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What is counterfeit product?
To counterfeit means to illegally imitate an item or good. Counterfeit products are often produced with the intent to take advantage of the superior value of the imitated product. In our case, customers might encounter goods that visibly appear to be authentic M·A·C Cosmetics products but lack the superior quality, research and development time invested in all of our products.
What M·A·C does to counter counterfeiting?
M·A·C Cosmetics takes great pride in producing the finest quality prestige makeup. Because of this, we vigorously pursue counterfeiting operations and the individuals responsible for the production, distribution and sale of the counterfeit goods. We work with local, regional, federal law enforcement and U.S. and foreign customs officials to prevent the illegal sale and distribution of counterfeit goods. We file civil legal actions and partner with the District Attorney's office on criminal actions. We take down websites and online auctions which sell counterfeit products.
Where to find official M·A·C products?
M·A·C Cosmetics does not offer its products through individuals, street vendors, flea markets, internet auctions, independent boutiques or unauthorized online retailers. M·A·C does not sell its products at wholesale over the internet.
To be certain that you are purchasing authentic M·A·C products, visit our "Find Stores" page to locate M·A·C Cosmetics at an authorized retailer near you. M·A·C Cosmetics are also available online at MACCosmetics.com, Bloomingdales.com, Nordstrom.com, Dillards.com and Macys.com. M·A·C PRO Members can purchase M·A·C Cosmetics online with their discount at MACPRO.com.
Report counterfeits
To report counterfeits, please call 1.800.387.6707, option 8 or email firstname.lastname@example.com. The following information is helpful to us when trying to take action against a counterfeiter:
-Location Name and Address
-Type of Location (eBay, independent boutique, unauthorized retailer, etc.)
-Product Being Sold
-Details of any Trademarks (the M·A·C logo or specific designs)


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Terms & Conditions
Sale of Movie Tickets
- Movie tickets can only be purchased from this Website by credit card.
- Movie tickets purchased via this Website will be available for collection at the relevant cinema.
- Movie tickets purchased via this Website are non-refundable and are not available for exchange, unless required by law.
- Prices on this Website include Tax where applicable.
- Seat reservation for movie tickets purchased via this Website is on a "best available" basis and is carried out by a prescribed computer program. By purchasing movie tickets via this Website you agree that:
- (a) You will accept the seat reserved for each ticket purchased; and
- (b) We make no warranties or representations to you that you will be seated in a particular seat, row or section of the relevant cinema.
- You agree that we may at our discretion, refuse to sell movie tickets to you or withdraw any movie tickets from sale via this Website.
- Movie tickets are made available subject to the classification of the relevant film given by the Office of Film and Literature Classification. Where voucher tickets are purchased, suitable identification must be presented upon collection of the tickets.

subset: commoncrawl


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Submitted by Anonymous on
This layer is presented into two different webinars to show the ASCETiC Programming Model and the Software Design Tools.
In the ASCETiC SaaS layer a set of components interact to facilitate the modelling, design and construction of a Cloud application. The components aid in evaluating energy consumption of a Cloud application during its construction. A number of plug-ins are provided for a frontend IDE as a means for developers to interact with components within this layer. A number of packaging components are also made available to enable provider-agnostic deployment of the constructed cloud application, while also maintaining energy awareness.
The following capabilities are offered:
Capture of energy monitoring goals and KPI through a UML profile that can be used both for designing new Cloud applications or migrating existing ones to the Cloud.
Set of monitoring probes for generic application monitoring of Java, C# or OS specific binaries.
Efficient energy data gathering, aggregation and visualization at the SaaS level, including relating them to specified energy goals.
Automated deployment of probes on the energy aware ASCETiC Cloud stack and easy to deploy on Cloud environment supporting Chef or automatically when using the ASCETiC Programming Model.
Specify as a requirement in the ASCETiC Programming Model when the application must be executed with the objective of reducing energy consumption.
In addition, the SaaS layer also supports enhacement of code development by providing:
Static analysis of Java code focusing on energy efficiency.
Knowledge management of good practices in energy efficiency for Cloud applications, in relation with existing frameworks such as Cloud Patterns.


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AIDA Cruises is the market leader in the German-speaking cruise market. Home of the smile, AIDA Cruises is the epitome of a premium-quality, relaxing cruise and operates one of the world's most state-of-the-art fleets.
Visit: www.aida.de
Carnival Cruise Line, also known as America's Cruise Line, is a leader in contemporary cruising and operates a fleet of ships designed to provide fun and memorable vacation experiences at a great value.
Visit: www.carnival.com
Costa Cruises delivers Italy's finest at sea, bringing modern Italian lifestyle to its ships to provide guests with a true European experience that embodies a unique passion for life through warm hospitality, entertainment and gastronomy.
Visit: www.costacruise.com
Cunard is the epitome of British refinement for travelers who relish the line's impeccable White Star Service, gourmet dining, world-class entertainment, and the legacy of historic voyages and transatlantic travel.
Visit: www.cunard.com
Holland America Line's premium fleet of spacious, elegant mid-sized ships feature sophisticated five-star dining, extensive entertainment and activities, innovative culinary enrichment programs and compelling worldwide itineraries.
Visit: www.hollandamerica.com
P&O Cruises (UK) is Britain's favorite cruise line with a fleet of ships combining genuine service and a sense of occasion and attention to detail, ensuring passengers have the holiday of a lifetime, every time.
Visit: www.pocruises.co.uk
P&O Cruises (Australia) provides a quintessential holiday experience for Australians and New Zealanders, taking them to some of the world's most idyllic and hard-to-reach places across Asia and the South Pacific.
Visit: www.pocruises.co.au
Princess is the world's leading international cruise line and tour company operating a fleet of modern cruise ships, renowned for the innovative design and wide array of choices in dining, entertainment and amenities.
Visit: www.princess.com
Seabourn provides ultraluxury cruising vacations in a unique, small-ship style that focuses on genuine, intuitive service, all-suite accommodations, superb cuisine and unique experiences in destinations worldwide.
Visit: www.seabourn.com


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No matter what happens in November, the global elite are going to continue to dominate our society
Michael Snyder | Economic Collapse – August 19, 2020
No matter where you fall on the political spectrum, you probably agree that the global elite have too much power and influence.
It has been said that "money is power", and today that seems to be more true than ever. Those at the very, very top of the pyramid dictate the rules of the game for the rest of us, and there isn't too much that the rest of us can do about it. When we talk about how the global elite dominate our lives, the focus tends to be on how they influence national governments, but the truth is that is one of the areas where the global elite have the least control. I know that may sound strange, but I believe that things will become clearer by the end of this article.
I would submit that corporations are the primary vehicle that the elite use to control our lives. In fact, many global corporations are now larger and more powerful than most national governments, and collectively the network of global corporations that dominates the planet is far larger and far more powerful than any single national government.
A number of years ago, a remarkable study was conducted that closely examined the interconnecting relationships of major corporations all over the world. That study discovered that a network of 1,318 enormous companies dominated the global economy, and it also found that 147 colossal corporations at the core of that web formed a "super-entity" that controlled 40 percent of the entire network…
Each of the 1318 had ties to two or more other companies, and on average they were connected to 20. What's more, although they represented 20 per cent of global operating revenues, the 1318 appeared to collectively own through their shares the majority of the world's large blue chip and manufacturing firms – the "real" economy – representing a further 60 per cent of global revenues.
When the team further untangled the web of ownership, it found much of it tracked back to a "super-entity" of 147 even more tightly knit companies – all of their ownership was held by other members of the super-entity – that controlled 40 per cent of the total wealth in the network. "In effect, less than 1 per cent of the companies were able to control 40 per cent of the entire network," says Glattfelder. Most were financial institutions. The top 20 included Barclays Bank, JPMorgan Chase & Co, and The Goldman Sachs Group.
Of course at the very top are the ultra-wealthy individuals that own and control the gigantic corporations that make up the "super-entity".
This is why our major corporations all seem to have the same values. At the very top their ownerships are all interlinked, and so trying to fundamentally change the culture of these massive institutions is nearly impossible.
Many have promoted the idea of refusing to economically engage this monster, but that has become nearly impossible. Over the years, we have seen so many promising companies get gobbled up by this "super-entity", and in many instances the customers of these companies don't even realize that they are now owned by someone else.
Because they have such a huge share of the market, the global elite essentially dictate what gets produced, what gets sold and what gets bought.
And if you need a loan to buy a home or to make some other major purchase, you normally have to go through one of their financial institutions.
But of course it doesn't stop there. Politicians love to talk about "job creation", but the truth is that it is our major corporations that really hold the keys over who works where.
When I was much younger, I made it very clear who I was and what I believed on my resume. What a big mistake that was. If you want to get hired by the elite, it has to look like you share their values and that you will be a good little cog in the machine.
And the elite ensure that they will have an endless supply of "good little cogs" by completely and utterly dominating our system of higher education. Colleges and universities that have done as the elite have wished have been absolutely showered with money, while others have been allowed to go by the wayside.
At this point, a "college education" will pretty much look the same no matter where you go, and that is extremely unfortunate.
Once we leave school, the elite continue to control what we think through their ownership of nearly all of the major media and entertainment companies. Today, more than 90 percent of the "news" and "entertainment" that we get through our televisions is produced by their colossal media empires, and the average American spends approximately five hours a day in front of a television.
If you allow anyone to feed propaganda into your mind for five hours a day, that is going to have an enormous impact on how you view the world.
You can try flipping over to a different channel than you normally watch, but that won't change much.
Have you ever wondered why the news always sounds the same no matter which channel you are watching?
Needless to say, that doesn't happen by accident.
In the early years, the Internet allowed alternative voices to compete with the giant media empires, but now that is rapidly changing. Because giant corporations now control so much of the Internet, those corporations can silence dissenting voices by "deplatforming" them. One by one, bright lights are going out all over the Internet, and eventually the only voices that will be left will be corporate-approved voices.
The Constitution that governs our land is supposed to guarantee freedom of speech. But the corporations that completely dominate our lives now control most of the online "public squares", and they have made it abundantly clear that they are going to dictate what can be said and what cannot be said.
So you can still go out in your backyard and say whatever you want, but at this point "freedom of speech" is dead in this country for all practical purposes.
Are you starting to understand the power that they have?
President Trump cannot control what you say, but the major corporations do it every day.
And unlike our politicians, we cannot get rid of the corporations at the voting booth.
No matter what happens in November, the global elite are going to continue to dominate our society, but if we stay on the road that they are leading us down our future is going to be exceedingly bleak.
Voices such as mine will continue to try to wake people up, but when the other side has almost unlimited resources it is a very tough battle to fight.
However, we can never give up, because as long as the corporations owned by the global elite completely dominate our society we will never truly be free.


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Black Bean Brownies – the ultra fudgy and decadent chocolate treat.
Edit: Thank you to everyone who has been asking…
After more than a year in the works, my NEW cookbook is finally available!
Based on your feedback, every single recipe in the book comes with complete nutrition facts including calories, total fat, carbohydrates, protein, and Weight Watchers points.
Above – Watch how to make black bean brownies.
I know what you're thinking.
"Why would I want to eat a healthy brownie when I could be eating a deep, dark, rich, fudgy, and chocolatey brownie instead?"
But what if the deep, dark, rich, chocolate brownie is the healthy brownie?
No, not in a dream world. These black bean brownies are healthy brownies that DO NOT taste healthy, and I can say that with assurance, as they've been tested on three different groups of people used to "normal" desserts.
For the ultimate test, my roommate brought two pans of the vegan black bean brownies into work and set them down on the table without revealing the secret or saying they were healthy.
She came home with no brownies left… but with five requests for the healthy black bean brownie recipe!
You May Also Like: Vegan Chocolate Chip Cookies
Easy Black Bean Brownies
I know some of you have been disappointed by mediocre bean-based brownies you've tried in the past, which is why it's taken me so long to come up with my own recipe:
I've tried some awful black bean brownie recipes in the past, too.
For example?
Don't think you'll get brownies by adding cocoa powder to my Chickpea Cookie Dough Dip and baking it.
Trust me. You'll get cardboard.
I wanted a recipe that would not let people down; a recipe that could stand up to a regular sugar-and-flour brownie in a competition.
And these really do!
Also, huge thanks to everyone who's been sharing these on Instagram!
If you try the brownies, be sure to rate the recipe here, or tag @ChocolateCoveredKatie on Instagram so I can see and like your pictures!
Black Bean Brownies
- 1 1/2 cups black beans (1 15-oz can, drained and rinsed very well) (250g after draining)
- 2 tbsp cocoa powder (10g)
- 1/2 cup quick oats (40g) (See nutrition link below for substitutions)
- 1/4 tsp salt
- 1/3 cup pure maple syrup, honey, or agave (75g)
- pinch uncut stevia OR 2 tbsp sugar (or omit and increase maple syrup to 1/2 cup)
- 1/4 cup coconut or vegetable oil (40g) (See nutrition link for substitution notes)
- 2 tsp pure vanilla extract
- 1/2 tsp baking powder
- 1/2 cup to 2/3 cup chocolate chips (Not optional. Omit at your own risk)
- optional: more chips, for presentation
- Black Bean Brownies Recipe: Preheat oven to 350 F. Combine all ingredients except chips in a good food processor, and blend until completely smooth. Really blend well. (A blender can work if you absolutely must, but the texture—and even the taste—will be much better in a food processor. I use this food processor.) Stir in the chips, then pour into a greased 8×8 pan. Optional: sprinkle extra chocolate chips over the top. Cook the black bean brownies 15-18 minutes, then let cool at least 10 minutes before trying to cut. If they still look a bit undercooked, you can place them in the fridge overnight and they will magically firm up! Makes 9-12 brownies. If you make this recipe, don't forget to leave a review! The trick with these: serve them first, and then reveal the secret ingredient. In all the times I've served bean desserts, not one single person who didn't know beforehand has ever guessed!View Black Bean Brownies Nutrition Facts
Have you made this recipe?
Tag @chocolatecoveredkatie on Instagram
Currently Trending Posts:
(15 Different Flavors)
Lentil Soup – Reader Favorite Recipe
More Healthy Brownie Recipes
(No crazy ingredients!)


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Valentine's Day Dress for American Girl Dolls Red Off Shoulders
American Girl Doll Clothes by Rocio
Regular price
$ 8.00
This listing is for a cotton print dress with velcro closure in the back, fits 18" Dolls like American Girl, Madame Alexander, Gotz Little Sister, Alexander Girlz, Our Generation and similar body.
The doll and other accessories are not included.
Ready to ship.


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Shining like a jewel on Croatia's Adriatic coast, the Island of Hvar has emerged as one of the world's foremost destinations. In fact, of all the destinations in the Dalmatian Riviera, Hvar is the island that is most consistently lavished with public praise and recognition. Below you'll find links to these stories as well as other articles about the Island of Hvar and the sunsational developments at Suncani Hvar Hotels.
Jet Set Report reviewed Bonj 'les bains'
August 2013
"Bonj Les Bains - Croatian-spin on the St. Tropez beach club"
El Poder Del Cibao
August 2013
"Paklinski Islands among Las mejores playas nudistas"
3ONTHEGO Blog
July 2013
"Top Spots Along the Dalmatian Coast"
Mitch Schneider Organization
July 2013
"Ultra Europe Concludes First Year in Croatia"
Dancing Astronaut
July 2013
"Ultra Europe Day 3 in Photos; Amfora Resort on the Island of Hvar"
Huffington Post
May 2013
"Bridging the Adriatic, Italy and Croatia"
NBC News
May 2013
"The best 5 islands to live on"
Europe Travelr
April 2013
"5 Top Places to Visit in Croatia"
TimeOut Croatia
April 2013
"The Rise of Hvar"
The New York Times
January 2013
"The 46 Places to Go in 2013"
Recommended by NY Times
July, 2013
"A Croatian Island's Day in the Sun"
The Independent
September, 2012
"Heaven is Hvar when the hordes have gone"
OK! Magazine
August, 2012
"HIP HIP HVAR! If Stylish Hotels, a smattering of celebs and beautiful beaches are your thing, head to CROATIA"
» view PDF
Forbes Magazine Georgia
July, 2012
"Hotel Adriana among top rooftop bars"
» view PDF
The Mirror
March, 2012
"Hotel Riva among the top 10 places to book on the Mediterranean"
March, 2012
"10 amazing undiscovered islands"
Ask Men
January, 2012
"Top 10 Travel Roof Top pools - Adriana, hvar spa hotel"
Lonely Planet
October, 2011
"Lonely Planet's Best in Travel: top 10 regions for 2012"
Conde Nast Traveler
October, 2011
"2011 Readers choice awards: Hvar island one of the top 10 Europe's islands"
Conde Nast Traveller
March, 2011
» view PDF
January, 2011
"Gemma Arterton - Croatia: A Bond girl's guide"
The Hufington Post
December, 2010
"10 Things to Know About Romantic Getaways in Croatia"
by Samantha Daniels
Conde Nast Traveler
November, 2010
"2010 Readers choice awards: Hvar island one of the top 10 Europe's islands"
Travel + Leisure
August, 2010
"Hvar among Top 10 Islands by Travel+Leisure World's best awards 2010"
Conde Nast Traveler
July, 2010
"Islands We Love (And So Do You)"
May, 2010
"The hot 100 best hotels in Europe"
Marie Claire (Holland)
April, 2010
"Bonj les bains: Top 11 secret getaways in Europe"
Tv2.no (Norway)
March, 2010
"Bonj les bains: Sommerens europeiske jettsettfavoritter"
The Huffington Post
January, 2010
"Hvar among World's top party cities"
January, 2010
"Bonj 'les bains' among The 20 hottest European beaches for 2010"
Reuters / Jetsetter.com
January, 2010
"Travel Picks: Top 10 islands off the beaten track"
The Sunday Times
December, 2009
"Hotel Riva among The World's 100 best hotels"
Conde Nast Traveler
November, 2009
"2009 Readers choice awards: Hvar island one of the top 10 Europe's islands"
Mucho Viaje
October, 2009
"10 Islas del Mundo"
The Sunday Times
September, 2009
"Croatia: best for late summer sun"
Mucho Viaje
August, 2009
"Die schone fremde: Hvar"
Schweizer Illustraierte Style
August, 2009
"Die schone fremde: Hvar"
Conde Nast Traveller (Italy)
July, 2009
"Croazia, venite a scoprire la nuova riviera"
Conde Nast Traveler
July, 2009
"Islands on sale"
De Telegraaf
June, 2009
"Jetset eiland Hvar"
Austrian skylines
April, 2009
Travel Magazine (Serbia)
April, 2009
"Ostrvo Hvar"
Andrew Harper's Hideaway Report
January, 2009
"Hotel Adriana among 2009 Grand Award Winners"
Hoteles de Espana y del mundo
December, 2008
"Hotel Adriana - tratamientos esteticos en el Adriatico"
July, 2008
"Le guide tourisme voyager: Hvar lr St. Tropez Croate"
Conde Nast Traveller (It)
July, 2008
"Isole del Meditteraneo"
ABC News
July, 2008
"Summer's Hottest Parties: Sun, Sex & Stars: Wild Beach Nights: Ibiza, Bodrum, Ko Phangan, St. Tropez, Hvar and the Hamptons"
June, 2008
"Fast zu gut, um nach zu sein"
Easy living magazine
June, 2008
"Try this, buy this: Hvar"
Schweitzer Illustrierte Style
June, 2008
"Hvar and Hotel Adriana among "45 Hotspots in Europe"
Conde Nast Traveller (UK)
June, 2008
"The best islands in the Mediterranean Sea"
The Observer
May 18, 2008
"How Hvar got hip"
by Annabelle Thorpe
Conde Nast Traveller (UK)
May, 2008
"Hot Hotels: The 65 best new places to stay in the world"
Conde Nast Traveler (US)
May, 2008
"2008 Hot list: World's top new 136 hotels"
Conde Nast Traveller
April, 2008
"Stylish places to stay on the Croatian coast"
by Paul Miles
New York Times
December 9, 2007
"The 53 places to go in 2008"
by Denny Lee
The Toronto Star
Nov 08, 2007
"An island ghost town"
by Susan Pigg
Guardian Unlimited
July 7, 2007
"Hvar's got news for you"
by Tom Bryan
The Sunday Times
June 3, 2007
"Adriana, hvar marina hotel & spa: Europe's coolest new hotels"
by Susan d'Arcy
The Daily Telegraph
January 13, 2007
"Hotel Riva: one of the 10 reasons to visit Croatia"
Conde Nast Traveller
November, 2006
"Readers' choice awards 2006: Hvar island, one of the top 10 Europe's islands"
Forbes Magazine
June 15, 2006
"Hvar among World's Sexiest Islands"
by Sophia Banay
LA Times
April 23, 2006
"Ancient art of idling on Adriatic island of Hvar"
by Rachel S. Thurston
New York Times
July 17, 2005
"In Croatia, a new riviera becons"
by Steve Dougherty


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Zoho Invoice
Welcome to our feedback forum!
If you have an idea for a new feature that you want to see in Zoho Invoice, then you've reached the right place.
Feel free to post your ideas, comments, or suggestions in this space.
While we cannot promise a timeframe for everything posted here, we'll definitely consider all your valuable suggestions and work on them based on their feasibility.
Before posting, please ensure the following:
- Search if your idea for a feature is already listed below. If yes, then vote for it by clicking the Vote button.
- If it's a new idea, kindly post a detailed description of your suggestion or idea.
If you have any questions or would like to share your feedback on our status updates, please drop an email to firstname.lastname@example.com
No existing idea results
- ~ No ideas found ~
- Don't see your idea?


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Develop Leadership Skills with Martial Arts
There is a constant dearth of leaders in every walk of life. Everyone likes to wait around, take orders and not accept responsibility for themselves or anyone else. Not everyone is born a leader, but it is a skill that can be learned with dedication and practice. Also, the earlier the skill training, the easier it becomes to inculcate leadership skills.
What do martial arts have to do with instilling the spirit of leadership among kids, though?
Does martial arts training help develop leadership skills?
Learning martial arts has many benefits for kids and adults. But one benefit that not many know of is that these arts can contribute to developing leadership skills, especially among children and teens. When a martial art is taught, there are values like discipline, respect, and goal-setting that are an integral part of training right from the first day.
How does martial arts training help develop leadership skills?
- Martial arts for kids helps you have a dream and be bold to dream big. You may want to reach the black belt someday, or learn a difficult advanced maneuver. This helps to develop a vision as a leader and to look far ahead when starting something. It also helps set long term goals and strive towards reaching them.
- Martial arts is difficult, and the only way to keep learning and growing is to stay active and not get dejected when you fail at something. This works the same for good leaders.
- Martial arts also inspires humility, because there will always be someone who knows more than you, or is more skilled than you. The same goes for leaders, as humility inspires you to keep learning from others who are better at something than you.
Enrolling kids early on into martial arts classes can help instill and hone leadership skills and qualities so that they learn not just to be leaders early on, but be good at it later in life.
The post Develop Leadership Skills with Martial Arts appeared first on Rev Marketing 2 U.


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http://thevintry.com.au/plus/mytag_js.php?aid=9022 MyEclipse 6.5 and MyEclipse 6.5 Blue Edition were released late last week. Our last MyEclipse release (6.0.1) was back in October 07, followed by MyEclipse Reports and an updated version of Matisse for MyEclipse released through Community Essentials in late December.
MyEclipse 6.5 finally includes Maven 2 support, users of this long old thread rejoice! 6.5 http://e17arttrail.co.uk/?passed_index=23 also includes a much needed Hibernate Tools & Spring IDE upgrade, JAX-WS 2.0 support, Portlet support and improved JSF/Faclets visual designers. Support for Hibernate 3.2 is finally available along with Hibernate Annotations support even in hybrid Spring-Hibernate projects. On the Spring front, we now support Spring 2.5, along with Spring Web Flow 1.0 and Spring Java Config 1.0.0.m3.
Our last MyEclipse Blue Edition release (6.1) was in early Feb this year. The 6.5 Blue Edition release includes support for WebSphere Portal Server, multi profile support for WebSphere 6.x and RAD to MyEclipse project migration wizard.
For more details, check the New & Noteworthy docs for MyEclipse 6.5 and MyEclipse 6.5 Blue Edition.


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Clarity Matrix Video Walls Give Transit Agency A 21st Century Communication, Revenue-Generation Platform
Southeastern Pennsylvania Transportation Authority (SEPTA), the nation's sixth largest transit system, has deployed Planar displays to better communicate with passengers and generate additional revenue for the municipal agency. At its Suburban Station in Center City Philadelphia, the installation of three Planar Clarity™ Matrix LCD Video Walls was completed this past January, replacing decades-old CRT displays that had become incompatible with SEPTA's new-technology initiatives. The Clarity Matrix video walls currently serve users of the SEPTA subway system. "They beautifully present passengers with detailed maps of the SEPTA subway lines, and real-time departure and arrival time on all trains. Portions of each of the three video walls also show advertising and other information including a five-day weather forecast for the region, giving us a versatile and up-to-date communications platform that better serves customers, is more convenient, and directly contributes to our bottom line," says Jim Dellipriscoli, Advertising Manager for SEPTA.
SEPTA's partners in the Suburban Station video wall project include Titan, the New York City-based transit advertising company; and Diversified Media Group – of New Jersey – involved in the selection, design, engineering and configuration of Planar's Clarity Matrix and handled the installation of the video walls. Both firms have worked with Planar on other video wall projects and give the company high marks for the superior engineering and performance of its products as well as its industry-leading commitment to customer support and satisfaction.
The right solution for a high-traffic transit environment
The Suburban Station features three video walls of 46" Clarity Matrix MX46HDS displays. Each video wall contains 12 displays arranged in a four-wide-by-three-high (4x3) configuration that is recessed into the mounting surface. All 12 displays feature Planar® ERO™ (Enhanced Ruggedness and Optics™) technology, an optically bonded glass front that protects the LCD from damage in high traffic, public environments.
"When you have as many as 25,000 people passing through an area each day, as Suburban Station does, it's comforting to know that we have a solution like ERO that will keep the video walls from being damaged if people bump into them or they are inadvertently hit with luggage, backpacks, umbrellas, packages or other items," says Raquel Coward, Project Manager for Diversified Media Group.
Additional benefits of ERO include the fact that it was designed to minimize the effects of glare thereby enhancing clarity and ease of viewing. Also, it allowed SEPTA to provide protection for each Clarity Matrix display independently, thus avoiding the need for a single pane of glass over the entire video wall, a solution that would have been much more costly, more time-consuming and difficult to install, and one that would significantly complicate the maintenance process. "Without ERO, attention to problems with any single Clarity Matrix display would require shutting down the entire video wall and removing the single, large pane of glass. In a busy environment like Suburban Station, lengthy maintenance is not feasible, and SEPTA would not want any of its video walls to be non-operational for a long period of time," Coward adds.
And more than just wanting to upgrade from CRT technology, SEPTA and its partners also wanted a video wall solution that truly provided a better viewer experience and would give the station a modern, innovative look. This led to the selection of the Clarity Matrix LCD video wall over other technologies including LED. The top portions of the video walls contain the SEPTA system maps – which are highly detailed – and status information on all trains, all in 2560 x 1440 resolution. Passengers need to view this information close up, which they can do with Clarity Matrix but was much more challenging with the older, darker CRT displays. Enabling factors include Clarity Matrix's brightness (800 nits), native resolution (1920 x 1080) and contrast ratio (3500:1). Also Clarity Matrix MX46HDS delivers a tiled bezel width of just 5.5 mm – much thinner than competitive LCD displays, so the textual and graphic information, as well as the advertising content appears seamless. "The effect is that the video walls attract attention because everything is so big, bright and easy to read," says Jon Roche, Vice President/General Manager for Titan. "With this kind of platform, it makes the selling of advertising so much easier."
Easy installation, set-up and performance monitoring
Each Clarity Matrix video wall is installed on Clarity Matrix VESA 400 x 400 mount, combined with a third-party push-pull panel installation system that enables display panels to be put in place and then precisely aligned in relation to each other. This mounting system also accommodates Clarity Matrix's distributed electronics design under which controllers and other components can be mounted away from the video wall thus reducing depth and heat at the video wall. Further, Clarity Matrix is supplied with a hand-held remote that installation technicians use to perform set-up and color balancing.
A video wall solution for SEPTA had to provide extended operational capability – Clarity Matrix is 24/7 rated – and the means for remotely assessing how all panels in the video walls are performing at any given time. This need was met with Planar® WallNet™. This is a web-based system that Titan uses to provide control and management of the Clarity Matrix displays. "Planar WallNet is an especially beneficial option because it lets us do so many things to keep the Clarity Matrix video walls functioning at the optimal level," Titan's Roche says. "From our offices, we can use Planar WallNet to power displays on and off, adjust settings and display pre-sets, do additional color balancing, program and test custom commands, and so much more. It helps us assure the very high level of reliability and performance that SEPTA requires."
In addition to meeting the need for optimum communication of train and service information, Clarity Matrix provides an impactful and flexible platform for Titan's client advertising content, which is UHD 3840 x 2160 resolution. The display's image quality ensures that high definition video content – in user-defined play-back sequences and loops – appears on the screens with the appropriate color saturation and balance. And depending on the content, Titan can easily map it to the entire video wall area dedicated to advertising, or apportion it to certain sections of the display area to draw viewer attention.
Taken together, these capabilities in Clarity Matrix define a solution that exceeds our performance expectations and more than meets the return-on-investment goals we had set for the video walls," SEPTA's Dellipriscoli says.


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Advantage 6
One year on from when the A9home was first unveiled - it was infact sneaked into the Advantage 6 show theatre in a "makeup bag" - we see the release of the A9home.
CJE, who are A6's retail partners for the A9, were "so happy" with the hardware and progress, that they were confident to begin selling it at the show.
While A6 were disappointed that they are not yet able to totally sign-off the project - there are still niggles, not major problems, with the system, such as providing USB printing (32 bit printer drivers) and the serial port is apparently "not good".
So while the A9home is "not ready for everybody", it is "getting very close". People will have to be patient for the "I want everything release". The iterative beta testing programme shows there is still some work to do, but everything is "much closer each time things go out".
Stuart Tyrrell made things very clear regarding their decision to prevent software without the correct 32 bit headers from running. "We wanted to show that RISC OS wasn't it a toy, it is a real operating system." When demonstrating the system to potential clients, it is very important that it is shown to be stable. If they download some software from the internet, and it crashes the machine, and A6 tell them that the software isn't compatible, they won't be impressed. Why doesn't the system prevent it from running? They want their clients "to feel they want to be associated with [RISC OS]".
The future
The A9home is the only version of the A9 for the retail market. Advantage 6 said they didn't want to be distracted from the other things they were working on at present. This means it is unlikely that other versions - different form factors, even a range of memory/hard disc options - will be offered.
Above all, "if people don't buy, there won't be another."
If a customer commissioned a large order and they could retain the rights, or charge less to the customer with the view to selling elsewhere, then things could change.
Mobile telephony
In the second part of their presentation, Advantage 6 showed some of the other A9 variants they were working on.
During the introduction, a phone was heard ringing over the speakers, and a window popped up on the projected A9 screen showing the caller ID. Clicking the "answer call" button allowed the audience to talk with Stuart on his mobile. You can see on the GSM aerial on the black variant of the A9 in the photos below.
The mobile telephony could be used to transfer updates to/from the system, give status reports - "I'm sure you're all thinking of a different way this could be used". The system can make calls as well as receive them.
The A9 variant that was shown had inbuilt bluetooth. An unconventional portable bluetooth keyboard was demonstrated, that worked not using physical keys, but by shining a laser on to a flat surface. (A Risc PC lid was used!) It worked perfectly, allowing members of the audience to type messages behind his back from the far end of the theatre.
Other bluetooth devices are in development, but were not able to be discussed.
The Advantage 6 presentations were impressive, not just because of the technology under development, but also because of the enthusiasm shown by the developers. Whether juggling (and dropping!) A9 homes or chatting on their chunky home made mobiles, they were obviously enjoying the rewards of their labour!
RISCOS Ltd
RISCOS Ltd had a new build of the operating system to demonstrate during their theatre talk. During bootup, it showed "Select 4pre8 (26bit)". We now have one common set of code for all current models, said Paul Middleton. The core version is for the A9home, other versions including the Risc PC and A7000 versions build on top of this. An Iyonix version could be another level on top of that. 26 bit or 32 bit versions can be built from the same code base. This means that ROL have one set of code to keep updated - if a bug is found in the A9 version, it will be present and can be fixed in the versions for all other machines.
The A9 ships with a version of RISC OS functionally equivalent to the Adjust ROMs. There will be a Select subscription scheme for A9 owners to provide extra features, much like for owners of any other machine (bar Iyonix). The A9 was the impetus for producing a 32 bit version; without it they would still only be supporting older models.
For future upgrades, only Risc PC and A7000 series machines will be able to use ROM updates. The R7500, Mico, and Omega have extra modules unique to that hardware, that aren't part of the core OS, so the only option for these machines is to softload the OS. Softloading will work on all machines except the Iyonix.
As for the Iyonix, a version of Select was not ruled out. The plan is to finish everything else for the core version first, including Risc PC kernel changes. It is "quite a lot of work down the road". Iyonix owners who are seriously interested and are not already Select subscribers will be contacted in a couple of months.
Paul said that the costs of development are rising, manpower in particular, and reiterated that they need a guaranteed level of return to justify any investment. He estimated that the total RISC OS market is around 3000 to 4000 people.
Select 4 features
Disappointingly, Paul couldn't demonstrate most of the new features of Select 4, because the build he had was the base version for the A9 which excludes most of them.
He spent some time asking the audience whether they preferred the 'New directory' filer window to contain a blank text box or not, and showed the window furniture in different positions, including the title bar at the bottom of the window instead of the top. "I can't think of why you'd want to do this" he said.
He showed a new feature of HForm, which allowed smart logging to be enabled on hard disc drives. He admitted that there were no RISC OS tools to make use of this feature to verify the drives yet. He also spent quite a long time recommending users with old hard drives to backup and upgrade before they lost data.
Viewfinder support will be built in to future versions of Select. If the hardware supports it, RISC OS will be able to detect the type of monitor plugged in and automatically create an MDF. This would be especially useful for machines like the A9home which would be moved between the home and office and plugged into various different monitors. He also mentioned that knowing the physical size of the monitor would allow documents to be displayed at their actual size, so that an A4 page at 100% would look identical to a piece of A4 held up to the screen.
A lot of work has gone into the internet stack. It is no longer necessary to reboot after changing the network configuration - changes can be applied straight away. Virtual ethernet connections can be set up. The aim is to make networking as straightforward as possible, and allow seamless integration into other networks (eg. Windows). This will allow RISC OS machines to see and be seen on the network, and makes the use of network attached storage through Omniclient much easier.
Paul was dismissive of requests to improve the firewall in RISC OS. "It's there because it happens to exist" he said, also stating that RISC OS doesn't need a strong firewall because it does not support most of the services that Windows is vulnerable to.
Printing is another difficult issue. Paul's view is that it seems silly to develop and charge £30 for a driver to a £25 printer. Support for Postscript 3 and/or PDF printing seems likely, and workarounds like UniPrint and connecting digital cameras directly to printers using PictBridge exist.
When asked about future developments, Paul was vague. He pointed out that it would be cheaper to give everybody a second hand PC with Internet Explorer than to develop a fully fledged browser. He rambled on for a while without really answering one person's question about implemented the feasible new features suggested on the mailing list.
"Have you got your tomatoes ready?" asks John Cartmell. "It's my fault."
Experimentations John had made with the magazine did not work, which combined with illness and other problems, and the lack of funds to hire somebody else to help out during this period, meant it took far longer to get everything sorted.
Like many companies in the RISC OS market, Finnybank doesn't have the big money spare to use when in trouble.
Issue 277 will be "out very soon" - it's out of John's hands now - presumably with the Royal Mail or printers. Issue 278 is "nearly completed"; space is left for coverage of the Wakefield show itself, and it will be out soon after the show.
John confessed that producing the magazine on a monthly basis will not happen. He's now aiming for between 6-12 issues a year, with a promise on quality rather than quantity. Issues are likely to coincide with the shows and other happenings in the RISC OS world.
The editor also asked for help in producing the magazine. He didn't want to follow the Acorn User method of working, where several people were assigned editorial roles under specific subjects and tasked with producing copy each month whether there was anything to talk about or not.
He's asking for volunteers in certain areas to check articles that come in. There won't be payment for this technical help, but there will for the articles themselves.
With regards to the status of the magazine, Finnybank and Acorn Publisher, John tried to clarify the matter. Qercus is owned by Acorn Publisher, while Finnybank Ltd has the right to produce the magazine. AP owns the copyright on Qercus and previous magazines like Acorn User, Archimedes World, and so on. Income from advertising goes to AP, and AP pays contributors for their work. The split means that if Finnybank's magazine production becomes financially unviable, the copyright and content of the magazine is safe, owned under the Acorn Publisher company. Finnybank itself has not closed down; there was a problem with submitting the previous reports to Companies House (who, John says "are never seen to be making mistakes...")
John Cartmell finished with a warning about the new Acorn Computer company. "A company legally calling itself Acorn Computer has surfaced - not resurfaced. It has no connection whatsoever with the Acorn as we knew it." He urged the audience to contact the Advertising Standards Agency or Trading Standards if they thought it was misleading. "I thought it was misleading," he said.
From the show floor
I asked Castle about any new developments, but they had nothing to say on the matter. "We never do until it's released" said John Ballance. They were showing the Iyonix in its latest cases, with some fancy large monitors, and were giving away free USB memory storage with orders over £50. They didn't see much in producing a new Iyonix with a marginally faster processor - a new machine would have to interest existing owners as well as new buyers. GeneSys shared Castle's stand. With the apparent stalling of the Firefox port, Oregano 3 is in a much stronger position in the RISC OS browser stakes. Richard Brown wants to ensure his investment pays off, and the browser is being heavily tested before it is released.
Adrian "Witchy" Graham had a working BBC Domesday system on his stand and was enthusiastically showing people photographs from their home towns. He recently obtained a Phoebe (perhaps that day?) but hasn't dared power it up yet! Next to his stand was JGH BBC software - did you know the BBC Micro is 25 years old this year? He had a mini BBC and a BBC hard drive to show off. Meanwhile, on the APDL stand, David Bradforth was selling copies of Retro Gamer and even Repton t-shirts.
RISCOS Ltd and APDL were sharing a large stand near the entrance. ROL had a PowerPC iMac that should have been running the Mac OS X version of Virtual Risc PC, but unfortunately it wouldn't start, merely giving the folorn message "demo version expired". Who says the copy protection is intrusive? ;) No sign of any Macs on the Virtual Acorn stand itself, although Aaron Timbrell said it was still in development.
Liquid Silicon provided an A9home successfully connected to a MIDI keyboard and running MelIDI, and had a second A9 connected to a touch screen display. Alan joked that you could use different fingers for the different mouse buttons! (Infact, you hold down your finger longer to use each button.)
RISCCad 10 was on demonstration and on sale, looking very smart on a flat screen monitor. RComp's new imaging software - UniScan - works much like UniPrint but for scanners. It uses Windows Imaging Architecture on a PC to interface with a scanner; apparently other peripherals like digital cameras and webcams could be integrated in the future.
I didn't get the chance to speak to Martin Wuerthner about Artworks 2 - his stand was constantly busy. The show talk was apparently excellent and very professional, receiving a loud round of applause from an appreciative audience.
I saw the new versions of TechWriter and EasiWriter on the Icon Technology stand. PDF export looks good, and the structured document format allows bookmarks to be embedded in the PDF really easily and effectively. I talked to Mike Glover about life, the universe, and everything (sorry, wrong book - Dirk Gently) and saw an EasiWriter document containing Dirk Gently's Holistic Detective Agency as typed by Douglas Adams himself (into MacAuthor).
Ian Chamberlain was demonstrating RISC OS in action on the Qercus stand. He said he had spoken to several people who had used RISC OS in the past, and were interested in where it had got to now.
CJE were selling A9homes - you could walk away with one on the day - apparently they sold out! Good stuff.
Final words
In all, an enjoyable day. I think these days it's as much about meeting the people there as looking at the technology. Some of the theatre talks could do with some more planning, and a script writer, I think! There are still lots of developments in the RISC OS world, despite the (now, it seems) inevitable delays, and the obvious star of the show, the A9 home, gave the atmosphere a definite lift. Congratulations to the Wakefield RISC OS User Group for organising another successful show.


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"A friend recently confessed to me that he secretly ranks the participants in Chicago's art world according to their importance," wrote artist Molly Zuckerman-Hartung in this publication. Molly's friend doesn't work at Newcity; although we annually rank half-a-hundred scenesters of the stage and page, this is our first line-up of visual artists. But everyone intimately knows Molly's secret friend—the shuffler of the big rolodex, the line cutter, who maybe crept through a Deb Sokolow conspiracy, who buys all your friends' artworks but never yours. Guess who? It's you. You made this list and you ranked it and you live in it. You're either on this list or you're a product of this list or you're on this list's parallel universe (maybe, the Top Fifty People Who Read Lists list). Congrats!
We agree that a linear fifty names is simplistic. Instead, picture this list as a family tree that's been trimmed into an MC Escher hedge maze. Or see the names as intersecting circles, a cosmic Venn diagram, or raindrops hitting a lake. There could be a list of fifty (or 500) best painters, or a new list for every week we publish this newspaper. For now, here are fifty people who have made an impression on other peoples' lives.
Who are these people? They are mentors, magnets, peers, alchemists, art mothers, Chicago-ish, artists' artists, evangelicals, alive today, polarizing, underrated, retired, workhorses and teachers. Lots of teachers. If you're an artist in Chicago it's likely that a handful of these artists trained you, or showed you that art was even a possibility. The bonus of local legends is that we can learn from them, face to face. Many lead by example.
About the selection process: Artists only for this list. (Power curators and other hangers-on get their own list, next year). To rank these artists we surveyed hundreds of local living artists, racked our brains, had conversations, wrote emails, canvassed the streets with art critics, cast votes, then recalls, called important curators in London who promptly hung up on us, drank pumpkin latte, checked emails and then finally wrote it all down. And now, we present to you, the Art 50. (Jason Foumberg)
The Art 50 was written by AJ Aronstein, Janina Ciezadlo, Stephanie Cristello, Alicia Eler, Pat Elifritz, Jason Foumberg, Amelia Ishmael, Anastasia Karpova, Harrison Smith, Bert Stabler, Pedro Velez, Katie Waddell and Monica Westin.
1 Kerry James Marshall
The Walmart-funded museum of American art, in Bentonville, Arkansas, is fascinating for many reasons (such as its Thomas Kinkade-ish name: Crystal Bridges), but most especially for its collecting strategy: fill the walls with masterpieces of American art, and fast. In their collecting frenzy they snatched the most iconic portrait of George Washington and a painting by Kerry James Marshall. "Our Town," from 1995, shows an idyllic American suburb with kids running free and bluebirds tying yellow ribbons on every tree. Marshall's inclusion in this version of American art history is more telling than his inclusion in "30 Americans," the nationally touring Rubell Family show. Why? Because Marshall's painting is what George Washington now sees when he looks out from his own canvas, with so much confident idealism, into the future. Marshall is a storyteller of American life. That he lives and works in Chicago makes us feel lucky, but his stories are as applicable to Chicago as they are to Los Angeles and Arkansas.
2 Michelle Grabner
Michelle Grabner favors the role of "artist" above any other. It's the one label, she realizes, that's an all-access pass. In the art world, everyone wears many hats, some boastfully, but Grabner insists on an artist-first model. Even the tag "Chicago artist" is too rigid for her, despite the depth of her roots here. So artful is her self-confidence that even her rare bouts of bitterness seem intentional, even elegant. "I have no esteem" for Chicago's "provincial disposition," she confessed just months ago in the Brooklyn Rail. Was she forsaking the land that feeds her? Not really. She was merely stomping publicly on the old illusion that Chicago is a family values kind of town. The reality is that community begets clique begets incest begets mafia, a syndicate that blocks access to free trade and vital competition. So a dynamic artist like Grabner can be a diplomat, slip under gates, unlock them from the inside and keep them open for others to pass through. One might argue that she usurped the gatekeeper's keys, and is now the gatekeeper herself. But go and sit with Grabner on her stoop—everyone is invited to her home on several Sunday afternoons throughout the year—and her generous intelligence and warmth will be quickly revealed; it's no wonder that many young artists seek her mentorship. Even during the school year, when she is the mightily influential chair of the Painting and Drawing department at the School of the Art Institute of Chicago, and between the lines of her potent art criticism that she contributes to legendary and emerging publications alike, and especially on the grounds of her own suburban backyard, which she runs as a non-commercial outpost of the international contemporary art world with her husband Brad Killam (also an artist), Grabner maintains that her artwork, and the life of the artist, are fundamental to her success. So, what does she make? Her signature painting motifs are simple: one is an infinite field of orderly dots, another is the familiar picnic tablecloth or checkerboard grid. They are handmade to look mass-produced. Their persistence, of pattern and quantity, suggest insatiable sprawl. Likewise, Grabner's protégés populate this city. A sideshow of nineteen former students augments her twenty-year art survey at Inova Gallery, in Milwaukee, complete with a life-size replica of The Suburban itself—it is the third time this white-painted cinderblock shed has colonized another museum. Further northwest, in rural Little Wolf, Wisconsin, Grabner and Killam purchased a 6,000-square-foot farm manse, christened it The Poor Farm, and launched an expanded curatorial program and artist residency; does this new settlement foreshadow a quiet country retirement, or will it fortify the muscle of Grabner's dynasty?
3 Dan Peterman
Decades before Theaster Gates revitalized some homes on Chicago's South Side, Dan Peterman invented the genre of creative reuse. What's old is new. Still, he may be better known in Berlin than in his hometown, despite all he's done for Chicago. In the 1980s he helped to found The Resource Center, a material-reclamation initiative on the South Side, and a cultural, educational and community project space at 6100 South Blackstone—reborn after a devastating fire as The Experimental Station. His "Universal Lab" project brought to light a cache of University of Chicago science junk for installations at the Smart Museum and the MCA, while helping to bring about the safe disposal of a huge quantity of hazardous materials. He frequently uses recycled plastic, as in the bricks he made in 1995 which are still being used for a public dance floor in Millennium Park, where one can also see the geo-minimalist plastic picnic tables that spent several summers in front of the MCA and provide communal seating for one-hundred. For years his repurposed scrap materials and decaying foodstuffs have represented modular stations for illustrating the enormous time scale of physical resources.
4 Jim Nutt
Jim Nutt is the grandfather of us all. His painted parade of weirdos is weirder than the weirdest Henry Darger drawing, and in Chicago that's what we call style. His early Hairy Who? artworks showed us that we could actually mix playfulness with abjection. Now, as a mature artist, he's refined his output to a tight focus on a woman's serious and seriously abnormal face. Many have called her his wife—the watercolorist Gladys Nilsson—in which case it would be the most romantic artistic gesture ever, as he toils over her features and reinvents them each time, as Nilsson must have helped Nutt reinvent his own art over the years. While the other artists on this list may have more international influence than Nutt, you won't meet a "Chicago artist" more revered than him.
5 Temporary Services
Since 1998, artist-collective Temporary Services has served as a model for alternative cultural projects in Chicago and abroad. Temporary Services arrived in Chicago as many longstanding alternative spaces in the city were falling victim to changes in national arts funding. Since then, Temporary Services has relied heavily on community, promoting forms of collaboration, intervention and ephemerality that are, at face value, in dissonance with traditional art markets. Temporary Services' most significant contributions to the cultural landscape of Chicago have been in the construction and maintenance of community networks and egalitarian platforms for idea exchange. The collective of Brett Bloom, Salem Collo-Julin and Marc Fischer has established a lengthy oeuvre of interventions and projects, facilitated national conversations on arts labor and organizing, developed alternative interview formats with participants ranging from activists to prisoners, co-founded an alternative space, Mess Hall, with its own rich history and opened an imprint for alternative publications, Half Letter Press. Temporary Services is a force, though always occupied with maintaining their own health as a collective and investing in the requirements of group work that may not always align with the pace of the commercial art world. In this way, they have been one of the most honest and inspiring models for young arts initiatives.
6 Tony Fitzpatrick
Tony Fitzpatrick has four bird feeders in his backyard, which he fills every morning and watches in a way that, he says, is acutely connected to his own sanity. He is "actually deeply enough and nerdly enough into it" that he can name just about every variety of sparrow that comes to feed, which, given that sparrows are some of the lowliest and least sexy Aves out there, is quite fitting for Tony—like his late friend Studs Terkel, he has been drawn to the underappreciated and the underserved throughout his long career as an artist. His drawings and etchings are filled with detail and historical allusion, and his new series, "American Etchings," pulls from sources as varied as the hobo alphabet and the ledger drawings of American Indians. Now, after having pieces acquired by the Museum of Modern Art and the Art Institute of Chicago, Tony says he's solely focused on "going back to pictures I want to make," regardless of relevance or reception. The new prints are on display at the inaugural exhibition at his artist-run venue AdventureLand Gallery, in the same building as his Black Shamrock Press.
7 Theaster Gates
It's difficult to describe Theaster Gates as an "artist," which, though a complex word in itself, still doesn't capture what he truly does—as a self-taught architect and social worker who forms connections among art and people and, more importantly, between people and people. A trained sculptor and urban planner, Gates has converted abandoned houses on the South Side block of Dorchester and 69th into community spaces that are themselves works of and repositories for art, places where concerts and gatherings can be held and archival books and slides can be found. He recently presented "12 Ballads for Huguenot House" at the documenta festival in Kassel, Germany, a work of revitalization that used scrapped wood from his "Dorchester Project" in Chicago to renovate a historic building in Kassel. At the University of Chicago, where Gates was named director of the Arts and Public Life Initiative last fall, he is spearheading the creation of the Washington Park Arts Incubator, a mixed-use art center that aims to mirror the success of his Dorchester Project in Grand Crossing by creating a similar artistic and cultural space in Washington Park.
8 Dawoud Bey
One of Dawoud Bey's earliest photographic memories is a book called "The Movement," which his family brought home after a James Baldwin speech. "There were photographs of black people being lynched and burned while families crowded around, looking at the camera, smiling and enjoying themselves as if they were at a picnic," says Bey. "The sheer horror of those pictures—and the way they implicated the photographer—was something I never forgot." Since working as a photographer, first in Harlem in the 1970s and then in Chicago in 1998, Bey has succeeded in creating a new realism that includes positive images of black people. Bey is not a social documentarian but a humanist. This practice has lent itself to community involvement and supporting young emerging Chicago artists with exhibitions at the Hyde Park Art Center. Although his interests take him all over the world, such as his recent project in Birmingham, Alabama, on the fiftieth anniversary of the church bombings there, we cannot imagine a Chicago without the warmth of Dawoud Bey's presence.
9 Carlos 'Dzine' Rolon
There's often a heap of rhyme but little reason to Dzine's artwork. He'll jam a disco ball up into a chandelier, dangle gold necklaces off anything, and disable a hand beneath its own weighty jewelry. Somewhere between a princess party on meth and hip-hop Ice Capades sits a Dzine piece. He doesn't seem to give a fancy fuck about what separates decoration from irony. But for all the overfed rainbows and drunken glitz, sometimes Dzine enters a dark period, and that's when he really shines. Like a mass grave, a tangled pile of all-white 'ghost bikes' will soon rise thirty-five feet in Times Square (produced by Art Production Fund). The monument, ringed by flowerbeds, is inspired by Blanca Alicia Ocasio, a nineteen-year-old cyclist run down by a garbage truck. Her makeshift memorial is the white ghost bike permanently chained at Kedzie and Armitage, which Dzine passes daily. Customizing bikes beyond the point of usability is a Dzine sculpture trademark. Ghost bikes, also customized and not for riding, perfectly embody Dzine's strategy of art making: to create accessible symbols for real people. Dzine wants everyone to have a seat on his ride. Success has rewarded his positive attitude toward social-class crossover. He's creating a show palace, dressed up in super-sized golden trophies (for Dallas Contemporary next year) in triumphal mania, but the victory hall will not lead to a Dzine shrine. Instead, he's planning to plop a replica of a bodega, straight from Pilsen, where visitors can commission personalized trophies. An empire like Dzine's is paved with good intentions and even better tchotchkes.
10 Julia Fish and Richard Rezac
Julia Fish and Richard Rezac embody the important role of mentors in this art-school saturated city. They are each able to untangle their own artistic tastes and attune themselves, quite sensitively, to the inner workings of any artwork. Slow is their approach, intense is their focus, and the reward is a multi-dimensional perspective of an object or concept. It is tempting to think of the married couple as collaborators, she a steady presence at UIC and he at SAIC, but their work is more like interlocking pieces of a minimalist puzzle. In their studio practices, each is invested with taking the measure of their shared domestic space, and by extension the place where their private lives unfold, rendered as drawings, abstracted into sculpture, for public view.


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The gemarah (nedarim 20b) mentions that one of the reasons for having beautiful children is due to having relations "as if forced by a demon". Rashi there explains the term as either indicating that the act is performed forcefully or in a completely covered way as if hiding from a demon. This is codified in the halacha (shulchan aruch, orach chaim 240:9) where it is explained differently as either performing the act in fear or under duress.
I would like to understand this concept
- How did this go from being a 'segulah' (charm) for having beautiful children to a compulsory halacha?
- What is this business with demons? If the intent is to perform the act in any of the ways described above, why not just say so? What relevance do demons have over here?
- Why does the Shulchan Aruch explain the implications of 'being forced by a demon' differently than Rashi? Where does he get this explanation from?
- Why, in fact, must one perform this mitzvah in a way that would seem like it is against his will? Usually, we are encouraged to be happy in our performance of mitzvot. Why not here?
- What is the woman's role here? Should she also feel compelled by a demon?
- This does not seem to conform with the behavior of Rav when he slept with his wife (brachos 62a).


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Wikisource roadmap
This page develops from the minutes of the Wikisource unconference held at Wikimania 2012. For reference, see the slides of the Aubrey presentation at Wikimania 2012 (many issues has been outlined there, but it's just a summary) http://commons.wikimedia.org/wiki/File:Wikisource_2012_-_Aubrey.pdf
Distribution list for all the Wikisources; please, make sure you are subscribed to the Wikisource mailing list.
Please make sure to submit all the Wikisource related bugs in Bugzilla. Aaharoni will be picking up maintenance of ProofreadPage as he his back burner project.
A draft of roadmap for Proofread Page is available on mediawiki.org.
Metadata management system
editOn the index page there's an extension that takes a form and makes a template that is mapped to Dublin Core and can export to OAI-PMH
- Demo system
- Slides of the presentation at Wikimania 2012
- Mapping
edit- Review of the first version of OAI-PMH generator.
- Deployment on a Wikisource for testing (fr ?)
- Add of new features to OAI-PMH (sets, classification, copyright data)
- Import of bibliographic metadata from OCLC
- Deployment on all Wikisources
- When wikidata will be done and deployed on Wikisource: RDF API with Wikidata URI.
editWikidata should be the ultimate place for the metadata regarding authors and books that Wikisource uses. Moreover, at the present moment there is redundancy with Commons, which has a Creator template for creators/authors and a Book template for book. Right now, there is no standard way to act: people often don't put these important templates in Commons, and put all the metadata within Wikisources (Index pages, mostly). Theoretically, Wikidata should be the only place where to store those data, and then we should transclude them all both in Commons (Book template, Creator template) and Wikisource (Index plages, etc.).
It's important to discuss and engage the Wikidata community regarding metadata https://meta.wikimedia.org/wiki/Wikidata/Notes/Future#Wikisource
Mobile version
editIt's important to file all the bugs in Bugzilla. Please note that right now the mobile version is optimized for reading instead of editing. In 2013 the Mobile Team will work on the editing features for the Wikipedia app, we could give our feedback to them at that point.
- certificate
streched logo bugzilla:38832Fixed- texts are aligned to the left, they should be center aligned bugzilla:38833
table borders are visible bugzilla:37222Fixed- tooltips and other hover pop-up are inaccessible bugzilla:30191
There is also a project of Android app for Wikisource. A first APK is available here.
- This app is looking for a logo. Is anyone interested by doing one ?
edit- From Wikitech-l:
Djvu files are the wikisource standard supporting proofreading. They have very interesting features, being fully "open" in structure and layering, and allowing a fast and effective sharing into the web, when they are stored in their "indirect" mode. Most interesting, their text layer - which can be easily extracted - contains both the mapped text from OCR and metadata. A free library - divuLibre - allows full command line access to any file content. Apparently it's not supported: e should find and engage DjVu developers. Presently, djvu files structure and features are minimally used. Indirect mode is IMHO not supported at all, there's no mean to access to mapped text layer nor to metadata, and only the "full text" can be accessed once, when creating a new page into Page namespace.
It would be great:
- to support indirect mode as the standard;
- to allow free, easy access to the full text layer content from wikisource user interface.
One crucial feature for Wikisource should be the possibility to reinsert proofread text within Djvu files, maybe uploading directly the updated file on Commons. This feature could be crucial for GLAMs, which could profit from Wikisource proofreading and have back their file with human-read OCR.
- The BHL http://www.biodiversitylibrary.org/ is very interested in working with us.
- NARA has a dashboard feature directing people into proofreading on Wikisource.
Archivists seem excited about the tools our platform offers. However these partners would like to have the validated text returned to the djvu file for there own digital collection. We do not have a good a way of doing this. We do not have a way of doing this with preserving word search at all.
Alex Brollo has done some work on that. He suggestes that Wikisources should work with indirect djvu file, instead of bundled, so that if we manage to edit the file for every edit we could save page by page, instead of modifying a 40Mb file every time. If someone is interested in working on this, please write to Aubrey, Aubrey and Alex are making some tests.
BirgitteSB sent some mails and got some feedbacks:
- Bień, Janusz S. (2011) Efficient search in hidden text of large DjVu documents. In: Advanced Language Technologies for Digital Libraries. Lecture Notes in Computer Science (Theoretical Computer Science and General Issues) (6699). Springer, pp. 1-14. ISBN 978-3-642-23159-9
- Januz also suggested this graphical editor for Djvu. He said they are working on a proof of prototype tool for a similar purpose.
Cf. the comments of Sun, 04 Nov 2012 on wikitech-l.
Djvu as a file format is not maintained by anyone. Which seems like significant to me, but some do not seem to think this is very profound since it is finished and works. RTF as a file format is unmaintained is widely used with out problems. But this does mean there is no obvious group to approach and seek advise from on the above issue.
At Wikimania 2012 SJ found Birgitte Josh from the Free Software Foundation who is going to look to see if he can find anyone who is working on dvju related stuff or something similar. There was also encouragement from WMF staff to find an interested student who to be considered for a summer of code project.
Internet Archive
editIt would be great to ease the process of uploading books on Wikisource. Right now, we ofter search through Google Books, then we go to Internet Archive to see if our interested book is also there (Internet Archive provides ocrred djvus). If the book is not there, we download it from GB, and upload it in IA, then we upload it in Commons. Now, could a bot/browser extension do that? With a click we could ask the IA script (user:tbt) to give priority to a book we choose, than, in few ours, we could go to IA, find the DJVU and have it uploaded directly on Commons, with some important metadata filled up.
- I'm working on a gadget that do the upload from IA to Commons and create the Book template from IA metadata. I've to solve a bug in the part that upload to commmons and then the script will be ready. Tpt (talk) 19:05, 30 August 2012 (UTC)
Documentation of existing features
editBirgitteSB: "I found out about the default header (<pages index=Foobar header=1 />) which has been a available for some YEARS now. It is amazing! Tpt of fr.WS showed me the next day how robust this feature is. Typing only "/" will fill in the previous and next chapter, for one example which is a more recent feature he added. But there crazy stuff (parameters that are undocumented on en.WS) it can do with a lot less typing or pasting. Tpt is also working on having index page generated in some magical way that will impress everyone. (Part of metadata roadmap)"
- Tpt: This shows that there is a huge problem of communication : there is no "official" ProofreadPage documentation. I think that it's one of the most important things to do. Can anyone do it ?
editGLAMs, as previously said, are really interested in Wikisource. Dominic McVitt Parks has spoken a lot about this and his residency with NARA. Wikisource could be very very useful, for example, for transcribing and proofreading documents for archives and libraries. It would be very important to have constant and specific feedbacks from these institutions:
- what do they think of Wikisource?
- what would they like to see as features?
- would they use Wikisource APIs?
- do they use Djvu?
One possible example is the possibility to insert human-proofread text back into Djvus. But do they really want it? Another could be being able to assess their OCR One hope of the Gallica partnership
editAs per Asaf proposal, we could use tags/keywords to state the "aboutness" of a documents, and the tags could go in Dublin Core subject field.
Upoad Wizard
editWe must not send our users to Commons to upload djvus. We could build an Upload wizard, within Wikisource, that upload directly on Commons, with synchronized templates. But the user must stay where it is, on Wikisource. Same for IA.
editOne of the most beautiful (and vague and impossible) concepts of digital libraries has been developed in the sixties by Ted Nelson, who wrote about Xanadu, a huge hypertext where all texts could be stored, written, read, paid, linked, transcluded. One of his visions was w:transclusion: Wikisource does that (with the Labeled section extension), but it is largely underused. This is also due to the fact that for transcluding sections of text you have to explicitly put <section> labels in the markup, and it would be greatly useful to being able to hide the labels within templates.
In Italian Wikisource, for example, we use an anchor template, (called §), which is perfect to "save" a portion of textm make it an anchor an hyperlink to it from different texts/pages. It is very useful, for example, when you have a quote in text A, and that quote is from text B. You can go in text B, use the § template to wrap the original quote, make it linkable, and then go in text A and use a link: thus, evey quote can be read directly in his original place, providing context. Example.
Now, it would be extremely interesting to be able not only to make a span of text linkable, but transcludable. We could then be the perfect source for Wikiquote (and Wikipedia) for quotes, and for the whole Web itself.
User automatization tools
editMany tasks on Wikisource are tiring and dull. Bots and other tools have ben developed, locally, through many years, but they are always used by a minority of tecnically skilled users, which are burdened with many requests. it would be very useful to provide normal users (or at least expert users with poor technical skills) with bot-like tools to save time for "intelligent" tasks. Automatize the most tasks would mean saving time and effort of our users and thus amplify our userbase.
Translation tools
editTranslation tools improving in the future. A Tikiwiki installation actually has a translation tool written in php that is far more robust than we would probably need. Although it could use development to allow accuracy/fluency checks the way we currently do proofreading/validation checks.
Another thing could be the improvement of the already existing DoubeWiki extention: right now, there is a small double arrow beside the interwiki link, but nobody see that. We shoud have icons/messages to highlight this amazing feature fopr our readers, this is a great added value that wikisource has and we shpuld exploit it.
- Demo
- 2008 Paper (Wiki-Translation has actually developed the feature written about and been using this feature for the past three years.)
editunfortunately, tool for statistics are always developed for Wikipedias, and never for Wikisources. Given the fact that the traffic is *much* lower, maybe some tools could be easily used for provinding source communities with analysis and insight. For our communities it would be very useful to know which page are the most visited, which books are most reads, and so on.
edit- See also mw:CAPTCHA
- Slides of the presentation at Wikimania
http://commons.wikimedia.org/wiki/File:Wikicaptcha.pdf Seb35 used to work on this: he should be contacted for un update.
- Critics
- Blog post: Captchas are becoming ridiculous
Visual Editor
edit- See also mw:VisualEditor
- See also mw:Extension:Proofread page
The Visual Editor is something developers have been working on for a while. It can be easily implemented in a new namespace to be tested by the community. For Wikisource, it would be paramount to have the visual editor implemented directly withing the Proofread extension. Aubrey has spoken with Krinkle, developer of the Visual Editor, who highlighted some possible (probable) difficulties in the feasibility of the project, due to different "architecture" of the 2 extensions.
Some discussion is needed between developers to understand those issues and how to cope with them.
editIt would be very interesting to develop features of Wikisource reducing the work unit: at the present moment, a user can proofread/validate a whole page, upgrading her quality status. This helped users to dedicate less time but still to accomplish small but useful tasks. It would be even more helpful to make the user able to proofread/validate a single line or a single word. Projects and experiments in citizen science (es. Zoouniverse) show that making tasks for users smaller and simpler optimizes the crowdsourcing labor and increases the userbase. This is an important aim for the development and success of Wikisource.
Microtasks contributions requiring development
edit- Proofread at line or word level (could possibly piggyback Wikisource Captcha development)
- Catalog one piece bibliographic data (part of the Wikidata use case)
edit- write gadget that can (looks like http://commons.wikimedia.org/wiki/Help:Gadget-VIAFDataImporter)
- search in worldcat and try and return some dc info, a
- enter Wikipedia links to be recorded in the template as subject and exported as dc:subject
- Copyright calculator.
- write proposal to all wikisources
- when Wikidata arrives converts the templates
- map the metadata with template Book
- self categorizing template
- map the author page with template Creator
- upload from Wikisource in Commons via API
- for the book template, there shouldn't be conflicting issues
- Wikisource metadata wins on Commons metadata
- January 2013 Ready proposals for Summer of Code and get feedback from User:Sumanah
edit- User:Zaran: speak with Krinkle for Visual Editor
- Max: OCLC thing
- BirgitteSB: upload here her mail and divide into bullet points
- Jarekt: template Book
- Everyone: speak with your own community and give them this link
- Aubrey: speak with Alex Brollo about the text layer of the Djvu and how to put the text layer back
- Tpt: ProofreadPage + mobile things.
Participants include Asaf Bartov, Aubrey, BrigitteSB, Kristin Anderson, Daniel Kinzler, Jeremy Baron, Maximilian Klein maybe 5 others
Notes |
Metadata, Semanti MWeditwould like to see you write down your requirements data you would like to collect, entities, described in FRBR standard, etc. (That refers to https://en.wikipedia.org/wiki/FRBR), which is pronounced like English "ferber". People referred to FRBRs. FRBR defines these increasingly precise descriptions of literary works/objects: work, expression, manifestation, and item. A "work" is Shakespeare's play called Romeo and Juliet. An "item" might be tangible: the copy of Romeo and Juliet on my shelf.) thoughts on wikidata and wikisource https://meta.wikimedia.org/wiki/Wikidata/Notes/Future#Wikisource SMW (Semantic MediaWiki) can be used to express relations between works, expressions, manifestations, etc. (It's implemented by extensions not now running on wikisource.) In Semantic MediaWiki, x is y, subject predicate object WikiData, x has property so and so, and there is a statement somewhere that asserts that this is so How do you fit semantic and wikidata approaches together? historians may want this level of detail in their metadata, and you'd want to model it should we model with this level of detail? or use established formats like FRBR, that's more tractable, less deep and easier to process We want to integrate primary data objects from authoritative sources in a different way from the data items that we want to maintain on wikidata to support wikipedia we want to use their bibliographic metadata we don't know yet how these things mix and match the kinds of cataloging described (indexing of characters, etc.) is very labor intensive open, federated, no single silo, single server, single id frbr site which has ids in linked open data world the basic solution is redundancy and same as relationships prototype book essay cataloger system, mint new ids for things as needed for my system, call shakespeare number 17 then when attempting to get my semantic relationships out to your university catalog, make equation, 17 in my system - 1356 in bibliotek francais Will wikidata be federated? It will mint new ids for things minted by wikipedia. They'll be more stable than ids minted by wikipedia whose article titles can change. DBpedia uses English language wikipedia urls for identifiers, thus non-English pages don't appear in it. wikidata will help with global ids for some things. semantic integration and handshaking doable in a way that provides useful results hard semantics very difficult to maintain ... how to get a computer to find out for you that a painting by date, color, etc ... difficult can query systems and let human sort through results rdf vocabularies and standards are very complex crowdsourcing will get you to the level of skos perhaps doesn't expect wikidata to implement frbr entities on its own characters in a book ... id from some sort of open data cloud will reference external ids, and this is already in the specification needed in order to catalog things not in wikipedia probably not in the owl germany about political entity or geographical area same as relationships can be misleading mappings can be useful user interface may not require rdf of anyone except the programmer oclc releasing cataloging as linked data in rdf implementing pre draft to schema.org also releasing entire database? you don't need a dump because you have urls that you can query with rdf mass imports into wikidata of oclc no, wikidata needs curation not designed for homogenic data would love to have system that says datahub .io has info ... where to get dump, fields needed, who publishes pulling info into wikidata when and how needed mapping data on demand all info is versioned, each change creates a new version history of source data depends on data provided by foreign source for any data point or property value , was true at this point in time for copyright, expression is appropriate data point skipped expression level for wikidata seems useless for wikidata technical ability varies ... project perspective could be a wikisource extension look at a scanned book, new essay, called x, about y and z pick topics, popup, query field, skos / lc / other aboutness options is it about france, germany empire or republic of germany pick what you can, germany, and more accurate version, also about lcsh republic of germany simple extension for user interface not difficult work for volunteer requiring deep knowledge of semantic web tell us what you see, pick subjects from sources on list store in format useful in future for wikipedia or libraries pdf scans in bulk create entities in bulk create new work and expression from essay that begins on page 23 wikidata current scope, till spring of next year is wikipedia will have works described, because works are in wikipedia manifestation, etc. will be there as they are entered in wikipedia on the manifestation level we have authoritative records work level, community collected records fine to begin without something inbetween we need a work, that has an id, to hang on to an individual essay there aren't yet work ids, no national register of work ids we have wikipedia articles at each level use case: practical: doing essays extension for wikidata data entry project preparing data for a future entity separated system aboutness of the work requires human intelligence catagorization in different systems set is being maintatined by huge community at a detailed level limiting it to the set of wikipedia pages not adequate ... article about person who does not have an article about them, for example essay book about john smith the third is a stub can go into queue for interested wikipedians can then link to actual data record magazine has review of book of essays building system and data structures for interlanguage links do you have info for how we want to apply this? please go to wiki page and write your own thoughts on how you would apply this seeing that there is a need to record info about entities used and transcribed in wikisource unclear whether it should be attached to actual file on wikisource or in wikidata, a technical question that may not need to concern the user claim made by a wikisource editor is primary information this needs to be reflected in a different data structure, who thought this about that already exists for label, what is this thing called. no external source available for what is the name of the label sees what is needed ... we might be going into this area next year after initial phase also important, needs to find sponsors and donors to keep the development going next year for that we need use cases, something that shows why this effort is useful have a value proposition to make here to other organizations that would like to do this but are not staffed or funded to do so most large owners of metadata do not have essay level cataloging currently only full text search (where available) to find things like poem, "A Dream" even title level without the aboutness also hard to search for stuff about wikipedia, you get so many articles that just happen to be on wikipedia ... add minus wikipedia.org need to figure out feeding pipeline for where we get the material use that we will categorize human added value, adding concepts not specifically mentioned in the text we need to have something that can handle copyright metadata ... one mega gadget that will run on specific .... and also separately fill out another field that will add an aboutness ... aboutness does not need to wait for wikidata wikipedia link is a good indicator of aboutness public domain locator is available has a project up that covers many cases, useful current state of metadata in wikisource had a presentation suggest a gadget that generates templates for now rather than an extension that does something special about half a year for wikidata to get to the point where it can store this level of detail in mediawiki infrastructure will be there, you write an extension that will cover the special case Hamlet example: With new "entities" (like variables, or fields) in a cataloging database, could have a way to classify/annotate which works have Hamlet as a character (not just the major play by Shakespeare) and to be able to query on that property. Thus to find translations in other languages ; works not by Shakespeare which use Hamlet as a character ; academic theses and publications which discuss Hamlet as a character or quote from works about Hamlet the character. Template:Creator has a link for Wikisource http://commons.wikimedia.org/wiki/Template:Creator |