tuned by varying the applied strain or atomically thin light modulators. To date, experimental works on strain engineering have been mostly focused on fundamental studies, demonstrating part of the potential of 2D semiconductors in straintronics, but they have failed to exploit strain engineering to add extra functionalities to optoelectronic devices. In 2D-TOPSENSE I will go beyond the state of the art in straintronics by designing and fabricating optoelectronic devices whose properties and performance can be tuned by means of applying strain. 2D-TOPSENSE will focus on photodetectors with a tunable bandwidth and detectivity, light emitting devices whose emission wavelength can be adjusted, light modulators based on 2D semiconductors such as transition metal dichalcogenides or black phosphorus and solar funnels capable of directing the photogenerated charge carriers towards a specific position.
Project acronym 2SEXES_1GENOME
Project Sex-specific genetic effects on fitness and human disease
Researcher (PI) Edward Hugh Morrow
Host Institution (HI) THE UNIVERSITY OF SUSSEX
Summary Darwin's theory of natural selection rests on the principle that fitness variation in natural populations has a heritable component, on which selection acts, thereby leading to evolutionary change. A fundamental and so far unresolved question for the field of evolutionary biology is to identify the genetic loci responsible for this fitness variation, thereby coming closer to an understanding of how variation is maintained in the face of continual selection. One important complicating factor in the search for fitness related genes however is the existence of separate sexes – theoretical expectations and empirical data both suggest that sexually antagonistic genes are common. The phrase "two sexes, one genome" nicely sums up the problem; selection may favour alleles in one sex, even if they have detrimental effects on the fitness of the opposite sex, since it is their net effect across both sexes that determine the likelihood that alleles persist in a population. This theoretical framework raises an interesting, and so far entirely unexplored issue: that in one sex the functional performance of some alleles is predicted to be compromised and this effect may account for some common human diseases and conditions which show genotype-sex interactions. I propose to explore the genetic basis of sex-specific fitness in a model organism in both laboratory and natural conditions and to test whether those genes identified as having sexually antagonistic effects can help explain the incidence of human diseases that display sexual dimorphism in prevalence, age of onset or severity. This multidisciplinary project directly addresses some fundamental unresolved questions in evolutionary biology: the genetic basis and maintenance of fitness variation; the evolution of sexual dimorphism; and aims to provide novel insights into the genetic basis of some common human diseases.
Darwin's theory of natural selection rests on the principle that fitness variation in natural populations has a heritable component, on which selection acts, thereby leading to evolutionary change. A fundamental and so far unresolved question for the field of evolutionary biology is to identify the genetic loci responsible for this fitness variation, thereby coming closer to an understanding of how variation is maintained in the face of continual selection. One important complicating factor in the search for fitness related genes however is the existence of separate sexes – theoretical expectations and empirical data both suggest that sexually antagonistic genes are common. The phrase "two sexes, one genome" nicely sums up the problem; selection may favour alleles in one sex, even if they have detrimental effects on the fitness of the opposite sex, since it is their net effect across both sexes that determine the likelihood that alleles persist in a population. This theoretical framework raises an interesting, and so far entirely unexplored issue: that in one sex the functional performance of some alleles is predicted to be compromised and this effect may account for some common human diseases and conditions which show genotype-sex interactions. I propose to explore the genetic basis of sex-specific fitness in a model organism in both laboratory and natural conditions and to test whether those genes identified as having sexually antagonistic effects can help explain the incidence of human diseases that display sexual dimorphism in prevalence, age of onset or severity. This multidisciplinary project directly addresses some fundamental unresolved questions in evolutionary biology: the genetic basis and maintenance of fitness variation; the evolution of sexual dimorphism; and aims to provide novel insights into the genetic basis of some common human diseases.
Project acronym 321
Project from Cubic To Linear complexity in computational electromagnetics
Researcher (PI) Francesco Paolo ANDRIULLI
Host Institution (HI) POLITECNICO DI TORINO
Summary Computational Electromagnetics (CEM) is the scientific field at the origin of all new modeling and simulation tools required by the constantly arising design challenges of emerging and future technologies in applied electromagnetics. As in many other technological fields, however, the trend in all emerging technologies in electromagnetic engineering is going towards miniaturized, higher density and multi-scale scenarios. Computationally speaking this translates in the steep increase of the number of degrees of freedom. Given that the design cost (the cost of a multi-right-hand side problem dominated by matrix inversion) can scale as badly as cubically with these degrees of freedom, this fact, as pointed out by many, will sensibly compromise the practical impact of CEM on future and emerging technologies. For this reason, the CEM scientific community has been looking for years for a FFT-like paradigm shift: a dynamic fast direct solver providing a design cost that would scale only linearly with the degrees of freedom. Such a fast solver is considered today a Holy Grail of the discipline. The Grand Challenge of 321 will be to tackle this Holy Grail in Computational Electromagnetics by investigating a dynamic Fast Direct Solver for Maxwell Problems that would run in a linear-instead-of-cubic complexity for an arbitrary number and configuration of degrees of freedom. The failure of all previous attempts will be overcome by a game-changing transformation of the CEM classical problem that will leverage on a recent breakthrough of the PI. Starting from this, the project will investigate an entire new paradigm for impacting algorithms to achieve this grand challenge. The impact of the FFT's quadratic-to-linear paradigm shift shows how computational complexity reductions can be groundbreaking on applications. The cubic-to-linear paradigm shift, which the 321 project will aim for, will have such a rupturing impact on electromagnetic science and technology.
Computational Electromagnetics (CEM) is the scientific field at the origin of all new modeling and simulation tools required by the constantly arising design challenges of emerging and future technologies in applied electromagnetics. As in many other technological fields, however, the trend in all emerging technologies in electromagnetic engineering is going towards miniaturized, higher density and multi-scale scenarios. Computationally speaking this translates in the steep increase of the number of degrees of freedom. Given that the design cost (the cost of a multi-right-hand side problem dominated by matrix inversion) can scale as badly as cubically with these degrees of freedom, this fact, as pointed out by many, will sensibly compromise the practical impact of CEM on future and emerging technologies. For this reason, the CEM scientific community has been looking for years for a FFT-like paradigm shift: a dynamic fast direct solver providing a design cost that would scale only linearly with the degrees of freedom. Such a fast solver is considered today a Holy Grail of the discipline. The Grand Challenge of 321 will be to tackle this Holy Grail in Computational Electromagnetics by investigating a dynamic Fast Direct Solver for Maxwell Problems that would run in a linear-instead-of-cubic complexity for an arbitrary number and configuration of degrees of freedom. The failure of all previous attempts will be overcome by a game-changing transformation of the CEM classical problem that will leverage on a recent breakthrough of the PI. Starting from this, the project will investigate an entire new paradigm for impacting algorithms to achieve this grand challenge. The impact of the FFT's quadratic-to-linear paradigm shift shows how computational complexity reductions can be groundbreaking on applications. The cubic-to-linear paradigm shift, which the 321 project will aim for, will have such a rupturing impact on electromagnetic science and technology.
Project acronym 3D-CAP
Project 3D micro-supercapacitors for embedded electronics
Researcher (PI) David Sarinn PECH
Summary The realization of high-performance micro-supercapacitors is currently a big challenge but the ineluctable applications requiring such miniaturized energy storage devices are continuously emerging, from wearable electronic gadgets to wireless sensor networks. Although they store less energy than micro-batteries, micro-supercapacitors can be charged and discharged very rapidly and exhibit a quasi-unlimited lifetime. The global scientific research is consequently largely focused on the improvement of their capacitance and energetic performances. However, to date, they are still far from being able to power sensors or electronic components. Here I propose a 3D paradigm shift of micro-supercapacitor design to ensure increased energy storage capacities. Hydrous ruthenium dioxide (RuO2) is a pseudocapacitive material for supercapacitor electrode well-known for its high capacitance. A thin-film of ruthenium will be deposited by atomic layer deposition (ALD), followed by an electrochemical oxidation process, onto a high-surface-area 3D current collector prepared via an ingenious dynamic template built with hydrogen bubbles. The structural features of these 3D architectures will be controllably tailored by the processing methodologies. These electrodes will be combined with an innovative electrolyte in solid form (a protic ionogel) able to operate over an extended cell voltage. In a parallel investigation, we will develop a fundamental understanding of electrochemical reactions occurring at the nanoscale with a FIB-patterned (Focused Ion Beam) RuO2 nano-supercapacitor. The resulting 3D micro-supercapacitors should display extremely high power, long lifetime and – for the first time – energy densities competing or even exceeding that of micro-batteries. As a key achievement, prototypes will be designed using a new concept based on a self-adaptative micro-supercapacitors matrix, which arranges itself according to the global amount of energy stored.
The realization of high-performance micro-supercapacitors is currently a big challenge but the ineluctable applications requiring such miniaturized energy storage devices are continuously emerging, from wearable electronic gadgets to wireless sensor networks. Although they store less energy than micro-batteries, micro-supercapacitors can be charged and discharged very rapidly and exhibit a quasi-unlimited lifetime. The global scientific research is consequently largely focused on the improvement of their capacitance and energetic performances. However, to date, they are still far from being able to power sensors or electronic components. Here I propose a 3D paradigm shift of micro-supercapacitor design to ensure increased energy storage capacities. Hydrous ruthenium dioxide (RuO2) is a pseudocapacitive material for supercapacitor electrode well-known for its high capacitance. A thin-film of ruthenium will be deposited by atomic layer deposition (ALD), followed by an electrochemical oxidation process, onto a high-surface-area 3D current collector prepared via an ingenious dynamic template built with hydrogen bubbles. The structural features of these 3D architectures will be controllably tailored by the processing methodologies. These electrodes will be combined with an innovative electrolyte in solid form (a protic ionogel) able to operate over an extended cell voltage. In a parallel investigation, we will develop a fundamental understanding of electrochemical reactions occurring at the nanoscale with a FIB-patterned (Focused Ion Beam) RuO2 nano-supercapacitor. The resulting 3D micro-supercapacitors should display extremely high power, long lifetime and – for the first time – energy densities competing or even exceeding that of micro-batteries. As a key achievement, prototypes will be designed using a new concept based on a self-adaptative micro-supercapacitors matrix, which arranges itself according to the global amount of energy stored.
Project acronym 3D-nanoMorph
Project Label-free 3D morphological nanoscopy for studying sub-cellular dynamics in live cancer cells with high spatio-temporal resolution
Researcher (PI) Krishna AGARWAL
Host Institution (HI) UNIVERSITETET I TROMSOE - NORGES ARKTISKE UNIVERSITET
Summary Label-free optical nanoscopy, free from photobleaching and photochemical toxicity of fluorescence labels and yielding 3D morphological resolution of <50 nm, is the future of live cell imaging. 3D-nanoMorph breaks the diffraction barrier and shifts the paradigm in label-free nanoscopy, providing isotropic 3D resolution of <50 nm. To achieve this, 3D-nanoMorph performs non-linear inverse scattering for the first time in nanoscopy and decodes scattering between sub-cellular structures (organelles). 3D-nanoMorph innovatively devises complementary roles of light measurement system and computational nanoscopy algorithm. A novel illumination system and a novel light collection system together enable measurement of only the most relevant intensity component and create a fresh perspective about label-free measurements. A new computational nanoscopy approach employs non-linear inverse scattering. Harnessing non-linear inverse scattering for resolution enhancement in nanoscopy opens new possibilities in label-free 3D nanoscopy. I will apply 3D-nanoMorph to study organelle degradation (autophagy) in live cancer cells over extended duration with high spatial and temporal resolution, presently limited by the lack of high-resolution label-free 3D morphological nanoscopy. Successful 3D mapping of nanoscale biological process of autophagy will open new avenues for cancer treatment and showcase 3D-nanoMorph for wider applications. My cross-disciplinary expertise of 14 years spanning inverse problems, electromagnetism, optical microscopy, integrated optics and live cell nanoscopy paves path for successful implementation of 3D-nanoMorph.
Label-free optical nanoscopy, free from photobleaching and photochemical toxicity of fluorescence labels and yielding 3D morphological resolution of <50 nm, is the future of live cell imaging. 3D-nanoMorph breaks the diffraction barrier and shifts the paradigm in label-free nanoscopy, providing isotropic 3D resolution of <50 nm. To achieve this, 3D-nanoMorph performs non-linear inverse scattering for the first time in nanoscopy and decodes scattering between sub-cellular structures (organelles). 3D-nanoMorph innovatively devises complementary roles of light measurement system and computational nanoscopy algorithm. A novel illumination system and a novel light collection system together enable measurement of only the most relevant intensity component and create a fresh perspective about label-free measurements. A new computational nanoscopy approach employs non-linear inverse scattering. Harnessing non-linear inverse scattering for resolution enhancement in nanoscopy opens new possibilities in label-free 3D nanoscopy. I will apply 3D-nanoMorph to study organelle degradation (autophagy) in live cancer cells over extended duration with high spatial and temporal resolution, presently limited by the lack of high-resolution label-free 3D morphological nanoscopy. Successful 3D mapping of nanoscale biological process of autophagy will open new avenues for cancer treatment and showcase 3D-nanoMorph for wider applications. My cross-disciplinary expertise of 14 years spanning inverse problems, electromagnetism, optical microscopy, integrated optics and live cell nanoscopy paves path for successful implementation of 3D-nanoMorph.
Project acronym 4D-EEG
Project 4D-EEG: A new tool to investigate the spatial and temporal activity patterns in the brain
Researcher (PI) Franciscus C.T. Van Der Helm
Host Institution (HI) TECHNISCHE UNIVERSITEIT DELFT
Summary Our first goal is to develop a new tool to determine brain activity with a high temporal (< 1 msec) and spatial (about 2 mm) resolution with the focus on motor control. High density EEG (up to 256 electrodes) will be used for EEG source localization. Advanced force-controlled robot manipulators will be used to impose continuous force perturbations to the joints. Advanced closed-loop system identification algorithms will identify the dynamic EEG response of multiple brain areas to the perturbation, leading to a functional interpretation of EEG. The propagation of the signal in time and 3D space through the cortex can be monitored: 4D-EEG. Preliminary experiments with EEG localization have shown that the continuous force perturbations resulted in a better signal-to-noise ratio and coherence than the current method using transient perturbations.. 4D-EEG will be a direct measure of the neural activity in the brain with an excellent temporal response and easy to use in combination with motor control tasks. The new 4D-EEG method is expected to provide a breakthrough in comparison to functional MRI (fMRI) when elucidating the meaning of cortical map plasticity in motor learning. Our second goal is to generate and validate new hypotheses about the longitudinal relationship between motor learning and cortical map plasticity by clinically using 4D-EEG in an intensive, repeated measurement design in patients suffering from a stroke. The application of 4D-EEG combined with haptic robots will allow us to discover how dynamics in cortical map plasticity are related with upper limb recovery after stroke in terms of neural repair and using behavioral compensation strategies while performing a meaningful motor tasks.. The non-invasive 4D-EEG technique combined with haptic robots will open the window about what and how patients (re)learn when showing motor recovery after stroke in order to allow us to develop more effective patient-tailored therapies in neuro-rehabilitation.
Our first goal is to develop a new tool to determine brain activity with a high temporal (< 1 msec) and spatial (about 2 mm) resolution with the focus on motor control. High density EEG (up to 256 electrodes) will be used for EEG source localization. Advanced force-controlled robot manipulators will be used to impose continuous force perturbations to the joints. Advanced closed-loop system identification algorithms will identify the dynamic EEG response of multiple brain areas to the perturbation, leading to a functional interpretation of EEG. The propagation of the signal in time and 3D space through the cortex can be monitored: 4D-EEG. Preliminary experiments with EEG localization have shown that the continuous force perturbations resulted in a better signal-to-noise ratio and coherence than the current method using transient perturbations.. 4D-EEG will be a direct measure of the neural activity in the brain with an excellent temporal response and easy to use in combination with motor control tasks. The new 4D-EEG method is expected to provide a breakthrough in comparison to functional MRI (fMRI) when elucidating the meaning of cortical map plasticity in motor learning. Our second goal is to generate and validate new hypotheses about the longitudinal relationship between motor learning and cortical map plasticity by clinically using 4D-EEG in an intensive, repeated measurement design in patients suffering from a stroke. The application of 4D-EEG combined with haptic robots will allow us to discover how dynamics in cortical map plasticity are related with upper limb recovery after stroke in terms of neural repair and using behavioral compensation strategies while performing a meaningful motor tasks.. The non-invasive 4D-EEG technique combined with haptic robots will open the window about what and how patients (re)learn when showing motor recovery after stroke in order to allow us to develop more effective patient-tailored therapies in neuro-rehabilitation.
Project acronym 4SUNS
Project 4-Colours/2-Junctions of III-V semiconductors on Si to use in electronics devices and solar cells
Researcher (PI) María Nair LOPEZ MARTINEZ
Host Institution (HI) UNIVERSIDAD AUTONOMA DE MADRID
Summary It was early predicted by M. Green and coeval colleagues that dividing the solar spectrum into narrow ranges of colours is the most efficient manner to convert solar energy into electrical power. Multijunction solar cells are the current solution to this challenge, which have reached over 30% conversion efficiencies by stacking 3 junctions together. However, the large fabrication costs and time hinders their use in everyday life. It has been shown that highly mismatched alloy (HMA) materials provide a powerful playground to achieve at least 3 different colour absorption regions that enable optimised energy conversion with just one junction. Combining HMA-based junctions with standard Silicon solar cells will rocket solar conversion efficiency at a reduced price. To turn this ambition into marketable devices, several efforts are still needed and few challenges must be overcome. 4SUNS is a revolutionary approach for the development of HMA materials on Silicon technology, which will bring highly efficient multi-colour solar cells costs below current multijunction devices. The project will develop the technology of HMA materials on Silicon via material synthesis opening a new technology for the future. The understanding and optimization of highly mismatched alloy materials-using GaAsNP alloy- will provide building blocks for the fabrication of laboratory-size 4-colours/2-junctions solar cells. Using a molecular beam epitaxy system, 4SUNS will grow 4-colours/2-junctions structure as well as it will manufacture the final devices. Structural and optoelectronic characterizations will carry out to determine the quality of the materials and the solar cells characteristic to obtain a competitive product. These new solar cells are competitive products to breakthrough on the solar energy sector solar cells and allowing Europe to take leadership on high efficiency solar cells.
It was early predicted by M. Green and coeval colleagues that dividing the solar spectrum into narrow ranges of colours is the most efficient manner to convert solar energy into electrical power. Multijunction solar cells are the current solution to this challenge, which have reached over 30% conversion efficiencies by stacking 3 junctions together. However, the large fabrication costs and time hinders their use in everyday life. It has been shown that highly mismatched alloy (HMA) materials provide a powerful playground to achieve at least 3 different colour absorption regions that enable optimised energy conversion with just one junction. Combining HMA-based junctions with standard Silicon solar cells will rocket solar conversion efficiency at a reduced price. To turn this ambition into marketable devices, several efforts are still needed and few challenges must be overcome. 4SUNS is a revolutionary approach for the development of HMA materials on Silicon technology, which will bring highly efficient multi-colour solar cells costs below current multijunction devices. The project will develop the technology of HMA materials on Silicon via material synthesis opening a new technology for the future. The understanding and optimization of highly mismatched alloy materials-using GaAsNP alloy- will provide building blocks for the fabrication of laboratory-size 4-colours/2-junctions solar cells. Using a molecular beam epitaxy system, 4SUNS will grow 4-colours/2-junctions structure as well as it will manufacture the final devices. Structural and optoelectronic characterizations will carry out to determine the quality of the materials and the solar cells characteristic to obtain a competitive product. These new solar cells are competitive products to breakthrough on the solar energy sector solar cells and allowing Europe to take leadership on high efficiency solar cells.
Project acronym 5D-NanoTrack
Project Five-Dimensional Localization Microscopy for Sub-Cellular Dynamics
Researcher (PI) Yoav SHECHTMAN
Host Institution (HI) TECHNION - ISRAEL INSTITUTE OF TECHNOLOGY
Summary The sub-cellular processes that control the most critical aspects of life occur in three-dimensions (3D), and are intrinsically dynamic. While super-resolution microscopy has revolutionized cellular imaging in recent years, our current capability to observe the dynamics of life on the nanoscale is still extremely limited, due to inherent trade-offs between spatial, temporal and spectral resolution using existing approaches. We propose to develop and demonstrate an optical microscopy methodology that would enable live sub-cellular observation in unprecedented detail. Making use of multicolor 3D point-spread-function (PSF) engineering, a technique I have recently developed, we will be able to simultaneously track multiple markers inside live cells, at high speed and in five-dimensions (3D, time, and color). Multicolor 3D PSF engineering holds the potential of being a uniquely powerful method for 5D tracking. However, it is not yet applicable to live-cell imaging, due to significant bottlenecks in optical engineering and signal processing, which we plan to overcome in this project. Importantly, we will also demonstrate the efficacy of our method using a challenging biological application: real-time visualization of chromatin dynamics - the spatiotemporal organization of DNA. This is a highly suitable problem due to its fundamental importance, its role in a variety of cellular processes, and the lack of appropriate tools for studying it. The project is divided into 3 aims: 1. Technology development: diffractive-element design for multicolor 3D PSFs. 2. System design: volumetric tracking of dense emitters. 3. Live-cell measurements: chromatin dynamics. Looking ahead, here we create the imaging tools that pave the way towards the holy grail of chromatin visualization: dynamic observation of the 3D positions of the ~3 billion DNA base-pairs in a live human cell. Beyond that, our results will be applicable to numerous 3D micro/nanoscale tracking applications.
The sub-cellular processes that control the most critical aspects of life occur in three-dimensions (3D), and are intrinsically dynamic. While super-resolution microscopy has revolutionized cellular imaging in recent years, our current capability to observe the dynamics of life on the nanoscale is still extremely limited, due to inherent trade-offs between spatial, temporal and spectral resolution using existing approaches. We propose to develop and demonstrate an optical microscopy methodology that would enable live sub-cellular observation in unprecedented detail. Making use of multicolor 3D point-spread-function (PSF) engineering, a technique I have recently developed, we will be able to simultaneously track multiple markers inside live cells, at high speed and in five-dimensions (3D, time, and color). Multicolor 3D PSF engineering holds the potential of being a uniquely powerful method for 5D tracking. However, it is not yet applicable to live-cell imaging, due to significant bottlenecks in optical engineering and signal processing, which we plan to overcome in this project. Importantly, we will also demonstrate the efficacy of our method using a challenging biological application: real-time visualization of chromatin dynamics - the spatiotemporal organization of DNA. This is a highly suitable problem due to its fundamental importance, its role in a variety of cellular processes, and the lack of appropriate tools for studying it. The project is divided into 3 aims: 1. Technology development: diffractive-element design for multicolor 3D PSFs. 2. System design: volumetric tracking of dense emitters. 3. Live-cell measurements: chromatin dynamics. Looking ahead, here we create the imaging tools that pave the way towards the holy grail of chromatin visualization: dynamic observation of the 3D positions of the ~3 billion DNA base-pairs in a live human cell. Beyond that, our results will be applicable to numerous 3D micro/nanoscale tracking applications.
Project acronym A-DATADRIVE-B
Project Advanced Data-Driven Black-box modelling
Researcher (PI) Johan Adelia K Suykens
Host Institution (HI) KATHOLIEKE UNIVERSITEIT LEUVEN
Summary Making accurate predictions is a crucial factor in many systems (such as in modelling energy consumption, power load forecasting, traffic networks, process industry, environmental modelling, biomedicine, brain-machine interfaces) for cost savings, efficiency, health, safety and organizational purposes. In this proposal we aim at realizing a new generation of more advanced black-box modelling techniques for estimating predictive models from measured data. We will study different optimization modelling frameworks in order to obtain improved black-box modelling approaches. This will be done by specifying models through constrained optimization problems by studying different candidate core models (parametric models, support vector machines and kernel methods) together with additional sets of constraints and regularization mechanisms. Different candidate mathematical frameworks will be considered with models that possess primal and (Lagrange) dual model representations, functional analysis in reproducing kernel Hilbert spaces, operator splitting and optimization in Banach spaces. Several aspects that are relevant to black-box models will be studied including incorporation of prior knowledge, structured dynamical systems, tensorial data representations, interpretability and sparsity, and general purpose optimization algorithms. The methods should be suitable for handling larger data sets and high dimensional input spaces. The final goal is also to realize a next generation software tool (including symbolic generation of models and handling different supervised and unsupervised learning tasks, static and dynamic systems) that can be generically applied to data from different application areas. The proposal A-DATADRIVE-B aims at getting end-users connected to the more advanced methods through a user-friendly data-driven black-box modelling tool. The methods and tool will be tested in connection to several real-life applications.
Making accurate predictions is a crucial factor in many systems (such as in modelling energy consumption, power load forecasting, traffic networks, process industry, environmental modelling, biomedicine, brain-machine interfaces) for cost savings, efficiency, health, safety and organizational purposes. In this proposal we aim at realizing a new generation of more advanced black-box modelling techniques for estimating predictive models from measured data. We will study different optimization modelling frameworks in order to obtain improved black-box modelling approaches. This will be done by specifying models through constrained optimization problems by studying different candidate core models (parametric models, support vector machines and kernel methods) together with additional sets of constraints and regularization mechanisms. Different candidate mathematical frameworks will be considered with models that possess primal and (Lagrange) dual model representations, functional analysis in reproducing kernel Hilbert spaces, operator splitting and optimization in Banach spaces. Several aspects that are relevant to black-box models will be studied including incorporation of prior knowledge, structured dynamical systems, tensorial data representations, interpretability and sparsity, and general purpose optimization algorithms. The methods should be suitable for handling larger data sets and high dimensional input spaces. The final goal is also to realize a next generation software tool (including symbolic generation of models and handling different supervised and unsupervised learning tasks, static and dynamic systems) that can be generically applied to data from different application areas. The proposal A-DATADRIVE-B aims at getting end-users connected to the more advanced methods through a user-friendly data-driven black-box modelling tool. The methods and tool will be tested in connection to several real-life applications.
Project acronym AAATSI
Project Advanced Antenna Architecture for THZ Sensing Instruments
Researcher (PI) Andrea Neto
Call Details Starting Grant (StG), PE7, ERC-2011-StG_20101014
Summary The Tera-Hertz portion of the spectrum presents unique potentials for advanced applications. Currently the THz spectrum is revealing the mechanisms at the origin of our universe and provides the means to monitor the health of our planet via satellite based sensing of critical gases. Potentially time domain sensing of the THz spectrum will be the ideal tool for a vast variety of medical and security applications. Presently, systems in the THz regime are extremely expensive and consequently the THz spectrum is still the domain of only niche (expensive) scientific applications. The main problems are the lack of power and sensitivity. The wide unused THz spectral bandwidth is, herself, the only widely available resource that in the future can compensate for these problems. But, so far, when scientists try to really use the bandwidth, they run into an insurmountable physical limit: antenna dispersion. Antenna dispersion modifies the signal's spectrum in a wavelength dependent manner in all types of radiation, but is particularly deleterious to THz signals because the spectrum is too wide and with foreseeable technology it cannot be digitized. The goal of this proposal is to introduce break-through antenna technology that will eliminate the dispersion bottle neck and revolutionize Time Domain sensing and Spectroscopic Space Science. Achieving these goals the project will pole vault THz imaging technology into the 21-th century and develop critically important enabling technologies which will satisfy the electrical engineering needs of the next 30 years and in the long run will enable multi Tera-bit wireless communications. In order to achieve these goals, I will first build upon two major breakthrough radiation mechanisms that I pioneered: Leaky Lenses and Connected Arrays. Eventually, ultra wide band imaging arrays constituted by thousands of components will be designed on the bases of the new theoretical findings and demonstrated.
The Tera-Hertz portion of the spectrum presents unique potentials for advanced applications. Currently the THz spectrum is revealing the mechanisms at the origin of our universe and provides the means to monitor the health of our planet via satellite based sensing of critical gases. Potentially time domain sensing of the THz spectrum will be the ideal tool for a vast variety of medical and security applications. Presently, systems in the THz regime are extremely expensive and consequently the THz spectrum is still the domain of only niche (expensive) scientific applications. The main problems are the lack of power and sensitivity. The wide unused THz spectral bandwidth is, herself, the only widely available resource that in the future can compensate for these problems. But, so far, when scientists try to really use the bandwidth, they run into an insurmountable physical limit: antenna dispersion. Antenna dispersion modifies the signal's spectrum in a wavelength dependent manner in all types of radiation, but is particularly deleterious to THz signals because the spectrum is too wide and with foreseeable technology it cannot be digitized. The goal of this proposal is to introduce break-through antenna technology that will eliminate the dispersion bottle neck and revolutionize Time Domain sensing and Spectroscopic Space Science. Achieving these goals the project will pole vault THz imaging technology into the 21-th century and develop critically important enabling technologies which will satisfy the electrical engineering needs of the next 30 years and in the long run will enable multi Tera-bit wireless communications. In order to achieve these goals, I will first build upon two major breakthrough radiation mechanisms that I pioneered: Leaky Lenses and Connected Arrays. Eventually, ultra wide band imaging arrays constituted by thousands of components will be designed on the bases of the new theoretical findings and demonstrated.

redpajama_set_name: RedPajamaCommonCrawl


The Department of Computer Science offers a 2-year Associate Degree Program in Computer Networking and is equivalent to a 14-year Bachelor Degree. Computer Networking is a dynamic field that all organizations demand to computerize their existing system in order to meet the challenges of the 21st century that is on the cutting edge of computer technology and can be seen everywhere they connect people all over the world. This new and exciting degree program offered by Virtual University of Pakistan equips you with such skills and enables you to develop network using latest tools and techniques. During this study program you will learn to develop network such as Design, Analysis, Modeling and Simulation of network, Cellular and Wireless Communication, Information and network Security as well as advanced Concept of Intrusion Detection System, 3G/ 4G Networks, Voice and Data Integration, Cyber laws and Cloud Computing.
To be equipped with basic networking skills to meet market needs.
To develop the necessary knowledge and skills to successfully seek a career in the networking field.
To analyze network performance and take corrective actions.
To install, configure, secure, administer and troubleshoot network systems.
To compete for various jobs including Assistant Network engineer, Assistant Network Administrator, Network Systems Support, Network Technician, or similar positions.
To be eligible for the award of Associate Degree in Computer Networking candidates are required to complete at least 66 credit hours course work program by attending minimum 4-semesters with at least Cumulative Grade Point Average of 2 out of 4.


Havas Media Vietnam is part of the Havas Media Group, One of the World's largest global Communications groups. Founded in 1835 in Paris, the Group now employs 16,000 people in over 130 countries. Havas is committed to being the world's best company at creating meaningful connections between people and brands through creativity, media and innovation.


Amazon is showing signs that it's thinking seriously about launching commercial activity in Israel, meaning that Israeli shoppers will be able to get locally-made products through it, as opposed to only things made abroad – and one day, they may be able to order food from the local Amazon site as well. The company has been sending questionnaires to Israelis who order from it by internet, inquiring about their online shopping habits. Suggestively, it did the same thing in Australia some months before starting commercial operations there.
The company has been asking shoppers how often they shop online and what sites they visit, including for food. Clearly Amazon has been doing its homework about the sites Israel's food retailers have: It asks respondents to list their favorites among Shufersal, Rami Levy, Amazon, Castro, ASOS, Next, eBay, Deal Extreme and AliExpress.
Another sign of imminent entry into Israel is that local foodstuff manufacturers say Amazon has been sending feelers to them about making products for its private label, Amazon Basic, through which it sells everything from food to batteries to underwear.
Meanwhile, Israelis know the company well. Amazon is one of the five favorite sites among Israelis, along with AliExpress, ASOS, eBay and Next.
Amazon began its career 23 years ago as an internet bookstore. Since then its founder and leader, Jeff Bezos, has turned it into a shopping mall with global reach, redefining consumer experience and standards. Until now the general assumption had been that if Amazon got into business in Israel, it would focus on fashion, home appliances, electronics and books, but not food. Just one reason is local barriers, such as the need for a supply chain with refrigeration; another is kashrut. Yet it's been seeking information about the Israeli food market.
Amazon has been adding foods to its portfolio in stages. It launched a Fresh foods shipments business about a decade ago, but only in the U.S. and Britain. A launch is planned for France too. Then last July it carried out the biggest acquisition in its history, buying Whole Foods Market for $13.7 billion. Whole Foods is associated with costly organic products but in August it announced that it would immediately lower prices (just this Wednesday Amazon announced special discounts for its Prime members in the U.S. who shop at Whole Foods, in a gradual rollout).
In 2016, Amazon launched a pilot in Seattle, Washington, of Amazon Go groceries, involving no checkout or lines. "Our Just Walk Out Technology automatically detects when products are taken from or returned to the shelves and keeps track of them in a virtual cart," the company explains on its website. "When you're done shopping, you can just leave the store. Shortly after, we'll send you a receipt and charge your Amazon account." The competition is raging: nobody can offer anything of the kind.
Another sign that Amazon is gearing up for business in Israel is that for the first time, it awarded an Israeli company, eCommunity, a Service Provider Network tag (enabling it to supply services on its platform). eCommunity helps companies set up online business properly and efficiently, and runs the business for them. Amazon granted the company the tag after checking it for months, including checking the online shops the company runs for its customers, conversations with the customers themselves, and inspecting the company's financial statements. Only 20 companies worldwide have been awarded the SPN tag, none of which (other than this one) in countries where it has no local commerce.
Amazon also recently allowed Israeli sellers to sell to Israeli customers through its platform, but without using its storage services – meaning, to sell from Israel to Israel.
The company has also advertised for English-to-Hebrew translators and language experts, for its "localization department" which is developing a Hebrew-language site. The job is at Amazon's European headquarters in Luxembourg.
Nir Zigdon, one of the owners of eCommunity, says they studied Amazon's entrance into other areas around the world – Japan, Australia and Brazil: it did the same kind of things it's doing now in Israel – building a website in the local language, conducting consumer surveys.
He believes it will start with clothing, books and electronics, and get into foods at the second stage.
"Amazon doesn't do things on a whim," Dan Bendler, CEO of the startup Shopic. "They work in a very orderly and methodological way. "I assume the survey shows that this is a preliminary stage, of examining the feasibility of entering Israel. We can assume the company is conducting the survey in other countries too and will decide whether to enter Israel based on the results. Shopic makes software to improve the shopping experience.
Based on the survey answers, Amazon can calculate in which Israeli sectors it could achieve a competitive advantage, Bendler explains. He, too, thinks the company will stay away from food at first, for some years, and even then might confine itself to dry packaged goods with long shelf-lives such as rice and olive oil; but it won't supply chilled food because of the logistics. He also thinks its entry would stress the competition and lead to lower prices.
Amazon's most recent international foray was to Australia, starting with supplying books in 2013. But the company encountered difficulties.
Meanwhile Israel's retailers are wondering about the day after Amazon arrives.
Online sales in Israel have been growing by almost 25% a year for five years. The strategy consultancy TASC estimates that Israeli internet shopping will double or more by 2020 to over 15 billion shekels a year. Israel Post data say 61 million parcels were sent in 2017.
The retailers aren't necessarily taking things lying down. Shufersal is working with an American partner on developing a Hebrew-language platform to enable Israelis to order products from the United States, at significantly lower shipment prices than are available now. In May 2016, the Azrieli group bought a company for 62 million shekels to run its online shops. The Golf clothing chain bought the online fashion site Adika; Fox clothing chain set up a virtual mall called Terminal X, which sells brands, including some not available in Fox's real-world stores in Israel.
Amazon will change local consumption habits, acknowledges Odelia Orbach, among eCommunity's owners. It will affect the malls and what people do there. The young who live online anyway are especially likely to be affected, she predicts. On the upside, no more will parents have to drive the kid to the mall to buy stuff. While all this had been happening anyway, she says - Amazon is going to take it to whole other levels, because of their sheer power, the vastness of their range – and their attractive prices.


text:
Shahril Ishak, né le  à Singapour, est un footballeur international singapourien. Il évolue au poste d'attaquant.

Il est le joueur singapourien le plus sélectionné en équipe nationale avec 136 sélections.

Biographie

Carrière en club

Carrière en équipe nationale

Shahril Ishak joue son premier match en équipe nationale le  lors d'un match amical contre les Maldives (victoire 4-1). Le , il marque son premier but en sélection lors d'un match amical contre la Norvège (défaite 5-2).

Le , il honore sa  lors d'un match amical face aux Philippines (défaite 2-0).

Le , à l'occasion du match des éliminatoires de la Coupe du monde 2018 contre le Cambodge, il célèbre sa  et dépasse ainsi le total de Daniel Bennett, qui était jusqu'alors le joueur le plus capé de l'histoire du football singapourien.

Au total, il compte 130 sélections officielles et 14 buts en équipe de Singapour depuis 2003. Il est le capitaine de l'équipe de Singapour depuis 2010.

Palmarès

En club
 Avec les LionsXII :
 Champion de Malaisie en 2013

En sélection nationale
 Vainqueur du Championnat d'Asie du Sud-Est en 2004, 2007 et 2012

Distinctions personnelles
 Meilleur joueur du Championnat de Singapour en 2010
 Meilleur joueur du Championnat d'Asie du Sud-Est en 2012

Statistiques

Buts en sélection
Le tableau suivant liste les résultats de tous les buts inscrits par Shahril Ishak avec l'équipe de Singapour.

Références

Liens externes

Footballeur international singapourien
Joueur du Home United
Joueur du Persib Bandung
Naissance en janvier 1984
Naissance à Singapour
Footballeur sélectionné plus de 100 fois en équipe nationale

redpajama_set_name: RedPajamaWikipedia


Not a sequel, but very much a companion piece to Michael Curtiz' Doctor X (1932), the once-lost Mystery of the Wax Museum (1933) is another two-strip Technicolor exercise in German Expressionist horror with two of the same stars—Lionel Atwill and Fay Wray—and a similar reporter hero, only this time it's a heroine (Glenda Farrell). This is the original version of House of Wax (1953), the film that turned Vincent Price into a horror star, and it's every inch the superior film. That has a lot to do with the older film's pre-code ability to go places and do things that would never get past a 1953 censor (in some ways, it's surprising even today), but it also just plain has a better script, better (less campy) acting and better direction. The oddity is that the 1933 film ends up feeling fresher and more modern than the remake of 20 years later. The stories are much the same—a wax museum with statues that aren't what they seem—but the approaches couldn't be more different, starting with the fact that the earlier film is actually structured as a mystery. The result is a true classic of horror.
The two versions are a study in contrasts. (There's really no point in dragging the 2005 House of Wax into this, since whatever it is, it has little or nothing to do with either film. I don't care how much you like seeing Paris Hilton get a pole through her head.) Mystery of the Wax Museum is Expressionist horror. House of Wax is purely gothic horror, which may be an outgrowth of the first film's prologue. The original opens in London in 1921, but the feeling is of an earlier era in both clothes and the fact that the only conveyance we see is a horse-drawn carriage.The openings are very similar in depicting the wax museum being set on fire for insurance money by the sculptor's (Atwill/Price) unscrupulous business partner (Edwin Maxwell/Roy Roberts), who leaves the sculptor to die in the blaze. However, the original then jumps New York in 1933. The remake stays in period, junks the mystery element, the reporter heroine—and succumbs to the temptation of making fun of how quaint the era is. As comedy, it's a really poor substitute for Glenda Farrell's wisecracks.And goodness knows, turning Arthur Edmund Carewe's flamboyant junkie from the original into an alcoholic is an equally weak exchange.
Both movies can be said to use a gimmick. The original being in color was virtually a gimmick in 1933, though chances are that it had more to do with using up commitments to the Technicolor company than anything else. (Doctor X was pretty clearly that, since it was only released in color in major cities.) But Michael Curtiz and cinematographer Ray Rennahan made artistically defensible use of the process.The remake, on the other hand, was in 3D (though directed by one-eyed filmmaker Andre De Toth), which is harder to defend on artistic grounds—unless you consider a guy hitting a flyback paddle at the audience artistic.
What's interesting about Wax Museum with audiences who are famiiliar with neither film is the mystery angle. Knowing the story far too well from House of Wax when I first saw the film after its rediscovery (after years of searching archives worldwide, it turned out to be in Jack Warner's personal library) the mystery was no mystery at all to me—and the film's "big shock" was fully expected. Then I got ahold of a bootleg 16mm print and started showing it around, and damned if people who didn't know anything about the film actually were suprised—at least occasionally. It'll be interesting to see how that plays out when the movie screens.
Given the audible gasps from quite a few in the audience tonight at the movie's "big shock" moment, I'd say the mystery element still holds up after 78 years. Kind of surprising actually. I have to ask if any of the folks who have written over and over since this film was found in the late 1960s that Glenda Farrell's comedy wears thin have ever watched the movie with an audience?
I didn't get a chance to see this at the Carolina, but did recently watch it at home. I agree completely with your take on it vis-a-vis the remake. For my money, Glenda Farrell was the standout performer in the film; she made the others seem almost wooden in comparison.
And the ending does still pack a punch.
We haven't seen you in some considerable time. Nor the entirely vanished Dread P. Roberts, come to that.
Considering that 16mm bootleg I mentioned was the second feature film I owned, I'm willing to bet that this is something I've seen into the triple digit range. (My friends and I tended to run the same movies over and over until a new title came along.) As a result, I am so used to the film that I even anticipate things like the emulsion scratch (white line) over the electric "Happy New Year" sign. It always seems so cool to me to see a new audience react to that.
Well, I am still somewhat limited physically as a result of my surgery, so I haven't gotten out too much, but fully intend to see some more of those Thursday night showings in the very near future.
We'll certainly be watching for you.


Stormy weather won't stop you from having a wonderful and incredible wedding day, but being prepared and having the right mindset can help avoid headaches the day of your wedding if rain is in the forecast.
If there is any chance of rain in the forecast for your wedding day, I recommend putting together a rain kit of umbrellas and appropriate footwear and even fun rain jackets. Clear umbrellas are best for photography and allowing the light to come through the umbrellas, while avoiding a color cast on your face from colored umbrellas. Having a different pair of shoes or rain boots on your feet can be cute or even hidden under your dress when taking photo outside in rainy weather. I recommend at least 1 umbrella for every 2 people in the bridal party to ensure everyone is covered.
If rain is in the forecast for your wedding day, we will have a discussion on any changes in plans needed and how to get the best photos for your specific wedding and venue. Most venues always have covered areas (example: venue entrances, gazebos, decks, balconies, etc) or beautiful indoor options. We will come up with a game plan on alternative locations that have the best light and backdrop.
If rain is in the forecast it might be a good idea to check in with your hair and makeup artists to see if they are available to stay later. That way if your hair and makeup need some help between transporting between locations or photos in the rain you are able to still feel refreshed and confident for the rest of the day.
Cloudy overcast weather can be awesome for photography on your wedding day. Overcast weather gives us more options and locations to shoot in where we don't have to avoid the harsh shadows created by the sun. Wedding days are romantic and overcast weather can play into and help create that romantic mood in the photographs.
Attitude is one of the most important factors when tackling the rain and schedule changes. Guests, vendors, and everyone is going to take their cues from the Bride & Groom on how to react to the situation. Keeping calming, being prepared, and knowing that there are options to tackle this unique situation will keep everyone in the right mind set to continue to enjoy the celebration. Puddles and rain offer incredible opportunities for creative portraits and photos that are unique and fun.


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Staged reading January 2018 at Roundabout's Underground Reading Series (NY), and will have its World Premiere in summer 2019 at The Marriott Theatre.
August 2018 reading at Barrington Stage Company (MA) with planned world premiere summer 2019 at Barrington.
World Premiere at Charing Cross Theatre in London, Fall 2018.
Reading at Village Theatre's Festival of New Musicals in August 2018.
Developmental workshop at New York Theatre Barn in November 2017, followed by a staged reading March 2018 at Red Mountain Theatre Company's Human Rights Festival. Commercial Producer and NAMT member Seaview Productions now has the option.
US premiere in January 2018 at Horizon Theatre (GA); a staged reading March 2018 at Red Mountain Theatre Company's Human Rights Festival, an upcoming production in 2019 at Zach Theatre and is licensed by Samuel French.
Goodspeed Writers Colony (CT) in February 2018 followed by a showcase at The Other Palace in June 2018. Fall 2018 production in London, Ontario with a production at The Grand Theatre.
World Premiere September 7-Oct 22, 2017 official press opening September 15, 2017), Old Globe Theatre, San Diego; announced East Coast premiere Paper Mill Playhouse, April 4 – May 5, 2019.
Reading at Williamstown Theatre Festival in 2017. World premiere production at Williamstown Theatre Festival MainStage in 2018.
World premiere in 2017-2018 season at Diversionary Theatre (CA).
Staged reading at New York Theatre Workshop (NY) April 2017. World premiere planned for late Spring 2019 at A.R.T. in Boston, MA.
World premiere in 2017-2018 season at Lyric Theatre of Oklahoma (OK). Concert presentation in NYC.
Workshop production in November 2015 at San Diego State University in association with La Jolla Playhouse. New York concert presentation at Joe's Pub October 2016, produced by Theatre C. Planned production by Theatre C (NY) in the works.
Workshop at La Jolla Playhouse in 2016. Selected for the 2016 Musi-Cal showcase.
Writers' Residency at TheatreWorks of Silicon Valley. Invitation only staged reading at Village Theatre in 2016. Selected as one of the inaugural musicals in Village Theatre's Beta Series for the 2016-2017 season with a developmental production in December 2016.
Developmental Productions at Pace New Musicals and The Village Theatre in 2015.
Reading at the Village Theatre Festival of New Musicals (WA) in 2016.
Goodspeed Musicals' Festival of New Musicals 2015.
Richard Rodgers Award 2015 and subsequent reading at Playwrights Horizons. Concert presentation at Feinstein's/54 Below in 2016. Reading at the Village Theatre Festival of New Musicals (WA) in 2016. Selected as one of the inaugural musicals in Village Theatre's Beta Series for the 2016-2017 season. 2018 production at Village Theatre. Kleban Prize 2019.
Developmental reading at Theater Latté Da in 2015.
World Premiere production at Weston Playhouse (VT) in 2014.
Dance workshop in 2014 and planned production in 2015 at New York Theatre Barn. 2015 recipient of the Jonathan Larson Award. Production at Diversionary Theatre (CA) summer 2016. New York Premiere planned at Abingdon Theatre Company in spring 2017. 2019 Kleban Prize.
Workshop and production at Kent State University (OH) in 2015. Reading at The Village Theatre (WA) Festival and residency at Goodspeed Musicals Johnny Mercer Writers Colony in 2014. World premiere at The Village Theatre (WA) in 2015-2016. Writers received the Fred Ebb Award for their music and lyrics. Invitation only reading at the York Theatre in summer 2016.
Commercial option picked up by Playing Pretend. Production at the Fredericia Theatre in Denmark in 2015.
Reading at Village Theatre (WA) Festival in 2014 and residency/retreat at The 5th Avenue (WA) in 2015.
Mercer Writers Colony at Goodspeed Musicals (2013). Readings at Penn State (PA) and Amas (NY) in 2013. Production at The Spirit of Broadway Theater (2014). Production at Fredericia Theatre in Denmark (2015).
World Premiere Production at Depot Theatre (NY) in Summer 2013. Concert presentation at Feinstein's/54 Below in 2016.
Industry reading in NYC in 2013.
World Premiere Production at Barrington Stage Co. (MA) in Summer 2013. Reading and Off-Broadway at The Public Theater (2016).
Mercer Writers Colony at Goodspeed Musicals (2013). Developmental production at The Lyric Theatre of Oklahoma City. Production at TheatreWorks Silicon Valley (CA) in 2015. Writers received 2016 Fred Ebb Award.
World premiere at Lyric Theatre of Oklahoma, 2015.
Commercial option (2012). Concert presentation at Feinstein's/54 Below in 2014.
Full production at Talk is Free Theatre and Show One Productions (ON) in 2011, remounted in 2012 Reading at The Human Race Theatre Company (OH) in 2012. Writing team received writing residencies at Goodspeed Musicals (CT), Trinity Repertory Company (RI) and The 5th Avenue Theatre (WA) in 2012; full production at Exit Pursued by Bear (NY) in 2013. Full production at The Spirit of Broadway Theater (CT) in 2013. Production at Aurora Theatre (GA) in 2016. Licensed by Samuel French.
Reading at Goodspeed Musicals (CT) and developmental production at University of Miami (FL) in 2012. Industry reading in NYC in 2013.
Full production at Cumberland County Playhouse (TN) in 2012 and Motlow College in 2014.
Reading at New York Theatre Workshop (NY) in 2012 and Amas Musical Theatre (NY) in 2013.
Full production at Weston Playhouse (VT) in 2012. Concert presentation at Feinstein's/54 Below in 2014.
Workshop at Trinty Repertory Theatre (RI) in 2012. Developmental production at The Village Theatre (WA) in 2013.
Full production at Playhouse Square/Baldwin Wallace University (OH) in 2012 and TUTS Underground (TX) in 2013. Developmental production in 2012 and reading in 2011 at Village Theatre (WA). Concert production at Ars Nova in 2012. Studio concept album released in 2013. Production at Portland Center Stage in 2014. Production at Fredericia Theatre in Denmark and Danish cast recording, 2014. Licensed by authors with planned productions across the country. Production in San Francisco in 2015 and Los Angeles in 2016, and full production at 11th Hour Theatre (PA) and UK production in 2017.
Developmental workshop at Royal & Derngate (UK) in 2011, developmental production at TheatreWorks Silicon Valley (CA) in 2012, production at Arts Garage (FL). Production at Fredericia Theater in Denmark, spring 2017.
Productions at Goodspeed Musicals (CT) in 2010, Stage Door Manor (NY) in 2011, Troy University (AL) and The Human Race Theatre Co. (OH) in 2011; productions around the country.
Reading at Pace New Musicals (NY), full production at Boston Conservatory (MA) in 2011. Concert productions at Ars Nova (NY) and Joe's Pub (NY). Concert presentation at 11th Hour Theatre Company (PA) in winter 2016.
Full productions at Bas Bleu Theatre Company (CO) in 2011, Signal Ensemble Theare (IL) in 2012, and Music Theatre of Madison (WI) in 2014.
Full productions at Boston Conservatory (MA) and Clarke University ( IA) in 2010, Marriott Theatre Lincolnshire (IL) and Penn State NU Musical Theater Festival in 2011, and Swine Palace at Louisiana State University in 2012.
Commercial option, reading at Village Theatre (WA) in 2010, full productions George Street Playhouse (NJ) in 2011 and Village Theatre (WA) in 2012. Ran over 100 performances at the Brooks Atkinson Theatre on Broadway in 2015. Licensed by MTI. Cast album released.
World Premiere at Barrington Stage Company (MA) in 2010. Korean Premiere through Water Gate Media in 2010. Off Broadway at Transport Group in 2013. Cast Recording available on Yellow Sound Label in 2015. Writers received 2014 Larson Grant.
Off Broadway production with Prospect Theater Company and full production at Village Theatre (WA) both in 2011.
Full production at The Broadway Rose Theater Company (OR) in 2011.
Workshop production at Red Mountain Theatre Company (AL) in 2010. Reading at New York Professional Theatre (NY) in 2011.
Production at Fredericia Theatre in Denmark (2010); Rhinebeck Writers Retreat in 2012, Weston Playhouse (VT) retreat in 2014; workshop production at NYU-Steinhardt (NY) in 2015, reading at The 5th Avenue Theatre (WA) in August 2015, full production Asolo Rep (FL) May 2017 (co-production with 5th Avenue Theatre).
Staged readings at Village Theatre (WA) in 2009 and ReVision Theatre (NJ) in 2010.
Adirondack Theatre Festival (NY), Roundabout Theatre Company (NY), The Human Race Theatre Company (OH), South Coast Rep (CA), and numerous additional regional productions. Full productions in London, Sydney and Vienna.New York cast recording on Ghostlight Records. Licensed by R&H Theatricals.
Workshop production at Baldwin Wallace University (OH) and at University of Michigan in 2009, and full production with Transport Group (NY) in 2010 (nominated for 6 Drama Desk Awards, won Best Book) and cast album released.
Full productions at The Beck Center (OH) in 2008, ReVision Theatre (NJ) in 2011 and Boston Conservatory (MA) 2012.
Production at Brigham Young University (UT) in 2010.
Full production at Actors Cabaret of Eugene (OR) in 2008 and Stages Repertory (TX) in 2010.
Richard Rodgers Award 2008, readings at Queens Theatre in the Park (NY) and The Public Theater (NY) in 2008, full productions at The Old Globe (CA) and ReVision Theatre (NJ) in 2009.
Full productions at Goodspeed Musicals (CT) in 2008, on Broadway in 2009 and at Act II Playhouse (PA), Chicago Muse (IL) and South Korea in 2010. Nominated for 4 Drama Desk Awards. 2009 Broadway Cast Recording on PS Classics. Licensed by Music Theatre International, 212-541-4684 .
Development trajectory through 3 NAMT theatres in 2008: The Human Race Theatre Company (OH), Goodspeed Musicals (CT) and Red Mountain Theatre Company (AL), full productions at TheatreWorks (CA) in 2009 and Cumberland County Playhouse (TN) in 2010.
Commercial option, Full productions at the American Music Theatre Project at Northwestern University (IL) in 2008 and Pasadena Playhouse (CA) in 2011.
Full productions at TheatreWorks (CA) in 2007 and 2015, Cincinnati Playhouse (OH) and The Repertory Theatre of St. Louis (MO) in 2008, and The Old Globe (CA) in 2011.
Staged readings at The Araca Group (NY) and New York Stage and Film (NY) in 2007.
Full production at the Edinburgh Fringe Festival (UK) in 2007.
Developmental workshop with the Charlottetown Festival (Canada) and a concert presentation at Talk Is Free Theatre (Canada) in 2010.
Developmental workshop with Prospect Theatre Company (NY) in 2010. World Premiere production at Stoneham Theatre (MA) in 2011. Broadwayworld Awards Boston for "Best Musical – Medium Sized Theatre" in 2012. Songs presented at Lincoln Center, Bruno Walter Auditorium in 2013. New production at Daegu International Musical Theatre Festival in South Korea. Winner of the Top Jury Honor for Best Musical Theatre Production in 2013.
World Premiere at TheatreWorks (CA) in 2006, productions at Pasadena Playhouse (CA) in 2008, Off Broadway at Second Stage (NY) in 2009 and The 5th Avenue Theatre (WA)/A.C.T. in 2010. European Premiere at London's Trafalgar Studios 2 in September 2016.
Full productions at The Repertory Theatre of St. Louis (MO) in 2006, The Old Globe (CA) and Cincinnati Playhouse (OH) in 2007, Signature Theatre (DC) in 2008 and UNLV in 2015. Licensed by Theatrical Rights Worldwide.
Production Off Broadway in 2006, Drama Desk Award nomination for Outstanding Lyrics in 2006, international productions include Canada, England, Germany and the Philippines. Licensed by Theatrical Rights Worldwide .
Concert presentation at Texas State University (TX) in 2011.Youth theatre productions across the country. Concept Recording on Sh-K-Boom Records. Licensed by Music Theatre International .
Developmental readings at the Hartt School (CT) in 2006 and Carousel Dinner Theater (OH) in 2007. Full productions at Goodspeed Musicals (CT) in 2006, Ford's Theatre (DC) in 2007, and Porchlight Theatre (IL) in 2011. Ford's production was nominated for 7 Helen Hayes Awards, winning 2. Studio Cast Album released in 2013 on Broadway Records starring Heidi Blickenstaff, James Moye, Bob Cuccioli and Joel Blum. Licensed by Rodgers and Hammerstein.
Workshop at TheatreWorks (CA) in 2004, full productions at New York Musical Theatre Festival in 2006, Williamstown Theatre Festival (MA) in 2007 and New York University in 2010.
Production at Goodspeed Musicals (CT) in 2006. Reading at The Roundabout Theatre Studios (UT) in 2009.
2005 Production at Marin Theatre Company.
Winner of 2005 Bay Area Theatre Critics Circle Awards for Original Script and Original Score.
2006 NYMF production. Winner: Theatre for the American Musical (TAM) Award. Full productions at The Spirit of Broadway Theater (CT) in 2011 and the New York Musical Theatre Festival (NY) in 2006.
World Premiere at Vienna Chamber Opera (Austria) in 2006. Productions at the Schomburg Center and York Theatre (NY). Readings at Amas Musical Theatre (The Snapple Th in NY) in 2011. Developmental reading at The O'Neill Theater Center (CT) in 2012.
Opened on Broadway in 2006, winner of 5 Tony Awards, 7 Drama Desk Awards (including Outstanding Musical) and NY Drama Critics' Circle Award for Best Musical. National tours in 2008 and 2009. Many professional productions worldwide. Licensed by Music Theatre International .
Full productions at Goodspeed Musicals (CT) in 2005, the New York Musical Theatre Festival (NY) and 37 Arts Theatre (NY) in 2006, Bay College (MI) and Community College Theatre with 2nd Flight Productions Theater Company (VA) in 2009. Licensed by Theatrical Rights Worldwide, Robert Lindsay Nassif, 319-364-6093 .
Full production in Tokyo (Japan) in 2011. Demo Tracks Available.
Off Broadway production at Urban Stages (NY) in 2010. Recipient of four AUDELCO awards, including Best Choreography.
Full productions at Arden Theatre (PA) in 2005 (5 Barrymore awards) and Kansas City Repertory Theatre (MO) in 2009.
Full productions at the New York Musical Theatre Festival (NY) in 2004 and Spirit of Broadway Theatre (CT) in 2008. Reading at the York Theatre (NY) in 2005. Recipient of the National Music Theatre Network's Director's Choice Award in 2004.
Full productions at the Royal Scottish Academy of Music and Drama (Scotland,) Abingdon Theatre (NY), Crossroads Musical Festival of Kansas City (MO) and The Steinhardt School at NYU (NY). Readings at The Village Theatre's Annual Festival of New Musicals (WA), 6th Street Playhouse (CA) and Broadway Theater Institute's Musical Monday Theater Lab (NY).
Full production at Goodspeed Musicals (CT) in 2002.
Full productions at the Village Theatre (WA) in 2002 and San Jose Repertory Theatre (CA) in 2005. Asian Equity Tour in 2002. Production in Taiwan with Taipei Philharmonic Foundation. 2001 Cast Recording.
Workshop production at Pittsburgh CLO (PA).
Productions at the Attic Theatre (CA), Theatre on the Square (IN), Theatre 98 (AL), Champaign Urbana Theater Company (IL) and Chico Cabaret (CA). Licensed by Dramatists Play Service .
Geva Theatre (NY), Human Race (OH), Sacramento Theatre Company (CA), Spirit of Broadway (CT), Stages Repertory Theatre (TX), Unicorn Theatre (KS), Minneapolis Musical Theatre (MN), New Conservatory Theatre Company (CA). Licensed by Dramatists Play Service .
Off Broadway production at John Houseman Theatre (NY) in 2003. Nominated for a Drama Desk Award for Best Lyrics. Amas Musical Theatre (NY), Eugene O'Neill Theater Center (CT), National Music Theatre Network (DC), Oregon Cabaret Theatre (OR), The Spirit of Broadway Theater (CT), Village Theatre (WA), New Jersey Repertory (NJ) in 2008.
Full international productions at National Academy of Singing and Dramatic Art in New Zealand in 2000 and Edinburgh International Festival in Scotland in 2005. Full production in New York Musical Theatre Festival (NY) in 2004. Reading at Theater League's Festival of New Musicals in 2007. 2000 Cast Recording.
Full production at The Hartt School (CT) in 2002, and New York Musical Theatre Festival (NY) in 2006.
Full production at Chicago Dramatists (IL) in 2007. In development for a potential run Off Broadway at the Transport Group.
Full productions at Goodspeed Musicals (CT) and Buck Creek Players (IN) in 2001, Stoneham Theatre (MA) in 2004, American Stage Company (FL), Theatre on the Square (IN).
Productions in Johannesburg (South Africa), and Crossroads Theatre Company (NJ) in 2003.
Over 30 regional productions, including the John Houseman Theater (NY), American Musical Theatre of San Jose (CA), Chanhassen Dinner Theatre (MN), Actors' Playhouse (NY), Act II Playhouse (PA. Licensed by Mitch Douglas at ICM, 212-556-5600 (phone), 212-556-5665 (fax). Published by Samuel French, Inc. .
Full productions at the Denver Center for Performing Arts (CO) and the Cleveland Playhouse (OH).
Full production at the Old Globe Theatre (CA) in 2001.
Reading at the Asia Society (NY) in 2010. Recipient of the Richard Rogers Development Award for Musical Theatre in 2001. 2008 Cast Recording on DINK Records.
Over 4,000 productions in US and Canada, winner of the Olivier Award. In 2003, Honk Junior was created and has had hundreds of productions in the US and Canada. Studio Recording on First Night Records, Music Theatre of Witchita recording. Licensed by Music Theatre International.
Reading at CAMI Recital Hall (NY) in 2001.
Full production at San Diego Repertory Theatre (CA) in 2008. Workshop production at Ravinia Festival (IL) in 2006. Staged reading at American Place Theatre (NY) in 2000. Winner of the Richard Rodgers Award, the Jonathan Larson Performing Arts Foundation Award, the Edgarton Award. Nominated for two NAACP Theatre Awards.
Off Broadway at Variety Arts Theater, York Theater Company (NY). Many regional productions. York Concert Recording on Jay Records. Nominated for a 2001 Outer Critics' Circle Award for Best Off Broadway Musical.Licensed by Dramatists Play Service .
Playwrights Horizons (NY), numerous regional productions. Studio Recording on Ghostlight Records. 2001 Drama Desk and Lucille Lortel nominations for Best Musical. Licensed by Dramatists Play Service .
Over 50 full productions, including Dallas Lyric Stage (TX), Paper Mill Playhouse (NJ), Perseverance Theatre (AK). Winner, Frederick Loewe Award. Televised broadcast as part ofGreat Performances' 30th Anniversary Season in 2002. Cast Recording on KIC Music.
Workshop production at John Jay Theatre (NY) in 1999.
Over 1,600 productions around the US. Paper Mill Playhouse Cast Recording on RCA Victor. West End revival 2012. Licensed by Music Theatre International, 212-541-4684 .
Full productions at Papermill Playhouse (NJ) In 1998, Santa Barbara Civic Light Opera (CA) In 2000 and Penobscot Theatre (ME) in 2010.
Full production at Penn State (PA).
Full productions at Ford's Theatre (DC) in 1998, and Piedmont Players Theatre (NC) in 2009.Licensed by Samuel French. Ford's Theatre Cast recording on Bypass in 1998.
Full productions at Goodspeed Opera House (CT) in 1998, York Theatre (NY) in 2005, and Princeton Festival (NJ) in 2008. Licensed by Music Theatre International, 212-541-4684 .
Full production at Tennessee Repertory Theatre (TN) in 1996.
Broadway, National Tour, numerous regional productions. Original Broadway cast recording on RCA Victor. Six 2002 Tony Awards, including Best Musical. Over 1,700 productions. Licensed by Music Theatre International.
American Premiere at New Jersey Shakespeare Festival (NJ) in 1999. Most-produced new musical of the 2000-2001 season in American regional theater. Full productions at The Globe Theater (CA), Oregon Shakespeare Festival (OR), San Jose Repertory (CA), Laguna Playhouse (CA), Indiana Repertory Theatre (IN), The Shakespeare Theatre of NJ (NJ), as well as internationally in Switzerland, and Northlight Theater (UK). Nominated for an Olivier Award for Best New Musical. Licensed by Theatrical Rights Worldwide .
Full productions in Los Angeles (CA), Indianapolis (IN), and Dallas (TX). In concert (NY) with Kris Kristofferson.
Full production at George Street Playhouse (NJ), York Theatre (NY), and several regional productions. Licensed by Theatrical Rights Worldwide .
Full productions at Paper Mill Playhouse (NJ) in 1993, Walnut Street (PA in 1996), Goodspeed Musicals (CT), 1996, Ford's Theatre (DC) in 1997, and Stage One (KS). International production at the Bunkamura Theatre (Tokyo) in 1998, and a tour in Japan through 1999.
Reading at the Eugene O'Neill Theatre Center (CT in 1996), full production at Old Globe Theatre (CA) in 1998.
Full productions at Dallas Lyric Stage (TX) in 2001, Goodspeed Musicals (CT) and North Shore Music Theatre (MA) in 2005, Arena Stage (DC), Cleveland Playhouse (OH), Helen Hayes Performing Arts Center (NY), Shubert Theatre (MA), African Globe TheatreWorks (NJ). Hackney Empire (London) in 2013.
Off Broadway production at York Theater Company (NY) in 1999. Full productions at Apple Tree Theatre (IL), Broadhollow Theatre (NY), King's Head Theatre Club (UK), Lyric Stage (MA), Village Theatre (WA). Outer Critic's Circle Nomination-Best Musical (NY). Winner of 5 Dalas Theatre League Awards. Off Broadway cast recording on Varese Sarabande.
Full productions at Goodspeed Opera House (CT) in 1995, Sacramento Music Circus (CA) in 1996, American Stage Company (NJ) in 1997 and York Theatre (NY) in 2006. Licensed by Samuel French .
Off Broadway production at the John Houseman Theatre (NY) in 1995. Licensed by Samuel French – London.
More than 90 productions in the United States including Marriott Theatre (IL) and Derby Dinner Playhouse (IN), produced internationally in Australia, Canada, England, Kuwait and Russia.Licensed by Music Theatre International, 212-541-4684 .
American Premiere at UTEP Dinner Theatre (TX) in 1996. Cast recording on SBME Import.
Full production at Civic Light Opera of South Bay Cities (CA) in 1995. Licensed by Music Theatre International, 212-541-4684 .
Production at the National Black Theatre (NY) in 2011.
Full production at Ford's Theatre (DC) in 1995.
Produced at the Sverdlovsk State Academic Musical Comedy Theater in Russia in 1993, ran for 4 years.
Cleveland Playhouse (OH), Goodspeed Musicals (CT), Marriott Theatre (IL), Pasadena Playhouse (CA), Sacramento Light Opera Association (CA), Theater League (KS), Village Theatre (WA), Adirondack Theatre Festival (NY), Morris Mechanic Theatre (MD) from 1993-1995.1994 Pasadena Playhouse Cast Recording on Varese Sarabande. Licensed by Rodgers and Hammerstein Theatrical Library.
Reading at the York Theatre (NY) in 2001.
Full production at Stamford Theatre Works (CT) in 1996.
Full production at Ford's Theatre (DC) in 1992. Readings at the York Theatre in 2016 and 2017.
Full production at Steel Beam Theatre (IL) in 2009.
Amas Musical Theatre (NY), over 120 productions around the country, and international productions in Canada and Japan.Cast Recording on Lml Records. Published by Samuel French .
Full production at La Mirada Theatre (LA) in 1992.
Full production at Amas Musical Theatre (NY) in 1992.
Players Theatre (NY), over 200 productions around the country. Los Angeles Recording on Varese Sarabande. Licensed by Samuel French .
Revue by Musical Theater Works (NY) in 1990.
Full production at Maine State Musical Theatre (ME) in 1991.
Readings at the Blue Heron Theater (NY) and the Signature Theatre (DC).
World Premiere at Goodspeed Musicals (CT) in 1990.
Full production at Amas Musical Theatre (NY) in 1990.
Reading at Starlight Musical Theatre (CA) in 1990.
Off-Off Broadway production at Amas Musical Theatre (NY), Off-Broadway Test Run at Hudson Guild Theatre (NY) in 2001. Off Broadway production at the John Houseman Theatre (NY) in 2002. Off Broadway recording on Eric Krebs Productions. Licensed by Samuel French .
Off Broadway production at Promenade Theatre (NY) in 1990. Original cast recording on Painted Smiles.
Full production at Goodspeed Musicals (CT) in 1989.
Presented as part of a two-act opera entitled Love In Two Countries at St. Peter's Church (NY) in 1991.


text:
Thoughts on Purina, Puffery, and Other Matters, Such as the Poetics of Inflation and the Advertising Poetry of Friskies Crispies Cheese Flavor Puffs
In Advertising and Satirical Culture in the Romantic Period (Cambridge UP, 2007), Northumbria University English professor John Strachan repeatedly reminds us that the term "puff" was once (and to some extent still is) regularly used to describe not a type of delectable, creamy pastry or profiterole, but an advertising technique. In 1836, for example, the English poet and novelist Horace Smith described "puffing" as "a species of cozenage and trickery much resorted to by the vendors of quack medicines, [shoe] blacking, novels, and other trash, for the purpose of gulling the public and cajoling them into a purchase of their wares." Quack medicines, blacking, novels, and other trash, right?
The "puff" as a sort of exaggerated or over-inflated product claim had such currency in nineteenth-century Englnd, in fact, that the Irish poet Gerald Griffin imagined it coming to life as Puff, not a magic dragon but the Spirit of Advertising itself. Of "The Prayer of Dullness" (taken from that 1843 classic The Works of Gerald Griffin), Strachan writes, Griffin "envisages the goddess of [Alexander Pope's] The Dunciad revisiting London, only to find, much to her horror, that the age of dunces has been superseded by a literary golden age: towering poets (Byron, [Thomas] Moore and [Thomas] Campbell) have supplanted her poetasters and Walter Scott has displaced her hack novelists.... Dullness prays for 'Some ally in my hour of care' to restore the empire of 'bad taste on earth.' Salvation arrives in the malign form of Puff, the personification of advertising, who blows 'a thrilling blast' on his 'brazen trumpet.'" Consider Puff's entrance:
My name is Puff—the guardian sprite,
And patron of the dull and shameless,
Things born in shades, I bring to light,
And give a high fame to the nameless.
Me modest merit shuns to meet,
His timid footsteps backward tracking,
The worthless all my influence greet,
From —'s books—to Turner's blacking.
Even the Thomas Moore referenced by Griffin and pictured here got in on the act, penning "Thoughts on Patrons, Puffs and Other Matters" from which the following comment on authorial puffery is taken:
Instead of bartering, in this age,
Our praise for pence and patronage,
We authors, now, more prosperous,
Have learn'd to patronize ourselves;
And since all-potent Puffing's made
The life of song, the soul of trade,
More frugal of our praises grown,
We puff no merits but our own.
Partially as a result of its long connection to the practice of advertising, "puff" has acquired a whole set of undesirable connotations that the Oxford English Dictionary can track for you: the empty or idle boast, a person or thing regarded as insubstantial, a person puffed up with pride or vanity, something inflated or swollen, a type of journalism (the puff piece), and even a sexual personality. Putting the profits in the profiterole (one might say), puffery is thus all about air—hot air, we might typically think, but air nonetheless.
All of this allows us to better understand the history and poetics informing Purina's Friskies Crispies Cheese Flavor Puffs and the three-stanza verse "Fun Is In The Air" printed in an appropriately airy white text on the back of the 2.1-oz. package of cat treats pictured here. Hard to read but guaranteeing good taste for your favorite feline (instead of the "empire of 'bad taste on earth'" that Griffin imagined Puff helping to restore in "The Prayer of Dullness"), "Fun Is In The Air" reads as follows:
Friskies Crispies are crispy!
They're fluffy with air.
They're irresistibly puffy.
It's a new love affair.
Not crunchy. Not tender.
Not expected. Not boring.
Airy is merry!
A new treat worth exploring.
So tasty! So cheese-y!
Every bite's a delight.
Crisp it up anytime.
Perfect morning, noon and night.
Embodying its central conceit in that wonderful sonic slippage between "love affair" and "love of air," Purina's poem is a sort of attempt to reclaim puffiness from its history of negative connotations. But in order to do that, "Fun Is In The Air" must embrace (and sell) the very excess (too much insubstantial airiness) that led the character of Andrugio in J. Marston's Elizabethan play The History of Antonio and Mellida (c. 1599) to describe how "blown up" an imprudent king might get "with the flattering puffs / Of spongy sycophants." Purina's bard of cat-tasting (rather than poetasting) therefore not only embeds the sound of "air" in "love affair" and "merry," but then embarks on the task of convincing the consumer that it's the very insubstantiality of air that's responsible for its opposite: its substantial crispiness. In other words, "Fun Is In The Air" identifies as the product's special, key ingredient the very thing that makes puffery puff, that inflates the zip-lock package of cat treats, and that, like the "darkness" of Robert Creeley's "I Know a Man," surrounds all of us. "Fun Is In The Air" doesn't have as its only goal making modestly inflated claims for Crispies' crunchiness or tenderness, but audaciously inflated claims for the very source of inflation, as well, and even the act of inflation itself!
This poetics of inflation structures the rest of the packaging too: the individual cat treats soar up into the sky and off of the plastic pouch like helium balloons, and those images themselves are inflated in size compared to the actual treats, as the admission "Treats Shown Are Not Actual Size" on the reverse informs us. If that isn't enough, a magnified "blow up" of a single Crispie pictured on the back and captioned "there's air in there!" inflates that Crispie even more, as if putting it under a microscope lens. The rhetoric of the poem and surrounding language is equally inflated, puffed up with redundancy and contradiction that embrace the "emptiness," "inflation of style," and "showy adornment" that the OED uses in one of its definitions of "puff." The first lines of the poem, for example, needlessly tell us that "Crispies are" (wait for it) "crispy" and that "They're fluffy with" (of all things) "air." Making liberal use of exclamation marks to puff things up still more, the poem moves to stanza two, which begins not by making additional claims for the product itself, but claims for what it isn't (it's not crunchy, not tender, etc.); essentially, as with the hype it gives the product's key ingredient that we can't see and that Purina doesn't make (air), the poem also makes claims for Crispies based on qualities that the product doesn't have.
If stanza one pursues a poetics of inflation via redundancy (Crispies are crispy) and stanza two via negativity (what Crispies are not, rather than what they are), then the poem's final stanza does so via hyperbole, telling us in the last two lines to "Crisp it up anytime. / Perfect morning, noon and night"—advice that other verbiage about "Feeding Instructions" on the package tells us we should not in fact take: "Feed as a treat to your adult cat. This product is a treat and is not intended to be fed as a meal. The caloric intake from treats should not exceed 10% of a cat's daily caloric requirement. If treats are given, the amount of food should be reduced accordingly..." In other words, you really shouldn't crisp it up anytime, as there are lots of times when Crispies aren't perfect. Among other things, what we learn from this mixed message and clash of discursive registers is that, when it comes to the language of truth and statistics and Fluffy's real-life health and dietary concerns, Purina goes to prose, and when it comes to making (and getting consumer permission to make) artificial claims (i.e., puffery), it goes to poetry. In other words, truth-in-advertising equals prose, while false or misleading information equals poetry.
But maybe this prose=realism/ poetry=puffery logic isn't entirely bad—just the victim of an unfortunate contrast and set of mass cultural associations about the power of poetry marshaled here. If you think that Friskies Crispies makes poetry seem showy, unreliable, ill-suited for practical matters, bombastic, inflated, and empty (like the holes in the crisps that we're asked to buy for their air), then wouldja just let your capitalist self take a look at that loveable cat on the packaging? He reaches up toward the sky not for the solid realness of the Crispies, but for the air inside of them, the air that surrounds us, the air that we can never fully grasp or see but on which our lives depend. When we want to reach for the stars (check out how little white starbursts in an otherwise daytime sky on the product's packaging rhyme with the sun toward which the hand reaches in the picture here), or when we leap as Friskies' Fluffy does for the Platonic ideal of the Crispie floating across the heavens, our chief resource isn't prose, it's poetry—even puffery. That is, when "the darkness surrounds us," as Creeley writes in "I Know a Man," we don't write expository paragraphs; instead, we "buy a goddamn big car" and start plunging ahead via the poetics of inflation—redundancy ("because I am always talking"), hyperbole (goddamn big car), and contradiction (telling ourselves at one moment to "drive" and the next to "look / out where yr going"). If Puff, Griffin's Spirit of Advertising, is the patron of the dull and shameless that brings overshadowed things to light and that gives fame to the nameless, well, then maybe that's just the thing we should do against the powers of darkness.
N.B. P&PC made several attempts to contact Purina about the poem on this package of cat treats, but neither our emails nor phone messages were returned.
Posted by Mike Chasar at 10:23 AM No comments:
Labels: advertising poetry, cheese flavor puffs, friskies crispies, i know a man, mike chasar, poetry and popular culture, puffery, purina, robert creeley
Thoughts on Purina, Puffery, and Other Matters, Su...