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So "over night" … "out of the bue" Logic Pro X got a major update. Quite a few more or less big or/and small things are new and/or better. Seems like the people at Apple really care about the product. For me Logic Pro X really is the best tool for the money even for Video Post Production, even tho' its mostly a Music Production App. Its also really good for Video Postporduction and Sound Design.
Here are some of the new features that i think are quite interesting – especially for Video Postproduction:
– Redesigned Compressor plug-in features scalable, Retina-ready interface and 7 models including the new Classic VCA
– Automation can now be part of a region, not just the track
– Relative and Trim Automation modes extend the options for fine-tuning existing automation
– Realtime rendering of fades allow them to work with Flex Pitch and speeds up project load times
– Plug-in Manager allows to customize the organization of the plugin menu
customize "plugin folders"
( and these customize "plugin folders" actually even show up in Logic Remote)
– addition of console-style VCA faders
– Logic can now import multichannel interleaved audio files and convert them to individual mono files
– When bouncing a project, the default name for the bounced file is now the project name
– A single click now inserts an EQ into the EQ slot of a channel strip
– Logic now supports 50, 5994d, 5994, 60 d and 60 fps frame rates
– There's now a Track Protect button for the Movie track
– When Logic extracts audio from a movie file, it now creates a time-stamped Broadcast Wave file
– When a movie is added that is longer than the current project, the project is now automatically lengthened to accommodate it
– The movie now responds more accurately when scrubbing by frames with the Playhead
– Logic Control control surfaces are more reliably detected at launch
– When a region is copied at the same position from one track to another using the same channel strip, Logic no longer asks whether automation should be copied
– When automation is enabled for the first time in a project, the power buttons for track automation now default to On for each track
– It is again possible to drag and drop a movie from the Finder to the Movie track
– Importing an XML file with a different frame rate into Logic Pro no longer causes an unexpected SMPTE offset
And much much more…
Full List here:
Logic Remote update
But especially the free Logic Remote (now Version 1.2) got some nice / big updates:
– New plug-in view provides access to Logic or Audio Unit plug-in parameters
– Use Multi-Touch gestures to shape the tone of your tracks with Visual EQ
(even better compressor smart controls on the iPad now)
– Remotely add or re-order plug-ins
– Control the microphone and other input settings for compatible audio interfaces
More about it here:
In my opinion its a great update to the whole Logic Pro X system. I'll will have a closer look at it in the next few days and use it in some real work audio post production for video project and keep you updated how its goes and how it all works not only on "paper" but in real life.
And also remember here is way Logic Pro X is a great app especially for Final Cut Pro X users:


text:
Slumber Party Cookie Pizza
Here's a special delivery from Shirley Petryk! She bakes her chewy cookie in a pizza pan, adds convenient canned frosting for the "sauce" and slices gumdrops to look like pepperoni, mushrooms and more on top. "I'm always making this recipe for my 12 grandchildren," the Redmond Washington cook relates. "Presented to them in a pizza box, the treat gets rave reviews every time."
Total TimePrep: 20 min. Bake: 20 min. + cooling
Makes8-10 servings
- 1/2 cup butter, softened
- 1/2 cup peanut butter
- 1/2 cup sugar
- 1/2 cup packed brown sugar
- 1 egg
- 1/2 teaspoon vanilla extract
- 1-1/4 cups all-purpose flour
- 1/2 teaspoon baking soda
- 1/4 teaspoon salt
- 1/2 cup semisweet chocolate chips
- 1 can (16 ounces) vanilla frosting or 2 cups frosting of your choice
- Red, black, white, green and yellow gumdrops
- 1/4 cup white baking chips
- In a large bowl, cream the butter, peanut butter and sugars until light and fluffy. Beat in egg and vanilla. Combine flour, baking soda and salt; gradually add to the creamed mixture and mix well. Stir in chocolate chips.
- Pat onto a greased 14-in. pizza pan. Bake at 350° for 20-25 minutes or until golden brown; cool.
- Spread frosting to within 1 in. of edge. Using a sharp knife, cut red gumdrops into 1/4-in. slices. Cut black gumdrops into slices and cut a hole in the center. Cut white gumdrops lengthwise, then into mushroom shapes. Cut green gumdrops into slices and place a small piece of red gumdrop in the center. Dice yellow and more green gumdrops.
- Arrange all gumdrop shapes over frosting. Melt white chips; place in a pastry or plastic bag. Cut a small hole in the corner; drizzle over pizza.

subset: commoncrawl


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CARSON CA (Tuesday May 27 2008) – The Colorado Rapids moved one step closer to qualifying for the Lamar Hunt U.S. Open Cup with a 1-0 victory over the Los Angeles Galaxy tonight at the Home Depot Center.
A heads-up play from Ciaran O'Brien started the goalscoring play late in the second half. The rookie took a quick free kick from the middle of the field in the 82nd minute and found Terry Cooke wide on the wing. The Englishman then put the ball right on Conor Casey's head for the go-ahead goal.
The Rapids started the game with just three of the same starters from their game on Saturday against Chivas
New Rapids goalkeeper Preston Burpo was forced into his first save of the night in the third minute. The newest member of the Rapids tipped a Stephen Keel header over the crossbar and out for a corner.
Edson Buddle nearly put
In the 10th minute Casey had
Mike Randolph hit the side netting in the 29th minute as Burpo dove toward his near post to cover the headed shot.
Casey had another scoring opportunity in the 32nd minute when he touched a free ball in the penalty area but then he was shielded off the ball while Cronin scooped it up.
Burpo had another unconventional save in the 36th minute. Buddle took a shot from 23 yards out that hit the post and then went off the keeper's back before sneaking outside the post for a corner kick.
Colin Clark forced the first save out of Cronin in the 38th minute.
Carlos Ruiz hit a shot from the midfield stripe that sailed over an outstretched Burpo but hit the bottom of the goalpost in the 42nd minute.
The teams headed into halftime tied and
A Galaxy corner kick in the 63rd minute nearly opened the scoring but Buddle headed the ball into the side netting.
Again in the second half Casey had a dangerous scoring chance for the Rapids. In the 74th minute the Denver South High grad took a low angle shot that deflected of a couple of Galaxy players and trickled across the face of goal. A minute later he nearly caught Cronin off guard with a cheeky flick but the goalie was up to the challenge and dove on the headed ball.
In the 81st minute Casey again had the goal in his sights when he headed a Cooke free kick on goal however Cronin was there once again.
Scoring Summary:
COL – Casey (Cooke) 82
Colorado Rapids – Preston Burpo Kosuke Kimura Rafael Gomes Stephen Keel Jordan Harvey Terry Cooke (Herculez Gomez 90+) Nick LaBrocca Mehdi Ballouchy Colin Clark (Ciaran O'Brien 70) Conor Casey (Cesar Zambrano 88) Tom McManus (Omar Cummings 68)
Substitutes Not Used: Mike Graczyk Tim Ward Brian Grazier
Los Angeles Galaxy – Steve Cronin Ante Jazic Sean Franklin Abel Xavier Chris Klein Ely Allen (Mike Randolph 45+) Peter Vagenas Brandon McDonald (Josh Tudela 72) Alan Gordon Edson Buddle Carlos Ruiz (Israel Sesay 63)
Substitutes Not Used: Josh Wicks Mike Randolph Greg Vanney Troy Roberts Bryan Jordan
Misconduct Summary:
COL – McManus (Caution) 12
LA – Allen (Caution) 41
COL – LaBrocca (Caution) 49
LA – Gordon (Caution) 67
COL – Gomes (Caution) 70
COL – Cooke (Caution) 90
Referee: Jasen Anno
Referees Assts.: Emiliano Monje Frank Anderson
Fourth Official: Ian Anderson


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I'm dubbing your best bet the "speaker switcheroo." This works best with predictable, time-honored objections that have no basis in reality. Things like "Everyone who uses Facebook is going to lose their job someday over some picture they posted" or "women can't handle the stress of these senior-most jobs." The objections you can counter with the speaker switcheroo are sweeping and erroneous, but also familiar to your listeners, and you can upend them simply by replacing a word to show how off-base those objections are today--and always have been.
Here are two examples that will get you thinking about how you can use this rhetorical trick of turning your opponent's arguments to your advantage:
- Nellie McClung's "Should Men Vote?" speech, featured in our Famous Speech Friday series, is a classic example of this technique. The suffragette took common objections to giving Canadian women the right to vote, swapped the word "women" for "men," then put a parody hearing together in which the question of whether men should vote was debated--using her critics' own objections. "Man is made for something higher and better than voting" is just one example.
- A more recent example can be found on Twitter in Pencilchat, in which education pros are combating tired objections to technology in the classroom by swapping the words "computer" or "Internet" for an older, revered technology, the pencil. Using the hashtag #pencilchat, teachers are posting objections to new technology with the pencil twist, yielding funny results like "I don't know why we have to let them have pencils. All they are going to do is cheat" and "Too many teachers need additional training to integrate pencils into the learning environment."
Why do these examples of the speaker's switcheroo work? They play it for laughs without having to overwork the humor, for starters. They swap the current objectionable item with one that's already widely accepted, familiar, even beloved by the naysayers. And they point up a discrepancy in logic, whether it's discriminatory in the voting example, or mixing up tools with content, as in the technology example. The humorous angle adds another advantage, allowing you to look thoughtful and reasonable at your opponent's expense, without getting angry or flustered. It's a great tool to have in your back pocket when you're making arguments or cases for a cause or proposal.
If you've used this speaker trick or will use it, please share your examples in the comments and let us know how it went!


text: >>I agree it would be good to use the DVB specified ONID/TSID. However, >>I am not using that on purpose because I have found several instances >>of transponders with what appear to be "default" settings for these >>values.. i.e. the IDs are the _same_ as on other transponders. >... > satellite (if both are available)... OTOH, services might move and their > ONID:TSID:SID might change, but it will still be the same service. For such > cases, referencing the service name would be better, but some service names > can be found several times, e.g. I think there are a couple "Bloomberg"'s > on ASTRA 19.2°E... Maybe the presets file should contain ONID:TSID:SID > _and_ service name (and maybe network and provider name) and even the > adapter ID, so that the application can then look for the closest match. Our practical approach was to add a "namespace" to the ONID:TSID:SID. For "sane" sources, like Astra 19.2 (are there any other? :), the "namespace" is just the source-id, let it be "0192" or whatever. For non-sane sources, a heuristical approach is used to determine if the ONID/TSID is considered as "good enough". If not, a hash of the Transponder data is added (for example, some bits of the frequency - yes i know that this doesn't work perfectly in some border-cases, but it's still far better than ignoring these cases at all). We thus end up with something like "00c00000:0001:044d" as a unique transponder id, or something like "00822acd:ffff:0001" in case of a bad one. (as you see, in this case the namespace consists of 16bits "orbital position" and 16 bits "0000 in the good case" or "hash in the bad case", but that's just one way to do it.) Then, services get this namespace as well, for example "00c00000:0001:044d:6dca" uniquely references to "Das Erste" on 19.2E. This has some advantages: - Linkage ("Premiere Sport" as a very bad example - unfortunately, there aren't any better ones..) is still possible. You just keep the namespace, and replace the rest with the given onid-sid-pair. - Services on different sources ("ZDF" used to have the same ONID:TSID on Astra 19.2E and Hotbird once - not sure if that's still the case) are separated (and that's good - you don't want merge them) - "Bad" transponders don't need any special intervention other than in the scanning part of the application. You need no other workarounds or stuff, just save your tuning parameters together with the "namespace:onid:tsid"-id. - namespace:onid:tsid/sid are exchangeable between systems, so you can sync favourite lists or whatever (Note that this has a small problem with "bad" transponders, but i don't have any other idea how to fix that. It will work in most of these cases, too.) - you can insert arbitrary transponders to your list (by just inventing a namespace:onid:tsid) to add non-dvb services (like feeds or stuff), and all the service handling function work like for any other service. We keep the general advantages of referencing services "in the way it's meant to be:" (onid+sid) , like: - Services can move / rename, and no rescan is required, they even keep their place in the favourite lists - you only need the SDT while scanning (no PAT/PMT scanning which is error prone as some services might not be available all the time) I know that this handling is a big "non-standard", and some people don't like it. However, it was the method which was considered to be "most user friendly together with being technically (almost) sane". Ok, it's a compromise, but of all options, I like it most. Any thoughts of this? Felix


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How Brands Can Handle a 'Get Two Beers and Jump' Scenario
Yesterday at Content Marketing World in New York, presenter Robert Rose wanted to make a point about why companies need to keep control of their social media conversation. He cited several great examples of what not to do: there was Airbnb's disastrous attempt to squelch a blogger who had a bad experience with the apartment rental service, and Pampers' refusal to budge on an outmoded test marketing scheme that upset a host of mommy bloggers.
Both of these companies, Rose said, "let the story write them," rather than the other way around. It's why companies should invest in people who can monitor social conversations around a brand and craft fast, effective responses to negative publicity. One service company, for instance, saw negative comments on a corporate blog as an opportunity to retool the blog as a FAQ and customer service tool—simultaneously taking the complaints seriously and taking back control of the conversation.
The best example Rose gave, however, was of Jet Blue Airways and its handling of the Steven Slater incident in 2010. Slater was a long-suffering flight attendant who quit his job in flamboyant fashion after being on the receiving end of rude treatment from a passenger one too many times. Jet Blue responded with an upfront blog post and managed to direct negativity surrounding the incident away from its Facebook page to the blog.
Kudos to them—but it didn't stop late-night hosts from having some fun with the incident. In case you missed it, click below to watch Jimmy Fallon's masterful "Jet Blue Song: The Ballad of Steven Slater." Enjoy!
Watch the video here.


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From a marker made scribble to a decent throw-up, the road is short. Working towards a more elaborate wild style, and especially searching for a unique expression in the process, is somewhat trickier. We all know graffiti art emerged from the letter, from its form and its meaning. It took the letter to another plane, toying with it, developing it, working with its limbs and bumps, until a completely new art form came to existence. Not unlike calligraphy.
But, calligraphy is older, different, traditional and philosophical. The abstract qualities lie in it, while it unites the visually perceptible and conceptually defined. The art of letter writing is more than a style. It's about movement, meditation, lasting impact. Calligraphy is a power in its own right.
So, when graffiti and calligraphy inevitably meet, what is to expect? Fascinated by the aesthetics found in letters, writers who dare to delve deep into the shape of a word approach the challenge differently. The ten amazing artists presented here all come from different cultures and every heritage in calligraphic sense shines through their work. The father of Calligraffiti, Shoe is Dutch, so we read the gothic letterings throughout his pieces. French - Tunisian elSeed brings a fresh take on the Arabic calligraphy, while Usugrow combines the traditional Japanese writing art and rock n' roll culture. Abstracted formations of Retna glorify visual impact of signs, elevating them into the domain of abstract art. Khadiga El-Gawas, a brave artist from Egypt and the only woman in our selection, thrives on writing out cryptic messages in Arabic with pure light. Each of the writers, Chaz Bojorquez, Rostarr, Hlawani or Luca Barcellona have their own manner, reason and message, but they are all united under the vast ceiling on the beauty of the written.
Scroll through some of the most brilliant examples who exist and create in the place where graffiti and calligraphy blend.
Images via Shubbak
Niels Shoe Muelman, or simply Shoe, is the Dutch visual artist, graffiti writer, graphic designer, art director and a graphic designer. A graffiti legend at the age of 18, he is best known for developing a style called Calligraffiti, which is a fusion of graffiti and calligraphy. Calligraffiti came to prominence with his successful solo exhibition in Amsterdam in 2007. Currently, Shoe is fascinated with Abstact Expressonism, so his signature style is still rooted in calligraphy, but moving towards abstract painting. Check out his interview for Widewalls.
el Seed is a Tunisian street artist born in France. He is renowned for his combination of fine Arabic calligraphy and graffiti techniques, which he uses to create large-scale works. His most famous and controversial mural is located on the Jara Mosque in the Tunisan town of Gabes. It is 47 meters tall, 10 meters wide, and reads a verse from the Quran encouraging people to celebrate their differences, respect each other and unite. He also adorned a wall on the Institut du Monde Arabe in Paris, motorway underpasses in Qatar, walls in New York, Melbourne, Jeddah and London. Apart from creating poetic murals, el Seed documented the process of painting 24 walls in four weeks across Tunisia in the book titled Lost Walls and collaborated with Louis Vuitton.
Yazan Halwani is a young Lebanese street artist from Beirut, and one of the youngest graffiti artists in the Middle East. In the beginning of his career, Halwani was influenced by hip hop culture and the Western graffiti scene. After a few years, he became interested in calligraphy and realized that he needed to change the direction of his work, since he believed that writing his name all over Beirut was not very much different from what political parties were doing. Yazan developed a style that combines calligraphy, oriental geometry, patterning and portraiture. Nowadays, by painting large murals of the faces of famous and anonymous people on the streets of Lebanon, Tunisia, Singapore, Dubai and France he tells the story of the city and communicates with its inhabitants.
Images courtesy of Yazan Halwani
Luca Barcellona is an Italian freelance letter designer and calligrapher from Milano. Luca's black, white and red lettering is always connected to the message the writing conveys. His style is influenced by both Medieval Latin manuscripts and traditional Asian calligraphy. His passion for letters started at a very young age. From graffiti, his interest moved to calligraphy and he started taking classes at Associazione Calligrafica Italiana, where he teaches now. In addition to that, he holds workshops around the world, exhibits his art and works with brands such as Nike, Carhartt, Dolce & Gabbanaa and Volvo. He created his own clothing line Luca Barcellona Gold Series and published a monographic book Take Your Pleasure Seriously.
Image courtesty of Luca Barcellona
Retna is an established Los Angeles-based street artist , known for his unique, self-created alphabet. This beautiful and mysterious script is derived from traditional types of street-based graffiti and Egyptian hieroglyphics, Native American traditional symbols and Arabic and Hebrew calligraphy. Retna (the name he chose from a Wu-Tang Clan song) participates in art fairs, collaborates with prominent brands and does commissioned work for celebrities such as Usher. This year, he had a solo exhibition titled Articulate & Harmonic Symphonies of the Soul at the recently opened Hoerle-Guggenheim Gallery in New York. Knowing this, it doesn't come as a surprise that he is not only a bright star of contemporary art, but also one of the Top 5 wealthiest artists on our list.
Usugrow's style is the style of opposites - he fuses ying and yang, flowers and skulls, black and white. This Japanese artist started his career by drawing and creating fliers for Japanese punk and metal bands in the 1990's. Influenced by Asian calligraphy and Los Angeles 'Cholo' style of graffiti, Usugrow continued working with musicians, and started collaborating with skateboard and fashion brands. Apart from this commercial segment of his work, he had several solo exhibitions, curated group shows, participated in numerous collective exhibitions and published a monograph, which is a compilation of the artist's best works from 2007 to 2013.
Khadiga El-Ghawas is the young, emerging artist from Egypt. When she was 13, her teacher noticed that she was talented for calligraphy and a few years later, Khadiga won first place in a contest sponsored by Bibliotheca Alexandrina's Calligraphy Center. In 2013, she began creating Light calligraphy, in order to help her friend and a professional photographer Amira Elsammak with the graduation project. Light calligraphy captures the motion of the light by using hand held light and photographic techniques. The two continued working together under the name Wamda Team and started holding workshops at The Calligraphy Center of Bibliotheca Alexandrina . They are inspired by the work of Julian Breton and Egyptian artist Hassan Massoudy.
Images (left: Feedom, right: Beauty) courtesy ofKhadiga El-Ghawas and Amira Elsammak
Stohead is a German street artist, best known for combining a graffiti-based style with classical calligraphy to produce letters that are at the same time both figurative and abstract. He became a graffiti writer at the age of 14, later on joined the artist group getting-up, and created some spectacular murals with them. After that, he started his career as a freelance artist and illustrator. Since then, Stohead has had numerous solo and group exhibitions in many renowned street art galleries, such as Le Feuvre in Paris and Circle Culture in Berlin. Hip hop and punk scene are his source of inspiration.
Image courtesy of Galerie Le Feuvre
Rostarr is a New York based artist, born in South Korea. He creates paintings, sculptures and digital art. He had solo exhibitions in all art capitals and participated in collective shows around the world. He published his first book titled Graphysics in 2001. Rostarr's term Graphysics describes the geometric dynamism which characterizes his work. Always trying to escape the limitations of medium, form and style, the artist's creations are quite unique pieces of mostly black and white calligraphic drawings and abstract sculptures. He is a long term member of the group Barnstormers. He created several films, either alone, or together with Barnstomers. The best known one is a forty minute motion painting film titled Kill The Ego.
Chaz Bojorquez is an American artist who draws the inspiration from Cholo graffiti, Asian calligraphy and the education he received in the CalArts art school. Just like Usugrow, Bojorquez brought the style of Mexican-American gangs to art galleries around the world.
Cholo graffiti, usually in the Old English or Gothic typeface, are used by East Los Angeles gangs to mark their territory. Chaz Bojorquez's interest in Mexican culture is also visible in his symbol - a stylized skull called Senor Suerte, a motif from Mexican folklore and the cult of Holy Death, which he used to stencil on the streets of Los Angeles.
Image courtesy of Nobody Photography
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Miami, United States of America
Berlin, Germany
Soest, Germany


text:
Schoolhouse Green Chalkboard - 2 Sheets
Wallies® Peel & Stick Chalkboard
2 vinyl sheets
9" x 12"
chalk included
- Removable and repositionable.
- Write on them with chalk, wipe clean with a soft cloth.
- Works on walls, wood, glass, paper and more!
- Easy to remove, won't harm most surfaces.
Item shipped worldwide.


text:
afternoon tea, Baking, Breakfast, currants, food, high tea, nutmeg, royal wedding, scone, scones, sweet, tea, wales, welsh, welsh cakes
Growing up, I had a thing for the Royal family.
I had coffee table books all about Princess Diana, her wedding to Charles, her boys, William and Harry, along with a video of Andrew and Sarah Ferguson's wedding.
I was one of those girly-girls with a penchant for dressing up, wanting to wear twirly skirts (that whirled out when I spun in circles; I called them turn-y skirts), put on lipstick. I always wanted a tiara.
So, although the inundation of countdowns and articles and television specials and photo galleries leading up to the wedding between Prince William of Wales and Kate (I'm sorry, Catherine) Middleton has been a bit much, my inner eight-year-old girl is kind of loving it. What will the dress look like? What diamond-encrusted tiara will adorn her lovely dark locks? What will the bridesmaids wear? Will they have turn-y skirts?
Outside of the fantasy world, I don't envy Kate. I'm happy for her and William because they do some genuinely in love, something so clearly missing in the relationship between his parents (though I couldn't see that as a child). But I wonder too at what she's giving up for that love. Yes, there are jewels and gorgeous clothes, first-class trips, brushes with celebrity. And there is the paparazzi, the pomp, the expectations, the constantly public life.
No matter, I will be indulging that inner child and tuning in to the wedding.
In honour of that, I'll be eating scones (and drinking some champagne, of course — though not at 3 a.m. I'm not so devoted that I will wake up that early. That's why I have a PVR.) as Kate walks down the aisle.
I could eat any version of scones, but I decided to create a recipe that would combine a basic scone with a Welsh cake (which share some similarities with scones, though they are fried instead of baked). My stepfather, who is of Welsh descent, often made these as a Sunday treat when we were kids. (A tradition, thankfully, that continues when I visit my parents.) They have a distinctive flavour that comes from nutmeg and currants. Basically, I wanted to use those flavours. Not just because I love them, but it's just so fitting.
He is Prince William of Wales, of course. And the couple will start their life as newlyweds in Anglesey, an island off the northwest coast of Wales.
I have to give credit where it's due, so I will say that Nigella Lawson has changed the way I make scones. Her trick of grating frozen butter is just . . . perfection. I cannot recommend it enough. No matter what scone recipe I use these days, I always, always, always use this technique. Please, try it, I implore you.
This is based on her strawberry shortcake recipe, but has been adjusted.
Welsh Scones
- 1½ cups flour
- ½ teaspoon salt
- 1 tablespoon baking powder
- 1/4 cup sugar
- 1/2 cup currants
- 1/2 teaspoon nutmeg (I may go with a tad more next time)
- 1/2 cup unsalted butter, frozen
- 1 large egg
- ½ cup half-and-half or whipping cream (you may need slightly more)
- 2 tablespoons whipping cream
- 2 tablespoons sugar (regular or natural cane sugar), optional
Preheat the oven to 425°F.
Mix together the flour, salt, baking powder, sugar, currants and nutmeg in a bowl. Grate the frozen butter into the dry ingredients and use your fingertips to lightly toss all together. Whisk the egg into the half-and-half cream and pour into the flour mixture a little at a time, using a fork to mix. (I often need another tablespoon or two; I chalk it up to that dry Calgary weather.)
Turn the dough out onto a lightly floured surface, then roll gently to about ¾-inch thick. Dip a cutter in flour and cut out as many scones as possible. (Small ones are cute, but sometimes you just want a large scone with lots of room for Devonshire cream and jam.) Work the scraps back together, re-roll and cut more. (Nigella suggests using a 3-inch/6½-cm round cutter to make 8; I used a smaller one and got about 14.) Place on a baking sheet, brush the tops with the 2 tablespoons whipping cream and sprinkle with the remaining sugar, if desired. I used natural cane sugar, which has larger grains.
Bake until golden. Between 10 and 15 minutes for larger scones. Cutting them smaller? Check earlier. Mine took about 9 minutes. Remove to wire rack to cool.
Eat with copious amounts of jam and Devonshire cream. Or butter and jam. Or just jam.


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text:
Be successful. Make a difference.
That's what Maryville College is all about. Our students live and learn in a community that prepares students for enriched lives as citizens, leaders, and educated persons and provides a personal and total learning experience.
Applying for Admission
Whether you are currently applying to enroll in college courses while still in high school, in high school applying as a first-year student, a college student applying to transfer, an international applicant, interested in a post-degree teacher licensure, out of high school and would like to take a couple classes part-time, or a veteran with VA benefits, apply now, and we will show you what makes us one of the best colleges in the South! How to Apply»
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I see this quite a bit. "Source code" refered to in the plural with "codes". To me it sounds juvenille, uneducated, and somewhat annoying. Is it just me?the codes written in MFC are almost unreadable.
it is really hard for me to find out what's going on by reading these codes.


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Regensburg Cathedral Choir is one of the oldest boys' choirs in the world. The Regensburger Domspatzen are official UNICEF ambassadors and European cultural ambassadors – and, of course, a great advert for their home city at the northernmost tip of the Danube.
The Regensburg Cathedral School was founded in 975, but the choir's own history may date back a further 300 years. Even today, participation in the cathedral liturgy is one of the duties of the young singers and they are educated at the cathedral music school. Concert tours have been on the Domspatzen agenda since the early 20th century. Their first visit to South America, back in 1937, was followed by tours of Africa and Asia. Their specialism is the great choral works of Handel, Bach and Haydn. For 30 years the choir's director was Georg Ratzinger, brother of Pope Benedict XVI. Live CDs of two concerts in the Vatican (2005) were bestsellers in the classical charts.
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Hair Extensions
Let us help you make the most of you hair!
With our choice of bespoke hair extensions.
- Individual braids
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We can add volume, length or colour.
Our Racoon and Beauty Works trained extensionists have many years of expertise and specialise in colour blending and invisible placement so that no one will know (unless you tell them!)
Infills add thickness to your hair and start from £160, adding a small amount of length to finer hair from £360 or a full head from £480 (depending on your present style, required style and thickness of natural hair)
Please book a complimentary consultation to discuss the options available, we will also assess the suitability of your natural hair.
Clip ins and Halo's are available to purchase (We hold some stock- others may be ordered). We can also apply these and cut to style. Please call for a quote.
Hair Extensions
Infills to add thickness (no length)
from £160
Add small amount of length to fine hair
from £360
Full Head
from £480


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- Contact the Center
- Digital Learning
- Service Learning
- Norman H. Ott Memorial Writing Center
- Center for Teaching and Learning Staff
- Funding and Grants
E-Learning Course Policies
Attendance Policy
Online courses at Marquette University are designed to be highly interactive and collaborative, as authentic learning takes place within a social context. To help ensure an effective learning experience, all students in online courses are expected to participate on a regular basis.
Participation is defined as "submitting required work as assigned; being an active contributor and responder to fellow students and the instructor in a timely basis, as set forth by online discussion guidelines in each course." Failure to participate may be counted as an absence.
If technical circumstances prevent a student from entering the course site for a period of time, it is the student's responsibility to contact the instructor in a timely manner if the student wishes to receive credit for any missed online activities.
The above two sections represent university attendance standards. Each undergraduate college may enforce additional attendance policies for certain courses; please consult your college handbook, college section of the current bulletin, or the individual course syllabus/attendance policy for more information.
Disability Policy
If you have a disability and require accommodations, please contact your instructor early in the semester so that your learning needs may be appropriately met. You will need to provide documentation of your disability to the Office of Disability Services.
If you are unsure of what you need to qualify for services, visit the Office of Disability Services on the Web or contact the Office of Disability Services at (414) 288-1645, located in the 707 Building, 5th Floor.
Academic Integrity
Marquette University is committed to developing the whole person, spiritually, mentally, physically, socially and ethically. As an institution of higher education, Marquette has love of truth at the center of its enterprise. Academic honesty, in all its forms, is an explicit value of the university.
The development and practice of academic honesty and integrity, inside and outside the classroom, are expectations for all members of the university community. In order to cultivate academic honesty in its students, instructors take every opportunity to help students appreciate the process and the principles of academic integrity.
Academic honesty can be best understood by academic ethical standards guiding faculty in their work. That is to say, an individual's contributions, in terms of words and scholarly findings, belong to him or her alone. Furthermore, the integrity of that which one claims to be scholarly knowledge rests on the accurate demonstration of the assumptions and reasoning that produced it. These standards are used as the implicit basis for teaching and learning in the university.
In order for instructors to fairly assess the quality and quantity of a student's learning as determined by work that students represent as their own, a relationship of trust between instructor and student is essential. Because violations of academic integrity most often involve, but are not limited to, efforts to deceive instructors, they represent a breach of the trust relationship between instructor and student and undermine the core values of the university.


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CFP: [African-American] MCLLM 2008
The 16th annual Midwestern Conference on Literature, Language, and Media
(MCLLM) will be held February 29 and March 1, 2008, at Northern Illinois
University in DeKalb, Illinois, to coincide with African American History
Month and Women's History Month.
Confirmed keynote speakers: David Bevington (of the University of
Chicago) on race and gender in Shakespeare, and Russ Castronovo (of the
University of Wisconsin at Madison) on American and African American
history including the military-industrial complex.
Proposals are solicited for fifteen- to twenty-minute papers from
scholars at all career stages, from beginning graduate students to
established and senior scholars.
MCLLM invites papers on all areas of literary, language, and media
studies, especially proposals that innovatively address topics congruent
with the expertise of our speakers: early modern British drama and gender
studies, or American literature with an emphasis on African-American
studies, globalism, militarism, or trade history.
Individual or panel (three to four people) proposals are welcome.
Deadline for submissions: November 1, 2007. Please include a cover page
with your name, affiliation, mailing address, and email address.
Accepted contributors will be notified via email by December 10, 2008.
Please submit your 250-word (one page) abstracts as an attachment to:
Contact: Elizabeth Bowman & Christina Gilleran
Graduate Department of English
Northern Illinois University
Additional information can be found at the conference website:
From the Literary Calls for Papers Mailing List
more information at
Received on Wed Sep 12 2007 - 16:17:35 EDT


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Lilly King made her point.
The American beat Yulia Efimova on Monday in the 100-meter breaststroke — and set an Olympic record, too — a night after she called out the Russian for wagging her finger in the semifinals.
"You know, you're shaking your finger No. 1, and you've been caught for drug cheating, I'm just not a fan," King said Sunday.
U.S. & World
On Monday, she let her swimming do all the talking. When it was all over, she ignored Efimova in favor of a splashy celebration. Then she swam over to hug teammate Katie Meili, who won bronze.
Asked if she thought the win made a statement, King said: "I hope I did — that we can still compete clean. … That's how it should be."
Efimova was .57 seconds behind King, who finished in 1 minute, 4.93 seconds.
"I really don't know how I even reached the final ... it would have really been the end of a fairytale, a horrible dream, if I'd won gold," Efimova said to The Associated Press after the race, her face red from crying. "But that was all I could do right now."
King, a 19-year-old student at Indiana University, is in her first Olympics.
"It just proves you can compete clean and still come out on top with all the hard work you put in behind the scenes, behind the meet, at practice and weight sessions," King told the AP. "There is a way to become the best and do it the right way."
Before King and Efimova faced off, Ryan Murphy set an Olympic record and won the United States' third swimming gold medal in Rio by taking the 100-meter backstroke on Monday night in 51.97 seconds.
Xu Jiayu of China was silver and David Plummer beat out Australia's Mitchell Larkin for bronze by .03 seconds.
Minutes earlier, Kathleen Baker won a silver medal in the 100-meter backstroke shortly after Conor Dwyer won a bronze for the United States in the 200 freestyle, adding to the USA's swimming medal haul on a night its biggest stars were in semifinals.
Beating out Baker by .30 seconds in 58.45 was Katinka Hosszu of Hungary, who won her second gold medal of the Olympics. Fu Yuanhui and Kylie Mass of Canada tied for bronze.
Dwyer finished behind Chad le Clos of South Africa, and 2012 silver medalist Sun Yang of China, who outsprinted le Clos in the final 50 meters to win gold in 1:44.65.
Katie Ledecky, who crushed her own world record in the 400 freestyle Sunday night, easily advanced to Tuesday night's 200-meter freestyle, coming in second to Sweden's Sarah Sjostrom.
Missy Franklin, who won four gold medals in London four years ago, finished eighth in her semifinal and missed on the final.
Maya DiRado qualified for the finals in the 200 individual medley, along with teammate Melanie Margalis.
Michael Phelps also advanced, to the 200-meter butterfly final, setting up a shot at his 20th Olympic gold medal on Tuesday night.


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NSA Spied On Own
Employees, Journalists,
Other Intel
By Wayne Madsen
NSA spied on its own employees, other U.S. intelligence personnel, and their journalist and congressional contacts. WMR has learned that the National Security Agency (NSA), on the orders of the Bush administration, eavesdropped on the private conversations and e-mail of its own employees, employees of other U.S. intelligence agencies -- including the CIA and DIA -- and their contacts in the media, Congress, and oversight agencies and offices.
The journalist surveillance program, code named "Firstfruits," was part of a Director of Central Intelligence (DCI) program that was maintained at least until October 2004 and was authorized by then-DCI Porter Goss. Firstfruits was authorized as part of a DCI "Countering Denial and Deception" program responsible to an entity known as the Foreign Denial and Deception Committee (FDDC). Since the intelligence community's reorganization, the DCI has been replaced by the Director of National Intelligence headed by John Negroponte and his deputy, former NSA director Gen. Michael Hayden.
Firstfruits was a database that contained both the articles and the transcripts of telephone and other communications of particular Washington journalists known to report on sensitive U.S. intelligence activities, particularly those involving NSA. According to NSA sources, the targeted journalists included author James Bamford, the New York Times' James Risen, the Washington Post's Vernon Loeb, the New Yorker's Seymour Hersh, the Washington Times' Bill Gertz, UPI's John C. K. Daly, and this editor [Wayne Madsen], who has written about NSA for The Village Voice, CAQ, Intelligence Online, and the Electronic Privacy Information Center (EPIC).
In addition, beginning in 2001 but before the 9-11 attacks, NSA began to target anyone in the U.S. intelligence community who was deemed a "disgruntled employee." According to NSA sources, this surveillance was a violation of United States Signals Intelligence Directive (USSID) 18 and the Foreign Intelligence Surveillance Act of 1978. The surveillance of U.S. intelligence personnel by other intelligence personnel in the United States and abroad was conducted without any warrants from the Foreign Intelligence Surveillance Court. The targeted U.S. intelligence agency personnel included those who made contact with members of the media, including the journalists targeted by Firstfruits, as well as members of Congress, Inspectors General, and other oversight agencies. Those discovered to have spoken to journalists and oversight personnel were subjected to sudden clearance revocation and termination as "security risks."
In 2001, the Foreign Intelligence Surveillance Court rejected a number of FISA wiretap applications from Michael Resnick, the FBI supervisor in charge of counter-terrorism surveillance. The court said that some 75 warrant requests from the FBI were erroneous and that the FBI, under Louis Freeh and Robert Mueller, had misled the court and misused the FISA law on dozens of occasions. In a May 17, 2002 opinion, the presiding FISA Judge, Royce C. Lamberth (a Texan appointed by Ronald Reagan), barred Resnick from ever appearing before the court again. The ruling, released by Lamberth's successor, Judge Colleen Kollar-Kotelley, stated in extremely strong terms, "In virtually every instance, the government's misstatements and omissions in FISA applications and violations of the Court's orders involved information sharing and unauthorized disseminations to criminal investigators and prosecutors . . . How these misrepresentations occurred remains unexplained to the court."
After the Justice Department appealed the FISC decision, the FISA Review court met for the first time in its history. The three-member review court, composed of Ralph Guy of the 6th U.S. Circuit Court of Appeals, Edward Leavy of the 9th Circuit, and Laurence Silberman [of the Robb-Silberman Commission on 911 "intelligence failures"] of the D.C. Circuit, overturned the FISC decision on the Bush administration's wiretap requests.
Based on recent disclosures that the Bush administration has been using the NSA to conduct illegal surveillance of U.S. citizens, it is now becoming apparent what vexed the FISC to the point that it rejected, in an unprecedented manner, numerous wiretap requests and sanctioned Resnick.
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He outdebated a sitting president famous for his eloquence, and he followed up on that success with a highly effective closing pitch, coming into his own as a candidate at the moment when it mattered most. The pivots he's made, the lines he's tried out, the appeals he's offered — yes, they could have been made earlier in the season, and yes, they could have been wedded to a stronger policy message, but they were enough to pull him into a lead into the national polls in October, which is something that few challengers going up against a sitting president get to enjoy, and put him a position where victory has actually been within his reach.
Every losing presidential candidate probably believes that with a few breaks they could have won, but if Romney loses that will be truer for him that it was for Mondale or Dukakis or Dole or even John Kerry. Precisely because he has come so very close — leading in the national polls for two weeks, just a point or two off in the swing states he needs to win at various moments, lacking only some final hinge moment or stroke of luck — if he ultimately loses it's hard to imagine him being remembered as dismissively as most failed contenders tend to be remembered. He won't be eulogized as a beautiful loser like McGovern or Goldwater, remembered fondly by pundits and idea people on both sides of the aisle, but he also won't become a punchline or a tragic figure or a "let's forget that ever happened" kind of candidate. He'll be in a class by himself — remembered, I suspect, the way everything in his background suggests he'd want to be remembered: As the man who outworked all his rivals, the losing nominee who left it all on the field, and the Republican who gave the once-untouchable Barack Obama the race of his political life.
And hey — he still might actually win this thing.


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"Shotgun weddings" fade as cohabitation gains favor
WASHINGTON -- No longer taboo, living together has become a more common arrangement for America's couples who become pregnant while dating.
Soon-to-be-released government figures show a major cultural shift since the days of "shotgun weddings" aimed at avoiding family embarrassment. With marriage on the decline, the shift is helping redefine the traditional notion of family.
"The emergence of cohabitation as an acceptable context for childbearing has changed the family-formation landscape," said Christina Gibson-Davis, a sociology professor at Duke University. "Individuals still value the idea of a two-parent family but no longer consider it necessary for the parents to be married."
Still, she cautions that children in cohabiting households may face more difficulties growing up if their unmarried parents are at higher risk of breaking up.
In all, the share of unmarried couples who opted to have "shotgun cohabitations" - moving in together after a pregnancy - surpassed "shotgun marriages" for the first time over the last decade, according to a forthcoming paper from the National Center for Health Statistics, part of the Centers for Disease Control and Prevention. The trend was affirmed by three demographers who conducted separate research on the topic.
It's the latest demographic tipping point as cohabitations turn mainstream - a far cry from the days when the father of a pregnant daughter might use coercion, such as a shotgun, to make sure the boyfriend followed through on a wedding.
"I want to marry when I'm ready, not because I'm being forced into it. Whenever I see couples do that, things don't work out," said Amanda Leigh Pulte, 22, of Austin, Texas, as her 11-month-old daughter Zoey cooed in her arms. Pulte previously had delayed moving in with Matthew Gage, a 29-year-old shipping manager and her boyfriend for three years, wishing to wait until she could earn a bachelor's degree in film and start a full-time job.
An unplanned pregnancy quickly changed that. Completing an associate degree, she agreed to have Gage move in so the couple could work and save on rent while raising Zoey together. Even though they didn't see marriage as a serious option for now - in part to avoid the additional stress of planning and paying for a wedding, she says - neither was having Pulte live on her own as a single mother.
"For a while, my father was kind of shocked about the whole thing, but ultimately he was just excited to be a grandfather," she said with a chuckle. The couple is getting child care tips from the nonprofit Any Baby Can, which also helps them with physical therapy for Zoey, who was born with health ailments.
The numbers are based on the government's National Survey of Family Growth, typically issued every four years. It provides the only government data on cohabiting mothers by asking questions on a woman's relationship status before and after conception and childbirth. Women who say they were single before conception and then married before childbirth are counted as someone who had a post-conception, or "shotgun" marriage; those who moved in with their boyfriends after pregnancy had a post-conception or "shotgun" cohabitation.
Demographers say the cohabiting trend among new parents is likely to continue. Social stigma regarding out-of-wedlock births is loosening, and economic factors play a role. Many couples, especially those who lack a bachelor's degree, are postponing marriage until their finances are more stable. But because of globalization, automation and outsourcing, good-paying middle-income jobs are harder to come by.
"Because marriages are becoming more polarized by economic status, I don't see the trend of shotgun cohabitations reversing any time soon," said Casey Copen, a demographer at the government's National Center for Health Statistics, which administers the government survey.
About 18.1 percent of all single women who became pregnant opted to move in with their boyfriends before the child was born, according to 2006-2010 data from the government's National Survey of Family Growth, the latest available. That is compared to 5.3 percent who chose a post-conception marriage, according to calculations by Daniel Lichter, a Cornell sociologist.
As recently as the early 1990s, 25 percent of such couples got married.


text:
What the latest Inside PS Vita is trying to say is that by purchasing a Vita you're becoming a member of a global gaming community connected by glowing threads of gaming-infused light, wrapping about you like a brilliant cocoon in which you'll never feel lonely ever again. I might be reading a bit much into it.
It's not just a gaming device; it's a social device. Perhaps that's a better summary of this lovely little piece of video in which people with lovely accents explain how the Vita will merge all of its users into a giant robot, much like Voltron, only the cool car version with all the extraneous bits and not just five lions, because then you might as well just be a broken Transformer.
You know what? Perhaps you'd better interpret this yourself. I need breakfast.
Inside PS Vita: Social Connectivity [PlayStation Blog Europe]


text:
The world depends on mariners. Mariners depend on SCI. And we depend on you.
SCI hosted the 11th Annual River Bell Awards Luncheon on December 9, 2010 at the Paducah McCracken County Convention and Expo Center, honoring Stephen Little with the River Bell Award, Buck Lay with the River Legend Award, and the Rev. James Wilkinson with the Distinguished Service Award.
Photos by Gene Boaz Photography.
Special Events are an important source of funding for the Seamen's Church Institute's programs. If you would like to receive information or invitations to our events, please email SCI's Special Events Team or telephone 212-349-9090.


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Vitra Design Stiftung gGmbH takes the protection of your personal data very seriously. The purpose of this Privacy Statement is to inform you about the type of personal data that will be collected when you use our website, design-museum.de, and how we will process, use, and protect such data
1. Scope
Use of the design-museum.de website is subject to the Privacy Statement set out below. The design-museum.de website is a service provided by Vitra Design Stiftung gGmbH, Charles-Eames-Str. 2, 79576 Weil am Rhein, Deutschland (hereinafter, "Vitra Design Stiftung"). Where relevant, Vitra Design Stiftung is the controller pursuant to Article 4 of the EU General Data Protection Regulation (hereinafter, "GDPR").
Protecting your personal data is important to us, in particular, where respecting your personal rights in connection with the processing and use of such data is concerned. The term personal data refers to information regarding the personal and/or factual circumstances of an identified or identifiable natural person including the person's name, postal address, e-mail address and/or telephone number and user data such as the IP address. We collect, process, and use your personal data in compliance with the relevant laws.
2. Automated Data Collection and Processing by Your Browser
As with every website, our server automatically collects the following information and temporarily saves it in server log files which are transmitted by your browser unless you have deactivated such function:
- the IP address of the computer transmitting the request
- the client's file request
- the http response code
- the volume of data transmitted
- the website from which you access our website (referrer URL)
- the date and time of the server request
- the type, version and language of your browser
- the operating system on the computer transmitting the request
Our server log files are not evaluated based on personal use. We cannot allocate this data to specific persons at any time. Also, we do not merge this data with data from other sources.
Our website uses Google Analytics, a web analytics service offered by Google Inc. (hereinafter, "Google"). Google Analytics uses text files called cookies which are saved on your computer to facilitate analysis of your website use. The information collected relates to your operating system, browser and IP address, the website you accessed previously (referrer URL), and the date and time of your visit to our website. The information generated by cookies regarding your use of our website typically is transmitted to and saved on a Google server in the United States. If and when IP anonymization is activated on this website, Google will truncate your IP address for transmission among member states of the European Union or to other member states of the Agreement on the European Economic Area. Only in exceptional cases will your full IP address be transmitted to a Google server in the United States and then truncated. At the request of the operator of this website, Google will use this information to evaluate your use of our website, to compile reports on website activity, and to provide us with other services relating to website activity and Internet use. The IP address transmitted from your browser as part of Google Analytics will not be merged with any other data held by Google.
You may refuse the use of cookies by selecting the appropriate settings on your browser software; however, please note that in this case you may not be able to use the full functionality of our website. In addition, you can object to Google's collection of data generated by cookies relating to your use of our website (including your IP address) as well as to its dissemination of the data. To do so, download and install the browser plug-in available at http://tools.google.com.
We use Google Analytics to analyze and enhance the use of our website regularly. The resulting statistics allow us to improve our offerings and make them more interesting for you, the user. In exceptional cases in which personal data is transmitted to the United States, Google is bound by the EU-US Privacy Shield. The legal basis for our use of Google Analytics is Article 6 (1) p. 1 f) of the GDPR.
Information regarding the third-party provider is as follows: Google Dublin, Google Ireland Ltd., Gordon House, Barrow Street, Dublin 4, Ireland, Fax: +353 (1) 436 1001; terms of use; overview of data protection; privacy statement.
On this website we use features of the web service Issuu (Issuu Inc. - 131 Lytton Ave - Palo Alto - CA 94301 - USA) which enable the publication and distribution of magazines, catalogues and booklets. The publications we deposit on Issuu are reproduced exclusively on the issuu.com website. As soon as you access one of our websites linked to Issuu, you will be automatically redirected to Issuu's servers. When you view the e-papers provided by us, data will be transmitted to the Issuu server containing information about the time and duration of use. The legal basis for the embedding of Issuu is Art. 6 para. 1 lit. f GDPR. Our legitimate interest lies in an appealing presentation and easy access to our publications. If you have an Issuu user account and do not want Issuu to collect information about you via this website and combine it with your Issuu membership data, you must log out of your user account before visiting this website. For more information about Issuu's privacy practices, please see Issuu's Privacy Policy.
For web analysis we use Quantcast, a service of Quantcast International Limited, Beaux Lane House, Lower Mercer Street, 1st Floor, Dublin 2, Ireland. The legal basis for this is Art. 6 Para. 1 lit. f GDPR. Our legitimate interest lies in the analysis of the use and the optimisation of our website. Quantcast uses cookies (see section 5.). Quantcast also uses collected data for its own purposes and transfers them to third parties. Information on data processing at Quantcast can be found at https://www.quantcast.com/de/datenschutz/.
We use Adobe Typekit from Adobe Systems Incorporated, 345 Park Avenue, San Jose, CA 95110-2704, USA, to display fonts on our website. Adobe Typekit is a service that provides access to a font library. When you access a website, your browser loads the fonts you need into your browser cache to display text and fonts correctly. The legal basis for the use of Adobe Typekit is Art. 6 para. 1 lit. f GDPR. Our legitimate interest lies in the appealing design and presentation of our website. In the course of providing the Typekit service, cookies (section 5) are placed.
In order to provide the service, Adobe may collect information about the fonts that are provided for our website. This information will be used by Adobe for billing and compliance purposes and may include, but is not limited to, the following:
- The time it takes your web browser to download the fonts
- The time from downloading the fonts with the web browser to application of the fonts
- Whether an Ad Blocker is installed to determine whether the Ad Blocker interferes with the proper tracking of page views
- Your IP address, operating system and browser version
For more information, please visit the Adobe Fonts privacy page and the Adobe Privacy Statement.
3. Collection and Processing of Data Provided Voluntarily
Your provision of personal data to us by e-mail, in our online shop or via the contact form available on our website is voluntary. We use this data to process our contractual relationship with you and/or your inquiries or orders. We only use your data for e-mail advertising purposes with your consent. We will erase the data so generated as soon as it no longer needs to be saved; if statutory retention periods apply, we will restrict the processing of such data. The legal basis is Article 6 (1) b) of the GDPR or Article 6 (1) f) of the GDPR.
If you register in our online shop and create a customer profile, we will store the account information you enter (in particular name, billing and delivery address, telephone number, payment information and e-mail address) so that you do not have to enter your data each time you place an order. You can update or delete your profile at any time. The legal basis for Art. 6 Para. 1 S. 1 lit. b of the GDPR.
If you want to subscribe to our newsletter, please provide your valid e-mail address, your first and last name and confirm that you agree to receive our newsletter.
You thereby agree that the Vitra Design Stiftung gGmbH may process and use the data you have provided for the purpose of sending you e-mail newsletters to inform you about the cultural activities of the Vitra Design Stiftung gGmbH, as well as the latest news, promotions and offers of the Vitra Design Museum GmbH.
You can revoke this agreement at any time via the unsubscribe link in the newsletter, by sending written notice to Vitra Design Stiftung gGmbH, Charles-Eames-Str. 2, 79576 Weil am Rhein, Deutschland or to firstname.lastname@example.com. As soon as you revoke such agreement, the data you provided will be deleted and no longer will be used to send you the newsletter.
(The legal basis is Art. 6 (1) p. 1 a) of the GDPR)
Personal data provided to us via our website will be saved only for the time it takes us to meet the purpose for which you provided such data. When your contract has been fulfilled completely, your data will be blocked and then deleted in accordance with the relevant tax and trade regulations unless you have given your express consent to such data being used for other purposes. To the extent mandatory trade and tax retention periods need to be observed, the retention period for some types of data can be up to ten years.
4. Transmission to Third Parties
We will not transmit any personal data you provide to us to any third parties. Personal data will be transmitted only
- if you have given prior consent
- to sub-contractors who need to receive and use such data for the purpose of fulfilling specific orders if required to process your inquiries, orders and use of our services
- to service providers bound by instructions if required to process your order data in accordance with the law
- to parties entitled to obtain such data if required to comply with statutory obligations
The software used for newsletter mailings is Newsletter2Go. Your data will therefore be transmitted to Newsletter2Go GmbH. Newsletter2Go is prohibited to sell your data or to use it for other purposes than newsletter mailings. Newsletter2Go is a certified provider from Germany chosen according to the requirements of the EU General Data Protection Regulation and the German Federal Data Protection Law.
You may find further information here: https://www.newsletter2go.com/information-for-newsletter-recipients/
We use the services of MANOVA GmbH Wipplingerstraße 23/23, 1010 Vienna, Austria, to conduct surveys. The legal basis for this is an agreement on processing pursuant to Art. 28 GDPR. MANOVA is bound to our instructions and does not process the collected data for its own purposes.
We use the ticket platform Reservix of Reservix GmbH, Humboldtstraße 2, 79098 Freiburg im Breisgau, Germany for online ticket sales to our museum. The legal basis for this is Art. 6 Para. 1 lit. f GDPR. Our legitimate interest lies in offering our visitors a simple, secure and user-friendly way to purchase tickets online. You will find detailed information on the handling of your data in Reservix's data protection declaration at https://www.reservix.net/files/data/docs/Datenschutzerklaerung_Reservix.pdf.
On our website you will find links to the social networks Facebook, Twitter, Instagram, YouTube, Vimeo and Soundcloud. These are references only, not social plugins. There is no data transfer involved.
5. Cookies
To learn about your individual preferences and adjust our offerings optimally to best meet your needs, our website uses cookies – small text files saved on your computer or mobile device that your computer or mobile device can retrieve when you access our website at a later time. Cookies do not contain any personal data and we do not merge the data in cookies with data from other sources.
Cookies do not harm your computer or mobile device and do not contain any viruses. If you do not want cookies saved on your computer, please adjust your browser settings so saving cookies is impossible or you are asked for express consent before any cookies are saved. Please note that you may have to change the settings in each browser you use to access this website and that not all functions of this website may be available to you if you object to the use of cookies.
6. Your Rights
At any time, at no cost to you and without providing any reason you can request information regarding the data relating to you which is saved in our systems as well as information regarding the origin, recipients or categories of recipients to whom such data has been transmitted and why such data has been saved.
In addition, legally you are entitled to have your personal data rectified, blocked or erased. Also, you can withdraw your consent to the use of your data at any time and without having to provide a reason.
If we process your personal data to pursue our legitimate interests pursuant to Article 6 (1) f) of the GDPR, pursuant to Article 21 of the GDPR you have the right to object. In addition, you have the right to portability of your data and the right to lodge a complaint with a data protection supervisory authority if you are not satisfied with our processing of your personal data.
Please address any requests for information, inquiries, objections to the processing of your data, and any questions you may have to Vitra Design Stiftung gGmbH, Charles-Eames-Str. 2, 79576 Weil am Rhein, Deutschland or to email@example.com.
If you have any questions concerning data protection, please feel free to contact our Data Protection Officer Simon Brandmeier, Kirschmatt 37, 79576 Weil am Rhein, Deutschland, or via e-mail to email@example.com.


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A collection of scholarly works about individual liberty and free markets. A project of Liberty Fund, Inc.
1849 - 1912
Historical Period:
The 19th Century
Thomas Mackay (1849-1912) was a successful Scottish wine merchant who retired early from business so he could devote himself entirely to the study of economic issues such as the Poor Laws, growing state intervention in the economy, and the rise of socialism. Mackay was asked by the individualist and laissez-faire lobby group, the Liberty and Property Defense League, to put together a collection of essays by leading classical liberals to rebut the socialist ideas contained in Fabian Essays in Socialism edited by George Bernard Shaw in 1889. The result was A Plea for Liberty (1891) and A Policy of Free Exchange (1894).


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I was bored the other day so while surfing the internet for bread sites I revisited Breadtopia.com and was pleasantly surprised with some of the different flours and grains they offered for sale. I decided to buy one of the ancient grains Kamut and also so hard red winter wheat called Turkey Whole Wheat Flour. Below is some information from their website if you are interested.
Turkey Red Wheat, once the dominant variety of hard red winter wheat planted throughout the central U.S., is back in production in Kansas. "Turkey" variety hard red winter wheat was introduced to Kansas in 1873, carried by Mennonite immigrants from Crimea in the Ukraine, fleeing Russian forced military service. In the mid-1880s, grainsman Bernard Warkentin imported some 10,000 bushels of Turkey seed from the Ukraine, the first commercially available to the general public. That 10,000 bushels (600,000 pounds) would plant some 150 square miles (10,000 acres). By the beginning of the twentieth century, hard red winter wheat, virtually all of it Turkey, was planted on some five million acres in Kansas alone. In the meantime, it had become the primary wheat variety throughout the plains from the Texas panhandle to South Dakota. Without "Turkey" wheat there would be no "Breadbasket."
The Kamut flour is very similar to durum flour and here is some more information from their website.
Kamut® is an ancient grain and the brand name for khorasan wheat, a large amber wheat grain closely related to durum. Kamut is appreciated for its smooth, buttery, nutty flavor, and its high protein and nutritional content. It contains a high mineral concentration especially in selenium, zinc, and magnesium with 20-40% more protein compared to modern-day wheat. It has a higher lipid to carbohydrate ratio, which means the grain produces greater energy and has a natural sweetness to counterbalance the occasional bitterness present in traditional wheat.
I went this weekend with my wife to the outlet stores and discovered a new store that sells only New York State wines, beers and spirits. I picked up a mixed 6 pack of ales, stouts and ciders and decided to use the Black Cherry Hard Cider in my next bake.
I made a levain using my AP starter and some of the Turkey flour and AP flour.
For the main dough I used the Kamut flour along with Turkey flour, some molasses and dried onions that I reconstituted in some water and the Black Cherry Cider.
I followed my normal procedure below for making a miche and I must say I was very happy with the results. You can taste the nuttiness of the 2 flours along with the hint of cherry from the cider. The crust was nice and thick but the crumb was a bit tight which was probably due to the high percentage of the Turkey flour along with the Kamut flour.
Levain Directions
Mix all the levain ingredients together for about 1 minute and cover with plastic wrap. Let it sit at room temperature for around 7-8 hours or until the starter has doubled. I usually do this the night before.
Either use in the main dough immediately or refrigerate for up to 1 day before using.
Main Dough Procedure
Mix the flours, and 275 grams of the cider together in your mixer or by hand until it just starts to come together, maybe about 1 minute. Let it rest in your work bowl covered for 20-30 minutes. Next add the salt, starter (cut into about 7-8 pieces), molasses, and rehydrated onions and mix on low for a minute. Add the rest of the cider unless the dough is way too wet. Mix on low-speed for another 3 minutes. Remove the dough from your bowl and place it in a lightly oiled bowl or work surface and do several stretch and folds. Let it rest covered for 10-15 minutes and then do another stretch and fold. Let it rest another 10-15 minutes and do one additional stretch and fold. After a total of 2 hours place your covered bowl in the refrigerator and let it rest for 12 to 24 hours.
When you are ready to bake remove the bowl from the refrigerator and let it set out at room temperature still covered for 1.5 to 2 hours. Remove the dough and shape as desired. I made 1 large miche but you can make 2 boules or other shapes. Place your dough into your proofing basket(s) and cover with a moist tea towel or plastic wrap sprayed with cooking spray. The dough will take 1.5 to 2 hours depending on your room temperature. Let the dough dictate when it is read to bake not the clock.
Around 45 minutes before ready to bake, pre-heat your oven to 500 degrees F. and prepare it for steam. I have a heavy-duty baking pan on the bottom rack of my oven with 1 baking stone on above the pan and one on the top shelf. I pour 1 cup of boiling water in the pan right after I place the dough in the oven.
Right before you are ready to put them in the oven, score as desired and then add 1 cup of boiling water to your steam pan or follow your own steam procedure.
After 1 minute lower the temperature to 450 degrees. Bake for 35-50 minutes until the crust is nice and brown and the internal temperature of the bread is 205 degrees.
Take the bread out of the oven when done and let it cool on a bakers rack before for at least 2 hours before eating.
This post has been submitted to the Yeast Spotting Site here: http://www.wildyeastblog.com/category/yeastspotting/.


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Milken Institute
Mission Title
Connecting Resources. Catalyzing Solutions. Building Meaningful Lives.
Our Centers
Seven Milken Institute centers bring together specialists in fields from health care and finance to public policy and philanthropy to develop new approaches to the many intractable challenges facing the human family. When our centers connect the widest spectrum of experts and specialists to examine challenges from every angle, the result is measurable impact.
Centers and Practice Areas
Asia Center
Extends the reach and impact of the Milken Institute to the Asia-Pacific region
Center for Financial Markets
Conducts research and constructs programs designed to facilitate the smooth and efficient operation of financial markets
Center for Public Health
Promotes sustainable solutions that lead to better health for individuals and communities
Center for Regional Economics and California Center
Analyzes the dynamics that drive job creation and promote industry expansion
Center for Strategic Philanthropy
Maximizes social return on investments by improving the deployment of philanthropic capital
Accelerates biomedical research and treatments for patients, improving the system for all
Financial Innovations Labs
Financial Innovations Labs tackle funding gaps around a specific economic development issue by holding a microscope to the problem and analyzing it from every angle.
Global Market Development
Working with government partners in emerging and developing economies to build strong, domestic financial markets
Milken Center for Advancing the American Dream (MCAAD)
MCAAD believes anyone with a dream, and the drive to achieve it, should have the opportunity to make it come true.
Support the Milken Institute
As a nonpartisan, publicly supported organization, we seek to advance unconventional economic and policy solutions that support growth and enhance health by conducting research and analysis, convening leaders and innovators from diverse fields and competing viewpoints, and constructing programs and policy initiatives to solve the world's most pressing challenges. Supporters of the Institute are an integral force in advancing our mission, providing the experience, perspectives, and resources that make our work better.


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President Obama spells out how he plans to spend more time on climate policy in his second term.
In his first substantive comments about climate change in months, President Barack Obama on Wednesday vowed to do more in his second term -- just not at the expense of jobs and economic growth.
The president got support from mainstream environmentalists, but criticism from activists wanting climate at the top of the policy pile.
"We haven't done as much as we need to," Obama said in response to a reporter's question about climate policy that was asked at a wide-ranging White House news conference.
Obama did not provide specifics, but said he would talk with "scientists, engineers and elected officials" in the next few months to make more short-term progress on reducing carbon emissions.
Longer term, he said, a national conversation is needed "to make sure that this is not something we're passing on to future generations."
Obama emphasized, however, that Americans "have been so focused on, and will continue to be focused on, our economy, jobs and growth."
"If the message is somehow we're going to ignore jobs and growth simply to address climate change," he added, "I don't think anybody's going to go for that. I won't go for that."
But if the plan is to "create jobs, advance growth and make a serious dent in climate change ... I think that's something the American people would support," Obama said.
The president didn't spell out how, but his first-term climate policies focused on stimulating jobs in industries reducing carbon emissions.
The balancing act did not go over well with Forecast the Facts, a climate activist group.
"The president's assertion that addressing climate change should be secondary to concerns about the economy is a gross disappointment," Brad Johnson, the group's campaign manager, said in a statement. "While conventional D.C. wisdom is focused on the manufactured crisis of the 'fiscal cliff,' the truth is that the most urgent threat to our national safety and economic well-being is the climate cliff that we are already beginning to tumble over."
At the Sierra Club, blogger Paul Rauber gave Obama the benefit of his doubt about long-term action, but added: "I hope we don't wait too long."
The Natural Resources Defense Council was more generous.
"President Obama already has done more to combat climate change than his 43 predecessors combined," NRDC President Frances Beinecke said in a statement. "He's determined to do more, and we're ready to help him finish the job."
But she also was quick to offer policy advice. "The next step," she urged, "is to go after the biggest sources of carbon pollution -- power plants."
More from the news conference:
- Obama slams GOP criticism of UN Ambassador Rice over Benghazi attack as 'outrageous'
- Obama: 'No evidence' of national security harm in Petraeus scandal
- Obama claims mandate on taxes
The climate issue was largely absent from the presidential campaign.
Republican nominee Mitt Romney mocked Obama's stance, telling his party's convention in August that "President Obama promised to begin to slow the rise of the oceans and to heal the planet. My promise is to help you and your family."
Obama did pick up a late endorsement from New York City Mayor Michael Bloomberg, whose city was battered by Hurricane Sandy on Oct. 29.
Bloomberg said he favored Obama, in part, because he "sees climate change as an urgent problem that threatens our planet."
While climate scientists decline to attribute individual weather events to global warming, many believe extreme storms like Sandy, along with more intense droughts, wildfires and floods, will become more common if temperatures continue to warm.
After Obama's comments Wednesday, Bloomberg welcomed the national conversation proposed by the president. "I look forward to supporting that new effort in any way I can," he said in a statement.
U.S. lawmakers in 2009 did debate so-called cap-and-trade legislation meant to limit carbon emissions, but that attempt died and has not been re-introduced.
California on Wednesday did launch its own statewide cap-and-trade system.
Reuters contributed to this report.
More content from NBCNews.com:
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- 'I got the wrong Courtney': Man picks up incorrect girl from school
- Storm system could snarl East Coast holiday travel
- Displaced by Sandy, elderly sisters find time to laugh
- Video: Thousands sign petition for Texas to secede
Follow US news from NBCNews.com on Twitter and Facebook


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Even if you've never owned a base package before, but you've accumulated a large Logos library, you can get Logos 5 at an upgrade price!
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Pick which Logos 5 base package is best for you, and then spread out your payments with a 12-month payment plan. Want to upgrade to Diamond, but can't afford to pay it all up front? For every purchase over $1,900, we're offering an extra 6 months to pay! That means you can take up to 18 months to pay for your upgrade. Don't let your budget stop you from getting the base package you want.
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Orcs Must Die! 2 preview
A hands-on preview of Orcs Must Die! 2, the PC-exclusive sequel coming from Robot Entertainment this summer.
The original Orcs Must Die! was a surprise hit. It came late to the Tower Defense party, but breathed new life into it with a combination of style and third-person action. But orc genocide is never done, so Robot Entertainment recently announced Orcs Must Die! 2, featuring co-op, a new character, and tons of tweaks
We can't say that Robot keeps us waiting, either, because the game has already had its first public showing and is due this summer. My hands-on at PAX East 2012 was brief, but showed plenty of lessons learned from the first game. Considering how fun and original OMD was, that's saying something.
The addition of co-op, and the new Sorceress character, are obviously the largest changes. The Sorceress sports a faster long-range weapon, along with an alternate fire that makes orcs turn on their comrades. Though the demo only included a few basic classes of orcs, I'm already itching to use that power on stronger enemies and watch them lay waste to the underlings. She felt more of a natural fit for my play style; I would generally rely more on traps as the War Mage in the first game, but this gave me more incentive to get my hands dirty more often.
It's conventional wisdom that co-op makes everything more fun, but in the case of OMD2, it feels absolutely vital. The first game was occasionally frustrating when tending to multiple pathways, traps, and third-person action would get too difficult to manage by yourself. A second player is a simple step to alleviate that issue. Players can split up the pathways, or stick together to heal each other and watch their backs. It's a natural fit for the game.
A few other changes may thrill or disappoint, depending on your play style. The Weavers are gone from this second iteration, for one. As someone who saw the Weavers as a smart way to create one's own play style, I'll simply have to trust Robot's judgment. Their absence is supposed to be compensated for by more traps, and more variation in the upgrades to those traps. Meanwhile, some traps are being altered for balance or outright replaced, like bringing in the triggered Ice Trap instead of the the continuous effect Tar Trap.
Many of the changes, especially the addition of the Sorceress, seem to be aimed at making the game a smoother experience. The debuffs to certain traps or removal of the Weavers should strike the delicate balance that keeps the intensity of angry orc waves, without feeling too overwhelmed.
Steve Watts posted a new article, Orcs Must Die! 2 preview.
A hands-on preview of Orcs Must Die! 2, the PC-exclusive sequel coming from Robot Entertainment this summer.


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Fact Sheet Series 2004 - Secondary and Technical Education
The OVAE Fact Sheet Series highlights efforts currently underway at the Office of Vocational and Adult Education (OVAE) to support the principles of the President's No Child Left Behind Act of 2001. The principle(s) supported by this effort are:
- Increase Accountability and Academic Achievement
- Focus on What Works
Career and technical education, commonly known as vocational education, is available in almost all high schools. Today, with national and state school reform efforts focused on academic achievement and with the fastest growing occupations now requiring some postsecondary education, career/technical education is seeking effective ways to contribute to these goals. The National Research Center for Career and Technical Education (NRCCTE) is part of OVAE's strategy to assist states and local education agencies in identifying and implementing effective career and technical education programs.
The NRCCTE conducts research, development and evaluation activities. The mission of the Center is to generate knowledge and understanding of Career and Technical Education and to be a key source of accessible information and innovative professional development in order to improve secondary and postsecondary technical education in the United States. Specific areas of study include:
- Accountability and program improvement
- Educational technology and distance learning methods
- Curriculum integration
- Professional development
- Improving practice
The Center represents a consortium led by the University of Minnesota and Ohio State University. Consortium members include the University of Oregon, the University of Illinois at Champaign - Urbana and the Pennsylvania State University. Johns Hopkins University and the Academy of Educational Development are associate partners.
Outcomes and Products
- Enhanced and improved career and technical education programs
- Increased capacity of state career and technical education systems
- Research and evidentiary base to inform the field of career and technical education
FY 1999 to FY 2004


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From NBC's Domenico Montanaro
I know, we at First Read are "off" today, but with the president about to pardon a turkey (11:35 am ET), we thought we'd shed some light on the history of presidential turkey pardons. It's actually not as long a history as you might think.
President Harry Truman is often cited, incorrectly, as the first president to pardon a Thanksgiving turkey. (Just Google first president to pardon a turkey and see how many wiki Truman answers you get.)
Adding to the confusion, President Bill Clinton claimed on Nov. 26, 1997 at his pardoning ceremony: "President Truman was the first President to pardon a turkey."
But the Truman Library wrote in 2003: "The Library's staff has found no documents, speeches, newspaper clippings, photographs, or other contemporary records in our holdings which refer to Truman pardoning a turkey that he received as a gift in 1947, or at any other time during his Presidency."
In fact, "Truman sometimes indicated to reporters that the turkeys he received were destined for the family dinner table," the library wrote.
It appears that Abraham Lincoln, in a way, was the first to spare a turkey. But it wasn't a Thanksgiving turkey. It was a Christmas turkey his son had taken for a pet.
Clinton in that same speech: "[T]he tradition actually began 83 years earlier when President Lincoln received a turkey for Christmas holiday. His son, Tad, grew so attached to the turkey that he named him 'Jack,' and President Lincoln had no choice but to give Jack the full run of the White House."
President George W. Bush made reference to the same story in his pardoning ceremony in 2001.
So which president was the first to actually pardon a Thanksgiving turkey?
It appears it was John F. Kennedy in 1963. An NBC archive search found a Los Angeles Times article dated Nov. 20, 1963 with the headline, "Turkey gets presidential pardon."
And that turkey was a monster. The paper described it as a "55-pound broad white tom."
Despite a sign hanging around the bird's neck that read "Good eating, Mr. President," Kennedy took a look down at the "frightened, panting bird" and said, "We'll just let this one grow."
By the way, if you were a pardoned what would you do next? The one Obama is pardoning is going to Disneyland. Seriously. Following the presidential pardon, the turkey (and an alternate) will fly first class to Disneyland where they will live at the "Happiest Place on Earth." (Again, not kidding.) That happens at 2:15 pm ET at Dulles.
NBC's Donna Mendell contributed to this report.


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I've never seen an episode of "Lost" but I know people are nutso for it and I know the final episode was crap. I think that's enough for me. But the rest of the interwebs might be excited to learn that Elizabeth Mitchell is once again teaming up with J.J. Abrams for a new show titled "Revolution." Mitchell will play a loving mother on the show that focuses on a family that must reunite in a post-apocalyptic world. Andrea Roth was originally set to play the role and she was on "Rescue Me" which is a show I did watch and no one hated the last episode of so I disagree with this move.
Olly Blackburn has replaced Gary Fleder in the director role in the upcoming Dimension Films slasher flick "Kristy." The film focuses on a young girl who stays in her college dorm over Thanksgiving break and finds herself stalked by 4 masked men. You might remember Olly Blackburn as the director of 2008's "Donkey Punch." I remember him as the guy who directed a movie I thought was a porn but actually turned out to be just a bunch of rich kids on a boat doing drugs and killing each other.
"Smiley" is a new horror film about a serial killer that can be summoned through the internet and actually looks not too shabby. Sort of. This isn't the news here though. The news is that the film will receive an October 11th release date via something called Tugg, Inc. which allows people to vote on what movies will be available at their local theaters. I don't know how that works so I'm not going to bother trying to explain. The film will also be available for viewing on the movie's website in both a PG-13 and R rated form. Later on it will also be available on VOD, DVD and Blu-Ray. Even later on though it will be available via interpretive dance performed by a local group of elderly tap dancers with hearts of gold.
If you saw "Shark night 3D" and thought "I really hope to see more of these actors sometime soon" then you're in luck because Chris Zylka, who was also on 2 episodes of "Hannah Montana", has been added to the cast of the second season of "American Horror Story". No word as to what role he'll be playing and honestly who cares. The guy fought sharks, in 3D, anything he does is gold baby. Gold!


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UCLA Law has built a comprehensive curriculum to prepare our students for the practical aspects of lawyering.
Hands-on training begins in the first-year Lawyering Skills course. Upper-level coursework provides essential instruction on legal ethics and professionalism, as well as opportunities to gain fundamental practical skills. In Transition to Practice, for example, students consider the ethical and professional issues that may arise during their careers.
UCLA Law's comprehensive clinical program provides students with deep insights into the lawyer-client relationship. Experiential courses such as Negotiation Theory and Practice give students the conceptual basis that will enable them to make sound judgments and to execute their decisions with competence. Students engage with – and sometimes represent – real clients in clinics like Criminal Defense and the Asylum Clinic. Students also learn firsthand about the court process through coveted judicial externships.
As they develop their professional identities, students gain insight and inspiration from our community of alumni mentors and faculty, and from visiting leaders in the profession, such as Supreme Court Justice Sonia Sotomayor and Kim McLane Wardlaw, UCLA alumna and judge on the United States Court of Appeals for the Ninth Circuit.
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