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This morning I was at the market and saw this red flower that my mom used to make ribena for us when I’m young. As I grew older I know that the flower is called roselle , rosella, Hibiscus sabdariffa L. (family Malvaceae) .The edible parts used to make “juice” or tea are not flowers but calyces. It’s the calyces that are used for flavoring, cooking and beverages. It is high in calcium, niacin, riboflavin, vitamin C and iron. The beverages have no caffeine and is super easy to make.
8 cups of water
First of all, peel the calyces from it’s pod . Wash and clean it from dirt or any insects. Next put the flower in the water to boil for 10-15mins at medium heat. (Until desire colour is archived .) Turn off heat and leave to cool.
Add honey for desire sweetness.
1/2cup of water
1 1/2 cup of sugar
1tbsp of lemon juice(optional)
After washing the peeled calyces, blend the calyces with the 1/2 cup of water. Next heat up the blended calyces with the sugar on medium heat. Keep stirring untill the jam thicken. (25-30mins) . Pour into jar and turn it upside down to cool for tight sealing. Is easy and the joy of making my first batch was priceless….
And lastly, I’m going to plant these seeds…
**is aall grown up

domain: food


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Figures released by NATO show only a handful of the European allies spend more than the 2 percent of GDP that is tacitly required of all member states.
De Hoop Scheffer also said that if the alliance is to continue its work in Afghanistan, Kosovo, Iraq, and elsewhere, member states must speed up the process of reforming their militaries.
"We agreed that we need new approaches to funding. We need a much more collective approach to logistics. At the moment, we have many nations having their own logistics support. We need better intelligence sharing. We do need to improve what I call predictability in the provisions of the forces for our operations, and we need a more comprehensive focus on post-conflict stabilization," de Hoop Scheffer said.
Currently, most European troops are basically stationary, unable to deploy outside their own territories.
The United States has over the past years consistently maintained higher spending levels than any other NATO state and also has far higher flexibility in terms of troop movement.
But as a whole, NATO is not capable of sustained long-range missions. These include air-to-air fueling, intelligence-gathering, and efficient logistics.
These deficiencies, de Hoop Scheffer said today, are mainly the result of the allies' unwillingness to share their assets or provide timely joint financing for missions.
De Hoop Scheffer said all this puts at risk NATO's ability to maintain and extend its missions in Afghanistan, Kosovo, and elsewhere.
He singled out Afghanistan as a particular success story. The ministers today formally agreed to provide an additional three battalions to secure the 18 September legislative elections in the country. They also elaborated on plans to extend NATO's presence in western Afghanistan and begin expansion to the south:
"They discussed NATO's longer-term engagement after the elections. You know that the so-called Bonn process comes to an end with the parliamentary elections. And of course this included supporting the Afghan government -- although that is not NATO's first responsibility, as you all know -- but the support for the Afghan government in the fight against narcotics," de Hoop Scheffer said.
De Hoop Scheffer said he hopes that a NATO military training center in Baghdad will be working by early October:
"On Iraq, ministers look forward to the establishment of the training, education, and doctrine center at Arustamya, near Baghdad, the outskirts of Baghdad, in fact. The work is moving forward, and I hope the center will be up and running at early fall," de Hoop Scheffer said.
The allies have failed so far to agree on joint security arrangements for the up to 150 NATO training officials who will be involved in the center's work. A private South African security company currently provides security.
The NATO secretary-general today also forcefully called on NATO and the EU to put their differences behind them and work together to help relieve the crisis in Darfur.
"The people in Darfur need help, and the African Union is providing the help. So NATO and the EU are doing everything we can to answer the request by the African Union," de Hoop Scheffer said.
After a brief dispute, the two organizations earlier this week agreed to share responsibility for providing the African Union with aircraft to bring in peacekeepers from its member states.
De Hoop Scheffer repeatedly insisted the entire operation is fully controlled by the African Union, not by NATO or the EU.

domain: politics


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Local Obits for Sun. Oct 11th, 2009
Gordon Odell Hicks, age 78, of Nashville, TN, and formerly of Demorest, GA, passed away Saturday, October 10, 2009. Mr. Hicks was born on July 23, 1931 in Demorest, ...
Kathi Anne Mearns McCutcheon, age 52 of Clarkesville, passed away Sunday, October 11, 2009.Born in Westchester, PA, on August 18, 1957, she was the daughter of Frank and Marjorie K ...
Nina Lorena Perry Caudell, age 86, of Cornelia, GA, died Sunday, October 11, 2009. Ms. Caudell was born on March 8, 1923 in Robertson Fort, TN to the late Robert S. ...
Funeral services for Thomas Russell Wood, age 82, of The Batesville Community, Clarkesville, will be held on Tuesday, October 13, 2009, at 2:00 PM from the Providence Baptist Churc ...
Memorial Park Funeral Home announces the death of Mr. Robert Ken Woo, age 72, of Goddards Ford Road, Gainesville.
Evans Funeral Home announces the death of Mrs. Annie Lou Serpa, age 78, of Athens, who passed away on Sunday, October 11, 2009. Mrs. Serpa, born in Greene County, was a Marine Cor ...
Mr. Edward Norrell, age 49, of Dahlonega, GA died Sunday October 11, 2009 at the Northeast Georgia Medical Center in Gainesville, GA.Edward was born in Lumpkin County, GA Feb. 29, ...
Barrett Funeral Home of Cleveland announces the death of Mrs. Dawn Elizabeth Stringer, age 47, of Cleveland, who passed away Monday, October 11, 2009 from Northeast Georgia Medical ...
Dawn Stringer age 47 of Cleveland passed away Sunday October 11, 2009 at Northeast Ga Medical Center. Arrangements to be announced by Barrett Funeral Home of Cleveland.
From 'Tom Jones' to 'Skyfall': star Albert Finney dies at 82
British actor Albert Finney, the Academy Award-nominated star of "Tom Jones," has died at the age of 82. Finney's family says he "passed away peacefully after a short illness with those closest to him by his side."
John Dingell, longest serving member of Congress, dies at 92
Former Rep. John Dingell, who served nearly six decades in the U.S. House, was hard to typecast
Gainesville realtor, philanthropist Don Carter dies at 86
Don Carter, the founder of Don Carter Realty in Gainesville, died at his home on Thursday, Feb. 7.
Frank Robinson, baseball's fearsome trailblazer, dies at 83
Hall of Famer Frank Robinson, the 1st black manager in Major League Baseball and the only player to win the MVP award in both leagues, dies at 83
Special Master in Georgia-Florida water wars case dies at 88
The man who served for nearly four years as the Special Master overseeing the Georgia-Florida water wars lawsuit has died.
Glen Wood, auto racing pioneer and patriarch, dies at 93
Glen Wood, racing patriarch who had been NASCAR Hall of Fame's oldest living member, dies at 93
Longtime Gainesville dentist, director of Good News Dental Clinic to be remembered at Wednesday service
Memorial services are set for Wednesday, Jan. 16, 2019 for Dr. Edwin Riley "Ed" Burnette, a longtime Gainesville dentist who was the director of Good News Dental Clinic for a number of years.
Broadway legend Carol Channing has died at age 97
Actress Carol Channing, whose career spanned decades on Broadway and on television, has died at age 97. Publicist B. Harlan Boll says Channing died of natural causes.

domain: news


Lover's Leap features two lovers are separated by a gorge. Inspired by love and tragedy wanting to be together yet separated. It is the Romeo and Juliet story. Hand-knotted entirely in New Zealand Wool to create a thick, soft feel.
- Eco-Friendly Materials: 100% New Zealand Wool & Bamboo Silk
- Size: 4' x 6'
- Technique: Hand Knotted
- Care: Dry Clean Only


The following is an excerpt from the blog of the owner of Kai Medspa in Johns Creek, Georgia, http://blog.kaimedspa.com/,which was featured on the 10/28 episode of the Real Housewives of Atlanta. The excerpt reveals the drama between Kim, Sheree and Nenee(what else do we expect?) and that Kim, one of the most overindulgent mothers in the history of the world, took her kids out of school to come to the spa when the FOKs (Friends of Kim) who promised to come out to the spa no showed. The owner closed the spa for the day for the filming and I only hope that she will make up her losses for the day in free publicity. Check this out:
"Kim Zolciak and her best friend, Cori Davenport showed up first. There was already “drama” going on when they arrived. Kim told me that she and Nene had dinner last night and she was scheduled to come to the spa…but what happened was that Nene found out that Sheree’ was coming with her friend and Nene decided not to come. Then Sheree’ had second thoughts and Kim was extremely upset because no one was coming! Kim had initially told me that 3 “housewives” were coming and each was bringing a friend. Therefore, I brought a big staff in from my other stores and I had other special items set up. Kim really has a big heart. Kim felt so badly because we had even closed the store on this day to do the filming, so she and Cori called the schools and took their daughters out early, so that they could come to kai. In the meantime, Sheree’ changed her mind and ended up coming. Kim was so relieved…"


Top Ten Greatest Hip-hop Producers
The Contenders: Page 2XW
Run The Jewels is easily the best rap group still in the game thanks to the phenomenal producing job El-P does for the group.
El-P should at least be in top ten.
Really rich experimental production from El-P. Arguably the king of underground producers actually - Shwyg
He crafted a whole new sound that inspires lots of experimental musicians even to this day.V3 Comments
If you've listened to Doom, then you should understand the genius of the supervillain.
Much higher on this list yo what?
This guy is dope he has produced lots of Eminem, nas, big pun and mob deep tracks just to name a fewV2 Comments
Pharrell should be in the top ten he's awesome!
Should be top 3 after dre and premier
Why is he so far down the list? He is the only one on here who actually is a master at the piano. He has the most talent and has the best beats.
Dre is first, right? Well there is no 'Still Dre' without Scott Storch.
Lean Back, Candyshop, Cry me a River are just a few of the hits this genius has been behind.
Scott Storch is a genius. Over 50 smash Billboard Top 100 hits. And some classics like Still Dre, Candy Shop, Let me love you, which are played 10+ years later on radio and T.V.. He should be number 1 in my opinion.
my favorite japanese hip hop producer -
You can feel the soul in music produced by Nujabes. Not the case with many ranked above him. Top 3 easy if you know music.
Jun should easily be topping this list. Top five at least.
Obviously, the best producer of ALL TIME!V3 Comments
Should replace Dj Premiere. Although it's hard to wanna do that. But still!
He just does crazy bits, he is the best. Even dre can't top this kid.
Maybe the most misguided and ignorant comment regarding hip hop that I've ever encountered...
Why is he down here so far. This guy is amazing! He is like a classical composer in modern day rap! Ain't no one with SEVEN! #1
He produces a lot of Tech N9ne and Twiztid especially Twiztid's Abominations. - KMJ
Related ListsTop 10 Best Hip Hop Artists Best Hip Hop Songs of All Time Best Hip Hop Albums Saddest Hip Hop Songs Best Hip-hop Record Labels
List StatsUpdated 10 Dec 2016
7 years, 364 days old
Top Remixes (16)
3. Just Blaze
2. DJ Premier
2. Eric B.
3. Rick Rubin
View All 16


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The digital revolution in how films are seen and made is currently spelling a slow death for celluloid.
Since the early days of photographic film in the late 19th century, moving pictures have been captured and then projected via some form of celluloid print.
The origin of the name “film” even comes from the process and has been the primary method for recording and displaying motion pictures for over a century.
But with the advent of digital technology over the last decade the days of film-based production and projection are numbered.
This also presents an an interesting paradox: what will we call films once they are no longer shot or projected on film? (Should I rename this very website?)
But whilst we ponder that, it is worth exploring why this is all happening and the differences between the old and new processes.
From the early days of cinema until very recently light has shone through a piece of celluloid and the resultant moving image was then projected on to a cinema screen.
This video by the Phoenix Cinema in Finchley shows how film projection has traditionally worked:
In the last few years cinemas around the world have been gradually replacing the above method with digital projectors, which essentially replace cans of film with a large hard drive of data which is then projected via a computer system.
“Titanic played so long that our prints fell apart. We actually only left theaters because our prints [had become] unwatchable. We hit the upper boundary of how long prints can run in theaters, and I can tell you how long that is – its 16 weeks. It’s a good problem to have but for the last half of that [theatrical run] they looked pretty ragged, they were all scratched up… so all that stuff is in the past and we’re really in a brave new world right now.”
The rise of digital cinema projection began in 1999 just when digital optical discs were gaining traction in the home market with the DVD format.
Over the next decade, digital projection gradually become a reality: 2002 saw the major studios form a joint initiative to agree on technical standards and by 2007 many multiplex and arthouse screens in the UK began upgrading to digital systems.
When James Cameron was making his sci-fi epic, he felt that 3D films would ride on the back of digital cinema, only to find out that its staggering commercial success actually drove the digital conversion of the remaining cinemas, as 3D movies can only be shown on digital screens.
You could debate that those films were going to be hits anyway but studios and cinema owners looked at the numbers and felt they would be missing out if they didn’t have digital screens to show 3D movies, even if the quality was poor (as was the case with Clash of the Titans that Easter).
During 2009 there were 650 digital screens in the UK, but just a year later this had nearly trebled to 1400, with 1080 of them 3D enabled. This meant that 80 per cent of all cinema releases in the UK were on digital prints, compared to France where the figure was just 20 per cent.
Another driver has been hugely profitable animated films in 3D, such as the recent Pixar movies (Up, Toy Story 3) and even less acclaimed films like Ice Age 3 and Rio, which have been enormously profitable for studios.
The formula is a seductive one – they aren’t as risky or expensive to make as a big-budget live action film and they have a wide appeal to family audiences who often go more than once and buy their kids related merchandise.
This is why cinemas during school holidays increasingly resemble an animation convention.
But the post-Avatar boom in 3D titles has given way to a dip of sorts, with some questioning just how much it has boosted recent blockbusters, but whether the 3D trend continues or not, digital projection is here to stay.
But how long before film-based projection will effectively end?
It seems the end of 2013 will be a key moment.
Part of what is driving the digital revolution is raw economics and the reduced costs of shipping digital versions of movies to cinemas as opposed to cans of film.
At a movie conference in Australia earlier this year a participant said that major studios have made deals that will effectively end the wide distribution of film prints by 2013.
After that an independent cinema could still rent an old celluloid print, but the rise in costs will make it prohibitive for them, so in a few years this projection method will effectively be over.
At CinemCon earlier this year in Las Vegas, the head of NATO (North American Theater Owners) John Fithian said that almost 16,000 screens out of a total of 39,000 had been converted to digital and confirmed that the end of 2013 was effectively a cut off date.
“For any exhibitor who can hear my voice who hasn’t begun your digital transition, I urge you to get moving. The distribution and exhibition industries achieved history when we agreed to technical standards and a virtual print fee model to enable this transition. But the VPFs won’t last forever. Domestically, you must be installed by the end of 2012 if you want to qualify. Equally significantly, based on our assessment of the roll-out schedule and our conversations with our distribution partners, I believe that film prints could be unavailable as early as the end of 2013. Simply put, if you don’t make the decision to get on the digital train soon, you will be making the decision to get out of the business.”
Is this a sad development or the start of a new and exciting era?
There is a lot of misplaced nostalgia about a print being lovingly threaded through a projector by a dedicated projectionist and that there is something inherently special in 35 mm.
It is true that a good print in a decent cinema looks great, but if you ventured outside of the premium cinemas that critics and filmmakers view films on, there was a different story.
Back in 2007 I saw Ocean’s Thirteen projected digitally at Warner Bros in London and it looked and sounded great – colours popped and the image was stable.
When I saw an analogue equivalent a few weeks later at a multiplex in East London, the image was dim, the print was scratched and the whole experience was less than satisfactory.
During 2009 I saw major releases such as Funny People and Sherlock Holmes on opening night at a suburban multiplex and not only were the celluloid prints degraded but it was also shown in the wrong aspect ratio (i.e. the widescreen image was clipped at the sides).
Part of the reason you don’t often hear about poor projection in the media is that most audiences don’t know any better (and who would they complain to if they did?) whilst journalists writing about films tend to see them at preview screenings at decent cinemas.
Hence you hear a lot about the decline of the projectionist as opposed to how poor the image and sound quality could be for most people who weren’t able to get to a decent cinema.
As with any new technology, there will be teething problems. During a press screening at last month’s London film festival at the Odeon Leicester Square (probably the most high profile cinema in the country) faulty audio issues meant that the film had to be paused (as it was digitally projected, the image held on screen just like a DVD player)
But this isn’t primarily a technical issue, but a human one – if cinemas employed the right people to make the necessary checks then issues like this wouldn’t happen.
Multiplexes should actually continue to employ projectionists to oversee what the audience sees – cutting costs here is damaging to the long term health of the cinema experience.
In an age where it is much cheaper for audiences to rent or download a wide range of high quality films in the home, this is something they should be wary of.
As for the art-house chains in the UK, such as Picturehouse and Curzon, you could argue digital has been a success: not only is there a reduced cost for distributor and cinema but a film like Senna definitely benefited.
Watching Asif Kapadia’s documentary this summer at the HMV Curzon cinema in Wimbledon was an eye-opening experience: not only were the sound and audio excellent, but it was a good example of how digital can benefit lower budget films, as well as the big tent pole releases.
Although distributed by the UK arm of a major studio (Universal) it was a specialist release at selected cinemas which needed careful planning and the reduced costs in digital distribution almost certainly helped it become the highest grossing documentary so far this year.
It is also worth noting that digital has reduced costs for documentary filmmakers, which is perhaps why we are seeing a resurgence this year with films shot in the format from such heavy hitters such as Errol Morris (Tabloid) and Werner Herzog (Into the Abyss), along with directors newer to the genre like Kapadia.
The death of celluloid as a projection medium is only two years away, but arguably has a longer life as a tool to capture the action we end up seeing on screen.
Arri’s VP for cameras Bill Russell said to Creative Cow recently:
“The demand for film cameras on a global basis has all but disappeared. There are still some markets – not in the U.S. – where film cameras are still sold, but those numbers are far fewer than they used to be. If you talk to the people in camera rentals, the amount of film camera utilization in the overall schedule is probably between 30 to 40 percent. In two or three years, it could be 85 percent digital and 15 percent film. But the date of the complete disappearance of film? No one knows.”
Although there will still be plenty of older camera bodies available for some time to come, it did seem to mark the end of an era: what would the medium of film be without film stock?
That question would seem to lie with Kodak and Fujifilm, the two main suppliers to the film industry.
Ominously for fans of the older process, the large service companies that print and distribute celluloid for the major studios, principally Technicolor and Deluxe, have been hit by the rise of digital and are moving their processes in accordance with the times.
Technicolor recently shut their film labs in Hollywood and Montreal whilst Deluxe ceased processing 35mm and 16mm negatives at two UK facilities.
Her latest work is simply called ‘Film’ and is essentially a love letter to the declining medium – a silent 35mm looped film projected onto a monolith standing 13 metres tall inside the Turbine Hall of the Tate Modern in London.
In the Creative Cow article, Deluxe executive Gray Ainsworth basically admitted that they were preparing for a digital future:
“From the lab side, obviously film as a distribution medium is changing from the physical print world to file-based delivery and Digital Cinema. The big factories are absolutely in decline. Part of the planning for this has been significant investments and acquisitions to bolster the non-photochemical lab part of our business.”
With Technicolor also making investments in visual effects and 2D-to-3D conversion it seems that that two pillars of the old order are preparing for a future without celluloid.
However, film capture will remain for a few years to come with high profile directors like Steven Spielberg and Christopher Nolan staying loyal to the traditional photochemical process.
This split was best seen in early 2010 at a panel during the Santa Barbara Film Festival in the run up to last year’s Oscars when Quentin Tarantino declared that he would rather burn his LA repertory cinema down rather than show a digital print there [beginning at 5.20].
Whilst the crowd are laughing and applauding at Quentin for his defence of 35mm film prints, fellow panellist James Cameron can be seen shaking his head slightly as if he couldn’t disagree more, given his advocacy for digital capture and projection as the future of cinema.
“People are welcoming that they can finally drive a stake through the heart of film”
From Cameron’s point of view the hurdle has been two-fold: to get filmmakers conditioned to using celluloid to embrace digital cameras and 3D.
Part of the reason is that film-based processes don’t work if you are shooting natively in 3D (as opposed to post-converting) as you need to sync both stereo channels with precision, which can’t really be achieved using conventional film cameras.
Whilst the jury may be out on 3D, it seems that the last 18 months have marked a tipping point for sceptical directors and cinematographers.
Arri were instrumental in shaping the film camera throughout the twentieth century, inventing the world’s first reflex shutter camera in 1937 – the Arri 35 – and then its successor the Arri 35 II, which is amongst the most influential 35mm cameras ever built, with its portable and durable design gracing numerous features and documentaries.
The Arri Alexa could be to the digital era what the 35 II was for the age of celluloid, with world class cinematographers like Roger Deakins and Robert Richardson using it, with Deakins saying in a recent interview with the British Society of Cinematographers:
“I was surprised how quickly I became comfortable shooting with a digital camera”
Richardson shot the new Martin Scorsese film Hugo in 3D using the aforementioned Alexa M camera and films such as Melancholia, Drive and Anonymous were all shot using the camera and the quality of the images appears to have won over many digital sceptics.
“It was interesting because so far I have always shot on 35 mm and I kind of felt lucky that I had escaped digital for so long. I think that the moment I was confronted with digital was the moment we reached a level that is absolutely amazing and incomparable to what has come before”
Soderbergh has shot all of his recent films on the RED camera (starting with Che in 2008) and talks here about what it means for directors:
Interestingly, the biggest release of next year will buck the digital trend – The Dark Knight Rises will be shot on a combination of IMAX and 35mm film stock, which will provide resolutions higher than any current digital camera can muster.
But even Christopher Nolan has admitted that the bulk of camera research and development over the last decade has gone into digital, so he represents an exception rather than the rule.
However, Nolan and his DP Wally Pfister are stout defenders of film-based cameras for a reason – the image captured on them can look phenomenal if done correctly.
At this year’s Cine Gear Expo 2011 Rob Hummel gave a talk as to why film is still a superior capture format:
Again at the recent London film festival I saw back-to-back press screenings of Like Crazy and Pariah on the NFT screen at the BFI Southbank, which is one of the best cinema screens in the country.
Cinematographer John Bailey spoke earlier this year about why he still shoots on film and the dilemma facing movie archives if we eventually move in to an all digital world:
But what does this march towards digital capture and projection mean for the industry and the average cinema goer?
Whilst some audience members won’t immediately notice the difference, digital projection means greater stability of image and perhaps an opportunity for lower budget films to make a greater mark, as it reduces distribution costs in the long run.
For many filmmakers, it represents the dawn of a new era in which workflows and resolutions will improve as sensors, lenses and on-set data systems (such as those used on Hugo) allow greater flexibility once they have adapted to the possibilities afforded to them by newer and ever improving technology.
For celluloid though the end has already begun, as the photochemical process which sustained cinema for over a century slowly fades into an oncoming digital reality.
It is a smart way of marketing The Tree of Life to audiences concerned by the unusual nature of the film and perhaps says to geekier audiences that there is more to cinema than just comic book adaptations and Hollywood conventions.
The Tree of Life is in limited release in the US and opens wide on July 8th, the same day as the UK release.
Although the film’s relentless focus on death turned off dweeby critics, Bardem’s acting will be remembered for years to come.
Christopher Nolanfor Writing and DirectingInception: The enormous commercial success of Nolan’s career has strangely obscured his very real creative accomplishments. Fashionable contrarians and elederly members of the Academy were turned off by the gorgeous labyrinth that was Inception, mainly because it was ‘too loud’ or ‘too clever for its own good’.
The fact that Nolan (as director) and his veteran editor Lee Smith were snubbed still hints that some Academy members don’t get his films. But for a generation of filmmakers it will be discussed, analysed and appreciated for years to come.
Angus Wall and Kirk Baxterfor editingThe Social Network: One of the crucial aspects of Fincher’s drama that makes it work is the phenomenal edit job by Angus Wall and Kirk Baxter.
It might take a couple of viewings to fully appreciate, but the criss-crossing timelines and overall construction of sequences is masterful. Some Academy voters might not have got the film on first viewing but repeated viewings highlight the dazzling, but often understated, work that went into it.
Roger Deakins’cinematography forTrue Grit: Although already something of a legend for his amazing body of work, Deakins managed capture the haunting beauty of the west in True Grit whilst providing some indelible images.
Many people think it is his time to be awarded an Oscar and who would begrudge him a statuette this year?
The Visual Effects in Inception: The team at British SFX house Double Negative who worked on Nolan’s film (Paul Franklin, Chris Corbould, Andrew Lockley, and Peter Bebb) deserve a lot of credit for helping build convincing dreamscapes through live action and CGI.
The inventive blend of real locations, stuntwork and CGI were stunning and in the hotel fight sequence, limbo city and the overturning of Paris have set a new standard for effects work at this level.
The score for The Social Network by Trent Reznor and Atticus Ross: One of the most startling and arresting scores in recent memory was this wonderfully discordant electronic score. The way in which the dialogue driven opening scene gives way to the unsettling title sequence is one of the most memorable film transitions of the year.
Just a few minutes later the urgency of the Face Smash sequence is powered by an unforgettable frenzy of beats and noise. In some ways the score to the film is what gives the film it’s unique flavour, with no cliched strings or cliched tracks from the time, it gives the story a distinct and original feel.
The Sounds of Inception: People always get confused between sound mixing and sound editing. To simplify, editing involves how the parts are assembled, whilst mixing is about the whole soundscape is put together.
It is a crucial and often undervalued aspect of movies and in the case of Inception, Richard King did an incredible job of recreating the sounds of all the different dream levels, which involve trains, guns, explosions, punches, car chases. The construction of the audio landscape in Inception was one of the great unsung reasons as to why it worked so well.
Charles Ferguson’s Inside Job: The documentary category this year is incredibly strong but Charles Ferguson’s documentary about the financial crisis deserves special mention.
Brilliantly dissecting the way Wall Street has essentially captured a generation of politicians and held society hostage for their own ends, it is a chilling reminder of how the political orthordoxies of the last 30 years have wreaked havoc but largely gone unpunished.
Christopher Nolan’s ambitious heist film was one of the most talked about blockbusters of the year and Warner Bros have given it a worthy Blu-ray release.
The story revolves around a gang of hi-tech thieves led by international fugitive Dom Cobb (Leonardo DiCaprio), who steals valuable information from people’s dreams.
After a job on a Japanese businessman (Ken Watanabe) goes wrong, he is faced with the daunting challenge of ‘inception’: instead of stealing information, he must secretly plant some inside the mind of an wealthy tycoon (Cillian Murphy).
Assembling a team of experts (which includes Joseph Gordon-Levitt, Ellen Page and Tom Hardy) who can help him execute the mission, he must also deal with his own troubled past, which endangers his ability to do the job at hand.
For writer-director Nolan, this is a return to the territory of previous films such as Memento (2000) and The Prestige (2006), where he explores the themes of illusion and reality whilst playing an imaginative game with the audience.
We are firmly in the realm of science-fiction here, but interestingly the settings are very real world: imagine if Michael Mann had decided to mash up The Matrix with Ocean’s Eleven and you’ll get some idea of the terrain here.
With some concessions, the subconscious dream worlds appear as realistic as the conscious waking world, creating a persistent question as to which is real: a clever conceit, given that cinema itself is arguably the closest art form to a dream.
There are many stylistic nods to action films of the 1960s: a team of experts assembled for a job; glamorous locations; vivid production design and costumes; and a sense of mystery and wonder.
The huge success of The Dark Knight has allowed Nolan a particularly large canvas on which to paint, and he has filled it with gleeful abandon, mixing the traditions of the spy thriller and heist movie inside a surreal, shifting dreamscape.
Cutting between the real and virtual worlds bears similarities to The Matrix (minus the bleak, sci-fi dystopia) and Avatar (minus the alien planet) and Inception appears to be drawing from the same cultural well as those films.
Their success appears to be how they tap into the virtual nature of modern existence (through social networks and the web) as well as the escapist nature of watching a film, as a reality unfolds before us on screen.
All this is helped by being presented in an intriguing story on a grand scale, with the technical aspects especially outstanding.
The visual effects (by Double Negative and Plowman Craven) are stunning and augment the in-camera action so well that they never feel like conventional CGI.
In addition, there are some highly imaginative sets overseen by special effects supervisor Chris Corbould, especially one amazing sequence involving a hotel, which bears comparison to similar scenes in Stanley Kubrick’s 2001.
A special mention must also go to editor Lee Smith, as the third act involves some inventive warping of time and space, which must have proved a particular challenge in the edit suite.
Much of Nolan’s previous work rewards repeated viewing, revealing a meticulous attention to detail and subtleties not always apparent first time around.
The same is true for this film and viewers will be pleased that it is up to very high technical standards of Nolan’s recent films on Blu-ray (The Prestige and The Dark Knight), arguably surpassing them.
Nolan and his D.P. Wally Pfister are take great care in how they shoot and master their films and visually Inception looks stunning in HD, with the varied landscapes of the film and all the action sequences depicted with amazing clarity and detail.
The audio is equally impressive and, if you have the right sound system, the powerful DTS HD Master Audio Track is crisp and powerful, especially in the action sequences.
Warner Brothers have released this in a three-disc version: Disc One includes the film with a special ‘Extraction Mode’ feature which allows viewers to access making of footage; Disc Two is dedicated solely to special features; and Disc Three contains the DVD and Digital Copy data.
Extraction Mode (Disc 1, HD): This allows viewers to access over 45 minutes of behind-the-scenes featurettes alongside with Nolan and his crew as they discuss the ideas, characters, performances, and visual effects. Rather than use the traditional Picture-in-Picture mode it goes between the main film and Warner’s making-of materials. (An added bonus is that the individual behind-the-scenes featurettes can also be accessed from the main menu.)
5.1 Inception Soundtrack (Disc 2, HD, 39 minutes): Hans Zimmer’s epic score is presented in 5.1 surround sound via a DTS-HD Master Audio mix and the only negative here is that the screen remains empty during all of them.
Dreams: Cinema of the Subconscious (Disc 2, HD, 44 minutes): Joseph Gordon Levitt hosts this documentary about dreams which features doctors, psychologists, scientists and other experts to discuss the science of sleep.
Inception: The Cobol Job (Disc 2, HD, 15 minutes): This was released on the website to tie in with the theatrical release and is a Motion Comic, explaining the backstory of how Cobb, Arthur and Nash were enlisted by Cobol Engineering.
Project Somnacin: Confidential Files (Disc 2, HD): This allows you to access the secret tech files for Inception’s dream-share technology through a BD-Live portal.
Conceptual Art Gallery (Disc 2, HD): Over thirty pieces of concept art and pre-production images.
Promotional Art Archive (Disc 2, HD): A collection of the US and international posters for the film.
Trailers and TV Spots (Disc 2, HD, 16 minutes): A theatrical teaser, two full trailers and thirteen TV spots.
There is also a Limited Edition Briefcase edition that consists of a briefcase containing the Triple play pack (Blu-ray/DVD/Digital Copy), a spinning top, theatrical Dream Machine leaflet and four art cards showing the main key art.
Inception is out on Blu-ray and DVD on Monday 6th December from Warner Home Video
An Italian research lab have posted some interesting graphic visualisations of Christopher Nolan’s Memento (2000).
A thriller about a man named Leonard Shelby (Guy Pearce) suffering from memory loss, it explores his hunt for the murderer of his wife and is best known for its innovative structure, which contrasts two alternating narratives.
One in colour, which is told in reverse chronological order, whilst the other is in black and white and unfolds in chronological order, showing Leonard on the phone with anonymous caller.
Watching the film for the first time can be confusing and even after several viewings, key plot points provoke certain questions.
The basic structure of the film can be seen in this graphic on Wikipedia:
But in 2007-2008 some highly creative visualisations of Memento’s narrative structure were created at Density Design, a research lab in Milan.
(To see the full versions on Flickr just click on each image)
This one visualises the narrative's horseshoe shape
This one contrasts the progression of the film through the colour and B&W timelines
Using tattoos on a human body, this references how Leonard remembers things
This seems to be a reference to the chart Leonard actually makes in his motel room
This one measures the audience's uncertainty through different colours
The structure of the film is shown as a board game

domain: entertainment


text:
Business Secretary Lord Mandelson confirmed today that the government was in negotiations about providing state aid for Jaguar Land Rover, which could reportedly amount to about £1bn. The two famous British marques were bought by Indian giant Tata for £1.7bn in June, but (like all car-makers) have seen sales plummet in the downturn. Since they employ 15,000 people between them, the Government has apparently decided that it can’t leave it to Tata to safeguard their fate – although Mandelson’s insisting there’ll be ‘no open chequebook’…
Jaguar Land Rover admitted last month that it was battling with ‘unprecedented trading conditions’, which have hammered car sales around the world, and it recently cut 850 agency jobs. Apparently it’s been arguing to Mandelson that it’s under ‘particular strain’ – although we suspect a few other car companies may raise their eyebrows at that. Indeed, given that the firm is owned by Ratan Tata, one of the world’s richest men, it might seem like an odd candidate for state aid – after all, Tata may be suffering from sliding sales at the moment back in India, but he's not exactly short of cash to bail the company out.
However, the Government clearly feels that Tata might need some encouragement to keep making the famous cars in Britain. And Mandelson suggested last night that the car industry may have a better claim for help than most. ‘Car manufacturing is a centre of real excellence and competitive strength in our country,’ he said. True enough, although it’s also worth remembering that it (directly or indirectly) employs about 800,000 people at various stages of the supply chain – and that’s a lot of voters for the Government to lose just before an election…
On the other hand, the government won’t be able to bail out every struggling business, so it’s going to have to play this carefully (even assuming it can get its state aid approved by the EU). The FT suggests today that any Jaguar bail-out – which would probably be in the form of a loan guarantee scheme, rather than the kind of cash bail-out being discussed for the Big Three across the pond – would be done on very stringent conditions, to avoid opening the floodgates.
Mandelson has also started to explain how the government will decide when to intervene; he's been mapping out a new policy of ‘industrial activism’, which will involve backing sectors of strategic importance. He even hinted at a state-backed innovation investment fund: ‘Some have suggested that we now need a 21st century version of 3i,’ he said (including some 3i shareholders, possibly, given its recent share price plunge).
So it looks like the car industry might be one of the chosen few. We always wanted to own a Jaguar – but this wasn’t exactly what we had in mind...
In today's bulletin:
Jaguar and Land Rover seek £1bn bail-out
BA and Qantas abandon £4bn merger talks
SVG cash-call highlights private equity woes
Employers rage as Working Time opt-out abolished
Woolworths to close for good as high street woes mount


As an inclusionist measure, a new anthem was adopted for Bosnia and Hercegovina on June 25, 1999. It was originally without words until the lyrics could be written and agreed upon; the music itself was written under the title “Intermecco”, but the anthem is titled “Državna himna Bosne i Hercegovine” (The National Anthem of Bosnia and Herzegovina).
Nearly ten years later, in February, 2009, lyrics written by the composer of the piece, Dušan Šestić, along with Benjamin Isović, were accepted by a parliamentary commission, yet await official adoption by all levels of government, so the anthem still remains officially without words. While the lyrics don’t mention the different ethnicities or the two administrative areas of Bosnia (the Federation of Bosnia and Herzegovina, which uses the national anthem, and Srpska, which uses their own anthem), the anthem concludes with “We go into the future, together”.
The anthem doesn’t seem to be all that popular in Bosnia, the various nationalities tending to use their own anthems (Serbia‘s by the Bosnian Serbs, Croatia‘s by Bosnian Croats, and the former anthem “Jedna si Jedina” by the Bosnian Muslims.)
Special thanks to: Miguel Tomàs Gómez Hernández for the sheet music and Ozren Arnautovic for some of this information.


text:
Mr. Handel's Water Piece (B-flat version)
By George Frederic Handel / arr. David Marlatt
Brass Quintet Score & Parts
This Suite in D, also known as Mr. Handel's Celebrated Water Piece (and A Choice Sett of Aires) is a five movement piece originally for trumpet and strings. This is a version of this piece arranged in B-flat concert. It facilitates performance on B-flat trumpet rather than piccolo which makes this popular piece accessible to more quintets. For the original key please order BQ25198.

domain: artistic


text:
I am looking for a logo to be designed for a telephone answering / virtual assistant company. It should mention the compa...colours to be Blue & green as shown below. Blue - #0F75BC Green - #8CC63F Completed file: .eps .pdf film format 100% vector editable on a transparent background in CMYK colour Look forward to seeing your design.
Hi Sabbir H., we like your entrie #40 for our Lo...Indesign or PSD (Photoshop) • We should also get in Jpeg, PDF & PNG • High res and low res and a mon version (for use in black & white, if we ever need) • Transparent background • CMYK & RGB Please confirm if you can do this by Friday 20 Oct? Anything else you need from me? Cheers Jonas
...professional print jobs. These are vector format files. These files should be in a CMYK color format. Vector art allows you to reduce or enlarge a design to ANY size without losing detail or clarity. For home use and some print jobs you will need TIFF or BMP (Bitmap) files. These are pixel files and should have a DPI (dots per inch) of at least 300
I have a bitmap logo that needs to be redone as vector artwork. Result can be in any common vector format. I expect the work may take a couple of hours. The logo is fairly simple but I cannot post it here for obvious reasons. Likely to be ongoing small jobs in the future.
1. In photoshop, please isolate all images (girl, LA, red ball & streaks, "Dodgers" word) onto their own layers with transparency (keeping ...make the bottom of the girls legs taper off more naturally (currently cut off abruptly by the crop). 4. Please deliver a high resolution photoshop '.psd' file (>= 300dpi, CMYK colors for printing). Thanks!
...based graphics please. Wide range of products. It has to be usable on any kind of marketing stuff. (has to show well also in black and white). (only fully coloured CMYK please) Logo has to represent: online shopping extreme fast delivery reasonable price excellent customer care File types we will need: AI, EPS, PSD, JPGs, GIF, PNG
...amendment you have to change the design as per their requirements. Have a look at the magazine: [url removed, login to view] Parameters: CMYK colors (only) Each ad has fix sizes: 70x50mm, 140x50mm, 140x100mm, 140x200mm (4 mm bleed) I have attached few sample to demonstrate what quality we are looking for. (these
Part 1 i need some one illustrate this same logo work area : 30X30 cm rez: 300dpi color mode :cmyk the require file is ai only ( only use illustrator) ---------------------------------------------------- Part 2 this is a medical Scan center i need business card for this client Size : 5.5X9 cm card data : look at [url removed, login to view] <------ public
...maybe GetHullImageMask(...) In DEBUG mode they spin-off ‘quick’ jpgs during processing so you can check their progress. During processing it changes the image-type to a ‘Bitmap’ than later changes back to a format that most of the rest of the software uses: A ushort(….) array of values. 'Running the project': After you get it built. Make sure...
...right. 5. Improve black and white color on faded pages. 6. Some pages are color and need to be changed to black and white. 7. I will need this in jpeg and pdf CMYK. If you don't know what Cmyk is, this is not the job for you in 300 dpi. [url removed, login to view] pages must be formatted without damage to the page, text, and picture. I don't want the images stretch...
Hi! Looking skilled freelancers that can draw digital and deliver the files in high resolutions in either bitmap or vector. I am only looking for creative artists who can composite characters and text together with elements playing each other. Here are some of the requirements we want you to draw: [url removed, login to view]
Looking for a simple entry (introduction) to our promotional video. We are not looking for anything difficult or sophisticated. Reasonab...be/gwiC3FWiXSY Our brand colours [url removed, login to view] COLOUR CODES BACKGROUND: Color spaces of #f5ded2 RGB 245 222 210 HSL 0.06 0.64 0.89 HSV 21° 14° 96° CMYK 0.00 0.09 0.14 0.04
...for printability and a cropping option will apply to choose a custom cutout with the correct aspect ratio. At the end of the process we need a printable PDF file (300dpi / cmyk) that is submitted to us with the custom designed sedcard of our client. We think its best to use mpdf/fpdf for the pdf generation, but we are also open for suggestions.
...it right from the beginning. I will need this in both jpeg and pdf. You must know how to do correctly do this. I will test. If you don't know the difference between rmg and cmyk, and how to correctly format a black and white picture, please don't waste your time. You will also need to fill in space or add space where the 5mm frame is to keep picture
I want to be able to update or request current frame and get in form of Bitmap from Elagto HD Capture card, I have tried using [url removed, login to view] " [url removed, login to view] = new FilterInfoCollection([url removed, login to view]);" And this does not return the video capture, I have seen some code online which I find difficult to translate mentioning
I need a logo for an ICT company, [url removed, login to view] Ltd. The company provides IT services for customers. (For individuals and for companies also.) The slogen of the...(For individuals and for companies also.) The slogen of the company: To be on the safe side... The slogen CAN be used, but not mandatory. I need the logo in vector and in bitmap format also.
...without limitation 2. Logo should be horizontal or square/circle (to qualify as universally accepted on most platforms and social media) 3. Minimal empty space 4. Pantone & CMYK Referenced colours 5. Logo should have full logo and corresponding mini-logo for favicon and other face-front representations 6. Colour scheme – (Blue, Red/Orange, Green)

domain: design


text:
Ella Wheeler Wilcox (5 November 1850 - 30 October 1919 / Johnstown Center / Rock County / Wisconsin)
Look in the eyes of trouble with a smile,
Extend your hand and do not be afraid.
‘Tis but a friend who comes to masquerade,
And test your faith and courage for awhile.
Fly, and he follows fast with threat and jeer.
Shrink, and he deals hard blow on stinging blow,
But bid him welcome as a friend, and lo!
The jest is off – the masque will disappear.
Comments about this poem (The Masquerade by Ella Wheeler Wilcox )
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domain: literature


text:
Are you searching for a diy Project you can actually do yourself? This woodworking project is a fun and a fairly easy one to tackle on your own. The Wine Crate Coffee Table is a great way to recycle old
Children will various papers (scrap paper, magazine clippings, craft paper) to design a city or their house. They will strengthen their creative thinking by choosing certain colours, images and patterns to represent their city.


text:
By Joel Warner
By Michael Roberts
By Alan Prendergast
By Michael Roberts
By Michael Roberts
By Amber Taufen
By Patricia Calhoun
By William Breathes
A surge in gas prices a decade ago prompted Lamar Light and Power to shut down its gas-fired plant, built in 1972. For a time, it was actually cheaper for the company to buy electricity from the grid than produce its own. But as the price of those contracts began to rise, too, LLP and its partner ARPA — a consortium of southern Colorado communities, including Holly, Springfield, Trinidad, La Junta, Las Animas and Lamar — began to search for new power sources they could control.
One resource, widely available and largely untapped on the eastern plains, is wind. LLP and ARPA built a small wind farm a few miles south of town, consisting of four turbines generating 1.5 megawatts of electricity each: enough energy to meet about 15 percent of the town's demand. The project was a stunning success, prompting calls for more wind power. But the established wisdom of the power industry holds that wind is too unreliable for base power generation and must always be backed up by some kind of fossil-fuel system.
To the guiding lights at ARPA and the Lamar Utilities Board, which oversees Lamar Light and Power, that meant coal. In 2004, ARPA informed its members of plans to "repower" the Lamar plant by retooling an existing steam turbine and adding a second turbine and a coal-fired boiler. The conversion to coal was estimated to cost between $61 million and $66 million and would provide what ARPA described as "competitively priced and reliable baseload power" for the communities involved.
But in some quarters, the plan was greeted with skepticism and trepidation. One surprising dissent came from Leon Sparks, who'd worked for Lamar Light and Power for 45 years, the last fifteen as the plant superintendent. Sparks felt so strongly that the conversion was a mistake that he wrote letters to the editor and even took out an ad in the local paper protesting the move.
"My biggest concern was that they were going to put it right in town," say Sparks. "I didn't think it was right to put a noisy coal plant, with rail cars and the rest, in the middle of Lamar."
Before he retired, in 2003, Sparks had sampled possible locations for additional wind turbines in LLP's 157-square-mile service area. He believes the area has sufficient wind for a far-flung network of turbines that would overcome the standard objections about wind being an intermittent power source. "Out here, the wind is blowing somewhere all the time," he explains. "I thought with more wind and gas, we could keep the prices down and have a clean plant. But when I left, nothing additional was done. Every effort was put into the coal plant."
The challenge of converting the old gas plant proved to be more daunting than expected. Hikes in the price of copper, concrete and steel sent the raw-materials cost soaring; competing for qualified contractors with Xcel's expansion of the Comanche plant boosted wages and labor expenses. Technical difficulties and what Rigel calls "design issues" resulted in significant delays as workers struggled to modify or replace pricey equipment. Projected to be up and operating 22 months after groundbreaking, the plant took more than three years to complete, forcing ARPA to buy more power on the open market than it anticipated.
E-mails between plant officials and contractors produced in the citizen lawsuit show a remarkable degree of bickering and blame-shifting — over delays, unpaid bills and work that was started and stopped repeatedly as technological and scheduling problems arose. "I again request a basic organizational chart and project schedule," an exasperated point man from General Electric wrote to an ARPA manager last fall. "This project continues in delay! This is at significant cost to your organization."
Even an admiring appraisal in Power magazine, which conveyed its Marmaduke Award for creative problem-solving to the Lamar Repowering Project, contained some caveats about the engineering involved. "The complexity of the integrated steam turbines makes the design and operation of this plant more complicated than for a standard steam plant," the writer observed.
The cost overruns prompted at least one member of ARPA to seek a way out of the deal. The city of Raton, New Mexico, a member since 1979, had approved the initial $66 million bond offering — but balked after ARPA requested an additional $10 million, then another $18 million. Two years ago Raton filed a federal lawsuit against ARPA, stating its reluctance to take on more debt and complaining that the cost per kilowatt hour generated by the plant would be well above what had been represented. By 2007, the suit alleged, ARPA's cost estimate had swollen to $110 million, and at a meeting with city officials, "ARPA admitted substantial mistakes related to the Project concerning, for example, silo issues, coal handling, and rail issues."
Under the terms of a settlement reached earlier this year, Raton will drop out of ARPA and will look elsewhere for its power needs. Other members have been dunned for "prepayments" of power and are facing rate increases to defray the costs resulting from the plant delays.
"If anything could go wrong, it did go wrong," ARPA board president Bob Freidenberger explained to the Trinidad city council a few months ago.


We know a young woman who is so up to date, it's nearly impossible to mention something she didn't hear about minutes or hours or even days before we did.
Tragic floods in Texas? A breakthrough in cancer research? An heiress's latest dalliance? She got the word, way before we did on TV; or from Internet sites on one of her three computers; or from the hottest, latest, hand-held device she's constantly checking.
Unfortunately for the publishing industry, our young friend is the poster child for declining newspaper and book sales. The circulation of daily newspapers is dropping by two or three percentage points a year. Frantic, the papers are cutting staff, starting Web sites and blogs, and even giving their papers away, just to hold onto young readers. And many publishers have given up printing books of substance, in favor of what sells: romance novels, tell-all tales of naughty starlets, and instant recaps of tragedies and crimes.
Our friend is current as current can be, but she hasn't the time for stories like the warm tale ? in the science section of the New York Times ? of a pioneer radiologist's love of dangerous x-ray gear.
Nor is there room in our friend's life for nuances that writers like detective novelist James Lee Burke bring to their work. You just can't fit vivid metaphors that make a reader feel the sodden heat and shudder at the looming menace of a moonlit Louisiana bayou onto a text-messaging device.
As more and more Americans absorb information in digital bits and bytes, modern-day philosophers are starting to wonder whether we're a civilization that's become, to quote an expression, a mile wide and an inch deep. We're astoundingly computer literate. But that's not the same as being literate.


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In Franklin: A high school survival lesson
On Wednesday, Kacey watched fellow soon-to-be freshmen doggedly balance on wooden boards, holding a rope in each hand for support, as they attempted to inch across the gym floor.
For the most part, the students succeeded: The key to victory lay in their ability to put aside a natural tendency to go rogue and instead move seamlessly forward as one unit.
Seeing his new classmates — most of whom were meeting for the first time — complete the task, Kacey appeared eager to test his mettle.
"I want a chance to work with people that I don’t quite know, but that I want to get to know," he said.
Kacey and more than 200 other incoming freshmen signed up for the Lifelong Learning Institute’s Franklin High School Experience, a meticulously planned program designed to teach them how to work together to navigate the jungle that is high school.
Included are team-building exercises, which, underneath the salient climbing and swinging, encourage the students to trust each other, take risks and forge bonds.
They tour their new academic home to avoid having to run wildly through the halls on the first day of school asking questions like, "Where is room 200? I’m really, really late."
And they meet with teachers in half-hour classroom sessions previewing the academic hurdles awaiting them in every subject they will take.
"The combination of new academic expectations and team-building exercises ... is a two-pronged approach that serves to reach their academic needs and emotional needs," said Superintendent Maureen Sabolinski.
The institute implemented the experience program in 2007. It was markedly smaller then, with only a tiny fraction of the freshmen class registering (the program is not mandatory).
But more students join each year, intrigued after hearing about it through friends.
This week, 272 freshmen participated in the program. The students come from the town's four middle schools. All are funneled into one school, creating a college-like atmosphere that, at times, can foster anxiety.
"I think I would have been a lot more confident coming into my freshmen year if I took part in a program like this," said Beth Ann Curtis, a graduate of the high school who now teaches math there. "It’s just a great way for students to get their feet in the door."
Kristin Cerce, the director of the program, knows the first year of high school can be jarring. "I think everyone is nervous," she said. "It’s a new chapter of their lives."
One of the program's creators, Cerce talked at length about its acting as a transition for freshmen, a soft introduction to high school’s impending challenges.
"To some degree, this is very comfortable for everyone," she said.
Tying together every thread of the complicated high school experience can prove difficult, though.
The social pressures must be weighed equally with the academic, Cerce said. Still, the program, with its smorgasbord of lessons and exercises, seems to address everything.
"It’s a balance," she said.
It’s also effective: The students interacted with ease, underscoring the program's mission to engender a tight freshmen community.
Indeed, confidence trumped dread Wednesday — winning out just as the sun had in its constant back and forth with the rain clouds outside. And the students soaked up every drop of the program.
"I hope to have gained a better understanding of the school and the faculty," said Lauren, who had recently mastered the board exercise. "This school is where I’m going to be for the next four years."
Matt Tota can be reached at 508-634-7521 or email@example.com.


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Contemporary photographer, Tierney Gearon has built herself a very solid reputation in the last ten years and rightly so. Her work is intensely colourful and imaginative – the sort of thing you’d like printed on a huge poster on your wall, though it also feels incredibly private. Gearon herself claims that ‘My work is like a diary. I do it for my soul.’ So in a way, when you look at her photographs you’re become a sort of voyeur. It is for this reason that her debut series ‘I Am Camera’ caused so much of a stir. People found something uncomfortable and inappropriate about the images of her children playing or posed in an adult-like manner. Indeed, there is something uncomfortable about her artistic vision, but though surreal and often otherworldly, it’s also relatable and powerful emotive.
All of three of her photography series have a dreamlike quality, but it’s ‘Explosure’ that’s really bewitching. By double exposing images inside a camera, Gearon has created a collection of images that are so chaotic and bizarre that it’s hard not to be drawn to them. Each image documents a spontaneous collision of different worlds. The figures are out-of-place, but somehow it all seems perfectly natural, as if that’s where they were meant to be all along. It’s hard not to believe these extraordinary images haven’t been photoshopped or retouched, but it just goes to show the world’s beautiful enough without technology.
All images featured here are from ‘Explosure’ and have been taken from Tierney Gearon’s website, where you can view the whole collection along with her other exhibitions: http://www.tierneygearon.com/
It’s also well worth watching her collection of short films in collaboration with the New York Times Magazine Hollywood Heroines Oscar 2012. Haunting stuff:


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Lorado Taft Art Institute class | University of Illinois Archives
Photograph of art class taught by sculptor Lorado Taft at the Chicago Art Institute. Identified individuals are Mr. John Henry Vanderpoel (back row, second from left, tilted head), Janet Scudder (second row from back, second from left), and Mr. W.M.R. French (back row, second from right).
Original photo located in RS 26/20/16, Box 25, Art Institute Classes


It was only last week that the lamppost hit the headlines after a builder didn't wait for it to be removed and went ahead with the building project. The builder had complained that the process to remove the obstruction was taking too long and went ahead with his building. The municipal authorities now dispute this version of events and allege that the request was filed too late in the day.
The lamppost was removed this morning at the request of the electricity network operator. Workers dug a new hole for the lamppost on the opposite side of the street. The building's architect says that it won't pose any problem filling the space vacated by this celebrated Flemish lamppost.


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Happy International Women’s Day! People are recognizing and celebrating the importance of women all over the world–check out the #InternationalWomensDay hashtag on Twitter to see the many ways people are expressing their appreciation for women today. Here in the U.S., the month of March is National Women’s History Month, where we celebrate the many great achievements by women over the years. Many recent UNC Press titles showcase the lives, work, and struggles of some of these outstanding women. The scope of their contributions knows no bounds. To learn more, check out some of these books.
In Game, Set, Match: Billie Jean King and the Revolution in Women’s Sports, Susan Ware takes an in-depth look at the role the tennis legend had–and still has–in sparking a movement toward gender equity in sports. Ware shows that King’s contributions transcend the sports world and situates her as an important figure in feminist history.
Available in June (but pre-order now!) is Unprotected Labor: Household Workers, Politics, and Middle-Class Reform in New York, 1870-1940 by Vanessa H. May. Though domestic workers accounted for a large number of working women at the time, they were not protected by labor laws. May illustrates how these women were activists who navigated the private living space as a public working space while working toward reforming labor conditions in domestic spaces on their own.
Talk With You Like a Woman: African American Women, Justice, and Reform in New York, 1890-1935 by Cheryl D. Hicks uses archival research to unearth the struggles that working class black women experienced around the turn of the century. These women faced discrimination based on both gender and race, and Hicks’ work gives them a voice that others so frequently tried to muffle. Stacey M. Robertson looks at the efforts by abolitionist women in the Old Northwest (what we now know as the Midwest) in Hearts Beating for Liberty: Women Abolitionists in the Old Northwest. Robertson reveals these active women’s efforts to be dynamic, collaborative, enthusiastic, and daring.
A Movement Without Marches: African American Women and the Politics of Poverty in Postwar Philadelphia by Lisa Levenstein examines the struggles of African American women against the constraints of social policy. The book, now available in paperback, received honors from the Urban History Association and the Organization of American Historians.
In New Women of the Old Faith: Gender and American Catholicism in the Progressive Era, Kathleen Sprows Cummings tells the stories of four Catholic women who illustrate how their religion had a part in shaping gender roles and the identity of the “New Woman” in a time of social reform. This book was recognized by the Catholic Press Association Awards in the categories of education, history, and gender issues.
When Janey Comes Marching Home: Portraits of Women Combat Veterans by Laura Browder and Sascha Pflaeging combines rich photographs and oral histories of women veterans from all five branches of the military. Their stories provide moving insight into the multifaceted, complex experience of being a woman serving in combat. Well-Read Lives: How Books Inspired a Generation of American Women by Barbara Sicherman looks at the role books and reading have played in forming American women’s identities, especially those born in the Gilded Age. Though not all had equal access to these transformative books, learning how to read fostered motivation, imagination, and independence in the women of this era.
In Reading is My Window: Books and the Art of Reading in Women’s Prisons, Megan Sweeney looks at the role reading plays in the lives of female prisoners. These women turn to books for empowerment, education, and as a way to navigate their experiences and connect with the world outside of prison walls. Sweeney’s book recently won the 2011 Emily Toth Award from the Popular Culture Association/American Culture Association as an outstanding work on women’s issues.
Rebecca Sharpless looks at the role African American women had working as cooks in domestic spaces in Cooking in Other Women’s Kitchens: Domestic Workers in the South,1865-1960. Growing out of the plantation economy model, these women navigated private spaces as public workers, since discrimination and segregation did not afford them many other opportunities until much deeper into the twentieth century.
Building a Housewife’s Paradise: Gender, Politics, and American Grocery Stores in the Twentieth Century by Tracey Deutsch looks at the effect gender roles had on grocery stores and the landscape of American consumer culture. Deutsch shows how grocery stores in a made being a customer or consumer part of “women’s work” in capitalist culture.
In Living the Revolution: Italian Women’s Resistance and Radicalism in New York City, 1880-1945, Jennifer Guglielmo brings to light the activism among working class Italian women that eventually helped form the industrial labor movement. Looking at a generation of immigrants and their American-born daughters shows how activism was passed down and evolved as values changed in light of different social and political events that effected these women. This book was a Choice Outstanding Academic Title for 2010.
2011 is actually the Intenational Women’s Day Centenary celebration. To see how March 8th is being celebrated all across the world, check out the International Women’s Day website. Happy IWD everyone!


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Summer Reading Kickoff – June 11 from 11:00 AM to 1:00 PM.
Celebrate the start of summer with the library. Children, teens, and adults can pick up summer reading trackers and enjoy an outdoor party featuring a bounce house, climbing wall, balloon animals, face painting and more!
Introducing our new Mobile App! Search our catalog, see our calendar of events, and even pay fines and check out items! Available for FREE on Android and iOS! Just search “Orion Township Public Library” in your device’s app store or use the links below.
Challenging all 6-8th graders to read 75 BOOKS BEFORE HIGH SCHOOL! Sign up at any time, and read at your own pace. Middle school is an exciting time that comes with new responsibilities, and sometimes that can feel like a lot to handle. Taking some time for yourself by reading books that you enjoy can help keep things from becoming too overwhelming. With this program, there are no assigned books, no deadlines (other than finishing before you start high school!), and no reports to write.
Challenging all high school students in grades 9-12 to read 100 BOOKS BEFORE GRADUATION! High school can be a busy time, and school work and activities can take over your life. However, reading books for fun (not just for classes) is a great way to slow down, escape real-life pressures, and recharge by stepping outside yourself for a bit. Read at your own pace and you will get there!

domain: hobby


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Gender Differences in Field of Study Choice Set of STEM-Bound Applicants
Sigal Alon, Tel Aviv University
Thomas A. DiPrete, Columbia University
Sex segregation in fields of study persists despite the female advantage in college graduation rate. In a world where gender norms have changed but gender stereotypes remain strong, we argue that attitudes and orientation towards behaviors are less constrained by gendered institutions than are behaviors themselves, and therefore sex segregation in the choice set of considered majors may be lower than in the chosen majors themselves. With a unique data on the broader set of fields that are considered by STEM-bound applicants to elite Israeli universities, we find support for this theory by examining whether second choice fields are as segregated as are first choice fields, whether gender differences in academic proficiency have the same effect on the choice set of men and women, whether choices depends on the major’s characteristics, and whether and how recent trends in female participation in STEM fields shape the gender gap in choice set.


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domain: geography