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Remember that this nation is involved with Somalia, making an attempt to assist them to put back a government. The civilians, as in any other struggle, are being put in hazard and often killed for no motive. I found an article in at this time's news headlines talking in regards to the harmful conditions that Ethiopians are dealing with.
The Nation Involved With Somalia
Plaut, Martin. "Ethiopian want 'underneath-estimated'" BBC information. Now, I would actually simply wish to focus a bit on the perspectives of the Somali individuals and the Ethiopian individuals; I'm leaving the American perspective up to you. Quiet and ascetic, he cherished cultural pursuits just like the theater and music greater than politics and was an amazing patron of the arts. In 1819 Jacobite legitimists from Britain acknowledged him as King of Great Britain however nothing got here of it. King Carlo Alberto: Born in 1798 in Turin he succeeded King Carlo Felice as King of Piedmont-Sardinia in 1831. During his reign, he would lay the foundations for the creation of the unified Kingdom of Italy.
In 1861 he was declared the primary King of Italy. During that time Piedmont was occupied by French revolutionary forces and Vittorio Emanuele I ruled Sardinia from Cagliari for the first 12 years of his reign after collaborating within the failed War of the Third Coalition. After France was defeated the Savoy Crown gained Genoa and Vittorio Emanuele I restored the pre-revolutionary system with a favored place for the Church in society and education and opposed the unfold of non-Catholic doctrines. Unfortunately, he was defeated however accepted full responsibility, abdicated in 1849 and went into exile in Portugal. In spite of the enhancements he made to the army, his forces were outmatched and defeated.
He made his kingdom essentially the most modern and ahead-pondering on the Italian peninsula and in 1848 granted a structure that was to survive long after he was gone because of the framework of the future Kingdom of Italy. When revolution broke out in the central Italian duchies he moved in to revive order and the states voted to hitch Piedmont-Sardinia within the movement for Italian unification. But, when the French Revolution broke out he gave sanctuary to fleeing Bourbon royals and despite the uneven odds declared struggle on republican France.
He joined within the Crimean War alongside France and Britain, defeating the Russians in 1856. After making an alliance with France he went to struggle in opposition to Austria and won the region of Lombardy. In the War of Polish Succession, he allied with France and Poland against Russia and Austria. At the moment the country is in a drought that's supposedly not being taken seriously. He founded the Gold Medal of Military Valor and likewise improved and expanded higher schooling in his country. He did desire expansion into Lombardy however abdicated in 1821 after the outbreak of revolutionary riots within the country. However, Ethiopia appears to be a country of many that are not overtly accepting help because they hate the concept that they would want it (despite the fact that they clearly do). My level for telling you that is that mainly, a country tremendously in need of assistance is "serving to" (in a method) another nation that's drastically in want of assist.
How can we assist? Honestly, what this comes right down to is a question of how we may also help as outsiders to the situation. And Prime Minister Meles Zenawi continues to say that the scenario is manageable right now, although it seems that bodily observations of the situation do not agree.


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Ubisoft has confirmed the release date of Far Cry 3 Classic Edition in a forum post.
The news states that the game will be released on consoles on June 26th, 2018. For players who have the Far Cry 5 Season Pass, they'll be able to get it on May 29th instead- a whole month earlier.
Far Cry 3 is probably their most successful game in the entire series. It utilizes mechanics of the previous games in the lineup and that's probably why it was chosen to be the game to get the honor of being remastered. Far Cry 5 seems to be a whopping success, so Ubisoft continues the celebration with Far Cry 3 Classic Edition for raving fans and new players to the series. It's probably my favorite of the bunch, but I can't make that statement yet as I have yet to complete Far Cry 5.
Far Cry 5's Season Pass not only includes access to early grabs on Far Cry 3 Classic Edition, but also tons of DLC content like Hours of Darkness, Dead Living Zombies, and Lost on Mars. These add-ons are an integral part of the game as they show off the chaos of the game.
The Classic Edition is basically a remastered edition of the game. It's a mashup of the game's original content with newer graphics that can be compared to "high" settings on the PC edition. The multiplayer and co-op content won't be included, however.
Players rave Far Cry 3 because it connects all the game's mechanics with freedom of exploration and diverse gameplay. The character building and storyline is also superb. If you just got into Far Cry and missed out on this game, you need to play it. If you have the Season Pass already, then good job. You're in for a treat.
Image via Ubisoft forums.
Newbie journalist and freelance writer. I cover tech and business news with some gaming news here and there. If I'm not writing, I'm reading. If I'm not reading, I'm gaming. I've been writing for about 2 years now for various publications and I'm glad to be a part of barrelrolled to share some insights and news about trending topics.

subset: commoncrawl


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Spotlight on the Stars: Ben Foster
We're bringing back the Spotlight on the Stars series of articles folks! Today, the subject is rising star Ben Foster, a gifted actor who is finally starting to really make his mark in the industry. Still relatively young, age wise, though already a veteran actor, Foster is going from being "that guy" to the sort of intense thespian who makes anything they're involved with significantly better. Whether it's his breakthrough role last year in the Hell or High Water or something quieter like The Messenger, he's just aces, plain and simple. He'll be an A-lister before long. As such, it's a real pleasure to fete him with this featured piece.
Foster got his start on television, but made his feature debut in the teen movie Get Over It. There was also small parts in a mixed bag of studio fare too. He made his first mark of note in independent fare though, with a scene stealing turn in Alpha Dog. He followed that up with a host of strong turns, in things as wildly different as 3:10 to Yuma, 30 Days of Night, The Messenger (which put him into the awards conversation for the first time), Rampart, and X-Men: The Last Stand (a breakthrough of sorts for him). From there, the juicier roles began flowing in, with Ain't Them Bodies Saints, Kill Your Darlings, Lone Survivor, and The Program all having Oscar aspirations, to one degree or another.
He came within spitting distance of an Academy Award nomination for his role in Hell or High Water in 2016. In fact, he took home Best Supporting Actor at the Film Independent Spirit Awards for that very part. It didn't happen with Oscar that time around, but it will before long. In fact, just in the last few days at the Sundance Film Festival, he's received a ton of buzz for his leading role in Leave No Trace, a drama from filmmaker Debra Granik. Depending on who picks it up and when it comes out, Oscar might have no choice but to take notice of Foster. He's apparently just that good in the film.
This week, Foster co-stars in Hostiles, a wester we previously discussed last month. Written and directed by Scott Cooper, it stars Christian Bale and Rosamund Pike in the central roles. Foster plays a key supporting part, though he doesn't show up until about the midway point in the film. Still, he leaves his mark, as he always does. This sort of role has often suited him in the past, the key supporting turn. A movie is always better for having Foster in it, that much is certain. This is very much a supporting part, though something like Hell or High Water has showcased how having him as the second or third lead can really lead to special results.
Here is how I would rank Foster's ten best performances to date:
10. 3:10 to Yuma
9. Hostiles
8. Rampart
7. The Program
6. Kill Your Darlings
5. Alpha Dog
4. Ain't Them Bodies Saints
3. Birds of America
2. The Messenger
1. Hell or High Water
Honorable Mention: Lone Survivor
Overall, Foster is a force to be reckoned with. Any movie he shows up in is lucky to have him. Going forward, he'll likely continue to mix baity indie fare with some interesting studio choices, as his profile gets bigger and bigger. Talent wise, he's already up there on the A-list. Once the right flick opens big, he'll be there officially, with Hollywood falling over itself to work with him. Keep an eye out for Hostiles if you haven't seen it, as it opens wide this weekend, plus stay tuned for details on Leave No Trace. Foster seems like he'll be a part of the awards season next year, and that's very exciting…
Be sure to check out Foster in Hostiles and be on the lookout for him in Leave No Trace when it emerges from Park City!


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Lucia Press
Lucia Press was founded in 2013 by MaryAnn L. Miller. We specialize in creating artist books in individualized design. Format is determined by the collaboration between poet and artist, resulting in editions of one of a kind books. Lucia Press has added a new section to the website called Portfolio that encompasses the printmaking of MaryAnn L. Miller. Please scroll over to Portfolio to see the prints.
Pictured below: Escape Routes 1 Size: 5' x 6' Date: 2018 Media: Poured India Ink, watercolor and sewn vectors.


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For Jennifer Lawrence, the only thing more terrifying than being trapped on another movie set with Darren Aronofsky is being trapped in a tin can in the sky. Apparently, the mother! star is a nervous flyer.
In a recent interview with Entertainment Weekly, Lawrence revealed that she's been suffering from "plane anxiety" lately, but that it has less to do with the plane itself and more to do with her own fear of losing control. "I'm not afraid of the airplane, I'm afraid of me on the airplane and losing control of myself," she said.
It's led to some particularly embarrassing situations, like the time she shouted that the plane was going down mid-flight. "You know when they hit an air pocket and it feels like you're falling? I did it on a night flight one time: 'We're going down! It's coming down!'"
More so, Lawrence once tried to jump out of an Air France flight. "I can't believe I didn't get arrested," she said. "I got really claustrophobic and I had to get out."
To be fair, Lawrence had a major scare earlier this summer when her private plane suffered double-engine failure IN THE SKY and had to make an emergency landing. So we're not blaming her for being a little nervous on flights these days.
If only Lawrence had a portable Kardashian tent to carry with her at all times, or, you know, something to soothe her anxiety. At the very least she could start carrying hand-written notes from Kim, Kourtney, and Khloe — written by herself, of course — in her purse, like, "Jen, you're doing amazing, sweetie. Love, Kris."
And if that's not an option, there's always wine and binge-watching episodes of The Real Housewives of New York.


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Ashley Benson Celebrates Her 29th Birthday with Cara Delevingne & Celeb Friends!
Ashley Benson follows her girlfriend Cara Delevingne out of Chiltern Firehouse in the early morning hours of Thursday (December 20) in London, England.
The former Pretty Little Liars actress was joined by a bunch of celeb friends while partying the night away for her 29th birthday.
Joining the stars were Cara's sister Poppy Delevingne and husband James Cook, as well as cute couple Matt Smith and Lily James, singer Noel Gallagher, Rose McGowan, and Sienna Miller.
Earlier in the week, Ashley and Cara kicked off her birthday celebrations by visiting the Winter Wonderland theme park, according to Us Weekly.


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Photos Ministry Links
Donna was born and raised in Waterford, NY (Upstate). She gave her life to Christ at the age of 25. In 2004, she helped start the 4ever1 ministry.
Donna enjoys writing poetry & music, studying old hymns, and reading her Bible. She has an extensive collection of poetry that began over a decade ago. She enjoys ministering to others, meeting new people, and networking with the body of Christ. She served as head guitar instructor from 2005 to 2012 with Capital District Keys for Kids, a music program for underprivilaged children. She continues to teach children independently, as well as some adults. Donna loves to support other ministries, which lead her to begin "New Creation Cafe", a "traveling" Christian coffeehouse that is hosted at various churches throught the Capital Region (www.facebook.com/newcreationcoffeehouse)
Donna has been involved with various church worship teams throughout the Capital District, and currently serves as the worship leader at Connecting Point Church in East Greenbush, NY. She and her husband Joe reside in Loudonville, NY.


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Céline and the aesthetics of hyperbole: Style, points, parataxis and other literary devices
I am not a man of messages, I am not a man of ideas, I am a man of style.
Céline (2003:10)
Peut-être Céline demeurera seul de nous tous.
Jean-Paul Sartre, in 1946
Hast du Verstand und ein Herz,
so zeige nur eines von beiden,
Beides verdammen Sie dir,
zeigest Du beides zugleich
Friedrich Hölderlin
'If you have brains and a heart, show only one or the other, for you will get credit for neither should you show both at once', the German poet Hölderlin advises (cited in Hirschman, 1998: 104). No one practiced such separation between emotionality and intellect more effectively than Louis-Ferdinand Destouches (1894-1961), better known under his nom de plume Céline (a name he took from his mother and grandmother), who was the most important French writer besides Marcel Proust during the twentieth century. Céline is pure fury, pure emotionality. Throughout his life he was, in his own view, 'l'artiste contre tout', the artist against everything. While the modern condition, shaped by colonialism, genocide, world wars, environmental destruction, and exploitation of humans, but also human accomplishment and advancement, have been accounted for by, for example, the Frankfurt School theorists (most prominently Theodor Adorno) in terms of disappointment and cynicism, Céline represents something different – a staunch rejection of mankind tout court. While Adorno tends to deplore a loss of bourgeois values and norms regarding, say, musical preferences and savoir-faire, there is absolutely no such elements of nostalgia in Céline's account. Céline's nihilism is complete, non-negotiable, hard and impenetrable. Being part of a long-standing tradition of literature that makes the hyperbole a key literary technique, beginning with the Menippean satire of the ancient period and continuing with the genre of romantic grotesque in the medieval period (Bakhtin, 1981; 1968), Céline needs to be understood as a modernizer. As opposed to conventional bourgeois literature, Celine seeks not to capture any higher values, morals, or purposes in life in his texts, but rather to portray life as he perceives it: as totally meaningless, as a farce, as a violation of all standards and norms, as a scandal. When reading Céline's work, it is easy to envisage a full-fledged cynic, a social outcast, frantically jotting down literary passages in his chamber late at night after a full day's work in his medical practice.
This paper attempts to position Céline's literary style in a specific tradition of literature and points to some of the merits of this style and how they can be translated into organization theory writing (see e.g. Beyes, 2009; Czarniawska, 2009; Kornberger, Rhodes and ten Bos, 2006; Land, 2005; De Cock, 2000; Czarniawska-Joerges and Guillet de Monthoux, 1994). More specifically, it points to the merits (or at least possibilities) of using hyperbole as a literary technique to advance alternative views of organization. Organization theory is here treated as a literary genre having its own literary traditions and literary tropes and styles. At the same time, organization theory remains open to external influences and, as the legitimate style of writing changes over time, new influences and resources are brought into the discourse. Therefore, organization theory needs to address literature as being an important source of influence when inscribing and writing organization.
This paper is organized as follows. First, some biographical notes on Céline are provided, followed by a discussion of his literary style. Thereafter, the uses of hyperbole in both popular management writing and more scholarly literature will be addressed. Finally, some concluding remarks regarding the significance of Céline's literary works and their importance for organization theory will be made.
Céline's style
Life and influences
Most biographers emphasize Céline's anti-Semitism and his general anti-social behaviour (Hewitt, 2003; Hindus, 1997;), and some commentators see a writer with few literary qualities and whose jokes demand 'a pretty weird sense of humor' (Winegarten, 2001: 290). As Komins (2004: 85) rightly remarks, 'Céline's biography haunts his literary production'. In contrast to this view, Céline served most of his life as a general practitioner in the working class suburbs of Paris where he cared for the sick and the penniless. Not accepting any payment from patients with little or no money and paying for the medicine for paupers from his own pocket, docteur Destouches was especially renowned for his gentle care with children and the elderly. The literary figure Céline may have been portrayed as a nihilist and a monstrous being, but docteur Destouches served his community. Living a remarkably eventful life, ending in the early 1960s in the suburb of Meudon just outside of Paris, Céline's biography is a history book of the European twentieth century including many countries, events, occurrences and personalities (for instance Mussolini, who Céline met when working for the League of Nations in Geneva in the 1920s, and Mata Hari, whose visa application Céline handled when working for the French authorities in London during World War I). Still, it is not being part of the European twentieth century experience that makes Céline a remarkable figure but rather his ability to capture the Zeitgeist of the most dramatic and blood-stained century to date, the century in which the potentiality of human evil for the first time was accompanied by unprecedented technological possibilities, leading to the first industrialized genocides in history. Prior to Stalin's great terror in the 1930s and the Nazi Holocaust in the 1940s, Céline, a decorated World War I veteran, expressed his great contempt for the state of mankind. More specifically, Céline manages to bring a new element into the tradition he belongs to: force.
Céline wrote and spoke like a cynic. He wrote to 'protest against the horror and meaninglessness of modern life – actually, indeed of life', as George Orwell (1962: 15) said. With other noted contemporaries, such as Henry Ford, Céline shared anti-Semite beliefs, although the term 'Jew' in his texts (for example, in the notorious three pamphlets published in the late 1930s) denotes all non-French influences, as Ekerwald (2004) suggests. Céline embodied great many paradoxes: as a man of the world who travelled to Africa and North America and worked for international organizations, he still maintained deeply provincial attitudes and spoke proudly of his Breton family background; he was a cynic who dedicated his career to curing the poor and the sick; as a literary celebrity, he despised the intellectual and academic elites – Céline speaks in condescending terms about the 'Goncourtiers', the literati who aspired to win the prestigious Goncourt Prize – and maintained an aggressive attitude towards virtually everyone. Céline is by any standard an enigma and therefore he is also an immensely fascinating figure. If we judged people on basis of their acts and accomplishments rather than their statements and declarations, such an analysis would be beneficial for Céline. Still, one must judge the literature produced and not the character of the writer. Céline was apparently not exactly a charming character, dressed like a clochard and with dirty nails, always ready to share a poisonous remark – his reply to Sartre's accusation of anti-Semitism is reputed as a masterpiece in public flogging – but his two first novels Journey to the End of the Night (1932, English translation 1934) and Death on the Installment Plan (1936, English translation 1938) are important modernist literary works.
The post-war period is filled with literature that is strongly indebted to Céline's work. All the beatniks and Ken Kesey owe Céline a lot and Charles Bukowski's The Post Office (1971) and Michel Houellebecq's Whatever (1999) may be seen as following in Céline's tradition of cynical observations of everyday life and work. If we make Menippean satire the common thread in this stream of literature, then Thomas Pynchon also needs to be brought into the group of followers of Céline (Best and Kellner, 2001: 25; Herman, 1999; Ames, 1990). Pynchon's Gravity's Rainbow (1973), one of the most complex and innovative literary works in the post-World War II period, clearly shares many themes with Céline's Voyage au bout de la nuit. While Céline's novel is located at the first of the 'Great Wars' and Pynchon's in the second, the war is envisaged as a zone of totally unexpected and curious events and occurrences; perhaps the war is the modern carnival, the world turned upside down. Just as Céline's prose is overwhelming in its ability to flow across the pages, so is Pynchon capable of orchestrating stories that are 'unbelievable', yet make sense in all their absurdity.
Style, points, parataxis
Céline's scandalous success Voyage au bout de la nuit, his debut novel, was nominated for the 1932 Goncourt Prize but for some highly debated reason lost to what today is a totally forgotten work. Open up Voyage au bout de la nuit – for Komins (2004) a highly innovative mix of parody, Bildungsroman, and picaresque novel – and the reader notices from the first line that this is something entirely new: it is a statement, a declaration of independence, a window to the future (see Sturrock [1990] for an overview). 'The novel's [Voyage au bout de la nuit] innovative syntax, eclectic vocabulary, and, especially, its frenzied pace present difficulties to readers who are accustomed to cohesive modes of writing', Komins (2004: 75-76) remarks. The novel's very opening testifies to a new form of writing, breaking with conventions in affirming a spoken form of prose:
Here's how it started. I'd never said a word. Not a word. It was Arthur Ganate that made me speak up. Arthur was a friend from med school. So we meet on the Place Clichy. It was after breakfast. He wants to talk to me. I listen. 'Not out here', he says, 'Let's go!' We go in. And there we were. (Céline, 1952: 3)
Ça a débuté comme ça. Moi, j'avais jamais rien dit. Rien. C'est Arthur Ganate qui m'a fait parler. Arthur, un étudiant, un carabin, lui aussi, un camarade. On se recontre donc place Clichy. C'était après le dejeuner. Il vaut me parler. Je l'ecoute. «Restons pas dehors! qu'il me dit. Rentrons» Je rentre avec lui. Voilà. (Céline, 1932: 12)
Luce (2006) emphasizes that Céline's style of writing, from the outset, divided the readership into admirers and adversaries:
His [Céline's] was described alternately as a breath of fresh air, a rancid effluvium, a fresco of satire. It was once mean and gross with flashes of dignity, cynically sincere a net in which human emotions were caught, an appropriate form with which to discuss the stench of human wretchedness. Impoverished in syntax, it was a reaction of formalism. (Luce, 2006: xiv)
The publication of Voyage au bout de la nuit was a major literary event.
Thinking of Céline as being not an entirely isolated figure but as being part of a long tradition of writing that makes the hyperbole its key literary mechanism (Ekerwald, 2004), then this literary technique should be examined in greater detail. In Julia Kristeva's (1982) study of the 'abject', the embarrassing or shameful element that is part of any subject and that cannot be dispensed with even though there is a strong sense of shame on part of the subject, Céline's notorious anti-Semitic pamphlets published in the late 1930s and early 1940s are examined. In Céline, Kristeva (1982) sees something 'nocturnal', the fall of man, the end of things – a recognition of the abject. One of the mechanisms in Céline's style of writing is what Kristeva refers to as 'points of suspension' or 'exclamation points', points that connect sentences into a serial narrative where one sentence continues without being interrupted…Céline here manages to uphold a restless and continuous flow, almost exhausting the reader…there are no proper periods, only points of suspensions… one sentence leads to another…the text become frantic…it twists and turns…sentences become shorter…like some distorted version of James Joyce or Virginia Wolff's works, capturing a 'stream of consciousness', what William James (1890/1950) referred to as 'the stream of thought'. The suspension points serve to produce an image of continual change and lack of places sheltered from the frenzy of life; it is a most effective literary innovation. 'Mes trois points sont indispensables', Céline declares (2006: 107) – 'my three points are indispensable'. Komins (2004: 67-68) notes:
One can almost imagine the nod of a head, a grimace, a sigh, or a wiggling finger where the trois points appear. When caught in the written clamor and furious pace of his texts, the trois points bind us to the page. We might even conceive of them as a type of emotional glue that sutures us to the madness that constitute Céline's written world. (Komins, 2004: 67-68)
We may here compare to how Marcel Proust conceives of the colons in St. Luke's Gospel, serving as marks where the writer still lingers on in the text, similar to Céline's three dots:
Often, in St. Luke's Gospel, when I come upon the 'colons' which punctuate it before each of the almost canticle-like passages with which it is strewn, I have heard the silence of the worshipper who has just stopped from reading out loud so as to intone the verses following, like a psalm reminding him of the older psalms in the Bible. (Proust, 2008: 88)
The three points of suspension thus keep the reader from derailment, bringing the narrative forward. Céline wants to fuse force and emotionality into language. In one of his letters to Milton Hindus, his 'pseudo-biographer', Céline makes this announcement:
'Re-sensitize the language so that it pulses more than it reasons – that was my goal. I'm a stylist, a colorist with words; but not like Mallarmé, searching out words with extremely rare meanings, I want ordinary words, everyday words. Vulgarity and sexuality have no part in all this – they are just accessories'. (Céline, cited in Hindus, 1997: 93)
Céline is thus capable of making language a medium of life, not of reason. In accomplishing this, language is no longer neatly separated into discourses, but rather these discourses are brought together, being folded into one another, replicating, overdubbing, becoming multiple: 'In many ways the uniqueness (and perhaps the genius) of Céline's work revolves around this extraordinary linguistic mélange – the ways in which each text rather seamlessly incorporates widely divergent levels of discourse', Komins (2004: 67) suggests. Céline is, in his own mind, not a man of ideas but of style, seeking to make language a matter of life, of flesh and blood, rather than stale reason.
Lanham (2003) distinguishes between hypotaxis and parataxis, wherein the former style of writing makes causal connections between two statements: 'X in terms of Y'. For instance, the sentence, 'her face was wet because she had been crying' is hypotactic. Parataxis, on the other hand, '[l]eaves connections – causal, temporal, whatever – up to the reader', Lanham (2003: 43) says. Julius Caesar's statement 'Vini, Vidi, Vici' is paratactic. Caesar does not say 'When I arrived at the scene of the battle, I made a thorough analysis of the situation, ultimately helping us defeat the enemy'. Instead, the reader is given an account of three discrete events (arrival, perception, victory) from which the reader/listener must create his or her own storyline. Hypotaxis is the style of more elaborate literature while parataxis is, Lanham (2003) suggests, more closely associated with the cognition of small children, who see discrete events but do not necessarily make causal connections between them (see e.g. Vygotsky, 1978). Céline's uses of the three points of suspension rest on a paratactic style: a series or flow of events that are not ever fully causally connected or understood as interrelated events. It is a style that points to events but does not seek to make sense out of them or anchor them in any meaningful analytical framework (such as what Jean-François Lyotard calls the grands récits, social progress, the scientific domination of nature, liberation of man, in brief the grand narrative of the Enlightenment tradition). Céline is a skeptic; events unfold in time and space but thinking of them as having some inner meaning or being interrelated is a frivolity, a self-deception. From this perspective, Céline's skepticism is paratactic.
This flow of impressions in combination with the aesthetic of hyperbole is Céline's contribution. While hyperbole is of Greek origin, the points of suspensions are his own innovation, surprisingly little attended to in the literature. Perhaps this is what Céline will be credited for in the future, namely his ability to innovate a new literary device of the same importance as, for example, the semi-colon or the hyphen.
Organization theory literature and the hyperbole
Lanham (2003: 1) points to the Platonist tradition of thinking, reinvigorated by Newtonian science, as the principal reason for us believing that '[o]nly ideas matter, not the words that convey them'. Says Marcel Proust (2008: 119): 'Style is not an embellishment as certain people think, it is not even a master of technique, it is – like the colours with painters – a quality of vision, the revelation of the private universe that each one of us can see and which others cannot see'. Elkins (1996) is also critical of the common sense view regarding any reasonably complex discourse as being filled with unnecessary 'jargon':
Stephen Hawking's history of time and James Glieck chaos theory…are not just simpler versions of the original sciences but entirely different enterprises that make different claims and lead to different questions. The same may be said of omitting the jargon that makes some texts in humanities opaque: when that is done, the subject itself changes, and a readable version of Martin Heidegger or Jacques Lacan. (Elkins, 1996: 14)
Style matters: it makes a difference in terms of collapsing the iron curtain between ideas and 'the words that convey them'. Style is instead the 'quality of vision' of the artist. 'Writing, embedded within an entire economy of signs, is...constitutive of meaning rather than a passive medium for restoring the presence of language to thought', Lenoir (1998: 5) says, discussing Jacques Derrida's philosophy, questioning the idea of a value-neutral and transparent language. Without style, in other words, there is no proper thinking.
In the next two sections, the uses of hyperbole in popular management texts and the potential of using hyperbole in scholarly accounts of organizations will be discussed, pointing to the significance of style in making an argument and pursuing specific images of organization.
Popular management writing: Hyperbole as rhetoric
One domain where the tradition of hyperbole has been carefully maintained and given a key role is that of popular management books, the so-called 'management guru genre' (see e.g. Collins, 2003; Clark and Greatbatch, 2002; Jackson, 2001; Case, 1999; Grint and Case, 1999). The genre of management guru literature has a long tradition (see e.g. Gilbreth, 1911; Gantt, 1913; Sloan, 1964) but it would be adequate to say that the period from the 1980s until the end of the 1990s is the golden age for popular management books. This is also the period in which neoliberal doctrines and the belief in the market as the principal economic mechanism take on their hegemonic role. Alan Liu (2004) makes the connection between management guru literature (and more specifically Peter Senge's The Fifth Discipline) and new age (quasi)religious beliefs. The 1980s are generally perceived as conservative times but they were almost revolutionary in questioning the role of the welfare state. However, it was no 'revolt of the people' but of 'capital' (Duménil and Lévy, 2004). Enterprising behaviour and a firm belief in both oneself and underlying economic rationalities regulating the economy and, increasingly, society were of central importance. New Age teachings instructed that one should always turn inward to find the strength to move on; what works for me is right, and no clergy has the authority to sell me their version of God or other divinities. The particular management writing genre that was produced during this period of time, perhaps best represented by Tom Peters and Robert Waterman's In Search of Excellence (1982), a book aimed at redeeming the American capitalism after falling short against the Japanese on a number of key performance indicators, did not spare any resources to boost self-confidence, strengthen beliefs, and create enthusiasm among the managerial cadres and stakeholders. Thomas Frank's One Market Under God (2000), a critique of what he refers to as 'market populism', points to the conspicuous hyperbole and exaggerations of the texts in the genre of popular management writing:
Anybody who had any experience with the management theory industry can tell similar stories: of quotes and dates widely misplaced, of an alarming and misinformed credulity about science, of anecdotes that prove nothing, of patently absurd syllogisms, of meaningless diagrams and homemade master narratives. (Frank, 2000: 176)
Rather than pursuing a more integrated argument that seeks to make sense out of complex managerial challenges, much of the popular management literature offers, Frank (2000: 177) suggests, 'theories of art and learning so elementary they could have been lifted from the back of cereal boxes'. Hammer and Champy, the management guru writers who advance the concept of Business Process Reengineering (BPR) certainly use such alarmist hyperbole to state their point in their best-selling Reengineering the Corporation (1993):
America's largest corporations – even the most successful and promising among them – must embrace and apply the principles of business reengineering, or they will be eclipsed by the greater success of those companies that do. (Hammer and Champy, 1993: 1-2)
In Michael Hammer's The Agenda (2001), a book seeking to further advance the idea of the process-based organization developed in Reengineering the Corporation, hyperbole is the predominant literary style. First, Hammer presents his view of the new customer-driven economy as something entirely new for American companies:
Executives of the most powerful companies in the world now tremble before their independent and demanding customers. They know customers have the power and that they will use it. Welcome to the customer economy. (Hammer, 2001: 5)
In Hammer's view, virtually everything is wrong with American corporations and his ranting makes use of many horror stories from his work as a consultant. For Hammer, very little is competently conducted in American companies:
Departmental managers are narrowly focused on their own turf, while top managers are too far away from the actions to comprehend the work being done on the front lines. (ibid.: 56)
Errors proliferate in a processless environment. Sharing neither a common vision nor a common terminology, departments miscommunicate, leading to mistakes that require rework or that alienate customers or both. The absence of process also makes companies clumsy and sluggish. (ibid.: 56)
Hammer knows that selling his arguments demands a kind of storytelling that portrays major corporations as being in free fall, only to be saved by savvy management consultants who know – in contrast to managers – what to do to turn around corporations on the verge of collapsing. This hatred of large corporations, at the heart of the shareholder value ideology (Ezzamel, Willmott and Worthington, 2008; Engelen, 2002) developed within the neoliberal political and economic doctrine (see Ho, 2009: 104-106) is what propels Hammer's (2001) argument. It is a text filled with sarcasm, emotionality, and hyperbole, all aimed at envisioning American industry as weak and degenerated. In this respect, Hammer's The Agenda is representative of the popular management guru literature genre. While Céline's authors are protesting against the meaninglessness of life, the popular management guru literature is protesting against something entirely different, namely that which is perceived as poor managerial practice and substandard financial performance. Céline's discourse is ethical in portraying the predicament of modernity, but popular management guru literature is overtly political, advancing the neoliberal agenda: market orientation, customer power, anti-bureaucratization, and shareholder value as the overarching corporate governance principle.
Hyperbole both regarding the challenges facing Western industry and the benefits of using prescribed managerial methods are central rhetorical elements in the popular management literature. In addition, when management practices fail to deliver expected results, it is management and not the practices per se that is too blame. Without paying homage to Céline or any other authors for that matter, popular management guru writing is a literary genre shaped by hyperbole and exaggeration.
Scholarly writings on organization: Hyperbole as style
Czarniawska (1997: 144) associates rhetoric filled with hyperbole and the abundance of pathos with political speech: 'Hyperbole is favored: threats are described as black or sinister, while promising developments are depicted in all the colors of the rainbow'. Scholarly writing is, on the contrary, commonly associated with the very absence of pathos, with de-emotionalized and distanced vocabularies accounting for what has been observed. The scholarly tradition of what Robert Boyle called 'modest witnessing', joint observations of experiments, prohibits any overtly emotional accounts of experimental findings (Shapin, 1994: 124). Hans-Jörg Rheinberger sees this gradual erasure of the actor from the domain of scientific authorship as a relatively recent phenomenon:
All of them [scientific genres] avoid the 'I' as nominative case, and often even the pluralistic we. This was not generally yet the case before 1900. Today, we find no 'I' anymore in these texts. Their grammatical structure suggests that the facts of the objects speak to the initiated laboratory worker or to a wider circle of readers. All along the above-mentioned authority gradient is a strict commitment to the passive voice, from which there is no escape. The supposed commitment to objectivity is built right into the language in which the scientist is allowed to speak to his or her fellows and to a wider audience Therefore, and in a certain sense, authorship as a warranty to speak appears to be, in scientific writing, always already crossed out. (2003: 311)
The 'active voice' of the scholar is today, Rheinberger suggests, 'only permitted at the outer fringes of the spectrum of writing science', in historical reflections and anecdotes, in congressional openings and commemorations, and in scientific autobiographies. Under these conditions, Rheinberger says, 'the scientist may take the freedom to expose his or her personal view, something that has no place in the regular canon of scientific writing' (ibid.). The ideal of scientific writing is thus one of modesty, objectivity, and necessity: the scientist, when going public, as French molecular biologist and Nobel laureate François Jacob argues:
'describe[s] their own activity as a well-ordered series of ideas and experiments linked in a strict logical sequence. In scientific articles, reason proceeds along a high road that leads from darkness to light with not the slightest error, not a hint of bad decision, no confusion, nothing but perfect reasoning'. (cited in ibid.: 315)
The difficulties that have faced the scientist for years or even decades are eliminated from the narrative; what faces the reader are merely the inevitable facts produced by the scientific community: 'Scientific papers are not designed to promote an understanding of alternatives, but to foster the impression that what has been done is all that could be done' (Knorr Cetina, 1981: 42). Scientists as fact-makers are thus using a pathos-free rhetoric to impose the image of an unproblematic production of truth.
However, the social sciences and organization studies are not only producing facts but are also seeking to tell stories that make sense to the reader. While the sciences are bound to their regimes of representations (theories, numerical representations, calculuses, etc.) and an epistemology that tightly couples facts and inscriptions, the social sciences are also literary genres (Czarniawska, 1997). Rhodes (2009) introduces the term 'post-representational theory' to denote literary genres that transcend what he calls 'realistic representations'. In this post-representational theory, the purpose of writing is to constitute the writing subject vis-à-vis the Other as much as it is a 'description' of the order of things. Says Rhodes: 'Writing is…a matter of writing the self…The object and addressivity of the text create the writing subject – create the I from the rendering of the Other' (2009: 659). In this regime of writing, a post-representational literary tradition that is potentially capable of breaking with inherited epistemological traditions and embracing pathos and expressionism, there are new possibilities for inscribing organizations. Hyperbole may be an effective literary trope that advances alternative images of organization. Céline developed a highly idiosyncratic style characterized by blatant cynicism and hyperbole, capable of emotionally affecting the reader. A post-representational theory of organizations, a genre of organization theory that affirms hyperbole and other literary tropes, may enable alternative views. In popular management guru writing, hyperbole has been part of the promotion of specific managerial programs and arrangements and there is ample evidence of the impact of proposed management packages such as BPR and TQM. Organization theorists may also benefit from using hyperbole and other literary tropes to broaden the scope of narratives about organizations. While the popular management guru writing resorts to hyperbole to justify or even sell management training programs and management concepts, a scholarly discourse that makes use of hyperbole would on the contrary seek to advance alternative perspectives on organization. The scholarly discourse is thus less preoccupied with political objectives than with developing a literary style that emphasizes certain elements of organizational realities at the expense of others; it represents a perspectival epistemology that emphasizes situated knowledge and local practices.
Discussion and concluding remarks
Céline does not seek to capture any underlying meanings or concealed ideals or other innate structures. For him, life is on the surface, what is seen, what is experienced, what is accomplished and evolving as a series of connections and associations. Literature is not 'good', as his adversary Jean-Paul Sartre suggested; nor is it 'evil', as Georges Bataille responded. Instead, literature is human – beyond good and evil, life resonates through literature, through language. It is, with Céline, an extension of life. Literature's role – if it has a role to play at all – is to capture life, life as event (Manning, 2010). Céline's literature is not 'figurative', in terms of portraying people in very detailed terms, nor is it abstract and impressionistic. It is a form of storytelling that unfolds along the 'rail' of the three points of suspension where the one event unfolds into the other, taking the reader to places and occurrences.
Organization theory is in many ways like any scientific program, a literary project. 'Literary' here is not used in the restricted sense of belles-lettres, but rather as the totality of norms and standards for how to legitimately express scientific knowledge-claims. A regime of statistical methods could also constitute a literary project. In the more sociological branch of organization theory, there is a continuous demand for new concepts, terms, and innovative forms of expressing theoretical propositions and empirical observations regarding the practice of organizing. New modes of expression are perhaps a rare thing but it is still demanded to maintain a viable scientific discipline. When Céline's Voyage au bout de la nuit was first published in 1932, it was an immediate success, perhaps primarily because of its direct style of writing, a form of sophisticated literary French in combination with a vernacular language imported from the streets and the cafés, the bars and the bazaars. Perhaps for the first time, spoken language and a literary style were combined and bought together into one unity. It is always complicated to learn from outstanding literary works, but what one may learn from Céline is that the frenzy of everyday life of modernity, its immediate and sometimes even brutal expressions, may be combined with literary prose; the two are necessarily part of the same plane of language. The one presupposes the other.
This paper has aimed at making a contribution to organization theory in terms of discussing the literary style of Céline, one of the most important modernist authors. When developing alternative literary genres in organization studies, the cynical and skeptic tradition of thinking represented by Céline may serve as a source of influence, opening up new modes of thinking and styles of writing. Operating in a post-representational theory of organization, the inherited prohibition against pathos – pathos is Céline's most significant mark – may be overcome and new ways of writing organization may be enacted.


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In both poems the tone and mood is very different, in Nothing Changed, there is a very tense atmosphere, unlike in Island Man, where everything is very calm. I think that in Nothing's Changed, a very tense atmosphere has been built up because of the huge amount of emotive and powerful language, which all build anger and rage, making you very tense, as you have no idea if the man will do something very irrational and unexpected. I feel one way the poet builds tension could be the use of repetition, as the words "and the" are repeated. The third time the words are repeated the poet says "hot, white, inwards turning anger of my eyes."This shows he is extremely angry, and it is also using imagery, giving you a picture of how angry he truly is. Also, the repeated words make you read faster.
Another way in which the poet may have built tension is the use of words such as "brash" and "burn." I think that words such as these sound harsh, and could even show pain, which makes the man seem even angrier, building even more tension. I think that the calm and relaxed atmosphere in Island Man may have been built up because of the use of words which show beauty or calmness such as "blue surf." Waves sound very calming and relaxing, which is how the island man feels when he is at his home. Another example of these calming words is "wild seabirds," when you think of seabirds, you might picture a beautiful coast, where you feel calm and relaxed.In both poems the amount of the use of structure and form is very different, I think that in Island Man, there is lots of added effect because of the amount of use of structure and form, however, in Nothing's Changed I feel there is much less use. The main use of structure and form in Nothing's Changed is the fact that the last words of the poem, "Nothing's changed" are exactly the same as the title.
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I think that the poet may have done this to show that it is a cycle, and that the start, where nothing has changed, is the same as the end. This could show that he feels that nothing will ever change, and there is one cycle, and that he could have given up hope of anything changing. Another example of using the structure of the poem to add effect is when the fourth stanza is broken up into two stanzas; one with two lines and one with six lines, all of the other stanzas all have eight lines.I feel that this could be because the last line of the stanza with two lines says "but we know where we belong," I feel that this is showing there is nothing more to it, it will always be like that, and nothing he says will change it. This could be another sign that the poet has given up hope, and feels that nothing will ever change. In Island Man, there is a lot more use of structure and form, an example of this is the same as in Nothing's Changed, the poem is a cycle.
There is no punctuation in the poem, so it never stops, this could be the poet saying that the Island man's life in London is just one big boring cycle. Another reason I think the poem is a cycle are the last words, "another London say." This may be showing every London day is the same, and this is just another, I think this could be reinforced with words such as "dull" and "grey" which give a impression of something that is boring.Another example is the space between the words "he always comes back" and "groggily groggily.
" I think this gap could be there as it is the space between his dream and reality, and also, asleep and awake. The final example of the use of structure and form is when you turn the poem on its side, the poem can be interpreted as many pictures, this could be a coincidence, or the poet may have done this on purpose. One of these pictures is waves breaking, which is another reminder of how much the island man longs to be back at home. The other is a picture of a city, such as London, which could be showing that no matter where the Island Man looks, he always sees London.In both poems there is lots of imagery which is achieved through the use of lots of metaphors, similes, and personification; one example of a metaphor in Island Man is "Emerald Island.
" I think that the poet could have called the island an emerald as he feels is it extremely precious, and even priceless. The word emerald makes you think of expensive jewels, however, I think the word emerald was not used here in a material sense, but rather, the poet is saying that the island man's home is as valuable as an emerald, and that it is not worth money, but it is worth happiness. Another example of a metaphor is "crumpled pillow waves," however, this is also personification. I think the poet could be showing how much the island man misses his home in that even when he is awake, everything reminds him of his home, in this case, the creases in the pillow case reminding him of the waves of the sea.The personification in this phrase is that the pillow is actually waving goodbye to him, I think that this personification/metaphor is linked, and that it is not the pillow waving goodbye to him, but rather the waves of the sea at his home, so his home is waving goodbye. Another example of personification in Island Man is "sun surfacing defiantly," I think by this the poet could mean that at the island man's home, the sun would surface regardless of what he wanted, and now that he is in London, he misses it and wants it back.
I feel that what he used to take for granted he now misses even more, and is angry that he never took the time to appreciate the sun. There are also many uses of personification in Nothing's Changed; one example is "seeding grasses thrust bearded seeds." In this one phrase there is a metaphor and two sets of personification.
The first example of personification is "seeding grasses thrust," this could be the poet showing that after he left his home he is not welcome, as he left the black people, and even the grass does not want him here. The second set of personification is also a metaphor, "bearded seeds." The metaphor is that the seeds have beards; this is also personification, as only people grow beards.
I think that by the phrase, the poet may mean that the seeds are neglected just like the rest of the town, and just as if people do not shave, and neglect the hair, they grow a beard, the seeds have grown a beard too. This is again, referring to the theme of the town being neglected, and no one caring about it.Another use of personification in Nothing's Changed is "amiable weeds." I think that this might be the poet saying that the weeds are a little bit like the black people, they may not look nice, and you do not think they are, however, they are actually friendly nice people, and people should look past how they look. The final use of personification in Nothing's Changed is "it squats.
" I think this may be the poet saying that white people are sometime stupid too, as squatting is the primal position, and their fancy restaurant is squatting.In Nothing's Changed there is a lot of diction used, in the form of alliteration and assonance, however, in island man, there is very little. One example of a use of assonance in Nothing's Changed is "seeding grasses thrust bearded seeds." I think the poet may have used this assonance of the s sound, as it sounds very aggressive, making you tense, and helping you to feel his anger and rage. Also, the s sound sounds a lot like a snake hissing.
A Snake usually hisses when it is ready to attack, just as the man is ready to attack the white people. Another example of diction in the poem is in the form of alliteration, "flaring like a flag."I think that the poet might have used this alliteration to show how much the name is "in your face." The repeated f gives the line more impact, and helps you feel how the black man feels having to see the sign, but not being able to go in. The final piece of assonance in the poem is this time in the form of onomatopoeia, in the word "crushed." I think that the word is used as it sounds how the black man feels. It gives much more impact reading the word aloud, as crushed is just a word, but when you hear the sound also, it gives double the impact. There is one example of diction in Island Man, in the phrase "sun surfacing," this gives the line more impact, and the s sound sounds like the waves below.
After reading both poems several times, I feel I know the poets messages/morals. I think that Nothing's Changed has been written, to oppose stereotypes towards black people, however, I feel that it could be a last desperate attempt, and that the poet may be very close to giving up hope. I think that the poet may be giving up hope as in the poem he says "but we know where we belong." This phrase is said in a sad context, and it makes you feel that the poet has given up hope.I agree with the poet in that black people are treated extremely unfairly in some places, and that it must stop, I think this as I feel that it is wrong to treat people differently because of their skin colour, and that it is unjust, and should never happen. It is my opinion that almost everything in the poem is a fair statement, and that the poet has tried to put an end to something which is very unfair, and he is a very brave person to try to end racism and stereotypes against black people. On the other hand, I disagree with the poet in one respect, as I think that in the phrase "hands burn for a stone, a bomb," it is unfair to want to hurt all white people.
I feel that not all white people are racist to black people, and to want a bomb is very unfair. On the other hand, wanting a stone, to break the metaphoric barrier between black and white people is very fair. I think that the poem is being used to change people's ideas about black people, and give them a better idea of how black people really are, and that they are not stupid animals, but people just the same as white people, who also have feelings. The poem has made me consider the fact that there is not racial equality in some parts of the world, and that I should always do what I can to work towards a fairer world. I think that Island Man's message is also to get rid of stereotypes, in this instance about London. Many people from other countries may think that London is the place of dreams, where you can earn vast amounts of money, and then relax at home, and go out and do one of the plentiful leisure activities you can do in London; however, this is not the case.
The poet could be saying that you will face many problems at first, and will have to work very hard, and that once you leave home, you miss it, and will regret not appreciating it. I think that there could also be another message from the poet, which is that you should appreciate everything about your home, as some people, who are not there anymore, as you may not be at some time in the future, and they miss home dearly. I agree with the poet that you should always appreciate your home, and that it is true that some people move as they want more money, however, money does not necessarily mean happiness. It is my opinion that the poet is also right in saying you should always value your home, as when you are there, you do not, however, when you are not there anymore, you wish you had appreciated it more.One aspect of the poem I disagree with is that the island man is saying that life in London is always the same, and that nothing fun ever happens, as I feel sometimes the man must have fun, even if it is on rare occasions, and that the poet could be being slightly pessimistic. I believe that the poem is being used for a very different reason to Nothing's Changed, and that it is written to show people from other countries that London isn't the same as they think it is, and to think twice before emigrating there.
Also, the poet could be saying that you should not rush into moving for the sake of something as petty as money and that before you do, make sure you know that it is definitely what you want to do. The poem has made me consider the fact that there are people in the world who are unhappy with where they are as they made a rash decision, and that before I ever make a big decision, think it through properly, considering the negative aspects as well.


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Feb 12, 2019
I'm back in town and ready to talk! And there is plenty to talk about! I chat about the New Green deal and how Team AOC totally botched the rollout, the ongoing mess in Virginia, and the attempted blackmail of Bezos by AMI
Bezos' Medium post that puts it ALL out there - https://medium.com/@jeffreypbezos/no-thank-you-mr-pecker-146e3922310f


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That's The Thing About Fishing (TTTAF) is a small not for profit organisation, now registered as a charity with the Australian Charities and Not-for profits Commission (ACNC), that supports the disadvantaged and vulnerable members of the community (principally Frankston and the Mornington Peninsula.
We support and assist those suffering from physical disability, mental health issues, family violence, and a troubled family history, amongst many other groups, by building programs, using fishing as a conduit that will encourage people of all ages to spend quality time outdoors.
We undertake fishing clinics, for target groups of all ages, that aim to
· Encourage social interaction
· Improve social development
· Improve self confidence
· (Re)gain social skills
· Reduce loneliness and feelings of worthlessness
· Allow families to participate in activities with groups of a similar make up and social standing
Consequent upon our activities within the community, we now
· Participate in a local mental health action group that seeks to help the homeless and reduce homelessness in the community
· Chair a mental health lobby group that seeks to identify mental health issues and find solutions
· Act, in an unofficial capacity, in the bereavement counselling arena
· Assist those who are contemplating self-harm and/or suicide
As we continue to grow, we are considering how we can expand our offerings to our clients.
As part of the program of works, we want to involve as many of our clients and disability groups as possible, introducing them to the art of boat repair and maintenance and general wood-working skills. A natural extension of this is to offer the troubled youth of our community the chance to learn a trade in the marine industry, be it in carpentry, marine engine repair and maintenance or marine electrical safety. This will allow us to continue one of our aims of greater integration of the disadvantaged in to the community, improving self-confidence and increasing social skills.
Your donation will help us to maintain our core activities and to establish premises and training programs for our new venture.
Yes, as soon as your donation is processed.


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Non-fiction from Shani Aviram on Vimeo.
This track was inspired by Laurie Penny's essay 'Fear of a Feminist Future'. Her words are used with permission.
Video by: John Bezark
Voice: Avery Trufelman
Footage sampled from the following sci-fi classic films:
War of The Robots
Cosmos: War of the Planets
Assignment: Outer Space
Voyage to the Planet of Prehistoric Women
More from John Bezark – johnbezark.com


text: Nonna Cathy organized a really easy no-bake dessert. While the Easter eggs are being hidden children can be occupied making their individual mini basket.** She ordered each child a 'mini cake' from the bakery with each child's name. Nonna purchased rectangle wafer cookies to make the "basket" sides. She put out Easter candies, jelly… Continue reading N0-BAKE EASTER BASKET CAKES


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Education Next, a national journal on education reform, has released the results of its 2018 EdNextPoll.
Some highlights pertaining to school choice initiatives:
- Support for publicly-funded scholarships to private schools, also known as vouchers, increased from 45 percent last year to 54 percent this year. And 61 percent of parents support this policy, up from 52 percent last year.
- Support for tax credit scholarships to private schools increased from 55 percent to 57 percent of the general public. 62% of parents support tax credit programs like the STO.
- Support for charter schools increased from 39 percent to 44 percent.
- Opposition to vouchers has decreased 13 percentage points since 2016, from 44 percent to 31 percent today.
- Hispanic support for vouchers increased dramatically, from 49 percent support last year to 67 percent this year.
Read the entire poll HERE.


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CAIRO, Egypt -- Si-Ware Systems (SWS), a premier provider of IC- and MEMS-based products for industrial and consumer applications, has licensed its MEMS FT-IR spectrometer technology to Hamamatsu Photonics of Japan.
Hamamatsu is a world-leading supplier of optoelectronic components. The company announced its new FT-IR spectrometer last month.
The FT-IR spectrometer developed by SWS and licensed to Hamamatsu is the "world's first single-chip spectrometer." All of the optical components of the spectrometer are monolithically integrated on one chip, using SWS's proprietary MEMS technology.
"The partnership with Hamamatsu Photonics is a winning formula that combines SWS's innovative technology with Hamamatsu's excellent manufacturing capabilities and market-leading products," said Bassam Saadany, Division Manager for Optical MEMS Technology at SWS. "The single-chip spectrometer now opens up many more possibilities for portable spectrometry, enabling the move from bulky and costly equipment in a laboratory to compact and inexpensive equipment in the field. SWS's single-chip spectrometer allows for the realization of a spectrometer in a handheld device such as a mobile handset."
The FT-IR spectrometer consists of a MEMS chip that measures 1 by 1 cm2 and contains all of the optical components. The electronics interface is a separate ASIC designed and produced by SWS's ASIC Solutions Division. The additional components of the system are a photodetector, optical fiber, and software. The initial system is contained in a module powered through a USB interface and consumes <150 mA. The module measures 8 by 6 by 3 cm3 and weighs <100 g. All of this makes it the "smallest and lowest power consuming spectrometer in the world."
"Hamamatsu has worked closely with our partner SWS to be able to bring this innovative product to market," said Mr. Koei Yamamoto, Executive Managing Director and General Manager for Hamamatsu's Solid State Division. "SWS's technology has enabled the development of our single-chip spectrometer and can enable many additional products."
The FT-IR spectrometer is the first product to be developed and released, based on SWS's Silicon integrated Micro Optical System Technology (SiMOST). SiMOST is a complete platform that enables the creation of monolithic optical systems using validated MEMS components. Multiple optical MEMS structures can be patterned and etched on SOI wafers using deep reactive ion etching. The structures are then wafer-level packaged and diced to create a one-chip optical system.
SiMOST allows for alignment free optics. Discrete optical systems have to go through precision alignment causing high assembly and packaging costs. SiMOST optical components are lithographically aligned on-chip, eliminating the need for time consuming and costly alignment.
The monolithic optical solution offered by SiMOST has advantages in size, cost, and reliability. Batch processing and mass production on semiconductor wafers greatly increases the volume of devices that can be manufactured simultaneously and reduces costs. Having all the components on-chip creates a more reliable optical system robust against shock and vibration. Finally, the dramatic size reduction creates the opportunity for new applications that were not before achievable with larger, discrete optical systems.
Evaluation kits for the FT-IR spectrometer are available from SWS. Contact SWS if you are interested in evaluating the FT-IR spectrometer or to find out how you can use SiMOST for your optical system.
SWS at Photonics West
SWS will be showing the FT-IR spectrometer and providing more details on its SiMOST set of solutions at Photonics West 2013 in San Francisco, being held February 5–7. SWS will have its booth in North Hall D of the Moscone Center (Booth #4108).
About Si-Ware Systems
Si-Ware Systems is an independent fabless semiconductor company, providing a wide spectrum of product design and development solutions, custom ASIC development and supply, and standard products.
The company leverages its highly talented teams in MEMS design and development, as well as analog/mixed-signal and radio frequency integrated circuits (RFICs) to provide highly innovative solutions and products in different areas, ranging from PLL-based timing circuits, sensor interfaces, frequency synthesis, data converters, RF front ends, and MEMS-based sensor systems.


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This error can be solved in a number of different ways. Some are easy and low impact, the worst case is you will need to remove HA from your node(s) and then re add it.
Here is the complete error:
Failed to open the Windows Server Failover Clustering registry subkey '%.*ls' (Error code %d). The parent key is the cluster root key. The WSFC service may not be running or may not be accessible in its current state, or the specified arguments are invalid. If the corresponding availability group has been dropped, this error is expected. For information about this error code, see "System Error Codes" in the Windows Development documentation.
Solution 1 – Completing replica set up, or removing secondary replica
This can be a very simple problem, however the error does not really point you in the right direction. If you have not completed the setup of the database on your replica(s) you might get this error. To resolve either complete setup or remove the replicas from the availability group.
Solution 2 – Take resource offline and then bring back online
Self explanatory, try taking the resource offline or fail it to another node and then fail it back.
Solution 3 – Restart the node
If you still haven't resolved it with the prior solutions restart the node.
Solution 4 – Remove HA and Re add
Hopefully you don't have to do this. But as per Microsoft the only solution I have left for you is to remove all your HA replicas and AG groups and then untick the Availability Group feature in SQL Configuration manager. Restart SQL and then add the feature back again. As per the article you may need to do this on every node.


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Category: Internet and E-Commerce •
Format: PDF •
Publish Date: February, 2019
Pages: 144
The Telecom order management market is expected to grow from USD 2 billion in 2018 to USD 6 billion by 2026, at a CAGR of 13.3% during the forecast period. The escalating necessity of telecom companies and network service providers to bring down the cost in providing the services to its clients and customers to get an edge over its competitors is forecasted to fuel the growth of the market. Concerns of telecom companies and network service providers to reduce customer attrition, consolidation of services by telecom companies and push on mobile payment services will also drive the growth of the market. Further, a huge increase in the number of connected devices is also expected to drive the market.
The factor responsible for restricting the growth of the market is the resistance of the telecom companies and network service providers to adapt to a new system as well as the need for skilled specialists to operate the system.
Cerillion (US), Ericsson (Sweden), Cognizant (US), IBM (US), Oracle (UK), Chickpea (US), Fujitsu (Japan), Comarch (Poland), Intellibuzz (India), Mphasis (India), Neustar (US), and Pegasystems (Us) , are the some of the key companies in the telecom order management market.
This report forecasts revenue growth at a global, regional & country level, and provides an analysis of the trends of the industry in each of the sub-segments from 2016 to 2026. For the purpose of this study, Reports and Data have segmented the telecom order management Market on the basis of component, type of network, type of deployment, and region, and region:
Chapter 1. Market Synopsis
1.1. Market Definition
1.2. Research Scope & Premise
1.3. Methodology
1.4. Market Estimation Technique
Chapter 2. Executive Summary
2.1. Summary Snapshot, 2018 - 2026
Chapter 3. Telecom Order Management Market Segmentation & Impact Analysis
3.1. Telecom Order Management Market Segmentation Analysis
3.2. Telecom Order Management Market Value Chain Analysis, 2018-2026
3.3. Telecom Order Management Market Impact Analysis
3.3.1. Market driver analysis
220.127.116.11. Low-cost solution to business processes to gain a competitive edge
184.108.40.206. Proliferation of Connected Devices
184.108.40.206. Increasing prominence towards reducing customer attrition
188.8.131.52. Increasing demand to get better equipped to launch new services and products
188.8.131.52. Consolidation of services by Telco
126.96.36.199. Push on mobile payment services
3.3.2. Market restraint analysis
22.214.171.124. Resistance to Structural Changes in Systems and New Technologies
22.214.171.124. Need for Highly Proficient Specialists for Telecom Order Management
3.3.3. Market opportunities
18.104.22.168. Advancement in Next-Generation Telecom Order Management Tools
3.3.4. Market Challenges
188.8.131.52. Dearth of Compatibility and Standardization Concerns With the Prevailing Systems
126.96.36.199. Complexity of Telecom order management tool to provide highly customized and multifaceted orders to enterprises.
3.4. Industry analysis - Porter's Analysis
3.5. Telecom Order Management Market Competitive scenario, 2018
Chapter 4. Telecom Order Management Market by Component (Insights & Trends)
4.1. Telecom Order Management Market share by Component, 2019 & 2026
4.2. Solutions
4.2.1. Customer Order Management
4.2.2. Service Order Management
4.2.3. Service Inventory Management
4.3. Services
4.3.1. Integration and Installation services
4.3.2. Consulting Services
4.3.3. Support Services
Chapter 5. Telecom Order Management Market by Type of Network (Insights & Trends)
5.1. Telecom Order Management Market share by Type of Network, 2019 & 2026
5.2. Wired
5.3. Wireless
Chapter 6. Telecom Order Management Market, by Type of Deployment (Insights & Trends)
6.1. Telecom Order Management Market share by Type of Deployment, 2019 & 2026
6.2. Cloud
6.3. On-premises
Chapter 7. Telecom Order Management Market Regional Outlook
7.1. Telecom Order Management Market share by Region, 2019 & 2026
7.2. North America
7.2.2. Canada
7.2.3. Mexico
7.3. Europe
7.3.1. Germany
7.3.2. France
7.3.4. Rest of Europe
7.4.1. China
7.4.2. Japan
7.4.3. South Korea
7.4.4. Rest of APAC
7.5. RoW
7.5.1. Middle East
7.5.2. Africa
7.5.3. South America
Chapter 8. Competitive Landscape
8.1. Market Revenue Share by Manufacturers
8.2. Manufacturing Cost Breakdown Analysis
8.3. Mergers & Acquisitions
8.4. Market positioning
8.5. Strategy Benchmarking
8.6. Vendor Landscape
Chapter 9. Company Profiles
9.1. Cerillion
9.1.1. Company Overview
9.1.2. Financial Performance
18.104.22.168. Revenue
184.108.40.206. Price
22.214.171.124. Gross Margin
9.1.3. Type Benchmarking
9.1.4. Strategic Initiatives
9.2. Ericsson
9.2.1. Company Overview
9.2.2. Financial Performance
22.214.171.124. Revenue
184.108.40.206. Price
22.214.171.124. Gross Margin
9.2.3. Type Benchmarking
9.2.4. Strategic Initiatives
9.3. Cognizant
9.3.1. Company Overview
9.3.2. Financial Performance
220.127.116.11. Revenue
22.214.171.124. Price
18.104.22.168. Gross Margin
9.3.3. Type Benchmarking
9.3.4. Strategic Initiatives
9.4.1. Company Overview
9.4.2. Financial Performance
18.104.22.168. Revenue
188.8.131.52. Price
188.8.131.52. Gross Margin
9.4.3. Type Benchmarking
9.4.4. Strategic Initiatives
9.5. Oracle
9.5.1. Company Overview
9.5.2. Financial Performance
220.127.116.11. Revenue
126.96.36.199. Price
220.127.116.11. Gross Margin
9.5.3. Type Benchmarking
9.5.4. Strategic Initiatives
9.6. Chickpea
9.6.1. Company Overview
9.6.2. Financial Performance
22.214.171.124. Revenue
22.214.171.124. Price
18.104.22.168. Gross Margin
9.6.3. Type Benchmarking
9.6.4. Strategic Initiatives
9.7. Fujitsu
9.7.1. Company Overview
9.7.2. Financial Performance
184.108.40.206. Revenue
184.108.40.206. Price
184.108.40.206. Gross Margin
9.7.3. Type Benchmarking
9.7.4. Strategic Initiatives
9.8. Comarch
9.8.1. Company Overview
9.8.2. Financial Performance
18.104.22.168. Revenue
188.8.131.52. Price
188.8.131.52. Gross Margin
9.8.3. Type Benchmarking
9.8.4. Strategic Initiatives
9.9. Intellibuzz
9.9.1. Company Overview
9.9.2. Financial Performance
220.127.116.11. Revenue
220.127.116.11. Price
188.8.131.52. Gross Margin
9.9.3. Type Benchmarking
9.9.4. Strategic Initiatives
9.10. Mphasis
9.10.1. Company Overview
9.10.2. Financial Performance
184.108.40.206. Revenue
126.96.36.199. Price
184.108.40.206. Gross Margin
9.10.3. Type Benchmarking
9.10.4. Strategic Initiatives
9.11. Neustar
9.11.1. Company Overview
9.11.2. Financial Performance
220.127.116.11. Revenue
188.8.131.52. Price
18.104.22.168. Gross Margin
9.11.3. Type Benchmarking
9.11.4. Strategic Initiatives
9.12. Pegasystems
9.12.1. Company Overview
9.12.2. Financial Performance
126.96.36.199. Revenue
220.127.116.11. Price
220.127.116.11. Gross Margin
9.12.3. Type Benchmarking
9.12.4. Strategic Initiatives
A research methodology is a systematic approach for assessing or conducting a market study. Researchers tend to draw on a variety of both qualitative and quantitative study methods, inclusive of investigations, survey, secondary data and market observation.
Such plans can focus on classifying the products offered by leading market players or simply use statistical models to interpret observations or test hypotheses. While some methods aim for a detailed description of the factors behind an observation, others present the context of the current market scenario.
Now let's take a closer look at the research methods here.
Extensive data is obtained and cumulated on a substantial basis during the inception phase of the research process. The data accumulated is consistently filtered through validation from the in-house database, paid sources as well reputable industry magazines. A robust research study requires an understanding of the overall value chain. Annual reports and financials of industry players are studied thoroughly to have a comprehensive idea of the market taxonomy.
Post conglomeration of the data obtained through secondary research; a validation process is initiated to verify the numbers or figures. This process is usually performed by having a detailed discussion with the industry experts.
However, we do not restrict our primary interviews only to the industry leaders. Our team covers the entire value chain while verifying the data. A significant number of raw material suppliers, local manufacturers, distributors, and stakeholders are interviewed to make our findings authentic. The current trends which include the drivers, restraints, and opportunities are also derived through the primary research process.
The market estimation is conducted by analyzing the data collected through both secondary and primary research. This process involves market breakdown, bottom-up and top- down approach.
Moreover, while forecasting the market a comprehensive statistical time series model is designed for each market. Macroeconomic indicators are considered to understand the current trends of the market. Each data point is verified by the process of data triangulation method to arrive at the final market estimates.
The penultimate process results in a holistic research report. The study equips key industry players to undertake significant strategic decisions through the findings. The report encompasses detailed market information. Graphical representations of the current market trends are also made available in order to make the study highly comprehensible for the reader.
Compare, Strategize and align with your current and future requirements.


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1. Seek Business-Specific Conversations
If you use Twitter for nothing else, use it to learn from others. Head to hashtags like #SMB or#smallbiz for advice, resources and current news of the small business variety (also follow along during Twitter chats). Although broad hashtags like these can generate an overwhelming number of tweets every day, tune in every so often for a quick update. A couple of scrolls down the feed could inspire your next blog post, marketing tactic or bestseller.
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When crafting hashtags for your own tweets, it's important to keep a couple rules of thumb in mind. First, keep your tags simple and direct. In a tweet about your latest blog post, which explains your company's use of finance apps, don't create a long, complex hashtag. Pair the tweet with hashtags like #apps and #SmallBiz, versus #SmallBusinessAppsandTools. Overly complicated hashtags like these are neither search-friendly nor commonly used, so your tweet will get buried quickly. Secondly, don't weigh your tweets down with excessive hashtags. If your intention is to be thorough, bravo. However, your thoroughness will be better served with a thoughtful, precise selection of 1-2 hashtags per tweet. Seven hashtags reads like desperate marketing, and is a sure way to lose followers quickly.
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Brands both large and small choose to create their own hashtags for several reasons. Hashtags are a great way to generate buzz around a marketing campaign. Domino's Pizza encouraged followers to tweet with #letsdolunch — once the number of tweets reached 85,000, Domino's dropped prices by more than half during the hours of 11 a.m. and 3 p.m. that day.
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Events are great opportunities for creating conversation around hashtags. Award your event a unique hashtag well before the actual date; you'll be able to generate content and discussion about the event before it even begins. (For example, Mashable created the hashtag#MashBash for one of our largest events ever, at CES 2012.) Then during the event, encourage participants to tweet with that hashtag with signage and other hashtagged swag. People in attendance both physically and via the web then will be able to follow interesting activities and discussion.
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One of the most convenient ways to stay on top of relevant hashtags is to designate easily accessible columns within your social dashboard. Whether you use HootSuite or TweetDeck, you can establish columns by social network, search term, Twitter list or hashtag.
Consider adding a small business-themed hashtag column to check whenever you have a moment. Add further columns as they become relevant, for example, when you launch a hashtag marketing campaign or contest. Then delete the column when the hashtag has run its course.
5. Take Advantage of Follow Friday
In January 2009, Micah Baldwin announced on Twitter that he would suggest people to follow every week from then on. The Follow Friday trend soon took off with the hashtag #FollowFriday, but is now more commonly shortened to #FF.
The Follow Friday movement is still alive and well. And it's a great excuse for your small business to join the conversation and get its name out there.
You can craft a #FF tweet in one of two ways. Create a list of great people to follow and squeeze as many Twitter handles as you can into one tweet, with the hashtag #FF, of course. However, I suggest making sure this list has a theme — are these the best foodies to follow? Political analysts? Activists? Comedians? Narrow down the type of people you're suggesting and indicate that in the tweet.
Otherwise, many people choose to support only one or two people per #FF tweet, which is a more personal approach. You may consider crafting a tweet for a single person if you wish to compliment or communicate with that person, be it a journalist, executive or potential business partner.


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Smithtown Historical Society Super Saturdays
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5th Grade Trip - Deposit Due 11/13
Wear Red, White and Blue Friday, November 9th
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Posted October 31, 2018


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Louisa Jamgochian Hello, I would like to introduce myself to the group! My name is Louisa Jamgochian and I run a financial planning practice in midtown Manhattan in association with Northwestern Mutual. I work on a team of financial planners and when we sit down with clients we share concepts of savings, investments, life, disability and long term care insurances. We also focus on retirement income while reducing financial risk. In addition to this we do hold seminars for businesses by meeting with large groups of employees regarding their benefits and assisting with their 401k allocations. I would love to meet and share more about what I have been doing to see if I could be a resource and can be reached at firstname.lastname@example.com, or 301-642-7203. Feel free to message me as well with any questions, I am also available via conference call for anyone outside of the NYC area. Thank you and happy holidays! Dec 19, 2018


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FRI Jan 24 | 7 PM
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Cary Angeline could very well be headed home.
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A four-star member of USC's 206 recruiting class, Angeline was rated as the No. 10 tight end in the country and No. 8 player at any position in the state of Pennsylvania. He took a redshirt as a true freshman, then played in the first two games this season.


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