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Layout 2
This article is no longer maintained, so its content might be out of date.
Private Browsing allows you surf the web without saving any information about the sites you visit - things like passwords, what you search for or enter into forms.
TRY IT: To open a private window, click thebutton and choose .
Table of Contents
What does Private Browsing not save?
Warning: Private Browsing doesn't make you anonymous on the Internet. Your Internet service provider, employer, or the sites themselves can still track what pages you visit. Private Browsing also doesn't protect you from keyloggers or spyware that may be installed on your computer.
- Visited pages: No pages will be added to the list of sites in the History menu, the Library window's history list, or the Awesome Bar address list.
- Form and Search Bar entries: Nothing you enter into text boxes on web pages or the Search bar will be saved for Form autocomplete.
- Passwords: No new passwords will be saved.
- Download List entries: No files you download will be listed in the Downloads Window after you turn off Private Browsing.
- Cookies: Cookies store information about websites you visit such as site preferences, login status, and data used by plugins like Adobe Flash. Cookies can also be used by third parties to track you across websites. For more info about tracking, see How do I turn on the Do Not Track feature?
- Cached Web Content and Offline Web Content and User Data: No temporary Internet files (cached files) or files that websites save for offline use will be saved.
- If you create new Bookmarks while using Private Browsing, they will not be removed when you stop Private Browsing.
- If you save files to your computer while using Private Browsing, they will not be deleted when you stop Private Browsing. However, any files you open in an external application will be cleared from the system's temporary folder, and none of the files you download will appear in the Downloads list.
How do I open a new Private Window?
There are two ways to open a new Private Window.
Open a new, blank Private Window
- At the top of the Firefox window, click the
button and select . A new Private Window will open.
Open a link in a new Private Window
- Right-click on any link and choose
from the context menu. A new Private Window will open with the link you selected.
Important: When in Private Browsing mode, thebutton will be purple. You may also have other windows open that are not Private Browsing windows.
How do I always start Firefox in Private Browsing?
There is a setting in the OptionsPreferences window that automatically enables Private Browsing whenever you start Firefox.
Note: If you enter Private Browsing this way, thebutton won't turn purple but Firefox will still not retain your history as described above.
- At the top of the Firefox window, click on the button and then select
- Select the panel.
- Set Firefox will: to Never remember history.
- You will see a message that Firefox needs to restart to enable this feature. Click and Firefox will restart in permanent Private Browsing mode.


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100% Cotton Bow Tie
* 2.5 inch bow
* 14 - 18 inch adjustable neck with slider adjustment
* Approximately 36 inches total length
These self-tie bow ties are produced by hand by me. Each order includes instructions on how to tie a bow tie.
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CANON U.S.A.,Inc. MAKES NO GUARANTEES OF ANY KIND WITH REGARD TO ANY PROGRAMS, FILES, DRIVERS OR ANY OTHER MATERIALS CONTAINED ON OR DOWNLOADED FROM THIS, OR ANY OTHER, CANON SOFTWARE SITE. ALL SUCH PROGRAMS, FILES, DRIVERS AND OTHER MATERIALS ARE SUPPLIED "AS IS." CANON DISCLAIMS ALL WARRANTIES, EXPRESS OR IMPLIED, INCLUDING, WITHOUT LIMITATION, IMPLIED WARRANTIES OF MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE AND NON-INFRINGEMENT.
CANON U.S.A.,Inc. SHALL NOT BE HELD LIABLE FOR ERRORS CONTAINED HEREIN, OR FOR LOST PROFITS, LOST OPPORTUNITIES, CONSEQUENTIAL OR INCIDENTAL DAMAGES INCURRED AS A RESULT OF ACTING ON INFORMATION, OR THE OPERATION OF ANY SOFTWARE, INCLUDED IN THIS SOFTWARE SITE.
I have read and understand the information above, and wish to download the designated software.
PowerShot S120
Advanced Cameras
Canon Store: $
Learn more about taking your photography to the next level with Canon DSLR cameras.
Tap into your creative spirit and advance your photography skills with Canon Online Learning. Enroll now!
Download the free Camera Connect app to transfer images to your mobile device, shoot your camera remotely, and more.
Advanced Imaging and Sharing with a Touch.
The PowerShot S120 camera puts the world in your pocket with superb imaging, easy wireless sharing and touch-screen convenience. Newly expanded built-in Wi-Fi® is a snap to set up; it lets you post to Facebook® , Twitter® , YouTube™ and Flickr® , send to email, and share easily with your tablet, smartphone, networked PC and wireless PictBridge certified printer. Step up to a new level of image quality with a 12.1 Megapixel High-Sensitivity CMOS Sensor and DIGIC 6 Image Processor that together create the Canon HS SYSTEM, delivering rich natural color and beautiful clarity even in low light. Shoot with great definition at ISO speeds from 80 to 12800, and capture brilliantly realistic 1080p/60p Full HD video. The camera's bright f/1.8 lens captures the subtle nuances of low light, and the 24mm Wide-Angle lens and 5x Optical Zoom offer a wealth of shooting versatility. Experience incredibly quick full resolution continuous shooting with High Speed AF that focuses nearly the moment the camera is pointed. Operation is highly intuitive with a clear 922,000-dot 3.0-inch touch panel LCD screen with convenient Touch Shutter feature. Intelligent IS prevents blur in any situation. New star shooting modes help you capture the nighttime sky like a pro, and Background Defocus mode creates the beautiful background blur of a classic portrait. HDR shooting is another pro-style technique made easy, with several creative finishing options.
Built-in Wi-Fi® gives you more options for sharing with friends, family and the whole world
The PowerShot S120 camera is equipped with built-in Wi-Fi® technology for on-the-go convenience when you want to share your photos and videos with friends, family and the whole world. The camera can connect directly to both iOS® and Android™ devices*, and upload images via the free Canon Camera Connect app** without a computer. And because the PowerShot S120 captures video using easy-to-share MP4 format, it's never been easier to upload video files. Easily post your images to social networking and media sites – Facebook® , Twitter® , YouTube™ , and now Flickr® – through CANON iMAGE GATEWAY# or save them to the online photo album to share anytime, anywhere. Enhanced Wi-Fi® makes posting in real time possible, so you can keep everyone up to date with photos even as events unfold. Easily control the destination of your uploads to social networking sites; share with everyone, or send photos to selected groups. You can also add comments, even in other languages^. Transfer images to other Wi-Fi® equipped PowerShot cameras, send images to your computer, or print your photos directly to a wireless PictBridge certified printer.
Enhanced Wi-Fi® features make connecting and sharing easier than ever
Built-in Wi-Fi® on the PowerShot S120 camera has new features that streamline set-up and sharing for a faster, easier, more comprehensive experience than ever. WEP Key input is no longer necessary, and you can even set up and manage your camera/web service transfer preferences without the use of a software CD or USB cable – Wi-Fi® and a web browser are all you need! And, new Automatic Switching through the Image Sync function makes saving and organizing your images easier##. When the camera finds a linked PC on the same wireless network, images are sent directly to it. Otherwise, images are temporarily stored on CANON iMAGE GATEWAY# then transferred once a connection is made, eliminating the need for cables.
* Compatible with iOS® versions 8.4/9.3/10.2. Android™ smartphone and tablet versions 4.1/4.2/4.3/4.4/5.0/5.1/6.0/7.0/7.1. Data charges may apply with the download of the free Canon Camera Connect app. This app helps enable you to upload images to social media services. Please note that image files may contain personally identifiable information that may implicate privacy laws. Canon disclaims and has no responsibility for your use of such images. Canon does not obtain, collect or use such images or any information included in such images through this app.
** This software enables you to upload images to social network sites. Before uploading images, please be aware that image files may contain privacy related information such as people and places. If necessary, please delete such information. Canon does not obtain, collect or use such images or any information included in such images through this software.
*** Compatible with Android smartphone and tablet versions 4.1/4.2/4.3/4.4/5.0/5.1/6.0/7.0/7.1.
# One-time registration is required on CANON iMAGE GATEWAY online photo album.
## Initial set up is required.
^The PowerShot S120 supports English, French, German, Italian, Japanese, Russian and Spanish.
12.1 Megapixel High-Sensitivity CMOS sensor
The PowerShot S120 camera employs a Canon 12.1 Megapixel High-Sensitivity CMOS sensor, which delivers state-of-the-art imaging performance and is optimized for use in compact cameras. Utilizing a sophisticated light-capturing design, it provides high sensitivity for improved high ISO capture with reduced noise. It is capable of rapidly capturing and moving image data to the processor, enabling faster continuous shooting and faster autofocus.
Canon DIGIC 6 Image Processor
The PowerShot S120 camera is equipped with the very latest Canon proprietary processor, the DIGIC 6 Image Processor, which makes several important advancements to image quality both in stills and video. Improved light sensitivity allows for higher resolution with less noise when shooting in dark conditions, and Dynamic IS now detects and compensates for tilt and parallel movement (shift blur) to create video that's exceptionally free of distortion. The DIGIC 6 Image Processor also enhances the performance capabilities of the PowerShot S120, powering full resolution high-speed continuous stills shooting (see dedicated section for more details). And video recording is better than ever, as the DIGIC 6 Image Processor enables Full HD at 60p, as well as MP4 recording. Highly compressed MP4 video not only preserves space on your memory card but also improves playback on mobile devices. Plus, with MF Peaking possible thanks to the new processor, you'll have a pro-level focusing tool at your disposal.
Canon HS SYSTEM for exceptional low-light performance up to ISO 12800
The PowerShot S120 camera gives you the power to create images with spectacular depth, detail and emotional resonance. The 12.1 Megapixel High-Sensitivity CMOS sensor works in concert with Canon's own latest-generation DIGIC 6 Image Processor to create the renowned Canon HS SYSTEM. With the Canon HS SYSTEM, you'll experience excellent tracking performance even in low light, and achieve gorgeous still image quality even at high ISO speeds all the way up to ISO 12800; beautiful low-light shots are possible with minimal noise and maximum detail in highlight and shadow areas. The Canon HS SYSTEM lets you use higher shutter speeds to capture clearer images with reduced noise and blur in a variety of situations for incredible photos and videos.
1080p/60p Full HD video
With the camera's advanced DIGIC 6 Image Processor enabling MP4 format recording, the PowerShot S120 camera lets you shoot Full HD video at a selectable frame rate of 60 fps or 30 fps (or 15 fps in Star Time-Lapse Movie mode). 1080p/60p Full HD video is extraordinarily smooth and rich in playback, ensuring that your important memories and creative film clips look their absolute best. Video recorded at 30 fps has also been improved through the combination of the DIGIC 6 Image Processor and Fine Movie Detail Processing, with reduced noise and high resolution. It's possible to use the full range of the zoom when capturing video, and sound is recorded in stereo for high-quality audio that complements the outstanding images. Plus, a dedicated movie button prominently located on the camera body and HDMI terminal enabling immediate output to an HDTV make the entire process of shooting to sharing convenient and easy.
A bright f/1.8 lens with 5x Optical Zoom and wide angle of view
Newly engineered for the PowerShot S120 camera, the 24mm Wide-Angle 5x Optical Zoom lens with a focal length of 5.2–26.0mm (35mm film equivalent: 24–120mm) achieves f/1.8–f/5.7, giving the user exceptional versatility. The large f/1.8 aperture achieves shallow depth-of-field for creating portraits with beautiful, soft background blur, and incomparable Canon optical technology delivers a high performance lens enabling incredible images, even in low light. The Wide-Angle lens gives your images a distinctive sweep and grandeur, capturing landscapes, cityscapes, tall buildings and wide groups of people with ease.
Full Resolution Continuous Shooting and High Speed AF
Powered by the DIGIC 6 Image Processor, the PowerShot S120 camera gives you a seamless, pro-like continuous shooting experience that's fully available in P, Tv, Av and M modes. Shooting and processing are now performed in tandem, eliminating buffering time to deliver speeds up to 9.4 fps***. Streamlined new processing makes the camera's High Speed AF the fastest in Canon compact camera history, achieving focus nearly the instant the camera is aimed. With no separate mode setting and no reduction in image quality, you can freeze brilliant action shots with ease.
As seen in the video, the PowerShot G16 can shoot continuously up to 522 shots at approximately 9.3 fps, and the PowerShot S120 can continuously shoot up to 635 shots at approximately 9.4 fps when using an SDHC/SDXC UHS-I card based on Canon's standard test method.
*** The first five shots are shot at a rate of 12.1 fps. From the sixth shot onward, it becomes approximately 9.4 fps. The PowerShot S120 can continuously shoot up to 635 shots at approximately 9.4 fps when using an SDHC/SDXC UHS-I card based on Canon's standard test method.
Capacitive 3.0-inch touch panel LCD with a sharp, clear display and easy operation
Anyone familiar with today's touch screens will feel comfortable using the PowerShot S120 camera right away. The big 3.0-inch capacitive touch panel LCD responds to familiar one- and two-finger touch operations. Users can spread and pinch to change the magnification in playback, drag two fingers to switch display, use the easy interactive Touch Shutter, and quickly select camera settings. You can even adjust the panel's touch sensitivity to your liking. The camera's sophisticated control ring, located at the base of the lens barrel, can be used in conjunction with the Touch Panel to conveniently access a range of additional actions. Plus, an impressive 922,000 dots of resolution allow you to review your images in crisp, clear quality.
New star shooting modes
Starry skies were formerly out of reach to all but experienced SLR camera users, but new star shooting modes on the PowerShot S120 camera make these wonderfully impressive images accessible to all. With just a tripod and simple settings, you can capture exquisite Star Nightscapes, Star Trails, and Star Time-Lapse Movies. The modes can be performed fully automatic or with manual controls for extra versatility. Support functions including Night Display and Star Emphasis have also been added, making any starry sky easier to capture.
Background Defocus mode
Professionals emphasize subjects by creating beautiful background blur with a wide aperture lens. The PowerShot S120 camera lets you achieve this effect digitally with Background Defocus mode, even in scenes with noisy backgrounds or backlighting. Choose AUTO, or take more creative control over the degree of the effect with Low, Medium and High settings to imbue regular snapshots with the soft, pleasing background found in classic portraits.
Intelligent IS automatically chooses from six different modes to optimize image stabilization for the shooting condition
It's easy to capture clear, steady images with the PowerShot S120 camera, even in low light without using a tripod. That's because the camera is equipped with Canon's innovative Intelligent IS. The system analyzes camera movement and applies the best shake correction method for the shooting situation – allowing you to focus on framing and capturing your shot. For stills, the system automatically selects among Normal, Panning, Macro (Hybrid) and Tripod IS modes. When shooting video, the system automatically selects among Dynamic, Powered, Macro and Tripod IS modes.
Normal - Corrects for a wide range of camera movement when shooting stills.
Panning - Panning motion is detected so that IS does not interfere with desired camera movement.
Macro (Hybrid) - Corrects for shift-type camera shake, which typically occurs in macro (close-up) shooting.
Dynamic - Effective for video shooting at wide-angle focal lengths, eliminating the unwanted shaking that typically occurs while walking.
Powered - Compensates for hand movement when shooting video at the telephoto end of the zoom range, where camera shake is magnified.
Tripod - When tripod use is detected, the Image Stabilizer is stopped because it is not needed.
High Dynamic Range Scene Mode with new sub-modes
Shooting in high-contrast environments can often result in photos with overexposed and underexposed sections. To tackle this problem, Canon developed the High Dynamic Range shooting mode to make shooting even more intuitive. Under High Dynamic Range, the camera will shoot three different exposures in a succession (underexposed, overexposed and normal) and then merge them into a single image. Underexposed areas are combined with the overexposed and vice versa, resulting in an evenly detailed image with flattering shadows and highlights. With the PowerShot S120 camera, a tripod is not always necessary, plus the camera features artistic sub-modes Art Standard, Art Vivid, Art Bold, Art Embossed and Natural, which add dynamic, creative effects depending on the ambience you want to convey.
Full range of shooting and recording modes including 12-bit multi aspect RAW+JPEG, as found in Canon DSLR cameras, for the ultimate creative control
As with many EOS DSLR cameras, the PowerShot S120 camera uses a 12-bit converter to process the output of the CMOS sensor, resulting in true color, smooth tonal transitions and natural gradations. The PowerShot S120 lets you shoot in RAW mode, which records all the information captured by the sensor, giving you outstanding flexibility and complete creative control when editing your images with Canon's powerful bundled software, and the camera allows you to record in RAW and JPEG formats simultaneously. Now in RAW mode, you can even select among several aspect ratios, including 16:9, 3:2, 4:3, 1:1, and 4:5.
Hybrid Auto creates a beautiful and steady 720p HD video clip every time you shoot a still image
Hybrid Auto records up to four seconds of video every time you shoot a still image, then automatically joins the clips and pictures* into a video that captures the essence of special days: vacations, important occasions, any time you're shooting many shots in a day. With Hybrid Auto, this "highlight reel" is more beautiful than ever. Hybrid Auto automatically recognizes the scene and optimizes camera settings to capture the highest possible image quality. The resulting 720p HD video is properly exposed, crisp and steady.
* Pictures can be withheld from the resulting video via menu settings.
Control Ring
Focus, aperture, shutter speed, ISO, step zoom, exposure compensation, aspect ratio, i-Contrast, or white balance can be adjusted more quickly and conveniently with the PowerShot S120 camera's control ring. Located at the base of the lens barrel, the ring is more intuitive than other types of controls for many experienced photographers. The functions that can be assigned to the control ring vary with shooting mode, and you can set your preferences quickly using the dedicated ring function selector button.
Shooting Modes
The PowerShot S120 camera offers shooting modes that make it easy to take perfect photos in a wide range of shooting situations by providing intelligent presets with optimized settings.
Custom - Define and store your own settings to achieve the effects you prefer.
Manual - You have complete control of exposure, selecting both aperture and shutter speed manually.
Aperture-priority - You set the aperture, controlling depth-of-field. The camera automatically selects the shutter speed.
Shutter-priority - You select the shutter speed to stop or blur action, and the camera finds the appropriate aperture. With slow exposure times, Canon's noise reduction system activates to ensure low image noise.
Program - Access advanced exposure compensation features while shooting mostly automatically.
Movie Digest & Hybrid Auto - Automatically selects shooting settings for optimal quality and records a video clip every time you capture a still image. One day's worth of clips and images are then combined into a single video.
Smart AUTO - The camera automatically selects the best shooting settings for optimal quality based on subjects and environmental factors to provide point-and-shoot simplicity.
Portrait - The camera sets a large aperture, focusing the subject and artistically blurring the background to make your subject "pop."
Smart Shutter - The camera automatically takes the photo when people smile, wink, or get into frame.
Star shooting modes - Capture beautiful images of the night sky with three different modes: Star Nightscapes, Star Trails, and Star Time-Lapse Movies.
Handheld Night Scene - Take clear and steady pictures at night without the use of a tripod.
Underwater - Capture underwater images with reduced backscatter effect. Optional Underwater Case required.
Snow - Shoot clear snow scenes without darkened subjects or an unnatural bluish tint.
Fireworks - Grab brilliant images of skyrocketing fireworks.
Creative Filters - This setting provides easy access to special filter effects and scene modes, such as Toy Camera Effect, Poster Effect, Monochrome and more.
High Dynamic Range - The camera combines three different exposures to get one evenly lit image.
Nostalgic - Create the look and feel of old photographs using sepia tones and black-and-white.
Fisheye Effect - Add a classic photo distortion without a fisheye lens.
Miniature Effect - Emphasizes perspectives for a miniature effect by blurring upper and bottom portions of the image.
Toy Camera Effect - Simulates photos taken with "toy" or pinhole cameras, darkening the image at the edges to create a vignette effect.
Background Defocus - Creates attractive background blur, selectable in three different levels, to imbue photos with the look of a classic portrait.
Soft Focus - Creates a hazy ambiance that's perfect for portraits and wedding photos.
Monochrome - Choose from three single-tone effects: Black-and-White, Sepia, or Blue.
Super Vivid - Super Vivid intensifies existing hues, saturating the scene with bright colors.
Poster Effect - Poster Effect combines several similar shades into one color, turning subtle gradations into eye-catching, scene-popping contrasts.
Movie - Record video in stereo sound. Unwanted scenes can be deleted in playback mode.
Super Slow Motion Movie - Record your clips in high speed (approx. 240 fps), and then watch your videos in slow motion.
Actual results may vary from examples shown above.
Final image may vary depending on picture composition.
Direct Connect to Your Printer
It's quick and easy to make beautiful prints from your PowerShot camera with Canon's Direct Print system. Directly connect your PowerShot camera to a Canon PIXMA or SELPHY photo printer with a USB cable and simply press the button to print; turn every favorite moment into an amazing photo.
Available in 30 Languages
There are now a total of 30 display languages from which you can choose: English, German, French, Dutch, Danish, Finnish, Italian, Norwegian, Swedish, Spanish, Simplified/Traditional Chinese, Japanese, Russian, Portuguese, Korean, Greek, Polish, Czech, Hungarian, Turkish, Thai, Arabic, Romanian, Ukrainian, Farsi, Hindi, Malay, Indonesian and Vietnamese.
Compact digital still camera with built-in flash, 5x Optical, 4x Digital and 20x Combined Zoom with Optical Image Stabilizer
12.1 Megapixel, 1/1.7-inch CMOS
Total Pixels
Approx. 12.8 Megapixels
Effective Pixels
Approx. 12.1 Megapixels
Focal Length
5.2 (W) - 26.0 (T) mm (35mm film equivalent: 24-120mm)
Optical Zoom
Digital Zoom
Focusing Range
Normal: 2.0 in. (5cm) - infinity (W), 12 in. (30cm) - infinity (T)
Auto/Manual: 1.2 in. (3cm) - infinity (W), 12 in. (30cm) - infinity (T)
Macro AF: 1.2 in. - 1.6 ft. (3-50cm) (W), 12 in. - 1.6 ft. (30-50cm) (T)
Quick: 4.9 - 66 ft. (1.5 - 20m) (W,T)
Autofocus System
TTL Autofocus, Manual Focus
Optical Viewfinder
Not available
LCD Monitor
3.0-inch TFT Color LCD with wide viewing angle capacitive touch-screen panel
LCD Pixels
Approx. 922,000 dots
LCD Coverage
Approx. 100%
Maximum Aperture
f/1.8 (W), f/5.7 (T)
Shutter Speed
1-1/2500 sec.
15-1/2500 sec. (in Tv mode)
250-1/2500 sec. (in M mode)
Auto, ISO 80-12800 (in P mode)
Light Metering Method
Evaluative*, Center-weighted average, Spot**
* Facial brightness is evaluated in Face Detection AF
** Metering frame is fixed to the center
Exposure Control Method
Manual Exposure, Program Shift, Safety Shift, AE Lock
Exposure Compensation
Still Images: ±3 stops in 1/3-stop increments
Videos: ±3 stops in 1/3-stop increments (not available during shooting)
White Balance Control
Auto*, Daylight, Cloudy, Tungsten, Fluorescent, Fluorescent H, Flash, Underwater, Custom 1, Custom 2
* Camera automatically sets the optimal ISO speed according to shooting mode.
Built-in Flash
Auto, Flash On, Slow Synchro, Flash Off
Facial brightness is also evaluated in Face Detect.
Flash Range
1.6 ft. - 23 ft. (W), 1.6 - 7.5 ft. (T) (50cm - 7m (W), (50cm - 2.3m (T))
Image brightness may diminish depending on the shooting distance.
Recycling Time
10 sec. or less (battery voltage: 3.7 V)
Flash Exposure Compensation
± 2 stops in 1/3-stop increments
Shooting Modes
C, M, Av, Tv, P, Hybrid Auto, Auto, SCN*1, Creative Filters*2, Movie*3
Shooting movies is possible with the movie button
*1 Portrait, Smart Shutter*4, Star*5, Handheld Night Scene, Underwater, Snow, Fireworks
*2 High Dynamic Range, Nostalgic, Fish-eye Effect, Miniature Effect, Toy Camera Effect, Background Defocus, Soft Focus, Monochrome, Super Vivid, Poster Effect
*3 Standard, Super Slow Motion Movie
*4 Smile, Wink Self-timer, Face Self-timer
*5 Star Nightscape, Star Trails, Star Time-Lapse Movie
Photo Effects
My Colors Off, Vivid, Neutral, Sepia, Black & White, Positive Film, Lighter Skin Tone, Darker Skin Tone, Vivid Blue, Vivid Green, Vivid Red, Custom Color*
*Adjustment of contrast sharpness, saturation, red, green, blue and skin tone are available
Self Timer
Approx. 10-sec. delay/approx. 2-sec. delay/custom*
*Delay time (0-15 sec. (in one-second increments), 20/25/30 sec.) and number of shots (1-10 shots (in one-shot increments)) can be specified.
Wireless Control
Not available
Continuous Shooting
Normal: Approx. 12.1 shots/sec.; 9.4 shots/sec* (in P mode) AF: Approx. 5.5 shots/sec. (in P mode) LV: Approx. 5.6 shots/sec. (in P mode) Under conditions where the flash does not fire automatically Differs depending on the zoom position*From the sixth shot
Storage Media
SD/SDHC/SDXC and UHS-I Memory Cards
File Format
Design rule for Camera File system, DPOF (Version 1.1) compliant
Image Recording Format
Superfine / Fine
JPEG Compression Mode
Still Image: Exif. 2.3 (JPEG)
Video: MOV (Image: H.264; Audio: Linear PCM (Stereo))
Number of Recording Pixels
Still Images:
1) 16:9 - Large: 4000 x 2248; Medium 1: 2816 x 1584; Medium 2: 1920 x 1080; Small: 640 x 360; RAW: 4000 x 2248
2) 3:2 - Large: 4000 x 2664; Medium 1: 2816 x 1880; Medium 2: 1600 x 1064; Small: 640 x 424; RAW: 4000 x 2664
3) 4:3 - Large: 4000 x 3000; Medium 1: 2816 x 2112; Medium 2: 1600 x 1200; Small: 640 x 480; Raw: 4000 x 3000
4) 1:1 - Large: 2992 x 2992; Medium 1: 2112 x 2112; Medium 2: 1200 x 1200; Small: 480 x 480; RAW: 2992 x 2992
5) 4:5 - Large: 2400 x 3000; Medium 1: 1696 x 2112; Medium 2: 960 x 1200; Small: 384 x 480; RAW: 2400 x 3000
Full HD 1920 x 1080: 60 fps (59.94), 30 fps
Full HD Star Time-Lapse Movie: 15 fps
HD 1280 x 720: 30 fps (29.97)
Miniature Effect HD 1280 x 720: 6 fps / 3 fps / 1.5 fps
Miniature Effect 640 x 480: 6 fps / 3 fps / 1.5 fps
Super Slow Motion Movie 640 x 480: 120 fps
Super Slow Motion Movie 320 x 240: 240 fps
640 x 480: 30 fps (29.97)
Image data
Note: SF=Superfine F=Fine
• The approximate number of images recordable on memory cards other than the above can be calculated by using the above figures as a reference and extrapolating accordingly.
Movie data
*1Actual frame rate is 29.97 fps.
*2Playback frame rate is 30 fps.*1
*3Actual frame rate is 14.985 fps.
*4Actual frame rate is 59.94 fps.
Playback Modes File
Stills & Videos:
Auto Rotate, Index Continuous Display, Image Advance (Transition Effects, Scroll Display), Rotate, Favorites, My Category, Smart Shuffle, Group Playback, Slideshow, Erase, Resume, Protect
Still Images:
Single, Index, Magnification (2-10x), Switch to other images while zoomed, Information Display, Red-eye Correction, i-Contrast, Photobook Setup, Cropping, Resize, My Colors, Face ID Info, Histogram, RGB Histogram, Focus Checker, Location Information, Overexposure Warning
Normal Playback, Pause, Slow Motion, Skip Backward, Previous Frame, Next Frame, Skip Forward, Erase Clip, Editing, Movie Transcoding
Using the software included with the camera (ImageBrowser EX), there are 8 levels (1.8x to 1x) of playback speed for Super Slow Motion Movies possible on a computer.
Erase Modes
Select Image, Select Range, Select All Images
The image data in the memory card stored with the Design rule for Camera File systems format can be erased (however, protected images cannot be erased).Using the Movie editing function, sections of the movie can be deleted.
Video Out
NTSC/PAL (dedicated connector (female) with unified type of digital, audio and video), Mini-HDMI connector
Audio Out
Stereo (dedicated connector (female) with unified type of digital, audio and video)
SD memory card slot; direct connection to Canon SELPHY, PIXMA Photo Printers & PictBridge compatible printers
Power Source
Battery Pack NB-6LH, Compact Power Adapter CA-DC10 (included with AC Adapter Kit ACK-DC40)
Shooting Capacity
Approx. 230 shots
Approx. 300 shots with ECO Mode
Playback Time
Approx. 4 hours
Operating Temperature
Operating Humidity
Dimensions (W x H x D)
3.94 x 2.32 x 1.14 in. / 100.2 x 59.0 x 29.0mm
7.65 oz. / 217g (CIPA standard)
6.81 oz. / 193g (camera only)30 display languages provided (English, German, French, Dutch, Danish, Finnish, Italian, Norwegian, Swedish, Spanish, Simplified/Traditional Chinese, Japanese, Russian, Portuguese, Korean, Greek, Polish, Czech, Hungarian, Turkish, Thai, Arabic, Romanian, Ukrainian, Farsi, Hindi, Malay, Indonesian and Vietnamese).
All data are based on Canon's Standard Test Method. Subject to change without notice.
Canon, DIGIC, ELPH, PIXMA, and PowerShot and SELPHY are registered trademarks of Canon Inc. in the United States and may also be registered trademarks or trademarks in other countries. Microsoft, Windows and Windows Vista are trademarks or registered trademarks of Microsoft Corporation in the United States and/or other countries. Mac is a trademark of Apple, Inc., registered in the United States and other countries. All other products and brand names are registered trademarks, trademarks or service marks of their respective owners in the United States and/or other countries.
PowerShot S120
Compatible Supplies & Accessories
Canon offers a wide range of compatible supplies and accessories that can enhance your user experience with you PowerShot S120 that you can purchase direct. Scroll down to easily select items to add to your shopping cart for a faster, easier checkout. Visit the Canon Online Store
AC Adapter Kit ACK-DC40
AC Adapter Kit for Digital Cameras.
Battery Charger CB-2LY
Battery Charger for NB-6L Li-Ion Batteries.
Battery Pack NB-6LH
Battery Pack for selected S-series and SX-series models.
Delux Case PSC-3200
Deluxe Leather Case designed to fit the PowerShot SX series digital camera safely and securely.
Delux Case PSC-3200
Deluxe Leather Case designed to fit the PowerShot SX series digital camera safely and securely.
Mini-HDMI Cable: connects Canon HD Camcorders/select PowerShot Cameras to HDMI compatible TV.
High-Power Flash HF-DC2
Powerful slave flash, fired by the camera's pre-flash. Effectively doubles the flash range of the camera. Comes with mounting bracket.
Interface Cable IFC-400PCU
The Canon IFC-400PCU USB Interface Cable enables you to transfer your camera pictures to a computer fast. The cable connects to your camera and to the USB port on your PC or MAC Computer. Comes standard with the EOS 1Ds Mark III, 1D Mark IV, 1D Mark III, 1Ds Mark II, 1D Mark II N, 1D Mark II, 5D Mark II, 7D, 5D, 50D, 40D, 30D, 20D, 10D, Digital Rebel XTi, Digital Rebel XT and Digital Rebel. Please see Compatibility tab for compatible models.
PowerShot: CarePAK PLUS (2YR)
CarePAK PLUS offers protection from accidental damage such as drops, spills, power surges, and more, including normal wear and tear, beyond the standard warranty period. It also includes Image Recovery (included with Cameras, Camcorders, and Printers with a memory card slot only), priority repair service, free return shipping, $0 deductible, genuine Canon factory service with only genuine Canon parts, and is transferable if you sell or gift your product. With a CarePAK PLUS, a damaged product will be repaired to good working condition or replaced with an equivalent product.
PowerShot: CarePAK PLUS (3YR)
CarePAK PLUS offers protection from accidental damage such as drops, spills, power surges, and more, including normal wear and tear, beyond the standard warranty period. It also includes Image Recovery (included with Cameras, Camcorders, and Printers with a memory card slot only), priority repair service, free return shipping, $0 deductible, genuine Canon factory service with only genuine Canon parts, and is transferable if you sell or gift your product. With a CarePAK PLUS, a damaged product will be repaired to good working condition or replaced with an equivalent product.
Video Cable AVC-DC400ST
Enables direct image display from the EOS to an HD television or a similar display device. Comes standard with the EOS 1D Mark IV, 7D, 60D, Rebel T3i and Rebel T2i. Please see Compatibility tab for compatible models.
Waterproof Case WP-DC51
The WP-DC51 waterproof case allows you to take great underwater shots and be worry-free during inclement weather. Dustproof and waterproof up to 130ft (40m). Supplied accessories for the waterproof case include a neck strap, wrist strap and silicone grease.
The WP-DC51 waterproof case allows you to take great underwater shots and be worry-free during inclement weather. Dustproof and waterproof up to 130ft (40m). Supplied accessories for the waterproof case include a neck strap, wrist strap and silicone grease.
Sample Images
|Shooting Mode
|Tv (Shutter Speed)
|0.6 sec.
|Aperture Value (Av)
|Metering Mode
|ISO Speed
|Focal Length
|Digital Zoom
|Image Stabilizer
|Image Size
|4000 x 3000
|Image Quality
|White Balance
|AF Mode
|Continuous AF
|Contrast: Normal
Sharpness: Normal
Color Saturation: Normal
|File Size
|Drive Mode
|Single Shot
|Shooting Mode
|Aperture-Priority AE
|Tv (Shutter Speed)
|1/125 sec.
|Aperture Value (Av)
|Metering Mode
|ISO Speed
|Focal Length
|Digital Zoom
|Image Stabilizer
|Image Size
|4000 x 3000
|Image Quality
|White Balance
|AF Mode
|Continuous AF
|Contrast: Normal
Sharpness: Normal
Color Saturation: Normal
|File Size
|Drive Mode
|Single Shot
* Compatible with iOS® versions 8.4/9.3/10.2. Android™ smartphone and tablet versions 4.1/4.2/4.3/4.4/5.0/5.1/6.0/7.0/7.1. Data charges may apply with the download of the free Canon Camera Connect app. This app helps enable you to upload images to social media services. Please note that image files may contain personally identifiable information that may implicate privacy laws. Canon disclaims and has no responsibility for your use of such images. Canon does not obtain, collect or use such images or any information included in such images through this app.
** Compatible with Android smartphone and tablet versions 4.1/4.2/4.3/4.4/5.0/5.1/6.0/7.0/7.1.
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- ${title}${badge}


text:
Eric Church Uncovers Ticket Scalpers' Shocking, Sneaky Tactics
Back in February, Eric Church first expressed his frustrations with ticket scalpers, telling Billboard, "Scalpers piss me off. We tried to make our tickets very accessible to fans, we kept the ticket prices low. What we didn't count on was all these big ticket brokers would join our fan club, infiltrate our system, take advantage of our system and buy up all these tickets."
The outspoken country singer is still waging the battle against ticket scalper's predatory practices, but Church has now taken the fight to a higher platform, partnering with Nashville-based television station WTVF to uncover the surprising legal practices of ticket scalpers.
What the station uncovered is shocking, proving that the odds are stacked considerably against fans hoping for the best seats in the house when buying concert tickets. Of the 14,000 seats sold for Church's show at the Bridgestone Arena in Nashville, 495 were purchased by parties in California, 353 to Massachusetts and 248 to New York. Parties in 41 separate states purchased tickets for the concert, with a single scalper in North Carolina acquiring at least 175 tickets.
It was found that 75 percent of the floor seats for this particular stop had been purchased by professional scalpers. "Real fans are getting beat to the punch when tickets go on sale," Church's manager, Fielding Logan, tells WTVF. "They are there trying to buy tickets at the price we set and they are getting beat out."
As Church explained to Billboard, venues will "sell out" but there will still be tickets available online — but through scalpers. "Now, at a lot of these buildings that are selling out, there's 500-600 tickets left to sell, and we don't have any of 'em. Ticket brokers are [asking] $200, $300, $400 a ticket," he says. "It penalizes the fans; that was gonna be their pit ticket, their front row ticket."
Even with the legal measures scalpers are using to obtain concert tickets, many are also using illegal tactics to cheat fans out of prized concert real estate. Ticketmaster is able provide data that shows unknown sources using an automated system to purchase tickets. This system, which is illegal in Tennessee, bypasses the security protocols of ticketing websites, and gives predatory parties the upper-hand in purchasing seats.
There is no word on either or not Church and has camp plan on taking legal action to uncover the sources of the illegal practices of ticket scalpers, but the 'Springsteen' singer does plan to continue touring the country in support of his latest album, 'Chief.'
The Blood, Sweat & Beers Tour will keep the singer busy for a majority of the summer. Click here for tour dates and ticket information.


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I know a guild breakup is the definition of a first world problem, but I'm still feeling a little down tonight. I should be preparing for a raid that isn't going to happen. My guild has made the decision to cease raiding operations effective immediately.
Our guild was small one, 12 to 15 people. My raid leader was the guild leader. We talked for a while last night. He explained his reasons. I completely understood his reasons. I completely supported his decision. He was doing the right thing for the right reasons. He has my full and unwavering support.
Most of the guild is transferring to a PvP Server. We are becoming a PVP guild. They will be doing LFRs and PvP. PvE raiding is done.
Football players on the verge of retirement talk about being done with the game before the game is done with you. I'm not done with WoW.
I don't know that I can truly express how much I don't want to be on a PvP server. Apparently the one they have chose 'might as well be a PvE server' because the ratio is something like 10 Horde:1 Alliance. That won't do much for the Night Elf Rogue who decides he wants to interrupt my fishing run through Townlong with a little PvP.
Did I mention I stink at the PvP? I do. 5 years ago I was worlds better. Now, I'm cannon fodder.
For most everything I could do with them, we can BattleTag group, even if I'm still on our old server.
I have been raiding with this team a majority of my WoW career. Our raid leader was right there for my first Attumen the Huntsman kill. (Ironically enough, I was leading the raids way back then. Anything to tank as Paladin in Burning Crusade). I'm going to miss our nights raiding.
I'd like to continue PvE raiding. I'm just not sure which toon I want to concentrate on. I have two at level toons: my 490 Paladin tank, and my 485 Hunter. I'm not sure which would be easier to place. At least for this patch, it seems like the Hunter would be best bet because of all the dinosaur fun to be had with pets and the lower stress of the role.
I really haven't started looking hard for a home yet, so if you happen to know a great place, drop me a line or leave me a message in the comments.
Here's a couple of screenshots from our kills. It's been a great ride.


text:
Is the glass half empty or half full? Reports presented from Suffolk Research Service and one of the East End's real estate firms offer a nebulous view of whether the market is on the rise or still bouncing along the bottom.
Although there was some improvement from the third quarter of 2011 to the final quarter, there was little to no improvement over all over the fourth quarter of 2010, according to George R. Simpson, the president of Suffolk Research Service.
And even though both 2010 and 2011 showed improvements over 2008 and 2009, when median price, unit sales, and dollar sales are taken into account, data show a paradoxical "stationary trend" over the past two years.
Median price changes were up in Southampton, down in East Hampton for the year 2011 compared to 2010, according to Mr. Simpson. Southampton showed a rise, up 8.1 percent, with East Hampton down 9.1 percent.
A fourth-quarter comparison showed that in all market price segments, sales declined, except in properties priced from $5 million to $10 million, which showed an increase from 61 sales in 2010 to 70 sales in 2011.
Town and Country, a local firm, also released a sales report, which stated that in all Hampton markets combined the number of home sales increased 9.43 percent in the fourth quarter of 2011 versus the fourth quarter of 2010. However the median home sales price dropped 16.22 percent over all for the same period, from $940,000 to $787,500.
Sag Harbor and Noyac showed the highest increase in sales, according to Town and Country, from 15 in the fourth quarter 2010 to 28 in the fourth quarter 2011, an 87-percent increase. Once again though, the median home sales price in the same period dropped almost 30 percent.
When looking at 2011 as a whole, Town and Country reports that 4 of the 11 markets rose in number of home sales over 2010, one (Sag Harbor) stayed the same, and seven saw a decline. According to the company, Bridgehampton had the best year, with increases in all three criteria: total home sales volume (26-percent increase), median home sales price (13-percent increase), and number of home sales, which rose from 163 to 172.
Other real estate companies have embargoed their numbers until a later date.


text:
Clifton1 needed a new logo design and created a contest on 99designs.
A winner was selected from 167 designs submitted by 61 freelance designers.
Hacker Cup
The 2010 Facebook Hacker Cup will be the first annual Facebook global programming contest where engineers, computer scientists, and hackers compete against each other for fame, fortune, glory and a shot at the coveted Hacker Cup. Many will enter, but only one will claim title as champion.
At Facebook, hacking means to be bold, move fast and break things. It means if you see something broken or could be done better, go and fix it. For more information about our culture you can check out... http://www.facebook.com/careers/life.php#
Software engineers, hackers, and Computer Science university students all around the world.
We are looking for a logo design to represent Facebook's Hacker Cup coding competition on our website and printed material. Please do not use any stock images or clip art in the design and the word "Facebook" or Facebook logo shall not appear in the submitted design.
The files we will require are:
Print file format - .ai (CMYK)
Web file format - .jpg and layered .psd (RGB)
Find out how a design contest works or learn more about our logo design services.


text:
BILOXI - A train slammed into a charter bus stuck on the tracks in Biloxi Tuesday morning, killing 4 people and injuring a majority of the 42 passengers on board, according to Chief John Miller of the Biloxi Police.
Miller said the bus was coming from Austin, Texas and heading to an unknown destination in Mississippi.
He said it is not known why the bus was stalled on the track.
According to Julia Clark with American Medical Response in Harrison County, Mississippi, 3 people were initially killed and 10 were in critical condition. Another 10 were listed as serious with 15 said to be 'walking wounded,' and the rest did not need medical attention. Chief Miller said that a fourth person died later at the hospital.
A spokesman for the bus company, ECHO Transportation, would not comment on the accident, saying only they are "mobilizing an investigation" at the moment.
"The eastbound mixed freight train, traveling from New Orleans to Mobile, Ala., had three locomotives and 52 cars – 27 loaded cars and 25 empty cars," said Gary Sease, CSX spokesman. "The crossing has flashing lights and crossing gates."
Eyewitness News has a crew headed to the scene and will update the story on the 5 pm and 6 p.m. news.


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Spot or Not: Deer Gap
Las Colinas, TX
Texas is an untapped gem in the world of winch spots, and Clint Tompkins is doing his best to hit everyone of them. Surely you've seen the giant cement spillways that are classic Texas in mags or videos, but those are just the beginning. Since the state would be pretty much uninhabitable if it weren't for tons of manmade fountains, dams and spillways, it lends itself well to wakeskating.
Clint has been kind enough to take Alliance to some of his spots on a few occasions including the Deer Gap in Las Colinas. The name comes from the fact there are two ceramic deer perched on top of walls that surround the drop. The spot itself is a big, wide drop into a deep landing. The dimensions come in around 30 feet wide and a little over 7 feet down. The landing is entirely surrounded by sloped concrete, so you need to use the rope to pull yourself out. Luckily there is a fence covered in No Trespassing signs to tie the winch to.
Aside from the signs though, this spot is relatively mellow on the bust scale. There is a constant stream of workers on golf carts passing back and forth dong some sort of maintenance on the adjacent gold course, but they rarely seem to notice. Clint said he's hit it several times and only been kicked out once. "You can pretty much go there whenever you want as long as you keep in low key," he said. "I'd give it a 7 or 8 out of ten on a bust factor of being good."
Aside from Clint a few Dallas locals have hit this one, as well as Bret Little and Matt Hooker on an Alliance trip. Clint has gotten several tricks down the sizable gap including regular and switch 180, backside shuv, frontside shuv and a kickflip, featured in Volume 6. Since this is his spot, I will let Clint sum it up:
The Good: I like it because its pretty good size. It's got a really deep landing. The whole thing is 30 feet wide. You definitely have plenty of room to try whatever.
The Bad: You have to jump off the top and swim the rope out, so you have to be able to swim just a little bit. It's pretty big, so it's frustrating sometimes. It really is an optical illusion. It doesn't appear to be as big as it really is until you go jumping off of it. You have to be careful how you land; it's easy to get your legs bent the wrong way dropping that far.


text:
Java developers create dynamic applications and websites using the Java programming language, according to the needs of the client or company they work for. One of the basic tasks of a Java developer is to write class files. Java developers work at all stages of the engineering process, from soliciting requirements to designing prototypes, and configuring products.
With the skills required to work as a Java Developer there are a number of related positions that would be suitable. Professionals working as Java Developers with skills in Spring Framework, Lead Programmer and Java could also consider Lead Java Developer positions.


text:
By initialing below, you allow ets, inc. to release a copy of your certificate to your organization in the event they request it.
Photo Release
ets may take photographs or videotape training events and might use such photographs or video footage in connection with advertising, promotion and marketing of the event. By attending our training sessions, you agree that ets has the right, but not the obligation, to take pictures and/or recordings of you without limitation or reservation in perpetuity. If you do not wish to be photographed or recorded, or do not agree with these terms, please state so below and it will be your responsibility to stay out of camera range and away from cameras and production crew. Any failure to do so will be conclusively deemed agreement to these terms and a waiver of any and all claims for invasion of privacy, defamation, or any other privacy claim under the law. You hereby release Electronic Training Solutions, Inc. (ets) from any claim of any kind or nature arising from the use of the photos/videos.


text: Mark Hahn wrote: >> BTW< where a lot of people are jumping on the "Get IPMI " bandwagon, >> I suggest getting PDUs with remote IP controlled ports is more useful. > > the thing I don't like about controlled PDUs is that they're pretty > harsh - don't you expect a higher failure rate of node PSUs if you go > yanking the power this way? Why? If nodes shutdown, on commands from the scheduler, that is good. And, if they do not, how is cutting power by the PDU socket any different than a power switch on the node? Obviously we want to avoid "dropping the hammer" on a mounted filesystem, at least until it has its cache cleared. That is not hard to accomplish. > > I have only seen a handful of different IPMI interfaces, but they all > were reasonably reliable. > I have used the Supermicro, Tyan, ASUS, and Dell, and they all had some tendency to choke sometimes. The thing is, at the nominal cost of $50 to $100 per machine for BMC ( IPMI) cards, one can buy a couple of network controlled PDUs, with the thermal and humidity sensors. As you are likely to at least buy "dumb" PDUs, this means the typical cost per node added by this is usually around $30 per node, resulting in a tidy savings. It also means you are "talking" tp only one device pre 10 to 30 nodes, versus 10 to 30 BMC devices. Further, these IPMI cards typically "steal" a GbE port on the nodes. >> If you set your machines BIOS to start on power up, it is trivial to >> stop and start machines with the PD U power, and that is definitely >> reliable. > > huh? we're talking about network-attached IPMI, which is fully > independent > of the controlled motherboard's bios. are you talking about those > hybrid systems where the IPMI controller shares an ethernet port with > the host? > or IPMI through a kernel driver? > Either. Most share a port, some have dedicated ports on board. >> Plus , with a lot of those PDUs you can add thermal sensors and >> trigger power off on high temperature conditions. > > IPMI normally provides all the motherboard's sensors as well. it > seems like those are far more relevant than the temp of the PDU... I would rather monitor the room temperature at the racks, and shut the whole works down in a hurry if something is wrong, such as air conditioning failure. > using lm_sensors is a poor substitute for IPMI. Yes, and no. For monitoring the temps and fans an such on nodes it is quite sufficient. For power control it is useless, of course. -- With our best regards, //Maurice W. Hilarius Telephone: 01-780-456-9771/ /Hard Data Ltd. FAX: 01-780-456-9772/ /11060 - 166 Avenue email:maurice at harddata.com/ /Edmonton, AB, Canada http://www.harddata.com// / T5X 1Y3/ / -------------- next part -------------- An HTML attachment was scrubbed... URL: <http://www.beowulf.org/pipermail/beowulf/attachments/20080801/2f04d789/attachment.html>


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I am personally not concerned at all whether reliability is handled by OASIS instead of W3C. What really worries me in general is that duplicate work is being done in competing groups. The publication of WS-ReliableMessaging without any clear indication of plans to converge with the OASIS work (publication made, by the way, by companies that, as far as I know, are not part of the OASIS reliability TC so far) definitely raised my worries quite a bit. If you say that there is a good possibility that WS-ReliableMessaging will be submitted to the OASIS reliability TC, that makes me feel better. But I'll be looking for concrete actions and not just words. By the way, it puzzles me that this submission has not yet occurred, if the authors indeed contemplate that possibility. The OASIS TC just started its work, and this would be a great time for submission: members could start right away to look at both specs and get the best of both, instead of starting work in one direction and having to change course later. Ugo -----Original Message----- From: email@example.com [mailto:email@example.com]On Behalf Of David Orchard Sent: Monday, March 17, 2003 12:40 PM To: email@example.com Subject: RE: Questions prompted by the publication of WS-ReliableMessaging I think that companies working on WS-ReliableMessaging bodes well for the widespread adoption of an sigle, open, RF, interoperable reliability specification that architects well with other Web service specifications. What I'm really surprised by is the pushback that people are giving on the possibility that ws-rm won't automatically go to the oasis ws-reliability TC. One of the biggest differences between the W3C and OASIS is that the W3C has a community review process for new working groups. The goal at the W3C being to have a charter for a working group that all the W3C Members can live with and is technically consistent with other works in progress. Indeed, the work that the W3C Team and member companies do to come up with such a charter and then the 4 week AC review period are the biggest contributors to the length of time to form a Working Group, IMO. OASIS has no such intent or process. If you like forming WG's quickly, you can't ALSO want there to be consensus in the industry around a single Working Group and it's charter. Time to market or consensus, pick one. Continuing the community review of charters a little further, TC's can arbitrarily change their charter without a community review. The IP issues around changes in charters alone gives me the willies, like how the heck do you do early IP disclosure if the charter can change??? Further, individual members of OASIS don't treat TC formation as a "first to pole wins" wrt charters. OASIS provides a place for like minded individuals to do work. It has no structure for insisting on consistency or relationship between TCs or other groups. Though such is certainly permitted, pending whether the individuals choose to. Surely these differences in processes and their plus and minues have been obvious for years now and people shouldn't be surprised by what can happen, or that it automatically means something *bad* for Web services. If people have reservations about the OASIS process, then talking about it on w3c ws-arch seems like it would need to get moved off of the w3c pretty fast. I'm ok with talking about the impact of various processes on web services architecture for a while, but it's probably something that needs to be wrapped up quickly. Finally, people seem to like the OASIS process as lots of work is being done there. Cheers, Dave -----Original Message----- From: firstname.lastname@example.com [mailto:email@example.com] Sent: Saturday, March 15, 2003 2:34 PM To: email@example.com; firstname.lastname@example.com; 'Ugo Corda'; email@example.com Subject: RE: Questions prompted by the publication of WS-ReliableMessaging There are differences. The primary difference that I see (after a quick glance) is that WS-ReliableMessaging relies on/works with WS-Policy and the other GXA specifications. WS-Reliability is a standalone SOAP extension. Also, WS-ReliableMessaging has defined Addressability separately (which decouples asynchronicity from reliability). I think that WS-ReliableMessaging and WS-Addressability are better, more flexible, more thorough, more comprehensive specifications. Even so, the specs address exactly the same problem space. The primary difference is political. The authors of WS-ReliableMessaging have not signed up to participate in the WS-RM TC. I'm not sure that it's a given that the authors will submit it to the WS-RM TC. I'd say that it bodes badly for the standardization effort. Anne -----Original Message----- From: firstname.lastname@example.com [mailto:firstname.lastname@example.com] Sent: Saturday, March 15, 2003 4:05 PM To: email@example.com; 'Ugo Corda'; email@example.com Subject: RE: Questions prompted by the publication of WS-ReliableMessaging I agree with Ugo. Reading through the abstract it's obvious that we have two specifications that solve the same problem. Is there a value in that? I actually dug deeper into the specs and I can tell that there are some differences. But most of us don't have the time to compare green apples to red apples. It would have been much easier if someone could present a list of the difference. If WS-ReliableMessaging does something better than WS-RM then clearly it could be summarized in two pages and presented to the WS community so we can judge. Maybe they are so different that we need to have both. I don't see that, but a more educated explanation would help. Maybe the changes are minor, in which case such a comparison could help the OASIS TC in addressing the problem of reliable messaging in a much better way. Am I the only one interested in seeing such a comparison? arkin -----Original Message----- From: firstname.lastname@example.com [mailto:firstname.lastname@example.com] Sent: Saturday, March 15, 2003 12:46 PM To: 'Ugo Corda'; email@example.com Subject: RE: Questions prompted by the publication of WS-ReliableMessaging I suggest you need to read the specs slower rather than quicker :-) -----Original Message----- From: email@example.com [mailto:email@example.com]On Behalf Of Ugo Corda Sent: Saturday, March 15, 2003 12:44 PM To: firstname.lastname@example.com Subject: Questions prompted by the publication of WS-ReliableMessaging Probably most people in the group have had a chance by now to see this week's announcement of the publication of WS-ReliableMessaging (see [1]). After a quick reading of the spec, I have to say that I don't see any major architectural/technical differences compared to the OASIS WS-ReliableMessaging TC activity and its input document WS-Reliability (or at least differences big enough to justify going a completely separate way). I really hope that some WSA members whose companies published the new reliability spec can help me clarify the previous point and provide some architectural/technical rationale for the separate publication. Thank you, Ugo P.S. No need to answer if the rationale for publication is a political one (I can figure that out by myself ...). [1] http://xml.coverpages.org/ni2003-03-13-a.htmlReceived on Monday, 17 March 2003 16:18:24 UTC
This archive was generated by hypermail 2.3.1 : Tuesday, 6 January 2015 21:41:05 UTC


text:
On-campus housing is available to international graduate students on a "first-come, first-served" basis. Saint Michael's will also help students procure off-campus housing in an apartment or homestay situation.
The cost of on-campus housing is approximately $600/month and includes:
Off campus housing is comparable.
Homestays may cost between $600 and $800 per month depending on services included.


text:
The renovation of a former laundry building into a single family home is not only a sustainable adaptive reuse of an existing building, but it also became an art piece for artist Jean Gilbert. Designed by French Architect Alain Hinant, this building in the suburb of Uccle in Brussels, Belgium is simple and ordinary, but a slice of paradise in an urban jungle.
The 120 square-meter, three-story laundry building used to serve the three neighboring houses in Uccle. The renovations tied the three floors together and allowed for the new single family home to open up and unravel around a central staircase. Skylights above the staircase allow for plenty of natural daylight to flood into the space. Windows at the interior of the building also provide natural daylight and views of the small garden paradise behind the building.
Jean Gilbert's black and blue painted surfaces create a virtual volume throughout the building's interior. The black paint is glossy and literally helps to expand the sense of space through its mirror-like appearance. Every layer of the home is engaged by the paint, from the kitchen and living spaces of the ground floor to the sleeping and study rooms of the top floors.
Though architect Alain Hinant designed the renovation of this urban intervention, the owners performed most of the work themselves. Energy upgrades and simple construction methods added significant savings for the owners, and created something the owners can be truly proud of.
Via Dezeen


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The Chinese Exclusion Act and Early Asian American Literature
Ben Railton
The 19th century featured two opposed yet interconnected historical trends: the growth of a multigenerational and deeply rooted Chinese American community; and the development of the cultural prejudices and fears comprised by the Yellow Peril narrative. Those xenophobic fears produced violence, social and political movements, and legal exclusions, culminating in the 1882 Chinese Exclusion Act and its many follow-up laws and policies, all designed as much to destroy the existing Chinese American community as to restrict future immigration. But out of that period of exclusion and oppression came some of the first Chinese American literary and cultural works published in both Mandarin/Cantonese and English: the personal and collective poems carved into the walls of the Angel Island Immigration Station by detainees; auto-ethnographic memoirs of Chinese American life and community such as Yung Wing's My Life in China and America (1909); and the journalistic, autobiographical, and fictional works of Edith Maude Eaton/Sui Sin Far, the first Chinese American professional creative writer. These works both reflect and transcend the realities of the Exclusion era, helping contemporary audiences understand those histories, connect them to later Chinese American writers, and analyze the exclusionary debates and proposals of the early 21st century.
The Public Life of Contemporary Australian Poetry
David McCooey
Since the late 1990s, complaints about the status of poetry, and the parlous state of poetry publishing, have been commonplace in Australia and other Anglophone nations. Concomitant with this discourse of decline (a transnational discourse with a surprisingly long history) is a discourse of return, in which poetry is presented as returning to public culture (often through the literalized voice of the poet) to reoccupy the place it putatively held in earlier, if not premodern, times. Poetry's engagement with public themes and the public use of poetry continue to be important, if sometimes overlooked, elements of Australian literary culture. Indeed, despite its apparent marginality, contemporary poetry could be said to have what may be called an "ambiguous vitality" in public life. While other forms of media continue to dominate public culture, poetry nevertheless remains public, in part by occupying or being occupied by those other forms of media. In other words, contemporary poetry's ambiguously vital presence in public culture can be seen in the ways it figures in extra-poetic contexts. Such contexts are manifold. For instance, poetry—and the figure of the poet—are mobilized as tropes in other media such as films and novels; poetry is used as a form of public/political speech to articulate crisis and loss (such as at annual Anzac ceremonies); and it is used in everyday rituals such as weddings and funerals. Public culture, as this list suggests, is haunted by the marginal discourse of poetry.
In addition, poetry's traditional function of commenting on the body politic and current political debates continues, regardless of the size of the medium's putative audience. Recent poetry on the so-called "War on Terror," the Stolen Generation, and asylum seekers illustrates this. But contemporary Australian poetry engages in public life in ways other than the thematization of current public events. Poets such as Jennifer Maiden, John Forbes, and J. S. Harry exemplify a group of poets who have figured themselves as public poets in a self-consciously ironic fashion; acknowledging poetry's marginality, they nevertheless write poetry as if it had or may have an extra-poetic efficacy.
Australian Poetry, 1940s–1960s
Peter Kirkpatrick
When situating 20th-century Australian poetry within world literary space, critical histories often map it against the Anglo-American tradition and find it wanting. In particular, and despite the strong reputations that poets such as Judith Wright and A. D. Hope continue to enjoy, there is a tendency to regard Australian poetry from the Second World War until the mid-1960s as variously complacent, insular, or retrograde: representative of what John Tranter in his introduction to The New Australian Poetry in 1979 called "a moribund poetic culture." Certainly, there was a turning away from avant-garde experimentalism in the immediate postwar period (as there was in Britain and the United States), but in Australia, this has been linked to a discrediting of modernism as a result of the Ern Malley hoax. In the Malley "affair," as Michael Heyward dubbed it, two conservative poets hoodwinked the editor of the avant-garde journal Angry Penguins with a suite of poems written by a wholly invented working-class surrealist. As a result, according to Wright (among others), Australian poets became less adventurous in favor of more traditional forms. On top of this, recent revisionist accounts of the hoax have virtually canonized "Malley" himself as a bona fide modernist and so exacerbated a sense of lost opportunity after the mid-1940s. Yet modernizing impulses may take many forms, and it is an overstatement to suggest that innovation had ceased, or that the poetry of this period was somehow disengaged from the rest of the world or from international literary-political debates. A reassessment shows that Australian poets were keenly engaged with the questions of their time but also dealt with the persistent, unresolved problem of how to become "unprovincial," overcoming a cultural cringe that now gravitated away from Britain and toward America. In fact, for Australian literature prior to the emergence of Patrick White, poetry, rather than beating a retreat, actually led the way forward. It is time, then, to reconsider the poetry of the postwar era within its own cultural ecologies, acknowledging that Australian poetic modernism, while it remains contested, may also be distinctive.
Maria Damon
"Micropoetries" is a self-eroding category initiated in academic poetry scholarship in the 1990s to address a perceived crisis in poetry audiences, with an implicit argument that the term "poetry" needed to be widened to account for phenomena beyond the poetry found in academic and writerly, high-literary discourse. While the referents of the term may shift over time and in response to cultural and social change, and while the term itself was intended somewhat provisionally, it can still open up the possibility for discussing para-literary materials as poetry, that is, aesthetically and socially meaningful artifacts. It refers positively to half-formed, degraded, or ephemeral verbal phenomena, or writing produced by abjected persons—for example, "outsider writing," prison or other poetry arising from incarcerated subjects, writing by children—or poetry by non-poets. The concept is indebted to multiple intellectual traditions, but primarily those of the Russian formalists, the Birmingham School of Cultural Studies, Walter Benjamin as a kind of outlier Frankfurt School philosopher, cultural ethnographers such as Mark Slobin and Lila Abu-Lughod, and poets as well as poetry scholars working at the limits of their disciplines. Phenomena such as "outsider writing," ecopoetics, the Human Microphone (the oral relay system that characterized communication at the Occupy movement sites in 2011–2012), and Scottish insults directed at Donald Trump via Twitter are explored as examples. Pedagogical use can be made of the concept to both widen students' opportunities for encountering "the poetic" in everyday life and to pressure them to clarify and revise what they consider poetry to be. Contemplation of the category "micropoetries" gives rise to contemplation of its complement, "macropoetries," or phenomena that, because of their durational properties, challenge the notion of mastery through analysis, forcing the consideration that poetry and poetics reside at the breakdown seam of analysis and experience, or where "the beautiful" meets "the sublime."
The City in Nuyorican Fiction and Poetry
Mario Maffi
In 1898, U.S. imperialism spread beyond the continent's borders and took possession of Puerto Rico during the Spanish–American War. This began the repeated waves of migration from the island to the mainland. In New York City (the main destination, along with Chicago), Puerto Ricans settled in East Harlem and the South Bronx, while the Lower East Side became the immigrant neighborhood par excellence. Adaptation strategies, common to previous immigrant communities, ensued, especially regarding the urban context and the reinvention of spaces. During the 1960s, authors such as Piri Thomas or Pedro Juan Soto began to narrate this complex experience, always in an unsteady balance between Puerto Rico and the United States. This first phase of literary output culminated the following decade (a period of deep economic and social crisis) in the so-called Nuyorican Experience, where "nuyorican" stands for "New York Puerto Rican"—a neologism that sums up the community's condition of "divided self" and defines the social and cultural horizon of a new generation of artists. In their works, poet-performer Pedro Pietri and writer Nicholasa Mohr expressed their peculiar view and sense of the city, both surreal and realistic, ironic and passionate.
The Oxford Movement
Elisabeth Jay
In 1833 a reforming government seemed to threaten the disestablishment of the Church of England. This provoked a small number of clergy associated with Oxford University to address Tracts for the Times (1833–1841) to fellow Anglican clerics. Reminding them that they derived their spiritual authority not from the state, but by virtue of ordination into a church which traced its direct descent from the body instituted by Christ and his apostles, the tracts ranged from scholarly argument to templates for the renewal of spiritual life. The tract writers included John Henry Newman, John Keble, Richard Hurrell Froude, Isaac Williams, and Edward Bouverie Pusey. Determined to reinterpret the Church of England to itself as the true Catholic church in England, they sought to counteract the perceived Protestant bias of the Book of Common Prayer by appealing to the early Fathers of the undivided church of antiquity, and by emphasizing the via media (middle way) favored by many 17th-century theologians.
The series that gave the movement its alternative name, Tractarianism, came to an abrupt end when in Tract XC (1841), Newman, the influential vicar of the University church, argued that the Prayer Book's Thirty-Nine Articles, to which all ordained clergy and all Oxford students were then obliged to subscribe, could be interpreted as compatible with Roman Catholic theology. For many, Newman's founding of a semi-monastic community to which he retreated in 1843, and his reception into the Roman Catholic Church in 1845, where he was followed by a number of other Tractarians, marked the end of the movement. This impression was lent continued currency both by Newman's own account, Apologia Pro Vita Sua (1864), and by subsequent 19th-century historians. However, the movement's influence continued to be felt throughout the wider Anglican communion in renewed attention to sacramental worship, in church building, and in the founding of Anglican communities. The movement's appeal to pre-Reformation theology led to its being associated with the revival of Gothic architecture, while Tractarian sacramental fervor later translated into obsessive observance of Prayer Book rubrics by the so-called Ritualists.
Admiration for the Lake Poets fed into a Tractarian aesthetic which saw poetic language as religion's natural mode of expression, half revealing, half concealing heavenly truths, and poetic rhythm and structure as devices for controlling thoughts and emotions. As its title indicates, Keble's The Christian Year (1827) was designed to accompany the liturgy: immensely popular, it carried the movement's principles well beyond Anglo-Catholic circles. It was supplemented by further collections of Tractarian poetry. Institutionally male in origin, the movement nevertheless legitimated women's work through sisterhoods, in education and as writers. Charlotte Yonge and Christina Rossetti are the two most notable exemplars of this impulse.
The movement provoked polemical fiction both from its ardent disciples and from disenchanted followers. In the popular press, Anglo-Catholicism quickly translated into Roman Catholicism, thus presenting a potential threat to English values. The revival of confession, sisterhoods, and the notion of celibacy seemed to undermine the Victorian domestic order, while priestly attention to liturgical vestments was attacked as unmanly. If Anglo-Catholicism's long-term legacy was spiritual, its short-term effect was to politicize Victorian religion.
The Radical Presence in 20th-Century U.S. Literature
Alan M. Wald
At the start of the last century a modern tradition of literary radicalism crystallized with inspiring results. From 1900 onward, socialists and bohemians yoked their ideals to become a marathon of forward-thinking activist cultural workers. For the next three decades, writers and intellectuals of the Left, such as Max Eastman (1883–1969), were oracles of enchantment in a world increasingly disenchanted, initially by the international war of 1914–1919 and subsequently by a decline in popular political defiance as capitalism consolidated. Still, the adversarial dream persevered during the violence and later, often in little magazines such as the Masses, Liberator, Seven Arts, and Modern Quarterly. Since the 1920s, literary radicalism meant creativity in the service of an insurrection against political power combined with a makeover in human relationships.
With the economic catastrophe of 1929 and the triumph of Nazism in 1933, what might have been a generational succession morphed into a paradigm shift. This previously self-governing literary radicalism was now multifariously entangled with Soviet communism during its most awful hour. An unofficial state of emergency escalated so that a range of journals—this time, New Masses, Modern Monthly, and Partisan Review—once more served as barometers of the depth and breadth of radical opinion. Bit by bit, a strange new ethos enveloped the literary Left, one that blended heroism, sacrifice, and artistic triumph with fifteen years of purge trials in the Soviet Union, mortifying policy shifts in the international Communist movement, and relentless domestic repression against the organized Left in the United States. By the end of this phase, in the reactionary post–World War II years, most adherents of communism (not just the pre-dominant pro-Soviet Communism, but the other varieties of communism such as Trotskyism and Bukharinism) desperately fled their Depression-era affiliations. The upshot was a blurring of the record. This occurred in ways that may have seemed clever for autobiographical concealment (by one-time literary radicals who feared exposure or embarrassment at youthful excesses) but became maddening for future scholars wishing to parse the writers' former convictions.
As literary radicalism passed through the Cold War, 1960s radicalization, the late 20th-century culture wars, and into the new millennium, the tradition was routinely reframed so that it faces us today as a giant puzzle. New research and scholarship emerge every year to provide insights into a very complicated body of writing, but there is a fretful ambivalence about its actual location and weight in literary history. Not surprisingly, most overall scholarly histories, chronicles, and anthologies do not include the category of literary radicalism as a well-defined, principal topic. This is because enthusiasts of the last twenty-five years brilliantly championed the tradition less under the rubric of "literary radicalism" than as the fertile soil for a blooming of gender-conscious, multicultural, and polycentric legacies connected to the Left but primarily rendered as eruptions of American literary modernity onto the world stage. These revisionist images came to us in discrete volumes about black writers, women writers, regional writers, children's writers, Jewish writers, and so forth. Nonetheless, such celebratory portraits remained in competition with a dark double, a notion that nearly all literary radicals were wanting in artistic value. This skeptical appraisal was entrenched in an older scholarship, a point of view that is partly an aftereffect of the long shadow that the Communist imbroglio cast on its entire legacy.


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Frequently asked questions
Is it true that trafficking in cultural property is the third most common form of trafficking, after drug trafficking and arms trafficking?
We do not possess any figures which would enable us to claim that trafficking in cultural property is the third or fourth most common form of trafficking, although this is frequently mentioned at international conferences and in the media.
In fact, it is very difficult to gain an exact idea of how many items of cultural property are stolen throughout the world and it is unlikely that there will ever be any accurate statistics. National statistics are often based on the circumstances of the theft (petty theft, theft by breaking and entering or armed robbery), rather than the type of object stolen.
An enhanced information exchange could assist INTERPOL in determining the importance as well as the trends and patterns of this type of crime.
What is the cost of trafficking in cultural property?
It is not possible to put a figure on this type of crime, partly for the reasons mentioned above and partly because the value of an item of cultural property is not always the same in the country in which it was stolen and the destination country. Also, thefts of such property are sometimes not reported to the police because the money used to purchase them had not been declared for tax reasons or because it was the proceeds of criminal activity.
It is also impossible to assess the financial extent of the losses caused by clandestine archaeological excavations. Such excavations often only come to light when looted items appear on the international market. Illegal excavations destroy the scientific context of the single finds and seriously jeopardize future archeological research of the sites.
Even without considering the economic impact behind the illicit traffic of cultural goods, it is important to consider the damage caused by this type of crime to civilizations and their history. The cultural heritage of a country constitutes its identity. A country that is deprived of its cultural heritage because it is being looted or stolen is a country that is losing its identity and every component that is linked to it: national belonging, patriotism or national pride.
Which countries are most affected by this type of crime and which objects are most frequently stolen?
Due to the lack of reliable and internationally harmonized statistics on cultural property thefts, it is impossible to identify one country being more affected than the others.
However, it is obvious that the following regions are particularly affected by this type of crime:
- Europe,
- Latin America,
- Middle East,
- North and Sub-Saharan Africa,
- South East Asia.
The majority of thefts are carried out from private homes. Museums and places of worship are also among the common targets.
The type of objects stolen varies from country to country. Generally speaking, paintings, sculptures and statues, and religious items are very sought after by thieves.
However, no category is spared, including such diverse items as archaeological pieces, antiquarian books, antique furniture, coins, weapons and firearms or ancient gold and silverware.
What is INTERPOL's role in countering the traffic in cultural property?
Since 1947, INTERPOL has put considerable effort into countering the traffic in cultural property.
The role of the General Secretariat is to:
- Centralize information. Data sent to the General Secretariat is analysed and entered in the Works of Art database. Our role is to give added value to information received.
- Transmit information received to member countries and official partners as rapidly as possible.
- Develop the tools to enable member countries to counter the traffic in cultural property effectively.
- Organize international conferences, either at the General Secretariat in Lyon, France, or in member countries, and participate in other international conferences and workshops across the world.
- Organize training courses on countering the traffic in cultural property.
- Maintain a close working relationship with the international organizations involved in countering the traffic in cultural property. INTERPOL has signed memoranda of understanding with UNESCO, the World Customs Organization (WCO), and the International Council of Museums (ICOM).
What tools has INTERPOL devised to tackle the traffic in cultural property?
Our database of stolen works of art combines descriptions and pictures of around 45,000 items. Direct access to the database was made available in 2009, enabling authorized users to check in real-time if an item is among the registered objects.
In accordance with strict data processing rules, only information provided by authorized entities (INTERPOL National Central Bureaus and specific international partner organizations) can be inserted into the database. Only fully identifiable objects are entered in the database.
'Most wanted works of art' posters
We publish a poster every June and December to publicize the Most Wanted Works of Art.
What is the modus operandi most frequently used by thieves?
Breaking and entering is the method most commonly employed by thieves.
What can be done to tackle this type of crime?
At national level:
- Develop and enhance national legislation to protect cultural heritage and regulate the art market (UNESCO Database of National Cultural Heritage Laws);
- Become party to international conventions (position of the General Secretariat vis-à-vis the 1970 UNESCO Convention and the 1995 UNIDROIT Convention);
- Assess the potential use of the United Nations Convention on Transnational Organized Crime (UNTOC) to fight illicit trafficking of cultural property;
- Prepare inventories of public collections using standards which will make it possible to circulate information in the event of theft;
- Develop a computerized database along the lines of those currently in use, to avoid duplication of effort;
- Circulate information on thefts as rapidly as possible;
- Raise public awareness with regard to the cultural heritage both in the country and abroad;
- Set up specialized police units to tackle this type of crime;
- Develop training courses for the police, other law-enforcement services and customs, with the support of cultural institutions.
By owners:
- Compile inventories of collections, with photographs and exact descriptions of each object (refer to Object ID);
- Make objects easily identifiable (i.e. marking by the owner or by specialist private companies);
- Protect the premises where the collections are held;
- Report thefts immediately to the police or other law-enforcement authorities and provide them with a full list of stolen items together with photographs.
By art/antique dealers:
- Take extreme care when purchasing items and use all available means to determine their origin and provenance;
- Before purchasing objects, check against relevant stolen art databases (INTERPOL's Stolen Works of Art Database - authoized users only; apply for access);
- Refuse to buy objects without adequate documentation about their origin.


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Professor Named Fulbright Scholar
Dr. Cecile Arquette, associate professor of Teacher Education, was awarded a Fulbright Scholar grant to teach in Chile during the spring 2014 semester.
By Frank Radosevich II
February 15, 2013
Associate Professor of Teacher Education Dr. Cecile Arquette has been awarded a Fulbright Scholar grant to teach next year in Chile, according to the United States Department of State and the J. William Fulbright Foreign Scholarship Board.
Dr. Arquette's award will take her to the Pontifical Catholic University of Valparaiso for the spring semester to teach English as a foreign language. She will be working primarily with undergraduates studying to become English teachers and also hopes to forge some academic ties with her new institution.
"I would love to have someone come to Bradley," she said. "To make that international connection and build a relationship by having a visiting scholar here would be very beneficial to my own students."
The Fulbright Program was created in 1946 to increase cultural exchange and research between the United States and other nations. Each year roughly 1,200 U.S. scholars study, teach or conduct research abroad with the flagship program. Recipients of Fulbright awards are selected on the basis of academic or professional achievement, as well as demonstrated leadership potential in their fields.
"Fulbright Awards are very prestigious and the faculty member must go through a rigorous, multi-staged application process," said Dr. Joan Sattler, dean of the College of Education and Health Sciences. "Dr. Arquette is very deserving and we are so proud of her. This is the seventh Fulbright Award among our college faculty in the last several years."
Dr. Arquette's term will begin in March 2014 and she said the support she received from Bradley was crucial for her pursuit of the fellowship.
"I couldn't do this if I didn't have the support of the University," she said. "Bradley has had quite a few Fulbright Scholars, which is really unique for the size of the institution. To me, that speaks highly of the support the University has for the faculty."
As an undergraduate, Dr. Arquette majored in drama but discovered her passion for teaching in the classroom soon afterwards. A stint in Cameroon as a volunteer, and later as a trainer in Senegal, the former Zaire and back in Cameroon, with the U.S. Peace Corps helped foster her love of teaching, traveling and languages.
"It was very formative in my life," she said of her time spent teaching at a government high school in rural Cameroon. "I had worked before as a substitute teacher and teacher's aide but the Peace Corps cemented teaching as my vocation because I loved the experience in Cameroon."
She later taught at a grade school in Columbus, N.M., along the U.S.-Mexican border where she picked up Spanish while interacting with her students and their parents. Although she has never travelled to South America, Dr. Arquette led a group of Bradley students for the first time in Costa Rica during the January 2013 interim. She hopes to improve her Spanish skills while living and working in Valparaiso in time for the next scheduled Costa Rica study abroad group, planned for January 2015.
At Bradley, Dr. Arquette teaches both undergraduate and graduate courses in language arts, including emergent literacy, methods of teaching English language learners and children's literature, among others. She also has experience teaching at all levels, from kindergarten to graduate courses, throughout her career.