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W 13+14: Activity 4b: Making sense of the student experience
Read Bennett et al. (2008) 'The "digital natives" debate: a critical review of the evidence'.
As you read consider the following questions:
What do you understand by the use of the term 'moral panic'?
Or the 'immoral panic', or the lunacy that has academics and politicians jumping on catch-phrases like 'the Net Generation' that are totally sensationalist, eye-catching, worthless, unfounded, claptrap.
In fact they are pandering to our base desires, the belief or wish that there is a narrative to our existence that says it is always rubbish now and can be fixed by reading their book, with its oh too neat title.
Here's another soap-box wonder who believed she had the answer to everything:
Moral panic (Cohen, 1976) … Mary Whitehouse caused many in relation to smut on TV.
There is a pressing need for theoretically informed research – the concept of 'Digital Natives; is popularist and designed to sell a book(s) and the lecture/consultancy services of the person who coined the phrase, 'Marc Prensky.'
So what is a 'moral panic'?
Anything that gets JPF (just plain folk, a John Seely Brown expression I love) feeling anxious, that things on right in their world and the false prophet spouting doom and gloom is also the one with the answers - just follow them! Converts then to rant about this High Priest of the quick fix - Prensky is of course right about everything (just read the pages of gushing enthusiasm that he puts in his books. Try reading them; for a different product much of this would be professionally written to go on the back of a Cornflakes packet). The educational world will be saved from the horrors of the natives gone digital, if we only listen to him (then praise him to the hilt).
The research from Bennett says this about Prensky's thesis:
- Little critical scrutiny
- Undertheorised
- Lack of sound empirical basis
Dangerously Bennett reports 'to address this proclaimed challenge, some high-profile commentators are arguing for radical changes in curriculum, pedagogy, assessment and professional in education.'
Prensky and his lot deserve to be lampooned and satirised
Worse, they are given genuine educators working with technology a bad name. Professional educators are on the side of teachers and lecturers creating tools that are convenient, easy, transportable, and hopefully engaging, best of all permitting a large class, or cohort to have some sense of 'student-centred' learning through tools that enable a taste of the that priviledged Oxbridge one-to-one tutorial that 800 years on is far from threatened by e-learning and digital everything, indeed it thrives and has become even more precious and valued.
I was suckered into believing Marc Prensky as a naive MAODE student in my first module, H807.
I wanted to believe that Prensky had the answers to everything because I was working in a business in 2000/2001 that wanted clients to believe that if we created immersive, game-like learning online for them their students would teach themselves. Prensky pushed the problem, we offered a response.
This 'Digital Natives' thing is as vacuous as airfreshening devices in the home; it is a marketing gimmic designed to sell a product.
Prensky has no answers, and befuddles it all for us, worse academics have initially picked up his thread and have been terribly slow to get the research done that quite frankly demonstrates the nonsense that has been used to sell Prensky's books and lecture series.
'Claims are put forward with limited empirical evidence' ( e.g. Tapscott, 1998) or 'supported by anecdotes and appeals to common-sense beliefs' (e.g. Prensky, 2001), who also cites Captain James T Kirk form Star Trek (sic) … as if a fictional character, or the show (rather than its author) should be the one to cite at all.
Were 'Digital Natives' presented as an ECA it might pass, but the feedback would call it 'light' and poorly referenced.
'The reality is complex and diverse', says Bennett not just across a nation, but probably in many classes themselves. It's as if Prensky and his crew are suggesting that this generation were born with a third eye or six fingers.
(Actually, they are 'The Simpson' Generation and we need to worry that they'll all turn yellow and chop of a finger from each hand).
Can we take seriously an academic writer who cites Star Trek? And references quotes like this? Prenksy says he studied at Princeton and Harvard? What did he study?
Prensky could be, making it up.There is no means to check most of the references, if you can call them that.
I bought 'Educating Digital Natives' it is unacademic twaddle from beginning to end.
It's no better than one of those self-help books you can pick up in an airport.
So what is a 'moral panic'
Anything that gets JPF (just plain folk, a John Seely Brown expression I love) to have a rant … ideally to rant about how this prophet Prensky is right about everything and the educational world will be saved if we only listen to him (then praise him to the hilt).
What does this article suggest to you about the technological determinist thrust of the Net Generation argument?
Academic writers and current research, writing in calm, objective tones (Kennedy, Conole and others) knock flat every piece of 'hear say' from these authors for what it is – journalistic, sensationalist nonsense.
I have to question Marc Prensky's credentials; I simply cannot believe an academic with a Harvard MA could possibly write like this, indeed I want to ask Harvard to confirm that this is the case.
'The researchers found that only a minority of the students (around 21%) were engaged in creating their own content and multimedia for the Web, and that a significant proportion of students had lower level skills than might be expected of digital natives.' (Bennett 2008:02)
Kennedy's research in Australia says it all.
Emerging technologies are NOT the lifeblood of a generation, far from it. Research amongst students in three Australian universities showed that:
- 21% blog
- 24% used social networking
- 21.5% used podcasts
i.e. far from universal in this generation as the self-publicists of 'Net Generation', 'Digital Natives' or 'Millennials' would have us think.
Is there a theoretical or empirical basis to the arguments that are presented using the terms, Net Generation, Digital Natives or Millennials?
None whatsoever.
As Bennett said, we had a go at kids watching too much TV in the past. This is their lives and ours; it is the world as it is today. Nothing whatsoever has changed physiologically or psychologically about us humans, how we develop and grow.
The concept of any generation been universally similar fails to recognise differences related to:
- Socio-economic status
- Cultural/ethnic background
- Gender
- Discipline specialisation
Internet use by teenagers is far from uniform
- Widely varying experiences according to children's school and home backgrounds (Lee, 2005)
- Family dynamics
- Level of domestic affluence
Multiskilling claims … are facts that equate to young people at this stage in their developmental processes and is the same today as it was a thousand or ten thousand years ago – ability to work in fine detail, to work on several tasks at the same time.
'A significant proportion of young people do not have the levels of access or technology skills predicted by proponents of the digital native idea. Such generalisation about a whole generation of young people thereby focuses attention on technically adept students. With this comes the danger that those less ale will be neglected and that the potential impact of socio-economic and cultural factors will be overlooked'. (Bennett, 2008:02)
'Although such claims may appeal to our common-sense perceptions of a rapidly changing world, there is no evidence that multi-tasking is a new phenomenon exclusive to digital natives', (Bennett, 2008:02)
Just because something resonates with our personal observations doesn't make it so. Frankly, Prensky et al should be stand-up comics – you have to laugh, at their nonsense and how gullible we are to want to believe them.
'Generalisations about the ways in which digital natives learn also fail to recognise cognitive differences in young people of different ages and variation within age groups.' (Bennett, 2008:02)
People change their approach according to their perceptions of the task.
- 'It is apparent that there is scant evidence to support this idea, and that emerging research challenges notions of a homogenous generation with technical expertise and a distinctive learning style'. (Bennett, 2008:03)
- 'Our analysis of the digital native literature demonstrates a clear mismatch between the confidence with which claims are made and the evidence for such claims.'
- 'Arguments are often couched in dramatic language, proclaim a profound change in the world, and pronounce stark generational differences' (Bennett, 2008:03)
- 'Such claims with appeals to sense and recognisable anecdotes are used to declare an emergency situation, and call for urgent and fundamental change.' (Bennett, 2008:04)
The problem is that Prensky is an easy read.
Too many people prefer this than wading through dry, hard-nosed analysis of the truth. The truth? Business as usual. E-learning to education is what a whole raft of tools were to the housewife in the 1950s and 1960s … they make it easier to get the job done. They make life more convenient.
In the case of education it makes realisation, for some, the dream of more student-centred learning, possible.
If there is a generational shift it ought to be that more people are gaining access to an education on their terms. We have moved from a teacher-centred model of teaching (Kember, 1997) … which only existed/exists of necessity (not everyone has ever been wealthy to give their children a personal governess then tutor) … to supporting students' active learning, the student-centred model (Gibbs, 1995).
If there is, what do you think are the key features of this change in generations?
How might these changes affect education?
Did serendipity bring me to this?
'An evaluation of students' perceptions and engagement with e-learning components in a campus based university'. (2011) Afam Ituma
All your answers to the MAODE in eight pages.


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In this episode (40:04)
We discuss our thoughts on ranking systems including the AKC Invitational rankings and our own Power 60 and Breed Power 10.
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subset: commoncrawl


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- The rugged mountains and remote villages of the Sierra de Nayarit north of Guadalajara are the homeland of roughly fifteen thousand Huichol people. These were among the last indigenous groups to succumb to Spanish influence, and their faith still is essentially pagan, revolving around several important agricultural deities. Deer is the most sacred of all animals, its blood a symbol of fertility. Corn is the source of all life, for it was Nacahue, mother of all gods, who gave corn to the first man for planting, and from this corn was born the first Huichol woman. Peyote is a means of communication with the Gods, and the consumption of peyote by the Huichol people is a deeply religious experience. The unity of these three elements - deer, corn, and peyote - represent the core of Huichol beliefs.
- Huichol people express these feelings through their art, which is made not from the standpoint of decoration, but to give profound expression to deep spiritual beliefs. This makes traditional Huichol art, whether it be meticulous beadwork, yarn paintings, wooden masks, or striking embroidered and woven personal adornments, beautiful not only from its aesthetic standpoint but from the psychological as well.
- Click here for additional information on the Huichol people and how this art was made, and here for an Adobe Reader file describing the significance of their symbols and color choices.
This striking, one-of-a-kind beaded Huichol Skull was made by meticulously pressing tiny glass beads into natural beeswax spread over a skull form. Every bead is hand-placed into an intricate design limited only by the artist's imagination and skill. Inspired by their culture, this bead art is made in limited quantities by the Huichol people of southwestern Mexico. Click here for additional information on the Huichol people and how this art was made, and here for an Adobe Reader file describing the significance of their symbols and color choices. Please Choose an Item
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If you have a headache, you're not alone. Nine out of ten Americans suffer from headaches. Some are occasional, some frequent, some are dull and throbbing, and some cause debilitating pain and nausea.
What do you do when you suffer from a pounding headache? Do you grit your teeth and carry on? Lie down? Pop a pill and hope the pain goes away? There is a better alternative.
New research shows that spinal manipulation - the primary form of care provided by doctors of chiropractic- may be an effective treatment option for tension headaches and headaches that originate in the neck.
A report released in 2001 by researchers at the Duke University Evidence-Based Practice Center in Durham, NC, found that spinal manipulation resulted in almost immediate improvement for those headaches that originate in the neck, and had significantly fewer side effects and longer-lasting relief of tension-type headache than a commonly prescribed medication.
Also, a 1995 study in the Journal of Manipulative and Physiological Therapeutics found that spinal manipulative therapy is an effective treatment for tension headaches and that those who ceased chiropractic treatment after four weeks experienced a sustained therapeutic benefit in contrast with those patients who received a commonly prescribed medication.
Headache Triggers
have many causes, or "triggers." These may include foods, environmental
stimuli (noises, lights, stress, etc.) and/or behaviors (insomnia,
excessive exercise, blood sugar changes, etc.). About 5 percent of all
headaches are warning signals caused by physical problems. Ninety-five
percent of headaches are primary headaches, such as tension, migraine,
or cluster
headaches. These types of headaches are not caused by disease. The headache itself is the primary concern.
"The greatest majority of primary headaches are associated with muscle tension in the neck," says Dr. George B. McClelland, a doctor of chiropractic from Christiansburg, VA. "Today, Americans engage in more sedentary activities than they used to, and more hours are spent in one fixed position or posture. This can increase joint irritation and muscle tension in the neck, upper back and scalp, causing your head to ache."
What Can You Do?
The American Chiropractic Association suggests the following:
• If you spend a large amount of time in one fixed position, such as in front of a computer, on a
machine, typing or reading, take a break and stretch every 30 minutes
to one hour. The stretches should take your head and neck through a
comfortable range of motion.
• Low-impact exercise may help relieve
the pain associated with primary headaches. However, if you are prone to
dull, throbbing headaches, avoid heavy exercise. Engage in such
activities as walking and low-impact aerobics.
• Avoid teeth
clenching. The upper teeth should never touch the lowers, except when
swallowing. This results in stress at the temporomandibular joints (TMJ)
- the two joints that connect your jaw to your skull - leading to TMJ
irritation and a form of tension headaches.
• Drink at least eight 8-ounce glasses of water a day to help avoid dehydration, which can lead
to headaches.
What Can a Doctor of Chiropractic Do?
Dr. McClelland says your doctor of chiropractic may do one or more of the following if you suffer from a primary headache:
• Perform spinal manipulation or chiropractic adjustments to improve spinal function and alleviate the stress on your system.
• Provide nutritional advice, recommending a change in diet and perhaps the addition of B complex vitamins.
• Offer advice on posture, ergonomics (work postures), exercises and relaxation techniques.
This advice should help to relieve the recurring joint irritation and tension in the muscles of the neck and upper back.
of chiropractic undergo extensive training to help their patients in
many ways - not just back pain," says Dr. McClelland. "They know how
tension in the spine relates to problems in other parts of the body, and
they can take steps to relieve those problems."
Chiropractic Care Can Help
Talk to your doctor of chiropractic about other ways to improve your lifestyle. Doctors of chiropractic are trained and licensed to examine and treat the entire body with specific emphasis on the nervous and musculoskeletal systems. They can also help people lead healthier lives by focusing on wellness and prevention.
Avoid the Following Food "Triggers"
• Avoid caffeine. Foods such as chocolate, coffee, sodas and cocoa contain high levels of the stimulant.
•Avoid foods with a high salt or sugar content. These foods may cause migraines, resulting in sensitivity to light, noise or abrupt movements.
• Avoid drinking alcoholic beverages. These drinks can dehydrate you and cause headache pain.
•Other headache sufferers may want to avoid not only caffeine, but also
high-protein foods, dairy products, red meat and salty foods.


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I've told you about the games, I've told you about the jams. But tell me, how many people have the sheer talent to play Sonic the Hedgehog on the Game Gear without even having a cartridge inside it?
There is only one man. And that man is named DeStorm.
Using the music to the most well known Sonic level ever (that's the Green Hill Zone for those keeping score), DeStorm lays down a track to jam while thinking of all those girls you surely couldn't talk to because you were too busy trying to get all the Chaos Emeralds in Sonic 3 & Knuckles. Though I'm not sure what Pac-Man 3 is, you owe it to yourself to listen to his jam. Because, I mean, c'mon. You so fly, girl.
Oh, and don't feed the trolls.


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When Brad Pitt arrives for our conversation at the Sunset Tower Hotel in L.A. and peels off his motorcycle gear, you get a sense of how he much likes to tease and play with people's reactions. "Man, when I'm riding with the helmet on, I'm invisible," he tells me. "And people just deal with me as the guy on the bike . . . .it gives you a chance to read 'em." For his role in director Alejandro González Iñárritu's Babel, he plays an American who is dealing with a horrific situation far away from home and who is so wrought with frustration that, as Pitt describes him, "It's like he's limbless." With the role, Pitt has made another of the career choices—like Kalifornia (1993) or his Oscar-nominated work in 12 Monkeys (1995) or Snatch (2000)—in which he essays roles that allow him to effectively scrawl graffiti over himself and make a commentary on narcissism. One of the more playful examples of this is his turn as the slippery hustler Rusty in the Ocean's films, where he's wrapped in several thousand dollars' worth of manly handmade couture, at the same time constantly gobbling fast food and not worrying about spilling anything on himself. Pitt is quick to acknowledge "the trap of the leading man" and grumbled good-naturedly as our afternoon together turned into an examination of his film roles.
Despite his unfailing politeness—"Missouri is basically the South," he says of his home state, explaining his deportment—what subtly comes across is his determination in his approach to acting and his take on the character. His steeliness is obviously what kept him going, an understanding that the work would come if he applied himself in a way that made sense to him (stardom arrived a little later for both Pitt and his friend George Clooney, which gave him time to find himself as an actor). He also allows that the search is ongoing, and that his family—Angelina Jolie and their three children—have added to his perspective on that mutation process.
ELVIS MITCHELL: What kind of stuff would you say you were first influenced by?
BRAD PITT: It was all about Mickey Rourke—I can see bits of him in stuff I do. Not that it's a copy, or even at that level, but I certainly see where the inspiration comes from.
MITCHELL: What was it about Rourke for you?
PITT: Just the juxtaposition of this toughness and intimacy. He can be stone tough and paper brittle at the same time. He and Sean Penn were the two guys I was drawn to, like most of the young guys at that time. Later it was Nicholson, mainly because of his irreverence. [laughs] He's a charmer.
MITCHELL: I saw some of that irreverence in you the first time I saw Ocean's Eleven [2001]. It was like you were saying, "I'm not going to play this guy the way he looks."
PITT: Yeah, he's the No. 2 man, so he's always on the move and has to get what he can. I find all of my performances come down to mathematics in a sense—how do you approach the problem of this character? Sometimes I crack that problem, sometimes I don't. My best example is 12 Monkeys, because I thought in the first half I nailed it, and in the second half I was playing on the gimmick of what worked in the first.
MITCHELL: It's like your work in Babel, which is really kind of a still performance. Because, with the exception of that one moment where you break down on the phone, things are mostly just going on around you.
PITT: Yeah, but the character is always trying to put the pieces together, to move the pieces on the chess board. And it's the frustration of being absolutely helpless to do that.
MITCHELL: But you could have done that thing where you're indicating too much—where you're crying and screaming.
PITT: Well, as you get a little experience your realize that those are the feelings you'd be having underneath, but what you'd really be doing in that situation is trying to hold everything together, to stay calm, to keep this thing moving forward.
MITCHELL: What are some performances where you feel like you turned a corner?
PITT: Oh, Kalifornia was one of those for me. That was the first time I stepped inside and did some more character stuff and really made some great discoveries. Taking that role set a direction for me, where I bounced back and forth between different kinds of things—I started messing it up a little bit. When I first got out to Hollywood they were pushing me for sitcoms, and I didn't really have an interest in them. I wanted to do films and slowly worked that way. And then it became, I guess, this curse of the leading man.
MITCHELL: Warren Beatty has always said that he looks at every role as a character rather than a leading man part, which seems to me what you're saying here too.
PITT: Yeah, I guess so. It wasn't playing against something, so much as it was going after something. It's a real distinction. You take De Niro—he does New York better than. . .he is New York. It's what he knows. So it occurred to me to go investigate some of the things that I knew. And then, on top of that, to investigate characters that I enjoyed, instead of what I should be doing.
MITCHELL: Let's talk about Babel. What made you want to do it?
PITT: It's kind of a global idea of the world that I agreed with and that I thought was really bold. I liked how [the director Alejandro González Iñárritu's] ideas had really coalesced into this piece. I liked what it said.
MITCHELL: What was you first conversation like?
PITT: I think it was about age. He wanted to age me a bit, take off the shine. [laughs] We just talked about the elements of the script. I didn't realize that it was going to be so tough to shoot, to maintain that kind of frantic energy over every day.
MITCHELL: How'd you do it?
PITT: You've just got to get there. It's not one specific thing, you just kind of manipulate your mood and ramp up until you get there. It's exhausting.
MITCHELL: For me one of the great things about Alejandro's works is that is scares people—you don't know how to deal with it.
PITT: The amazing thing is that he was trying to talk about communication and jumping to conclusions and misunderstandings without really seeing others' points of view. That's the undercurrent of the film. I think it's an extraordinary achievement, and I hope he gets full credit for it, because it's a really difficult thing to do.
MITCHELL: You talk about being an instinctive guy—tell me about directors who have helped you to find characters.
PITT: [David] Fincher and I have a really good rhythm and shorthand [way of communicating]—it started out as shorthand.
MITCHELL: Fincher is somebody who wants a lot of takes, isn't he?
PITT: Yeah, he loves to shoot. He loves the process; he loves technology. This movie we've just started, The Curious Case of Benjamin Button, is like nothing he's done before. I don't know how to describe it; it's such a weird movie. It's written by Eric Roth [based on the short story by F. Scott Fitzgerald], who is another lovely man. He'll crack you up, easy. But this movie is about a guy who is born old, grows backward—grows young. It's just really weird.
MITCHELL: Where did your splayfooted walk in Snatch come from?
PITT: I don't know. I do a walk like that in Kalifornia, too… We're not going down memory lane with all my movies like they're important are we?
MITCHELL: Only enough to help me understand you a little better because that aspect of finding this physical way to play seems to be how you approach a lot of the stuff.
PITT: The fun ones, yeah.
MITCHELL: What music is the character in the new Fincher movie thinking about?
PITT: Well, me, I've just been listening to old jazz. It's in New Orleans, so it's all there, and that flavors it. The people there flavor it. It's such an amazing city. It's a haunted place—it just permeates a mood.
MITCHELL: What music is playing in your head when you're doing Rusty in the Ocean's movies?
PITT: That one's easy—Frank Sinatra and all those guys. That one is just a bunch of guys having a laugh.
MITCHELL: Yeah, but if it's too much a bunch of guys having a laugh, it's just that and not a movie right?
PITT: I think that's what happened on the second one [2004's Ocean Twelve]. Ocean's Thirteen is the movie they should have made.
MITCHELL: [laughs] Steven Soderbergh is somebody, too, who must trust you to figure out all these things, so he can shoot it.
PITT: Yeah, and if you do something good, he'll build around it; and if you do something stupid, he'll build around it.
MITCHELL: What's something stupid that you did that he built around?
PITT: [laughs] Oh, me? Never—the other guys.
MITCHELL: [laughs]
PITT: Clooney, man.
MITCHELL: What sort of movies do your kids want to watch over and over again?
PITT: [The Adventures of] Sharkboy and Lavagirl 3D [2005] is real popular in our house.
MITCHELL: What do they think about your movies?
PITT: Oh, they don't—they're not really old enough. Got to keep some distance. Though I wonder what their perspective of the world is—go to the store and there are 20 cameras fighting for a shot. They just think that wherever you go there are random bands of crazy people with flash photography.
MITCHELL: How do you feel about that?
PITT: Truthfully, I think it's really invasive to the kids. There ought to be some kind of law.
MITCHELL: Though there's a good side, too—when you guys go to a place like Darfur, you get the same kind of coverage.
PITT: Yeah, we drag that spotlight with us.
MITCHELL: Are you guys going to settle in one place for a while?
PITT: I don't know—we're trying to figure that out. I think L.A. is impossible. There's just too much media focus. You can't live a normal live. I'd like to have a base camp here and go from there.
MITCHELL: It's kind of crazy the way your life has changed in the past couple years.
PITT: My life's always gone that way, though. I've been no stranger to change. I always knew it'd take this form someday.
MITCHELL: Has having kids changed the way you think about your movies in terms of the kinds of things you want to do?
PITT: It makes me think. They may see this someday, so I have to answer to it.
MITCHELL: What movie do you look back on and go, "That was the right one at the right time."
PITT: I guess I don't think that way because I have to maintain this belief that they all work in some way—you've got to have the misses, to send you in the direction for the next. I'll tell you what I'm curious about though—if I live to an old age and look back and weigh my decisions, I'm curious what they will add up to. I'm starting to see what kind of shape it's taking and where I'd like to add to that shape—if we're talking sculpture now, which it sounds like I am. I've certainly got a couple of directions I'd like to explore after Benjamin, but I don't want to state what those are at this point. I'd rather go do them, find them, see if I can find them.
MITCHELL: Is there some kind of instinctive deliberation that tells you, "This feels right."
PITT: Yeah, like maybe it calls out to your desire to explain something in your life. Like [doing Babel] was easy-really, no thought.
MITCHELL: Like with Kalifornia?
PITT: Yeah, but apparently the writer hated what I did. It was written more like Martin Sheen in Badlands [1973] instead of what I did. I liked it, though.
MITCHELL: Has it happened before that you were told you made choices that weren't written into the part?
PITT: Yeah, Angie. [both laugh] And we'll let that lie right there.
MITCHELL: How much does the writer saying that influence what you do? Is it enough that you're happy with the way you played it?
PITT: Yeah, that's my own barometer. Once you get older, you get a little closer to yourself, intimate. Certainly this last half a decade I've been very aware of that, more conscious of who I am, how I fit in the thing as opposed to trying to emulate someone else. Though I try to emulate De Niro all the time, who is someone I could never be.
MITCHELL: Which attracts you more, the guy who's stuck helping keep everything together or the one who's making it all go haywire?
PITT: Seriously, both—I oscillate between the two, though the former means more now because I'm older.
MITCHELL: Well, and that's the thing you do in Babel, right? That's the guy who tries to keep everything together.
PITT: Yeah, I was just really moved by the last moment, that epiphany of realizing just how close he came to losing everything. It was just that one idea that made me jumpy.
MITCHELL: And what was it like watching the performance? Can you see where you got lost in it and just started being it?
PITT: It's just at the end, the back three or four scenes.
MITCHELL: Talk to me about the Jesse James film [due out later this year].
PITT: Great title: The Assassination of Jesse James by the Coward Robert Ford. I love that.
MITCHELL: What attracted you to that script?
PITT: It's a much more intimate story; I seem to be more drawn to those as of late, and there's this contemplative aspect to the story. Also, it was working with [director] Andrew Dominik and the fact that the story spoke a lot about fame and the quest for fame, without really understanding the consequences. And the Jesse James character is both trapped behind a façade and caught at a crossroads—and please don't draw any parallels, because I don't feel like I'm trapped behind any façade. Though certainly the trappings of celebrity I understand.
MITCHELL: It must have interested you as well to play one of the first big American media celebrities who had to fight between people's perception of him and who he actually was.
PITT: Yeah, but it's also such a brilliant script.
MITCHELL: As we're talking, I'm thinking Robert Duvall has to be one of the guys for you too, because he goes back and forth between those poles you're talking about.
PITT: A little bit, but also there's a great capacity for love underneath that. I mean Duvall in The Great Santini [1979]—you're able to see who he really was [despite not being able to express his feelings] and that makes him all the more endearing to me. For a lot of us coming from Missouri, it's about what's between the lines.
MITCHELL: So there wasn't a lot of talking about feelings when you were coming up?
PITT: No, and I'm not sure I'd be comfortable with that anyway.
MITCHELL: How do you think that has influenced you with your kids?
PITT: I try to tell me kids everything. I try to get everything on the table so no one wonders.
MITCHELL: Now, your interest in architecture is well known by this point. What are some of the buildings or architects that you love?
PITT: Oh, there are so many. You know, I've been asked if I'd ever direct, but me, I'd rather build. It's very similar to directing, because you get to walk among this piece of art, to live in it, be surrounded by it, which is just thrilling.
MITCHELL: You really have no interest in directing?
PITT: It's not that I don't have interest but more that I think I would go crazy. You've got to be such a perfectionist. Plus, I've got this production thing going now, and I'm so involved films as it is.
MITCHELL: Right, you co-produced The Departed, which is a remake of one of my favorites, the Hong Kong movie Infernal Affairs [2002].
PITT: Yeah, I developed that for two and a half years. We fought for that movie, and then we got William Monahan on the script.
MITCHELL: Were you ever interested in being in it?
PITT: Once [the director Martin] Scorsese became involved, I thought it would be better if they were younger guys that were just starting their lives, guys coming out of the academy, guys who were hungry. I thought I was too old for it.
MITCHELL: Do you like the producing?
PITT: I really do. I like the idea that we can put some movies out there that wouldn't be seen otherwise, and I like to see them put together. It pays absolutely nothing, and it takes a huge amount of work, but it's fun.
MITCHELL: One thing I thought was interesting was that in Infernal Affairs no one bothers to explain where these guys come from psychologically, but that's a big part of what you do in The Departed. To me that points to the difference between American and Asian movies, where they seem to be saying, "It's a movie, go along with it."
PITT: Right, and sometimes we overexplain. We certainly don't trumpet the art of storytelling [in this country]. We've lost a little of the grace of it. For me a film is at its best when you can start filling in the story with your own life experience.
MITCHELL: That's got to be one of the things that attracts you about movies and wanting to make them—to get to do these things where you don't answer the questions.
PITT: Yeah, like, it's a mistake to try to surmise who a person is in the first five-minute set-up. I get into this argument a lot at the production studio.
MITCHELL: So that's the kind of filmmaking that excited you—making movies that audiences are going to leave still trying to figure out?
PITT: Yeah, because I was so affected by movies as a kid—they gave me direction to think about things. I had this idea, and it may be idealistic, that putting films out there might do the same for someone else sitting in a little theater in Oklahoma, and that's going to surprise and entertain them. And, you know, there's something for everybody—that's something I respect and believe in.


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The jury weighing criminal charges against George Zimmerman has spoken, but the case may not be over — and that jury might not be the only jury. Trayvon Martin's family is considering filing a wrongful-death civil suit against Zimmerman, which could produce a very different result. But it could also backfire.
Hollywood is not the only industry that believes in sequels. When criminal trials end — whether with a conviction or an acquittal — the victims are still free to sue for money damages. Most famously, after O.J. Simpson beat the murder charges against him, the families of Nicole Brown Simpson and Ronald Goldman sued him and won $33.5 million in compensatory and punitive damages. (Whether the families were able to collect that money is a different story.)
(MORE: Viewpoint: Was Zimmerman Telling the Truth?)
A lawyer for Martin's family put a civil lawsuit squarely on the table in a postverdict appearance on ABC's This Week. "They are certainly going to look at that as an option," Benjamin Crump said. "They deeply want a sense of justice." The family has already received a settlement from a wrongful-death claim they made against the homeowners' association of the subdivision where the shooting occurred, perhaps for more than $1 million. (The Department of Justice is also, separately, considering whether to bring federal hate-crime charges against Zimmerman.)
There are some good reasons to believe a civil suit could win, even after prosecutors struck out. Civil trials have a lower standard of proof than criminal trials. Instead of having to establish guilt "beyond a reasonable doubt" — a particularly hard threshold to meet in a homicide case with few witnesses and little hard physical evidence — in a civil case, the Martin family would only have to prove it was more likely than not that Zimmerman's negligence caused Martin's death.
There would also be a new jury — perhaps one chosen in a different jurisdiction. Some trial watchers thought the jury that heard Zimmerman's case was a good one for the defense — not least because it was nearly all white. The next jury might see the encounter between Zimmerman and Martin very differently. Another big difference: in a civil case, Zimmerman would likely have to testify. He chose not to take the stand in the criminal case — a right protected by the Fifth Amendment — and that seems to have been a smart move. At a civil trial, lawyers could cross-examine Zimmerman about the details, and inconsistencies, of his account of the shooting.
But for all of the potential upside, there would also be risks for Martin's family in suing. First, while money may not be their primary motivation, Zimmerman does not seem to have millions of dollars lying around to pay a civil-damages award. There have been widespread predictions that in the next few years he will be richly rewarded with book deals and speaking fees — this is America, after all — but he likely also has some big legal bills to pay.
The bigger threat to Martin's family would be Florida's "Stand your ground" law, which wound up playing a small role in the criminal trial. Under the law, if Martin's family sued, Zimmerman would be entitled to a hearing at which he would be given a chance to show that he used deadly force only because he was in reasonable fear of death or serious injury. He skipped that step before the criminal trial, but he would no doubt take it if he were sued. And if Zimmerman won his "Stand your ground" hearing, he would not only get the civil suit thrown out, but the law also says that whoever sued him would have to pay him attorneys fees, expenses and compensation for any loss of income resulting from the proceedings. That would be a bitter pill for the family to swallow: the man who shot their son to death beating the criminal charges, getting the civil lawsuit dismissed — and then presenting them with a bill.


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Our Classic Shift Dress is made from beautiful 100% rayon crepe, which is durable, easy to care for and breathable - so it's really comfortable to wear in hot climates such as Dubai, Singapore and Hong Kong. The relaxed style hangs beautifully and is very flattering.
The most versatile and popular style in our range. Adapt your look for daytime with simple sandals or trainers, nip it in with a belt, dress it up at night with heels and a statement necklace and even team it with a jacket in cooler weather.
The back of the dress is finished with an exposed zipper and the elliptical hem provides more coverage at the back.
- Length: XS/S - 89cm M - 92cm L/XL - 94cm
- Generous fit, we suggest sizing down and basing choice on the size of your hips - see size guide
- Model is 5'9" and wearing a size XS Longer


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TV Aerials Ordsall
TV Aerials Ordsall are a focused and experienced team of engineers, fully trained within the industry. With over twenty years experience in TV Aerial and satellite installations and repairs, we aim to give our customers the very best services possible.
Our knowledge and experience also extends to phone line services, CCTV systems, Multi-room installations, AV Matrix systems and TV wall mounting. We have a dedicated team of staff from the office to the engineers out on the road, we supply the latest parts, constantly update the team with training on any new technology and we have a fleet of fully equipped vans, ensuring we can carry out any work on the same day.
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If you experience any problems with your aerial or satellite dish, or any of the other services we provide, please call us and we will arrange an appointment as soon as possible. We are approved and registered TV Aerial & Satellite Installers and all our work carries a 12 month warranty.
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Our engineers are local & trained in recommending the right aerials to suit your areas and home. Any height, any roof or any house design – we can do them all! We also specalise in Multiroom & TV Brackets
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As trusted and experienced TV aerial fitters, our aim is to provide the best customer service. TV Aerials Citycentre are just a call away and we endeavor to attend each property as soon as possible.
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TV Aerials Ordsall have been installing TV aerials and satellite dishes for many years. As a local family run business we aim to provide our customers with a friendly and reliable service. We offer a 12 month warranty on all of the equipment we install at your home or business. We cover installations, repairs, extra points, satellite dish installs, dish realignments and repairs and TV wall bracket installs. We also provide phone line services, new phone lines, new sockets, internet connection, cat 5 cabling, providing extensions to PC, TV, sky, or game console, as well as CCTV system installations and door entry systems. Audio Visual installations are becoming increasingly popular. We can set up a full system for you, from plasma TV or projectors with full surround sound to connecting your music to different rooms around the house from an IPhone, we can advise and install your audio visual or surround sound systems to suit your home.
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TV aerials Ordsall provide the latest aerial and satellite equipment. A complete installation would include supply, fitting and installation of the aerial, lashing kit and bracket. Our senior and most experienced engineers also install and maintain communal aerial and sky systems within apartment blocks, schools, care homes and hotels. TV Aerials Ordsall repair existing aerials, just call today all work carries a 12 month warranty
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Morning Prayer Catholic Monday 11-11-2019
✝📕 MORNING PRAYER 🙏🏻 In the Name of the Father, and of the Son and of the Holy Spirit. AMEN. Lord God, you created everything on earth for Your glory, and for You to share this glory to man, you made him as steward of all creation. You bring light to every living thing for man to see, along with his wisdom and skill. And now as we wake up to a new morning, may Your blessing and designation to continue the good work You began be bestowed upon us. Provide for us today, Lord, what we need for our bodily and spiritual well-being. Defend us from every evil that would harm us along the road. Today, Lord, be with Your people, and guide us until the end of day. AMEN. https://www.christiancatholicmedia.com/blogs/morning-prayer-catholic


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This young English rider from Leeds spent most of his time growing up destroying every single piece of metal that came his way. Like most of his compatriots, he learned snowboarding while riding indoor slopes. It's always a pleasure to see motivation from a kid who doesn't get the best mountains at home and needs to go on a mission for snowboarding. With an attitude that belies his age, serious drawing skills and the creativity with which Will approaches snowboarding is like a breath of fresh air.


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I want to save our system avaya s8720 server's data collections.
I am not familiar.it is firsy time using ftp server.
pls guide to me.
thank you
Sorry, I am not sure about Avaya FTP... but out FTP info is available at:
click on FAQ, and then click on Expand All for more info. To download DriveHQ FTP client software, please click on Software tab.
Please logon and reply, Not DriveHQ Member?


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1905 Spencer Ave, New Bern, NC 28560
- Price $399,000
- Beds 2
- Baths 2.00
- Sq.Ft. 1,300
- Acres 0.17
- Year 1950
- Days 47
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Home details on 1905 Spencer Ave New Bern, NC 28560:
This beautiful 2 beds 2.00 baths home is located at 1905 Spencer Ave New Bern, NC 28560 and listed at $399,000 with 1300.00 sqft of living space.
1905 Spencer Ave was built in 1950 and sits on a 0.17 acre lot. This home is currently priced at $307 per square foot and has been on the market since June 07th, 2024.
If you'd like to request more information on 1905 Spencer Ave please contact us to assist you with your real estate needs. To find similar homes like 1905 Spencer Ave simply scroll down or you can find other homes for sale in New Bern, the neighborhood of Ghent or in 28560. By clicking the highlighted links you will be able to find more homes similar to 1905 Spencer Ave. Please feel free to reach out to us at any time for help and thank you for using the uphomes website!
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In elegant, residential environments, we deliver the finest in senior care, and are recognized internationally for both quality and innovation. Guided by our Principles of Service, Sunrise affords families peace-of-mind by providing today's seniors with a range of personalized personal care services. From assistance with activities of daily living such as eating, bathing, dressing to medication monitoring, Sunrise provides residents with the help they need. Residents maintain the same privacy in their new home as they enjoyed in their own home. At Sunrise, we encourage residents to challenge themselves while offering the assistance they need. We encourage family and friends to be involved, to visit frequently, and to invite residents on outings to community events. This innovative approach to senior care is designed to maintain independence and dignity, yet is balanced with the comfort and security that comes from knowing experienced help is close at hand.
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RFC 184 - Proposed graphic display modes
Network Working Group Karl Kelley Request for Comments 184 University of Illinois NIC 7128 6 July 1971 Category: D.6 Proposed Graphic Display Modes The ARPA Network node at the University of Illinois' Center for Advanced Computation is somewhat different from other nodes in that we are not simply attaching an existing computer center to the net. We are in the process of establishing the computer system specifically for use of the ILLIAC IV and the Network. In this mode we are establishing operating systems, network interface and utility routines, and ILLIAC IV routines to be used over the network. In the field of computer graphics we are in the process of building a system essentially from scratch. The building blocks of this capability comprise a small -- but growing -- collection of display hardware and a small cadre of persons with experience on separate and unique graphics equipment at the University of Illinois. Starting as we are with little-or-no system type software for computer graphics, we have a once-only opportunity to provide the system with computer graphics applications and utility programs which encompass all the features and capabilities that have heretofore been available only in bits and pieces at various separate installations. It is apparent at the outset that the design for this system will be heavily weighted toward a network-type usage. For this reason we are eager to ensure that our system data structures, files, etc., be as nearly compatible the Network Graphics Protocol as is practicable. Our initial planning and first-version system will be pointed at the network type of operation and we hope to stay flexible enough to employ the Network Protocol on a local basis (between our PDP-11 and the B6500) as the protocol is developed. We have been considering (in the planning of our system and pondering the protocol problem) just what display modes we would want to have available and thus would want the protocol to include. The purpose of this RFC is to outline our initial thoughts on the matter and to interact with other nodes about how they can/should be included in the protocol. We intend here not to belabor display modes which are certain to be needed everywhere, such as vectors, points, and characters, but rather to summarize those and outline in more detail only those which are slightly different. The display system, and the network protocol, will require something like the following list of display types: / 1. Points | Including normal points, < plot a symbol at a point, plot | a point with intensity \ / 2. Lines(two-point) | These two (2 and 3) include < visible and not visible, dotted, 3. Vectors (from present beam | dashed, overbright, and ? location to a point) \ 4. Character Streams 5. Viewport and Window Specifications (ala LDS-1) 6. Transformations (scaling and rotation) of Instances 7. Equipment-Specific Byte Streams 8. Read-Back of Keyboards, Function Buttons, Cursors, Etc. It seems clear that some type of list or ring structure will be needed to handle our display files. Whether that structure need be a part of the protocol is not evident (after all, you could just send the equipment byte-stream), but it is our feeling that it will be needed. It is evident that the protocol must anticipate the needs of various popular display devices as CalComp, Computek, and similar storage displays, interactive displays such as Adage, LDS-1, Vector General, IDIOM, grey-level displays like the PEP-1 and raster- oriented gadgets like the Gould, Versatec, and garden-variety line printers. The standard display element types given above are assumed to be in common use. A point, for example, is a pen-down command followed by a pen-up command on a plotter. On an interactive device it is merely an intensification of the beam. To plot a symbol at a point the pen (beam) is moved to the point with pen up (beam off) and then the symbol is plotted incrementally with the pen down (beam on). Graphics devices with beam intensity control will be expected to handle the "plot-point-with-intensity" format. In terms of the standard display types the only difference between lines of the two-point form and vectors is that in the former, four data items are needed for each segment while in the latter, only two data items are needed. In either case, the user should be able to reposition the pen (beam) absolutely by drawing an invisible line. He should also be able to plot dotted or dashed lines without having to separately specify each point or short vector. In instances where emphasis is needed it is useful to be able to selectively intensify a line, or in the case of interactive displays, make it blink. Character streams are used either for text or for labeling drawings. In most applications the character stream is specified by its starting location in screen coordinates, the number of characters, and the location of a buffer of characters to be used. In some purely output graphics systems the character stream is specified via a format similar to printer output, with the characters being placed in the specified area on the display. Items 5 and 6 of the above list primarily apply to displays like Sketchpad and the Evans and Sutherland display. Viewport is taken to be synonymous with "observer parameters in the object space" while a window means "selected portion of the display surface". Transformations of instances refers to a feature of Sketchpad which allows multiple uses of the same "pattern" for a graphical element. Because new equipment is constantly coming into use, and special- purpose equipment is available at some nodes, it is prudent to have available a capability for sending equipment-specific information over the net as a part of the protocol. Such information would be in the form of byte streams formatted according to the equipment specifications and pointed at the proper node and equipment. It would not be expected that each node be able to interpret the nonstandard byte stream. Also very equipment specific is the information passed from an interactive device back to the originating program. Elements such as joystick or cursor position, lightpen hits, function buttons pressed, etc., are inherently dependent upon the device employed. Although these devices are widely used, their general dependence upon display buffers, display lists, or interrupts is of special concern to the network graphics protocol. We are interested in expanding upon the uses of grey-scale display modes for representation of computer-generated data and for three- dimensional object representation. To facilitate this, our system will have available at least four, program-callable display element types for production of pictures on grey-level display devices. The initial names for these modes are the procedure names: GRIDAREA, MATRIXAREA, SCANLINE, and SCANPOINT. The following paragraphs will outline how the modes operate both from a user and a data- communications point of view. The specific hardware involved is not specified, nor do we ignore the possibility that hardware can be designed to operate this way directly. For example, the SCANLINE is precisely the way one display does operate. In the interim, however, software sits between these procedures and actual devices. GRIDAREA The user specifies, in an initial call, the size -------- grid he wishes to use and the number of intensity levels he will need. Subsequent calls send, as data items, the i, j locations of an area and a byte for intensity. The initializing call is GRIDSET(N, M, IRNGE) |<--- I ------>| where N is the number of spaces --- +--+--+--+--+--+--+--+--+ across, M is the number down, ^ |--|--|--|--|--|--|--|--| and IRNGE tells how many grey | |--|--|--|--|--|--|--|--| levels to use. This is primarily J |--|--|--|--|--|--|--|--| for grey-scale displays or | |--|--|--|--|--|--|--|--| pseudogrey-scale displays. v |--|--|--|--|--|--|--|--| --- |--|--|--|--|--|--|--|--| |--|--|--|--|--|--|--|--| +--+--+--+--+--+--+--+--+ On a Gould Electrostatic Printer-Plotter, for example, the system would expect to have dot patterns with which to fill areas in order to simulate the greys. For purposes of other displays, a SETSQUARES procedure should be available so that the user can specify various kinds of cross- hatching and character filling to apply to the grid areas. To enter an item of data the procedure is 1 <= I <= N GRIDAREA(I, J, LEVEL) 1 <= J <= M 1 <= LEVEL <= IRNGE where I and J select an area on the grid, and LEVEL tells how to fill it. Obviously, for this kind of display mode some provision must be made to end the picture because the servicing routine will have to work on it from either the top or the bottom in a sweep mode. A procedure call of GRIDAREA(0, 0, 0) will terminate it. The GRIDAREA mode is very similar to the following, MATRIXAREA, with the primary difference being that the specification of areas is random and areas which are not specified will be left blank. MATRIXAREA The user specifies an area size and a "pseudo- ---------- character" set, then writes from left to right, top to bottom, much like a line printer, using bytes to specify which of his "pseudo-character" set to use. The initializing call is MATRIXSET(N, M, DEFINITION, CODE) The display mode is raster ________________________ oriented, and each "pseudo- | _ _ _ _ _ _ | character" will be on a N x M | |_| |_| |_| |_| |_| |_|| matrix of dots. (A later | _ _ _ | embellishment for printers | |_| |_| |_| . . . | would include matrix of characters.) | _ _ | Parameters DEFINITION and CODE | |_| |_| . . . | are both arrays, used together to | . \ \ | specify the "pseudo-character" set. | . \ \ | DEFINITION is packed with bits |________\___\___________| according to the following scheme: \ \ \ \ \ __\_______ \ / \ \/ ________ \ / |_|_|_|_| \ / |_|_|_|_| \ | |_|_|_|_| | | |_|_|_|_| | \ |_|_|_|_| / \ |_|_|_|_| / \ / \___________/ n - bits +--+--+--+--+ |XX| | |XX| |--|--|--|--| s | |XX|XX| | t |--|--|--|--| i |XX| | |XX| b |--|--|--|-- +-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+--\ | |XX|XX| | <=== |1|0|0|1|0|1|1|0|1|0|0|1|0|1|1|0|1|0|0|1|0|1|1|0|\ - |--|--|--|--| +-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-\ m |XX| | |XX| \--v--/ \--v--/ \--v--/ \--v--/ \--v--/ \--v--/ |--|--|--|--| n n n n n n | |XX|XX| | +--+--+--+--+ \-------------------------v---------------------/ m-groups The bit stream for the definition is irrespective of word boundaries. We leave it up to the MATRIXSET routine to be able to undo this. Obviously, for user convenience we have some standard sets they can use to save having to define their own, and if they want to define their own, we make routines to ease the pain. The array CODE, on the other hand, is a byte-stream, i.e., a stream of eight-bit groups of bits which will correspond to each of the groups of (N x M)-bits. This allows 256 pseudocharacters for one set. To enter an item of data in this mode the procedure is MATRIXAREA(ARRAY, LENGTH) ARRAY is a buffer location and length is the number of code bytes which are to be put out. Each call will put out one row of the display. Unused bytes at the end of the stream (bytes left over in the last word) should be zero. Any codes in excess of the maximum number allowed on a line will be discarded. It should be noted that this routine is nominally used for special character sets, or for that matter, any character sets that are software generated on dot-raster devices. In addition, however, it can be used for photomosaic displays, area filling on maps, and development of capability of producing audiovisual aids for presentations. SCANLINE A raster-scanning display mode for which the -------- user specifies a raster size, number of grey levels needed, and direction of scan. The subsequent data items specify only the location and character of a change in the scanning beam (or program). The initializing procedure is SCANLINESET(DELTA, LEVELS, ORGMODE) DELTA is an integer specifying the number of display points to be included in each step. LEVELS denotes the number of intensity levels to be used, and the sign of ORGMODE specifies whether the scan is to be from the bottom up (plus) or top down (minus) on the display. For both cases we will assume left-to-right. The absolute value of ORGMODE gives the starting Y position. All subsequent calls to this routine are of the form SCANLINE(X, INTENSITY) The first such call denotes the origin in X and the initial intensity. Subsequent calls denote the X value of the next point on the scan where the intensity is to change, and that new intensity. The program (or device) takes care of the stepping of the scan by DELTA across the page, with the current intensity. Thus, the program (device) only needs a data item for each change in the scan, not for each position. When the next X is less than the previous X, or the X position has been stepped to its limit, the Y position in the incremented or decremented to continue the scan on the next line. We see the device which accepts such a display as accepting a stream of triplets of bytes, where the first two bytes (16 bits) specify the X and the third (8 bits) specifies the level. The end of the stream would be specified by three bytes of deletes (all ones). This display mode is implemented in hardware on the display at the Coordinated Science Laboratory at this University. It is the same one which was used for the grey-scale work which has been reported by Bouknight. SCANPOINT A point with intensity scanning mode in which --------- the scan is handled automatically and only the intensity of each point needs to be transmitted to the program (device). The initializing call for this procedure is SCANPOINTSET(DELTA, LEVELS, ORGMODE) The arguments are the same as for SCANLINE. The difference is in the meaning of subsequent calls. The origin for the scan is at the left end of the line corresponding to the absolute value of ORGMODE. The stepping is done from left to right and at the end of each line, the Y position is incremented or decremented by DELTA, according to the sign of ORGMODE. Subsequent calls to this procedure are of the form SCANPOINT(LEVEL) where LEVEL denotes the intensity level at which the next point is to be displayed. In this mode every point must have its intensity specified by a separate call to the routine (byte to the device). However, beyond the starting point no position information is required. [ This RFC was put into machine readable form for entry ] [ into the online RFC archives by Hamid Dastkar 09/99 ] User Contributions:Comment about this RFC, ask questions, or add new information about this topic: |


text:
To download data without special tooling (e.g. git, git-annex or GIN) you can:
Download the small files and the file structure as an archive (.zip or .tar.gz). Annexed files (by default, files larger than 10 MB) will be included as pointer files (stubs) but the data will not be included. To get the content of the big files you need to download them individually from this web page.
Download the small files as a GIN archive (.gin.zip). This includes all the git information, including the history of the repository and the possibility to download the content of large files using git annex or the GIN client.


text:
Handmade Hill Tribe Oxidized Cuff
White copper and zinc combine to make a beautiful high quality bracelet - NOT plated, and looks just like oxidized sterling silver!
Beautiful flying bird design, oxidized to bring out detail.
Bracelet is about a half an inch wide, 6.5" long, open in back, and bends to fit most wrists
Buff with an anti-tarnish jewelry cloth to keep it beautiful. Dips are NOT recommended since it may remove the black oxidation that brings out its beautiful detail


text:
American bartender, Masahiro Urushido, has been revealed as Chivas Regal's first ever Chivas Master, winning the iconic whisky brand's inaugural bartender competition in style at the NoMad hotel in New York (15th July 2014).
Urushido was announced as the winner following a tightly contested final, which saw him impress an international panel of judges with his 'The New Pal' cocktail to secure victory over the 12 other international competitors. He wins the opportunity to work in partnership with Dave Arnold, inventor and co-founder of Booker and Dax, a food science development company and lab dedicated to finding solutions to real world food, beverage and cooking issues. The partnership will see Urushido and Arnold collaborating on an inspirational concept, which will be revealed at the next Chivas Masters final in 2015.
The 13 finalists were all winners of the national Chivas Masters heats, which took place around the world following the competition's launch in April this year. During the national heats, competitors were tasked with creating a new classic cocktail that would stand the test of time – just as Chivas does – inspired by one of the four great cocktail eras; the Classic Age (1880-1920) which saw the birth of Chivas Regal; the Post War Boom (1945-1965) during which time, Chivas 12 was introduced; the Disco Years (1975-1990) which saw the brand become a truly global icon, and the present modern Age of Revivalism.
During the two-day final, the bartenders were asked to re-create one of the cocktails that earned them a place in the final and also compete in a series of challenges designed to test their creativity, style and mixology skills. Highlights of these challenges included a milk-based cocktail pairing with Momofuku Milk Bar; a cocktail pairing with a dish from Momofuku Ssäm Bar, experimenting with carbonation with Dave Arnold; and presenting classic drinks at The Dead Rabbit.
The judging panel was comprised of leading experts in the world of food and drink, including Ago Perrone, Director of Mixology at the David Collins-designed Connaught Bar in London; Sean Muldoon and Jack McGarry from The Dead Rabbit in New York; and Max Warner, Chivas Global Brand Ambassador.
Dave Arnold praised the overall performance of the competitors during the final round commenting: "There were 13 talented bartenders for the judging panel to consider. These are professionals from some of the most iconic venues in the world so I would like to congratulate all of them for participating. The cocktails prepared by Masahiro were particularly impressive, and I look forward to working with him in the coming months."
Masahiro Urushido commented: "It's an honor to be chosen as the first Chivas Master. As a bartender, I am well aware of the long heritage of Chivas so immersing myself into the history of cocktails to create a drink that can stand the test of time has been very inspirational. I am excited to share this experience with my fellow bartenders and to introduce my 'The New Pal' cocktail to my customers in New York. I hope that it encourages other bartenders around the world to create new Chivas cocktails inspired by the great classics".
Max Warner, Global Brand Ambassador for Chivas Regal, commented: "From Australia to Israel, Chile to China, there was talent from all over the world involved in the competition and we are very excited with the success of the inaugural Chivas Masters.
The global cocktail scene is seeing a growing interest in classic-inspired modern cocktails and, as a brand proud to be nurturing the bartending community, we look forward to continuing to inspire the on-trade to create great cocktails steeped in heritage, such as the one created by the very talented Masahiro Urushido."
All competitors who took part in the final are now to conclude their trip with a visit to the world's premier cocktail festival 'Tales of the Cocktail' in New Orleans, where Chivas is sponsoring the Best American/International Cocktail Bar at the Spirited Awards.
For more information visit: www.chivas.com


text: In this game, you are the manager of a Football team which participates to the 11Manager Championship. Create your own team, train your players, engage staff, buy equipment, enlarge your stadium ... all is done to permit you to win the championship. Have a good game. Information for Bigpoint users : Bigpoint has closed the access to our game from its portal, you must now log into your team using your manager name (as log name) and your Bigpoint Id (as password). You will find it on the Bigpoint portal in "My Bigpoint"->"Account".


text:
Enter for your chance to Win 10,000 EXTRAS Points
One lucky Movie Lover will have their EXTRAS account loaded up with 10,000 bonus points!
That's worth $100 which can be used for movie tickets and concession purchases. What are you waiting for? Enter today!
*This contest is open from July 2st, 2024, until 11:59pm MT September 30, 2024. The winner of the "Win 10,000 EXTRAS Points Contest" will be selected no later than October 4th, 2024 and will be notified by email. Winner must be a registered Landmark EXTRAS member with an account in good standing. The approximate odds of winning depends upon the total number of eligible entries received during the Contest Period.
Enter Contest
Contest Rules
RULES & REGULATIONS (the "Rules")
- Landmark Cinemas "Summer Evergreen" Web Contest (the "Contest") is conducted by Landmark Cinemas Canada LP (the "Sponsor"), and is only open to Landmark Extras members over the age of 13 as of the date of their entry into the Contest and who are legal residents of BC, AB, SK, MB and ON except (i) the employees of Landmark Cinemas Canada LP, its affiliates, each of their licensors associates, and participating Landmark Cinemas locations, and each of their respective advertising and promotional agencies, prize suppliers (including, without limitation, Landmark Cinemas Canada LP and its affiliates), and their respective agents or representatives; (ii) contest judges; and (iii) persons domiciled with any of the above or members of the immediate family (defined as parents, siblings, children and spouses, regardless of where they live) of any of the above. The entities listed in (i) and (ii) shall collectively be referred to as the "Group." If a participant is an eligible minor in his or her jurisdiction of residence, his or her parent or legal guardian must consent to such minor's entry and hereby agrees to these Rules along with and on behalf of his or her minor child. All rights and responsibilities of a minor under the Rules are conferred and assumed respectively by the minor's parent or legal guardian in representation of the minor. Landmark Cinemas Canada LP ("Prize Provider") and each of their parents, affiliates, and subsidiaries are not responsible for the promotion, administration, or execution of the "Contest" or the selection of winners.
- To enter the Contest during the Contest Period (as defined below), visit https://www.landmarkcinemas.com/contests, click on Summer Evergreen Web Contest, and fully complete the Summer Evergreen Web Contest entry form during the Contest Period, answering the question "What is your EXTRAS account number?"
There is a limit of one (1) entry per person/email address per day permitted during the Contest Period. For the purpose of this Contest, a 'day' will run from 12:00:01 am (MT) to 11:59:59 pm (MT). For greater certainty, you can only use one (1) email address to enter, or otherwise participate in, the Contest. If it is discovered that you have attempted to: (i) obtain more than one (1) entry per person/email address per day during the Contest Period; or (ii) use more than one (1) email address to enter, or otherwise participate in, the Contest; then (in the sole and absolute discretion of the Sponsor) you may be disqualified from the Contest and all of your entries are subject to disqualification by the Sponsor. Your entry will be rejected if (in the sole and absolute discretion of the Sponsor) the entry form is not fully completed and submitted during the Contest Period. Use of any automated, script, macro, robotic or other program(s) to enter or otherwise participate in this Contest is prohibited and is grounds for disqualification by the Sponsor.
The sole determinate of the time for the purposes of a valid entry in this Contest will be the Contest server machine(s).
By entering the Contest, each entrant affirms that all of the information listed in his or her entry is complete and correct. All entries that are incomplete, have been submitted through illicit means, or do not conform to or satisfy any condition of these Rules may be disqualified. [Automated?] entries will not be acknowledged.
This Contest begins at 12:00:01 am (MT) on July 2, 2024 and closes at 11:59:59 pm (MT) on September 30, 2024 (the "Contest Period"). NO PURCHASE NECESSARY. If you choose to enter the Contest using a mobile phone, standard data fees may apply; no other costs or other obligation will be incurred by entering the Contest.
Any personal information submitted will be used solely for the purposes of administering this Contest, including sharing the personal information of the winner with any prize supplier, in accordance with Sponsor's privacy policy available at www.landmarkcinemas.com.
- By participating in the Contest, each entrant agrees to be bound by these Rules and by the interpretation of these Rules by the Sponsor, and further warrants and represents that the entrant he/she has all the necessary rights to enter the Contest. All decisions by the Sponsor will be binding and final.
- The approximate odds of winning a Prize depend upon the total number of eligible entries received during the Contest Period.
- On September 30, 2024 at approximately 10:00 am (MT), at #930 – 10201 Southport Road SW, Calgary, Alberta, the official contest computer will randomly draw five (5) entries from all entries received to identify five (5) potential winners of the prizes described below (each a "Prize").
Grand Prize
The first one (1) entries drawn will be eligible to win a Grand Prize consisting of Ten Thousand Landmark EXTRAS points (10,000). Value ($100)
Grand Prize must be accepted as awarded and may not be substituted, transferred or redeemed for cash or otherwise. Sponsor reserves the right, at its sole discretion, to substitute a prize of greater or equivalent monetary value if the Grand Prize or any portion thereof cannot be awarded for any reason. Sponsor will not replace any lost or stolen components of the Grand Prize.
If any individual under the age of majority in the province/territory of their residence wins the Grand Prize, the Grand Prize will be awarded to the parent or legal guardian of the selected entrant, provided such parent or legal guardian accepts the Grand Prize as awarded, and complies with these Contest Rules.
- In order to win a Prize in this Contest, the selected entrant must first correctly answer without assistance or mechanical aid, the mathematical skill-testing question administered by the Sponsor, and otherwise comply with these contest Rules.
- The Sponsor will email the potential winner of the Contest. If a potential winner does not respond to the Sponsor's attempt to contact them within seventy-two (72) hours, he/she will be deemed to have forfeited his/her chance to win a Prize. In the event that the potential winner is disqualified for any reason, the Sponsor may award the applicable Prize to an alternate winner in a random drawing from among all remaining eligible entries. Only one (1) alternate potential winner may be drawn after which the prize may not be awarded.
- None of the Group shall be responsible in any way for the use of, or bear any liability whatsoever in any way attributable to any Prize awarded in this Contest or the events forming part of this Contest. The Group and each of their officers, directors, employees, affiliates, related entities, partners, partnerships, principals, representatives, agents, licensees, sponsors, successors and assigns (collectively the "Releasees") (i) make no warranty, guarantee, or representation of any kind concerning any Prize, (ii) disclaim any implied warranty, and (iii) are not liable for injury, loss or damage of any kind resulting from the acceptance, possession, use or misuse of any Prize, or from participation in this Contest. Without limitation, the Releasees will not be liable for (i) any technical malfunction, slow down, interruptions, disconnections or other problems relating to the telecommunication network or lines, network servers, access providers, computers, devices, mobile phones or mobile phone software; (ii) for the failure of any entry submission to be received by the Sponsor, their advertising or promotion agencies for any reason including, but not limited to, technical problems or traffic congestion on the telecommunication network; (iii) any damage to an entrant's mobile phone, device or computer resulting from participating in this Contest; (iv) any unauthorized human intervention in any part of the Contest, (v) any technical or human error which may occur or arise or may have occurred in the Rules or in the administration of the Contest; or (vi) any charges entrants may incur in connection with participating in the Contest. If for some reason an entrant's entry is confirmed to have been erroneously deleted, lost, or otherwise destroyed or corrupted, entrant's sole remedy is to submit another entry in the Contest, provided that the Contest has not been completed.
There are a total of one (1) Grand Prizes available to be won. Each may be referred to in these Contest Rules as a "Prize", or collectively, the "Prizes". The Grand Prize Winner may be referred to in these Contest Rules as a "Prize Winner", or together, the "Prize Winners".
- All entries become the property of the Sponsor for any and all purposes. None of the Group will be responsible for entries delayed, stolen, misdirected, lost, destroyed, illegal, or incomplete.
- Before being declared a Prize Winner, the selected entrant must first demonstrate they are the owner of the email account associated with the winning entry by signing a declaration confirming understanding, compliance with, and acceptance of the Contest Rules and acceptance of the Prize. Each Prize Winner and Guest (as applicable) must also sign a publicity release and a release of all liability arising directly or indirectly out of the Contest and the applicable Prize satisfactory to the Sponsors (a "Release"). Winner must agree to look to the manufacturer of any Prize for any warranty issues, not the Sponsor. By accepting a Prize, the winner agrees to use of his or her photograph, name, address, likeness, voice, and statements in any publicity carried out in connection with the Contest, the Prize, or awarding of the Prize by the Sponsor, its suppliers and their affiliates, agents or such other designated parties without remuneration.
- Entries received after 11:59:59 pm (MT) on the Contest close date of September 30, 2024 will be considered null and void. Entries shall be subject to verification and shall be null and void if they are found to have been tampered with in any way, or not obtained in accordance with these Contest rules.
- The Contest is subject to all applicable Federal, Provincial, and Municipal laws and regulations and shall be governed by the laws of the Province of Alberta and the Federal laws of Canada applicable therein.
- The right is reserved to withdraw or terminate this Contest at any time without prior notice.
NO PURCHASE NECESSARY. Open to residents of BC, AB, SK, MB, and ON, 13 years or older. Limit one (1) entry per person per day. Mathematical skill testing question required. Odds of winning are dependent upon total number of entries received by 11:59:59 pm (MT) on september 30, 2024. There areA total of one (1) Grand Prizes available to be won. Each Grand Prize consists of ten thousand (10,000) Landmark EXTRAS points. Value $100 CDN. For full rules and entry, visit www.landmarkcinemas.com/contests
//end Contest Rules
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