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Theatre of ancient Greece
The Ancient Greek drama, is a theatrical culture that flourished in ancient Greece 700 BC. The city-state of Athens, which became a significant cultural, political, and military power during this period, was its centre, where it was institutionalised as part of a festival called the Dionysia, which honoured the god Dionysus. Tragedy (late 500 BC), comedy (490 BC), and the satyr play were the three dramatic genres to emerge there. Athens exported the festival to its numerous colonies and allies in order to promote a common cultural identity.
- Etymology 1
- Origins 2
- New inventions during the Classical Period 3
- Hellenistic period 4
Characteristics of the buildings 5
- Scenic elements 5.1
Masks 6
- Masks and ritual 6.1
- Mask details 6.2
- Mask functions 6.3
- Other costume details 6.4
- See also 7
- References 8
- Additional literature 9
- External links 10
The word τραγῳδία (tragoidia), from which the word "tragedy" is derived, is a compound of two Greek words: τράγος (tragos) or "goat" and ᾠδή (ode) meaning "song", from ἀείδειν (aeidein), "to sing".[1] This etymology indicates a link with the practices of the ancient Dionysian cults. It is impossible, however, to know with certainty how these fertility rituals became the basis for tragedy and comedy.[2]
Greek tragedy as we know it was created in Athens around the time of 532 BC, when Thespis was the earliest recorded actor. Being a winner of the first theatrical contest held at Athens, he was the exarchon, or leader,[3] of the dithyrambs performed in and around Attica, especially at the rural Dionysia. By Thespis' time the dithyramb had evolved far away from its cult roots. Under the influence of heroic epic, Doric choral lyric and the innovations of the poet Arion, it had become a narrative, ballad-like genre. Because of these, Thespis is often called the "Father of Tragedy"; however, his importance is disputed, and Thespis is sometimes listed as late as 16th in the chronological order of Greek tragedians; the statesman Solon, for example, is credited with creating poems in which characters speak with their own voice, and spoken performances of Homer's epics by rhapsodes were popular in festivals prior to 534 BC.[4] Thus, Thespis's true contribution to drama is unclear at best, but his name has been immortalized as a common term for performer—a "thespian."
The dramatic performances were important to the Athenians – this is made clear by the creation of a tragedy competition and festival in the City Cleisthenes). The festival was created roughly around 508 BC. While no drama texts exist from the sixth century BC, we do know the names of three competitors besides Thespis: Choerilus, Pratinas, and Phrynichus. Each is credited with different innovations in the field.
More is known about Phrynichus. He won his first competition between 511 BC and 508 BC. He produced tragedies on themes and subjects later exploited in the golden age such as the Danaids, Phoenician Women and Alcestis. He was the first poet we know of to use a historical subject – his Fall of Miletus, produced in 493-2, chronicled the fate of the town of Miletus after it was conquered by the Persians. Herodotus reports that "the Athenians made clear their deep grief for the taking of Miletus in many ways, but especially in this: when Phrynichus wrote a play entitled "The Fall of Miletus" and produced it, the whole theatre fell to weeping; they fined Phrynichus a thousand drachmas for bringing to mind a calamity that affected them so personally, and forbade the performance of that play forever."[5] He is also thought to be the first to use female characters (though not female performers).[6]
Until the Hellenistic period, all tragedies were unique pieces written in honour of Dionysus and played only once, so that today we primarily have the pieces that were still remembered well enough to have been repeated when the repetition of old tragedies became fashionable (the accidents of survival, as well as the subjective tastes of the Hellenistic librarians later in Greek history, also played a role in what survived from this period).
New inventions during the Classical Period
After the Great Destruction of Athens by the Persian Empire in 480 BC, the town and acropolis were rebuilt, and theatre became formalized and an even greater part of Athenian culture and civic pride. This century is normally regarded as the Golden Age of Greek drama. The centre-piece of the annual Dionysia, which took place once in winter and once in spring, was a competition between three tragic playwrights at the Theatre of Dionysus. Each submitted three tragedies, plus a satyr play (a comic, burlesque version of a mythological subject). Beginning in a first competition in 486 BC each playwright submitted a comedy.[7] Aristotle claimed that Aeschylus added the second actor (deuteragonist), and that Sophocles introduced the third (tritagonist). Apparently the Greek playwrights never used more than three actors based on what is known about Greek theatre.[8]
Tragedy and comedy were viewed as completely separate genres, and no plays ever merged aspects of the two. Satyr plays dealt with the mythological subject matter of the tragedies, but in a purely comedic manner.
Hellenistic period
The power of Athens declined following its defeat in the Peloponnesian War against the Spartans. From that time on, the theatre started performing old tragedies again. Although its theatrical traditions seem to have lost their vitality, Greek theatre continued into the Hellenistic period (the period following Alexander the Great's conquests in the fourth century BC). However, the primary Hellenistic theatrical form was not tragedy but 'New Comedy', comic episodes about the lives of ordinary citizens. The only extant playwright from the period is Menander. One of New Comedy's most important contributions was its influence on Roman comedy, an influence that can be seen in the surviving works of Plautus and Terence.
Characteristics of the buildings
The plays had a chorus from 12 to 15[9] people, who performed the plays in verse accompanied by music, beginning in the morning and lasting until the evening. The performance space was a simple circular space, the orchestra, where the chorus danced and sang. The orchestra, which had an average diameter of 78 feet, was situated on a flattened terrace at the foot of a hill, the slope of which produced a natural theatron, literally "watching place". Later, the term "theatre" came to be applied to the whole area of theatron, orchestra, and skené. The coryphaeus was the head chorus member who could enter the story as a character able to interact with the characters of a play.
The theatres were originally built on a very large scale to accommodate the large number of people on stage, as well as the large number of people in the audience, up to fourteen thousand. Mathematics played a large role in the construction of these theatres, as their designers had to be able to create acoustics in them such that the actors' voices could be heard throughout the theatre, including the very top row of seats. The Greeks' understanding of acoustics compares very favourably with the current state of the art. The first seats in Greek theatres (other than just sitting on the ground) were wooden, but around 499 BC the practice of inlaying stone blocks into the side of the hill to create permanent, stable seating became more common. They were called the "prohedria" and reserved for priests and a few most respected citizens.
In 465 BC, the playwrights began using a backdrop or scenic wall, which hung or stood behind the orchestra, which also served as an area where actors could change their costumes. It was known as the skênê (from which the word "scene" derives). The death of a character was always heard behind the skênê, for it was considered inappropriate to show a killing in view of the audience. Though there is scholarly argument that death in Greek tragedy was portrayed off stage primarily because of dramatic considerations, and not prudishness or sensitivity of the audience.[10] In 425 BC a stone scene wall, called a paraskenia, became a common supplement to skênê in the theatres. A paraskenia was a long wall with projecting sides, which may have had doorways for entrances and exits. Just behind the paraskenia was the proskenion. The proskenion ("in front of the scene") was beautiful, and was similar to the modern day proscenium.
Greek theatres also had tall arched entrances called parodoi or eisodoi, through which actors and chorus members entered and exited the orchestra. By the end of the 5th century BC, around the time of the Peloponnesian War, the skênê, the back wall, was two stories high. The upper story was called the episkenion. Some theatres also had a raised speaking place on the orchestra called the logeion.
Scenic elements
There were several scenic elements commonly used in Greek theatre:
- mechane, a crane that gave the impression of a flying actor (thus, deus ex machina).
- ekkyklêma, a wheeled platform often used to bring dead characters into view for the audience
- Pinakes, pictures hung to create scenery
- Thyromata, more complex pictures built into the second-level scene (3rd level from ground)
- Phallic props were used for satyr plays, symbolizing fertility in honour of Dionysus.
Masks and ritual
The Ancient Greek term for a Aeschylus and considered to be one of the iconic conventions of classical Greek theatre.[14]
Masks were also made for members of the chorus, who play some part in the action and provide a commentary on the events in which they are caught up. Although there are twelve or fifteen members of the tragic chorus, they all wear the same mask because they are considered to be representing one character.
Mask details
Illustrations of theatrical masks from 5th century display helmet-like masks, covering the entire face and head, with holes for the eyes and a small aperture for the mouth, as well as an integrated wig. These paintings never show actual masks on the actors in performance; they are most often shown being handled by the actors before or after a performance, that liminal space between the audience and the stage, between myth and reality.[13] This demonstrates the way in which the mask was to 'melt' into the face and allow the actor to vanish into the role.[15] Effectively, the mask transformed the actor as much as memorization of the text. Therefore, performance in ancient Greece did not distinguish the masked actor from the theatrical character.
The mask-makers were called skeuopoios or "maker of the properties," thus suggesting that their role encompassed multiple duties and tasks. The masks were most likely made out of light weight, organic materials like stiffened linen, leather, wood, or cork, with the wig consisting of human or animal hair.[16] Due to the visual restrictions imposed by these masks, it was imperative that the actors hear in order to orient and balance themselves. Thus, it is believed that the ears were covered by substantial amounts of hair and not the helmet-mask itself. The mouth opening was relatively small, preventing the mouth to be seen during performances. Vervain and Wiles posit that this small size discourages the idea that the mask functioned as a megaphone, as originally presented in the 1960s.[13] Greek mask-maker, Thanos Vovolis, suggests that the mask serves as a resonator for the head, thus enhancing vocal acoustics and altering its quality. This leads to increased energy and presence, allowing for the more complete metamorphosis of the actor into his character.[17]
Mask functions
In a large open-air theatre, like the Theatre of Dionysus in Athens, the classical masks were able to create a sense of dread in the audience creating large scale panic, especially since they had intensely exaggerated facial features and expressions.[17] They enabled an actor to appear and reappear in several different roles, thus preventing the audience from identifying the actor to one specific character. Their variations help the audience to distinguish sex, age, and social status, in addition to revealing a change in a particular character's appearance, e.g. Oedipus after blinding himself.[18] Unique masks were also created for specific characters and events in a play, such as The Furies in Aeschylus' Eumenides and Pentheus and Cadmus in Euripides' The Bacchae. Worn by the chorus, the masks created a sense of unity and uniformity, while representing a multi-voiced persona or single organism and simultaneously encouraged interdependency and a heightened sensitivity between each individual of the group. Only 2-3 actors were allowed on the stage at one time, and masks permitted quick transitions from one character to another. There were only male actors, but masks allowed them to play female characters.
Other costume details
The actors in these plays that had tragic roles wore boots called cothurni that elevated them above the other actors. The actors with comedic roles only wore a thin soled shoe called a sock. For this reason, dramatic art is sometimes alluded to as "Sock and Buskin."
Melpomene is the muse of tragedy and is often depicted holding the tragic mask and wearing cothurni. Thalia is the muse of comedy and is similarly associated with the mask of comedy and the comedic "socks".
See also
- ^ Merriam-Webster definition of tragedy
- ^ William Ridgeway, Origin of Tragedy with Special Reference to the Greek Tragedians, p. 83
- ^ Aristotle, Poetics
- ^ Brockett, Oscar G. "History of the Theatre". Allyn and Bacon, 1890. Pp. 16–17
- ^ , 6/21HistoriesHerodotus,
- ^ Brockett, Oscar G. "History of the Theatre". Allyn and Bacon, 1999. USA. p.17
- ^ Paul Kuritz, The making of theatre history, Englewood Cliffs 1988, p.21
- ^ Kuritz, p. 24
- ^ Paper on the Athens Theatre
- ^ R. Sri Pathmanathan, 'Death in Greek tragedy', Greece and Rome 12.1, 1965, p. 2-14. http://www.jstor.org/stable/642398
- ^ Liddell & Scott via Perseus @ UChicago
- ^ Tufts.edu
- ^ a b c Vervain, Chris and David Wiles "The Masks of Greek Tragedy as Point of Departure for Modern Performance." New Theater Quarterly 67, Cambridge University Press: Cambridge, 2004. p.255
- ^ Varakis, Angie. "Research on the Ancient Mask," Didaskalia, Vol. 6.1 Spring 2000, Didaskalia.net
- ^ Vervain, Chris and David Wiles, "The Masks of Greek Tragedy as Point of Departure for Modern Performance." New Theater Quarterly 67, Cambridge University Press: Cambridge, 2004. p.256
- ^ Brooke, Iris. "Costume in Greek Classical Drama." Methuen, London: 1962. p.76
- ^ a b Vovolis, Thanos and Giorgos Zamboulakis. "The Acoustical Mask of Greek Tragedy." Didaskalia Vol. 7.1 Didaskalia.net
- ^ Brockett, Oscar G. and Robert Ball. "The Essential Theater." 7th Ed. Harcourt Brace, Orlando: 2000. p.70
Additional literature
- Brockett, Oscar G. and Robert Ball. The Essential Theatre. 7th Ed. Harcourt Brace, Orlando: 2000
- Brooke, Iris. Costume in Greek Classical Drama. Methuen, London: 1962
- Buckham, Philip Wentworth, Theatre of the Greeks, London 1827.
- Davidson, J.A., Literature and Literacy in Ancient Greece, Part 1, Phoenix, 16, 1962, pp. 141–56.
- ibid., Peisistratus and Homer, TAPA, 86, 1955, pp. 1–21.
- Easterling, Patricia Elizabeth; Hall, Edith (eds.), Greek and Roman Actors: Aspects of an Ancient Profession, Cambridge University Press, 2002. ISBN 0-521-65140-9
Else, Gerald F.
- Aristotle's Poetics: The Argument, Cambridge, MA 1967.
- The Origins and Early Forms of Greek Tragedy, Cambridge, MA 1965.
- The Origins of ΤΡΑΓΩΙΔΙΑ, Hermes 85, 1957, pp. 17–46.
- Flickinger, Roy Caston, The Greek theater and its drama, Chicago, University of Chicago Press, 1918
- Freund, Philip, The Birth of Theatre, London: Peter Owen, 2003. ISBN 0-7206-1170-9
- Haigh, A. E., The Attic Theatre, 1907.
- Harsh, Philip Whaley, A handbook of Classical Drama, Stanford University, California, Stanford University Press; London, H. Milford, Oxford University Press, 1944.
- Lesky, A. Greek Tragedy, trans. H.A., Frankfurt, London and New York 1965.
- Ley, Graham. A Short Introduction to the Ancient Greek Theatre. University of Chicago, Chicago: 2006
- Ley, Graham. Acting Greek Tragedy. University of Exeter Press, Exeter: 2015
- Loscalzo, Donato, Il pubblico a teatro nella Grecia antica, Roma 2008
- McDonald, Marianne, Walton, J. Michael (editors), The Cambridge companion to Greek and Roman theatre, Cambridge ; New York: Cambridge University Press, 2007. ISBN 0-521-83456-2
- Moulton, Richard Green, The ancient classical drama; a study in literary evolution intended for readers in English and in the original, Oxford, The Clarendon Press, 1890.
- Padilla, Mark William (editor), "Rites of Passage in Ancient Greece: Literature, Religion, Society", Bucknell University Press, 1999. ISBN 0-8387-5418-X
Pickard-Cambridge, Sir Arthur Wallace
- Dithyramb, Tragedy, and Comedy , Oxford 1927.
- The Theatre of Dionysus in Athens, Oxford 1946.
- The Dramatic Festivals of Athens, Oxford 1953.
- Rabinowitz, Nancy Sorkin (2008). Greek Tragedy. Malden, MA:
- Ridgeway, William, Origin of Tragedy with Special Reference to the Greek Tragedians, 1910.
- Riu, Xavier, Dionysism and Comedy, 1999. review
- Ross, Stewart. Greek Theatre. Wayland Press, Hove: 1996
- Rozik, Eli, The roots of theatre: rethinking ritual and other theories of origin, Iowa City: University of Iowa Press, 2002. ISBN 0-87745-817-0
- Schlegel, August Wilhelm, Lectures on Dramatic Art and Literature, Geneva 1809.
- Sommerstein, Alan H., Greek Drama and Dramatists, Routledge, 2002.
- Sourvinou-Inwood, Christiane, Tragedy and Athenian Religion, Oxford:University Press 2003.
- Tsitsiridis, Stavros, "Greek Mime in the Roman Empire (P.Oxy. 413: Charition and Moicheutria", 1 (2011) 184-232Logeion.
- Varakis, Angie. "Research on the Ancient Mask", Didaskalia, Vol. 6.1 Spring 2004.
- Vervain, Chris and David Wiles, The Masks of Greek Tragedy as Point of Departure for Modern Performance. New Theatre Quarterly 67, Cambridge University Press: Cambridge, 2004.
- Vovolis, Thanos and Giorgos Zamboulakis. The Acoustical Mask of Greak Tragedy, Didaskalia Vol. 7.1.
- Wiles, David. Greek Theatre Performance: An Introduction. Cambridge University Press, Cambridge: 2000
- ibid. The Masks of Menander: Sign and Meaning in Greek and Roman Performance, Cambridge, 1991.
- ibid. Mask and Performance in Greek Tragedy: from ancient festival to modern experimentation, Cambridge, 1997.
- Wise, Jennifer, Dionysus Writes: The Invention of Theatre in Ancient Greece, Ithaca 1998. review
- Zimmerman, B., Greek Tragedy: An Introduction, trans. T. Marier, Baltimore 1991.
External links
- Ancient Greek theatre history and articles
- Drama lesson 1: The ancient Greek theatre
- Ancient Greek Theatre
- The Ancient Theatre Archive, Greek and Roman theatre architecture – Dr. Thomas G. Hines, Department of Theatre, Whitman College
- Greek and Roman theatre glossary
- Illustrated Greek Theater – Dr. Janice Siegel, Department of Classics, Hampden-Sydney College, Virginia
- Searchable database of monologues for actors from Ancient Greek Theatre
- Logeion: A Journal of Ancient Theatre with free access which publishes original scholarly articles including its reception in modern theatre, literature, cinema and the other art forms and media, as well as its relation to the theatre of other periods and geographical regions.


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THE post-war generation of baby boomers - those born between 1946 and 1964 - have had a huge appetite on the world, creating "youth culture", changing social attitudes from the sixties onwards, boosting economic growth as they entered the workforce and so on. Now they are starting to retire and this blog had banged on about the effect this will have on issues like pensions, asset markets and economic growth. not to worry, say some folk, since although we may have more elderly to look after, we will have fewer children.
Alas, that won't help, as this graph compiled by statistician Simon Hedlin shows. The total dependency ratio (children and retirees, compared with those of working age) fell in all G20/OECD nations bar Germany and Sweden between 1960 and 2010. In the next fifty years, it will rise in all those nations, bar India and South Africa. In most nations, the ratio will rise by 40% or more; there are huge increases in dependency in parts of Asia (China and South Korea) and in eastern Europe. Britain and America are towards the bottom of the table, but their problems are big enough.
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A "furious" parent has slammed a Buxton priest for telling seven and eight-year-old children that Father Christmas was not real.
Father Dennis Higgins told youngsters from St Anne's Primary School that Santa was not real while giving mass at St Thomas More secondary school on Thursday.
Poll: Was Father Higgins right to tell children Father Christmas doesn't exist?
Facebook page set up in support of Father Dennis Higgins following controversial 'Father Christmas doesn't exist' comments
Outrage over priest's 'Father Christmas isn't real' bombshell to young kids
The mass was attended by both the young pupils – in year three – and 11 and 12-year-olds from the secondary school.
One parent, who did not wish to be identified, said: "How dare he say such things to such young children? To try and take away the magic of Christmas is just plain mean."
Father Higgins is based at St Anne's Catholic Church, in Buxton.
What do YOU think about Father Higgins' comments about Santa Claus? Leave your views below in the Comments section.


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DeKALB – DeKalb leaders want to restructure municipal buildings so City Council chambers and the municipal courtroom are on the first floor.
That was a clear consensus after a free-wheeling conversation Monday on possible renovations for the DeKalb Municipal Building, 200 S. Fourth St., and how city leaders could pay for it.
Presently, the room that doubles as council chambers and a local courtroom sits on City Hall's second floor, while the public works and information technology departments are housed across the street at an annex at 223 S. Fourth St. The police department will free up space on the municipal building's first floor in the next month or so as the police department moves to its new facility at 700 W. Lincoln Highway.
Fifth Ward Alderman Ron Naylor emphasized that the annex building was originally supposed to be a short-term solution.
"It's time that we take some time and seriously consider this and look at primarily staying at this one site," Naylor said.
City Council members bandied about ideas for where various city offices could be housed, including moving the council chambers and courtroom to the annex and questioning whether it would be cheaper to build a new building rather than renovate existing facilities. Others suggested that city leaders move offices from the annex and sell the annex buildings.
Consultants estimated one option for renovating City Hall – including upgrades to the heating and cooling system, plumbing and fire protection system, among other things – would cost $3.7 million. City Council members also are exploring spending $7.5 million on renovations, with $5.5 million of that coming from tax increment financing dollars and $2 million coming from increases to gasoline taxes, water bills or property taxes.
To raise just more than $2 million over 10 years, city leaders would need to increase the gasoline tax by 1.25 cents a gallon to 4.75 cents per gallon, city documents show. Other options would be adding $5 a month to water bills or increasing property taxes so that the owner of a $150,000 home would pay $24.50 a year more.
Dave Baker, 6th Ward alderman, balked at raising property taxes and suggested any increases to the gasoline tax should go toward improving local roads. Meanwhile, Naylor suggested increasing the water rate rather than adding a flat charge to all users, regardless of how much water they used.
Fourth Ward Alderman Bob Snow preferred that city leaders avoid any of the proposed increases by simply doing improvements as funding allowed.
"We don't have to do everything all at once," Snow said.
Meanwhile, 1st Ward Alderman Dave Jacobson questioned whether the $7.5 million estimate was accurate, suggesting that it cost more than building a new structure.
"I think that [$7.5 million] is fishy," Jacobson said. "Something's not right there."


text:
Financial Assistance
Download Patient Financial Assistance Application
Application (PDF - English version)
Application (PDF - Spanish version)
After completing the application, you may drop off the form at the Cashier's office. You can also mail the application to:
Silver Cross Hospital
Patient Accounts Dept.
1900 Silver Cross Blvd.
New Lenox, IL 60451
The application will be reviewed and you will be notified within 14 days.
Need Assistance?


text:
What's Happening…
Every Tuesday night, we bring you what L Magazine calls Brooklyn's Best Karaoke, hosted by Joy. 10pm, FREE
Comedy Open Mic, every Wednesday afternoon. Test out new material, get to know other members of the NYC comedy scene or just settle in for some laughs. Hosted by Joe Cocozello. 6pm, FREE
Guaranteed to tingle your brain in more ways than one! General knowledge trivia with themed rounds ranging from such topics as "Emoji Movie Pictionary" to "Sportmanteaus" to "Classic Literary Works via Twitter". There are bar tab prizes for the top three teams and free shot questions throughtout. There's no sign-up sheet. Just come in and play! 8:30, FREE
Join us the second (or sometimes third!) Saturday of every month for the biggest cruelty-free bash in NYC. Whether you're an herbivore, carnivore, omnivore, or detritivore, this pop-up market is crammed full of such amazing food, jewelry, crafts and so much more, you'll wonder how you ever spent a Saturday afternoon any other way. Noon, FREE


text:
RISC Migration at OOW2012 : Pragmatic approach to transition to Cisco UCS
Lot of activities these days at the Moscone Center here in San Francisco for Oracle OpenWorld 2102! But first the major speaking session of the day.
Raghunath Nambiar, Cisco distinguished Engineer , and Ashok Joshi , Oracle Senior Director will be on stage at 1:15 pm to talk about
Big Data Performance Delivered: Oracle NoSQL Database on Cisco UCS (CON 11671)
Moscone Center West – Room
If you are at the Moscone Center , don't miss the opportunity to meet Raghu, who led also the TPC-C benchmark (see blog Introducing the World's Fastest 2-Processor server )
To help you to take advantage as soon as possible of the UCS platform, I talked yesterday with Carl Fijat, from Cisco Advanced Services to better understand how easy and painless the RISC migration can be. Carl who was presenting on the Cisco booth ( #1221) talked about the extensive methodology and comprehensive set of tools offered to the customers who are ready to migrate .
Carl will present again today on the booth at 5:00 pm , but meanwhile don't hesitate to look at his slide deck- Feel free to check our website on RISC migration.
OOW 2012 was also the opportunity to express and talk about our partnership with NetApp . Cisco was a sponsor of the Customer event organized by NetApp at the AT&T Park , the San Francisco Stadium of the Giants – Great crowd with a lot of excitement, especially for the numerous fans of base ball, who got the chance to walk on the lawn , visit the locker rooms, meet base ball legends and hear the latest announcements from NetApp – Giuliano Di Vitantonio took the floor there to describe the services that the Cisco and NetApp engineers put in place for Oracle customers, starting with Flexpod based on Cisco UCS .
As I didn't record this short presentation , I asked two of our favorite bloggers , NetApp Vaughn Stewart and Cisco Girish Kulkarni to summarize the state of the union during our Blogger Techminute.
Stay tuned for more information today from the Show floor here at OOW 2012 and meanwhile follow our twitter us at @drombaut and @ciscodc
In an effort to keep conversations fresh, Cisco Blogs closes comments after 60 days. Please visit the Cisco Blogs hub page for the latest content.


text:
Siblings Swim for Survival After Boat Sinks in St. Lucia
(St. Lucia) -- Two siblings swam for more than half a day, battling huge waves and fearing sharks after their fishing vessel capsized.
Dan Suski, 30, of San Francisco, and his sister Kate Suski, 39, of Seattle, chartered a boat last Sunday and had planned for a day of fishing in the waters off St. Lucia. A captain and first mate also came along for the excursion.
The 31-foot fishing vessel suddenly took on water Sunday afternoon, forcing all four people on board to strap on their life jackets and jump into the open water.
"It was completely surreal watching the boat stern go down, go subsurface underwater was surreal," Dan said.
In the chaos of it all, the Suskis were separated from their crew by the swelling sea. They said they saw a beacon of hope in the distance, dry land, and started swimming toward it.
"It would disappear intermittently as we swam but we felt the wind behind us and used that as a gauge for direction," Kate said.
After a grueling 14 hour swim and battling hypothermia, the Suskis made it to shore.
The pair said they spent the night eating bananas and mangoes. The next day they hiked until they found a farm worker who alerted authorities.
""We were very lucky we found a small sliver of beach and we were able to get to safety that way," Kate said.
The Suskis were hospitalized and treated for dehydration and various injuries. The captain and first mate were in the water for nearly a day before a private boat owner plucked them to safety.
St. Lucia's maritime affairs unit is investigating the cause of the shipwreck.
Copyright 2013 ABC News Radio


text:
A number of issues characterize a particular RPC implementation.
How are parameters and results passed?
How is binding carried out?
How are transport protocols dealt with?
What are the call semantics?
What data representation is used?
TI-RPC allows a single parameter to be passed from client to server. If more than one parameter is required, the components can be combined into a structure that is counted as a single element. Information passed from server to client is passed as the function's return value. Information cannot be passed back from server to client through the parameter list.
The client must know how to contact the service. The two necessary aspects are finding out which host the server is on, and then connecting to the actual server process. On each host, a service called rpcbind manages RPC services. TI-RPC uses the available host-naming services, such as the hosts file and DNS, to locate a host.
The transport protocol specifies how the call message and the reply message are transmitted between client and server. TS-RPC used TCP and UDP as transport protocols, but the current version of TI-RPC is transport independent, so it works with any transport protocol.
Call semantics define what the client can assume about the execution of the remote procedure; in particular, how many times the procedure was executed. These semantics are important in dealing with error conditions. The three alternatives are exactly once, at most once, and at least once. ONC+ provides at least once semantics. Procedures called remotely are idempotent. They should return the same result each time they are called, even through several iterations.
Data representation describes the format used for parameters and results as they are passed between processes. To function on a variety of system architectures, RPC requires a standard data representation. TI-RPC uses external data representation (XDR). XDR is a system-independent data description and encoding protocol. Using XDR, RPC can handle arbitrary data structures, regardless of the byte orders or structure layout conventions of the different hosts. For a detailed discussion of XDR, see XDR Technical Note and XDR Protocol Specification.


text:
U.S. Equal Employment
Opportunity Commission
Nursing Facility Fired Employee Because of Her Disability, Federal Agency Charges
CHARLOTTE, N.C. – GGNSC Charlotte Renaissance LLC, a Delaware corporation that operates Golden LivingCenter-Dartmouth in Charlotte, N.C., discriminated against an employee with a disability and then unlawfully fired her, the U.S. Equal Employment Opportunity Commission (EEOC) charged in a lawsuit it filed today. Golden Living operates a nursing facility that provides care to individuals who are ill, physically and mentally disabled, and elderly.
According to the EEOC's complaint, Sandra Bagwell has major depressive disorder (MDD). Bagwell was hired by Golden Living as a licensed practical nurse around April 5, 2007. About two years later, Bagwell had a major depressive episode which led to her being admitted to the Behavioral Health Center/Carolinas Medical Center-Randolph (BHC/CMC) for psychiatric evaluation and treatment. On the same day, Bagwell's husband called her supervisor, the director of nursing, concerning Bagwell's hospitalization. Bagwell informed the nursing director that she was in the hospital and would not be able to report to work, and that she needed to take a leave of absence. Bagwell had previously informed the nursing director that she suffered from MDD.
The EEOC said that two days later, Bagwell's husband also spoke with the defendant's executive director concerning Bagwell's need for a medical leave of absence. Golden LivingCenter refused to approve Bagwell's request for a medical leave of absence as an accommodation for her disability and instead fired her, the EEOC said.
Such alleged conduct violates the Americans with Disabilities Act (ADA), which protects employees from discrimination based on their disabilities. The EEOC filed suit in the U.S. District Court for the Western District of North Carolina (Equal Employment Opportunity Commission v. GGNSC Charlotte Renaissance LLC d/b/a Golden LivingCenter-Dartmouth; Civil Action No.3:12 CV 176) after first attempting to reach a pre-litigation settlement through its conciliation process. The EEOC seeks back pay, compensatory damages and punitive damages as well as injunctive relief.
"Employers are reminded of their obligation to work with disabled employees to provide necessary reasonable accommodations," said Lynette A. Barnes, regional attorney for the EEOC's Charlotte District. "A company cannot simply fire someone because he or she needs to take medical leave related to a disability. Federal law clearly protects people from precisely that type of discriminatory action."
The EEOC enforces federal laws prohibiting employment discrimination. Further information about the EEOC is available on the agency's web site at www.eeoc.gov.


text:
The First Art Newspaper on the Net
Established in 1996
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Monday, September 16, 2019
Last Week
Special Photos
Maira Kalman: Various Illuminations at the Contemporary Jewish Museum
Maira Kalman, New York, Grand Central Station, 1999, gouache and ink on paper. 15 3/8 x 22 1/4 inches. Courtesy of the artist and Julie Saul Gallery, New York.
This summer, the
The Contemporary Jewish Museum
presents Maira Kalman: Various Illuminations (of a Crazy World), the first major museum survey of the work of award-winning illustrator, author and designer Maira Kalman.
Well-known for her covers and drawings for The New Yorker, Kalman has also written and illustrated over a dozen books for children and adults, authored two celebrated illustrated blogs for The New York Times, and has collaborated with the likes of fashion designer Isaac Mizrahi and choreographer Mark Morris. Kalmans art appears everywhere in the foreground of todays visual culture illuminating contemporary life with joy and humor, intelligence and insights, curlicues and question marks.
The exhibition, organized by the Institute of Contemporary Art at the University of Pennsylvania, features a selection of 100 original works on paper that span thirty years of illustration for publication as well as less widely seen works in photography, embroidery, textiles, and performance.
Kalman, born in Tel Aviv in 1949, immigrated to the United States at the age of four with her family. She has lived in New York ever since.
The 100 works on view -- from preliminary sketches to paintings -- are quickly paced and hung as a running narrative of personal memories, cultural references, lifes abundant pleasures and distractions, and the chaos of profound events -- all rendered in Kalmans now signature blend of written text and drawings and infused with her keen sense of the absurd. I think everything I do is narrative. Its things that are from my life, and things Ive seen, and things Ive seen in books. Its always telling stories, she says.
Nothing is lost on Kalman for whom the everyday charm of a nicely wrapped package or an interesting fez holds as much interest as the state of democracy in America today. As an artist, Im reporting the big things and the small things. And sometimes you dont know which is which.
Kalmans art is a discipline of daily creativity and observation, and she speaks of her work as a form of journalism. Taking photographs, collecting objects and arranging them, writing in notebooks, drawing in journals, painting pictures, making lists these are the tools she uses to render an ongoing account of the world as she sees it. Being curious is a completely natural part of it, and being a busybody, and wanting to know what people are doing, and why, and how it works. And why are you wearing those shoes? And whats that hole puncher for? The nature of curiosity is both about how people live their lives and about the bigger picture of how the world works, says Kalman.
Expressive of her habits as a collector of odds and ends, traveler, reader, and avid walker, Kalman has created a special installation as a context for the survey furnished with chairs, ladders and many tables of many things-- balls of string, things that have fallen out of books, moss, lists, bobby pins. The installation invites viewers to observe her way of structuring the world in and outside of the studio.
Specific Works on View
The exhibition includes selections from many of her 12 childrens books including the beloved Oooh-La-La (Max in Love), chronicling the adventures of a Parisian dog poet, and Stay Up Late, her first childrens book created in collaboration with the Talking Heads David Byrne. These whimsical books have attracted admirers of all ages, including Ruth Reichl, American food writer and co-producer of PBSs Gourmets Diary of a Foodie. Anybody who has read any of Mairas books for children will have, as I did, a fantasy of what kind of a world Maira lives in because there is nobody on earth that has a more open imagination, a more exciting way of looking at the world, says Reichl.
Images from Kalmans books for adults are included, such as an illustrated edition of Strunk and Whites classic grammar guide, The Elements of Style. In it, Kalman imagines scenes for some of the books wonderfully quirky sample phrases and its sage rules (The encouragement to Be obscure clearly! Be wild of tongue in a way we can understand. is the inspiration for Chocolate and Champagne Party). The work Man Dances on Salt became the well-known cover for The Principles of Uncertainty, a picture book of essays based on a yearlong column for The New York Times devoted to her musings on lifes complexities, absurdities, and joys. That column was the greatest thing because it talked about how nobody knows whats going on, but we keep going on, says Kalman. Soldier, a portrait of a soon-to-be-deployed soldier at Fort Campbell, Kentucky, is one of the works on view from her second online epic for The Times (soon to be released as a book) And the Pursuit of Happiness, which wanders through the subject of democracy in America.
Covers and drawings for The New Yorker are a highlight of the exhibition. What distinguishes her work is that it is beautiful, but that it also has something to say, says Francoise Mouly, the art editor at The New Yorker. Kalmans widely celebrated cartoon map of New Yorkistan (created with cartoonist Richard Meyerowitz), provided a welcome burst of humor after 9/11 with its tongue-in-cheek tribal territories like Pashmina, Irant, Irate, Kvetchnya, and Botoxia. Her cover illustration Dog Reads Book is one that the artist considers a self-portrait of sorts. Misery Day Parade, in which one marcher wears an I feel rotten button while another carries a flag for the Paralyzed with Panic Brigade was the result of watching a parade on Fifth Avenue. I thought it looked terribly phony, she says. What if people paraded in the way they really felt, I wondered.
Other works for magazines include a series called Mad About the Met for Departures, Aalto Vase with Poppies for The New York Times Style Magazine, an illustrated essay on Vita Sackville-Wests legendary garden for Culture + Travel, a portrait of Dolce & Gabbanas yellow Labradors and other fashion pet portraits for Interview and My Tel Aviv for Tablet.
Also in the exhibition are a number of works on textile, an area that has increasingly been of interest to Kalman. Her Spilt Milk is one of a number of clichés she has embroidered onto linen napkins after being told by a physic, Dont cry over split milk.
A relatively more secret aspect of Kalmans identity is the M in M&Co, the revolutionary design firm founded by her late husband, Tibor Kalman, with whom she was a constant collaborator. Many of the objects they created together such as the firms famous 10-One-4 watch based on one of her doodles are featured as part of Kalmans installation of objects.
Kalman has often collaborated on design projects such as the fabrics she created with longtime friend and neighbor, fashion designer Isaac Mizrahi. Besides being the greatest artist in the world, she is the greatest arbiter of all things, says Mizrahi. Her other collaborators have included the textile company Maharam, Pucci (mannequins), Kate Spade (cosmetic bags) and Mark Morris (stage sets). Yet another collaborative effort was Kalmans recent mini-opera created with composer and art-rock celebrity Nico Muhly based on her illustrated The Elements of Style, performed with an ensemble of musicians playing teacups, slinkys, and typewriters. Elements of many of these projects will be displayed in her object installation as well as in short films created by her son Alex Kalman.
Contemporary Jewish Museum
Maira Kalman
San Francisco
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text:
Junior Member
Join Date: Jun 2013
Member Number: 6060
Location: Carson City, Nv
Posts: 2
Night Games
nav-com adventure game #2
and camp out
June 7, 2014 at 1:00pm
10 miles east of yerington
base camp at n39.00673 w118.99150
First and foremost our goal is to have fun! Second is to learn to use our equipment while having fun. Were going to combine off-road driving, navigation (with and without gps), problem solving, and radio communications. And just to make things a little more difficult. Were going to do it at night.
Everyone had a good time at the last event so lets make this one a bit more extensive. The plan is to cover a lot more ground with a lot more separation between teams. Several of us will be headed out Friday to camp. Come out and camp, or just show up for the day. We found a great area east of yerington that should prove to be a lot of fun.
Base camp is passenger car, as well as, motor home accessible. Between the day and the night run we will have a pot luck dinner. Ill make a batch of my chili verdi and if everyone brings a dish to share with the group, we will all be well fed and ready to have fun when the sun sets. Everyone will need to bring their own plates, flatware, and beverage.
1:00 pm we will start with short orientation and dividing up into our teams. If anyone needs assistance setting up a radio or gps, there will be several very skilled people that will gladly assist you.
Directly after orientation and set up: off to the first way point for the day event. This gives everyone a chance to make sure everything is working and figure out how the game is played.
6:00 pm gather at base camp for a potluck dinner.
8:00 pm its off for the night event. More distance, more extensive puzzles, more driving challenges, more fun.
from maverick gas station in yerington, head east on alt. 95. At 10 miles turn right at the end of the armco barrier. This passenger car / motor home passable road will take you directly to base camp.
Whats needed to play:
1. A willingness to have fun.
2. 4 wheel drive vehicle with low range transfercase.
3. Any hand held gps. Mapping is helpful but not necessary.
4. A radio. We will be using primarily ham radios, but for those who dont have ham, frs (those little walkie talkies every sporting good store sells) will also be used.
5. Flash lights. Everyone should be equipped with a good flashlight.
If you dont have some of the above items, dont worry. This is a team game. Teams will be divided up so each team has all the necessary equipment. Its a lot easier for a driver to have a navigator. Driving, navigating and working the radio is a lot!!! So bring the wife, a buddy, or xyl. If you dont have a ride show up anyway, theres always an open seat.
Other needed information:
we will be using decimal degree coordinate format. (default on most gps units is degrees decimal minutes) have your gps changed over in advance. If you cant figure it out, bring it with you anyway. Someone will be able to help you.
primary frequency will be 146.550 mhz. Inter team communications can use frs channels 1 and 2, no privacy code. Unlicensed players are welcome to listen on ham radios, but we do not promote unlicensed broadcasting on ham frequencies.
just because the terrain is completely passable with a stock vehicle doesnt mean it wont pose a driving challenge. This event takes place on what I consider roads and is not a rock crawling type trail. Please make sure your rig is in trail worthy condition and has everything strapped down!
Fuel: last gas is in yerington. If you top off, one tank should be plenty to play and make it back to town.
Junior Member
Join Date: Jun 2013
Member Number: 6060
Location: Carson City, Nv
Posts: 2
Re: Night Games
Degrees decimal minutes, decimal degrees, degrees minutes seconds, wgs84, nad27. Do you know what all this is and how to find it on a map or gps?
Did you know that the coordinates on a map won't take you to the same place as with your gps?
The rubicon trail repeater uses two pl tones. One for trail use and the other to link to placerville. This is very useful to call 911 or reach the outside world. Do you know how to set this up on the fly? What about a repeater with non standard offset?
I don't want to be the only Scout, hope to see you there.
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Friday, March 16, 2012
PyCon 2012: To Be Continued
It's been a couple years since I was able to go, and I was quite surprised by how much I had been missing it. The Python community is not only one of the most technically astute and interesting ones to which I belong, but also the kindest. That last point is so incredibly important, and it ends up fostering a very strong familiar sense amongst its members.
There were so many good conversations with such great people: Anna, Alex, Guido, David (Mertz), Donovan, JP, Maciej, Allen, Glyph, Paul, Sean... the list goes on and on! Fortunately, I took notes and (and even have some book recommendations to share!) so there are many blog posts to come :-)
But this has brought something into focus quite strongly for me: the interaction at PyCon is one of the most fertile grounds for me all year -- and going without it since Chicago has been a genuine drought! There were some folks at DreamHost that couldn't make it, and we've already started looking around at various local, mini Python conferences that we can attend. This was initially so that those who couldn't make PyCon could receive similar benefits. But now there's something equally important that's contributing to the importance of this search: attending local conferences will mean not as much time has to pass between those fertile interactions and that recharging that we give each other at such events.
Until next time, I hope all Pythonistas everywhere are getting ready for a great weekend :-) Those who have been traveling, I hope you get lots of rest and share with everyone the treasures gathered at this year's PyCon :-)
Posted by Duncan McGreggor at 11:43 AM
Labels: community, conferences, conversations, pycon, pycon2012, pypy, python, twisted
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text:
Arden University
Ucas code: R25
Arden University offers career-focused, accredited courses through Distance Learning and Blended Learning study. We believe everyone, everywhere has a right to higher education which is why we offer flexible and affordable modes of learning. We have study centres in Birmingham, London and Manchester.
How students describe this university
Source: Which? student survey
We asked more than 11,000 undergraduates to say how far they would describe their uni as having the following characteristics. We carry out this analysis where we have scores from at least 30 students. You can also see whether these ratings are high, medium or low compared to other universities.
We're sorry, we haven't been able to speak to enough students get reliable descriptions of this institution yet.
We're sorry, we don't have any student views for this institution yet.
Calculate your living costs
See how much you'll need to live on at your chosen university, with our student budget calculator.See your living costs
Arden University
What does this TEF rating actually mean?
Teaching Excellence Framework (TEF):
League table rankings
Here's where this university ranks in the three main league tables (where available), which are calculated using a combination of stats that they each weight in different ways. They're a handy guide but don't offer the full picture – just because a university is top (or bottom) of the league tables doesn't mean it is (or isn't) the right choice for you.
This institution doesn't feature in any of the three main league tables, most likely because it's small or specialist and there isn't enough data to create a ranking. In a small number of cases some universities have opted out appearing in certain league tables.


text:
OCR List
From UA Libraries Digital Services Planning and Documentation
When do you need an OCR List?
When any of the content in the current upload is typewritten (versus handwritten).
When you can do without creating an OCR List?
- If NONE of the items are typewritten, you can tell the makeJpegs script that there are no items to OCR. (Upon not finding the ocrList.txt file, it will ask you if you want to OCR anything. You will tell it no.)
- If ALL the of items are typewritten, you can ask the makeJpegs script to OCR everything. (Upon not finding the ocrList.txt file, it will ask you if you want to OCR anything. You will tell it yes, then choose the option to OCR the entire content of the upload.)
How to create an OCR List
- Open the collection's metadata spreadsheet (before we've exported our tracking data)
- COPY (DO NOT CUT) and paste the columns Filename and OCR? to a new sheet
- The OCR? column should be filled in with 1 or 0 for each item (1=yes to OCR, more than half of the item is typewritten, 0=no to OCR)
- If it isn't, take the time to look over the items and fill in that column
- Delete the header row
- This will result in a two-column list, with no header row and only one filename per line -- which is what the script requires
- Save the new sheet as tab delimited file
- Format: [collnum].ocrList.txt
- Example: u0003_0001823.ocrList.txt
- Put in collection's Admin folder (in Digital_Coll_Completed directory, of course!)
OCR List for batches
Follow the steps above, except
- limit the data to just the batch; here are a couple of different ways to do that
- in the original spreadsheet, select to copy only the part of the columns that pertain to the batch
- in the new sheet, delete the parts of the columns that aren't part of the batch
- Add the batch number to the filename
- Format: [collnum].[batchnum].ocrList.txt
- Example: u0003_0001577.32.ocrList.txt
What the makeJpegs script does with an OCR List
If any items/files that list are already online, the script will look for the tiffs in the archive, look for existing text files in Acumen - and if it finds the former and not the latter, it will OCR the tiff and place it in Acumen. For the content in the ocrList which is currently being uploaded, the OCR will be placed in the UploadArea/ocr directory. For content not found, there will be a list of the unlocated TIFFs in the output file.


text:
WASHINGTON – Three current and former police chiefs from Maine were in the nation's capital on Tuesday making their case for stronger gun laws as the White House and advocacy groups attempted to ratchet up pressure on Congress to vote on several proposals.
Portland Police Chief Michael Sauschuck, Auburn Chief Phillip Crowell Jr. and former Lewiston Chief Larry Gilbert joined law enforcement officers from across the country who made rounds on Capitol Hill.
They also attended an impassioned and, at times, angry speech by Vice President Joe Biden, who called Republican threats to filibuster a gun control package "embarrassing" and suggested opponents of the gun bills were "in a time warp."
"I thought he did an incredible job," Sauschuck said after Biden's speech. "It really struck home."
After nearly four months of rancorous public debate, the Senate may hold its first votes on a suite of gun control bills as early as Thursday. While some Republicans hope to block debate, others including Maine Sen. Susan Collins said Tuesday that they will not join an attempt to filibuster the gun proposals.
Both sides in the debate are applying pressure to potential swing votes through advertising, social media campaigns and face-to-face lobbying. And both the National Rifle Association and Mayors
Against Illegal Guns – the organization that has emerged as the most prominent counterpoint to the NRA in the debate – have made clear they will use senators' votes in score cards sent to supporters.
The trio from Maine was in Washington as part of events organized by Mayors Against Illegal Guns, which is largely financed by billionaire New York City Mayor Michael Bloomberg.
"We are trying to put out information from the law enforcement and mayors' perspective, where public safety is first and foremost," said Gilbert, who is also a former U.S. marshal for Maine and mayor of Lewiston, as he waited for Biden to speak at the Executive Office Building next to the White House.
"This is the time to take a comprehensive approach to this gun violence issue."
Proposals to stiffen penalties for gun trafficking and expand school safety programs appear to have strong bipartisan support. But questions remained Tuesday about whether a bill to require background checks on private sales had enough votes to move forward in the Senate. Only licensed federal gun dealers are currently required to conduct background checks under federal law.
And the most aggressive gun control proposals Ä including bans on military-style assault rifles and large-capacity ammunition magazines Ä appear unlikely to pass.
Maine's two Senate members – Collins and independent Angus King – are among those under the microscope. Neither plans to support the current proposed ban on assault weapons, much to the dismay of advocates for tighter gun laws. And while both say they support expanded background checks, they want to see exemptions for family members.
Collins appears to be getting the most attention, most recently in online ads this week by both advocates for stronger gun laws and opponents of any new gun regulation.
Auburn's Crowell credited Collins for co-sponsoring both the gun trafficking and the school security bills. On the issue of background checks, Crowell pointed out that more than 2 million people have been denied guns since the National Instant Criminal Background Check System was launched in 1998.
"So we know that it works," he said. "We know the mechanism is in place and that it is effective."
The three men met with Collins and with members of King's staff on Tuesday. Sauschuck, who has been vocal in his support for universal background checks, said that "at the end of the day we have to believe that common-sense solutions are going to win."
"It is a contentious issue and they are deeply involved in the debate," Sauschuck said of Maine's U.S. senators. "We certainly heard some promising things from them."
Biden was scorching in his criticism of Republicans threatening to block votes on the gun bills.
Earlier in the day, Biden said, he had breakfast with more than a dozen family members of victims of the December school shootings in Newtown, Conn. Biden said he wished members of Congress "had been able to eavesdrop on the discussion in my home today."
"They don't even understand how we can even be, at this point, debating this," Biden said of his conversation with the victims' family members. "They don't see how 100 bright women and men (in the Senate) don't get it."
Kevin Miller can be contacted at 317-6256 or at:
On Twitter: @KevinMillerDC
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Mom Says NYPD|Pepper-Sprayed Baby
BROOKLYN (CN) – NYPD officers pepper-sprayed three little children, including 2-year- and 5-month old babies, because they thought the kids' mom jumped a subway fare, the family claims in court.
Marilyn Taylor sued New York City, the NYPD and Officers Maripily Clase, Suranjit Dey and Jermaine Hodge in Federal Court, for herself, her three children and their father.
Taylor claims that she and her kids were preparing to board a Manhattan-bound L train on Aug. 9. She was pushing her 2-year-old in a stroller and holding her 4-year-old's hand. The father, Dehaven McClain, carried the 5-month-old close to his chest.
The officers stopped her on suspicion of skipping a fare because they saw her pushing the stroller through a service entrance rather than the turnstile, Taylor says in the complaint.
"The aggressiveness of the officers' demeanors had upset the four-year-old daughter, and her mother bent down to console her and tell her, 'everything will be OK," the complaint states.
But everything was not OK. Taylor says Officer Dey pepper-sprayed her, causing her to fall to her knees and nearly fall from the platform. She says the spray hit every member of the family.
"The pepper-spray caused the children to scream out and choked the two-year old, who went into fits of vomiting," the complaint states.
"Ms. Taylor was then placed in handcuffs as the minor children cried in fear and pain."
Taylor claims that Officers Hodge and Dey then pushed her down the stairs so roughly that the pressure against her handcuffs bruised her wrists and lower back.
"Mr. McClain was left to try to get the minor children, screaming and crying, safely home by himself," the complaint states.
A day later, Taylor says, she was arraigned and received an adjournment in contemplation of a dismissal, meaning the charges would be tossed if she did not get arrested again within a certain time.
She says she and the children needed medical attention because of the lingering effects of the spray.
"After the attack, mother and father suffered ongoing eye injuries and all three children suffer emotional harms, and are now afraid to ride the subways and become afraid when they see police officers. The four year-old cried herself to sleep for weeks, and after the incident the two-year-old began waking up in the night crying for her mother," the complaint states.
Taylor claims that the officers have continued to harass her family.
"Since the incident, plaintiffs have suffered repeated harassment from the officer defendants, forcing them to avoid the MTA through the Atlantic Avenue stop," the complaint states.
The family seeks punitive damages for civil rights violations, assault, battery, negligence, and violations to the state and federal constitutions.
They are represented by David Rankin of Rankin & Taylor, PLLC.
The NYPD did not immediately respond to a request for comment.


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Tropicana Squeezes More Fruit Into Kids' Diets
With challenges in mind that moms and kids face when it comes to consuming enough fruits and vegetables, Chicago-based Tropicana Products Inc., a division of PepsiCo Inc., worked with moms, kids and health experts including dietitians and pediatricians to develop Tropicana Tropolis, a cool, new portable snack in a 3.17-fl. oz. (90g) pouch.
A smooth blend of real squeezable fruit, and packed with nutrition, this healthy, lunchbox and grab-and-go snack is designed for kids and moms. Fruit goodness, nutrition and the portion size of Tropicana Tropolis has mom appeal. It boasts 100 percent of the DV of vitamin C, with no added sugars, artificial sweeteners or high-fructose corn syrup, and no artificial flavors, colors or preservatives.
"Moms have fond memories of Tropicana from their own childhoods, and our hope is that this new nutritious snack will give them yet another way to give their children fruit goodness," says Memo Maquivar, Tropicana vice president of marketing. "For kids, we want Tropicana Tropolis to be all about making fruit fun and being drawn into 'a world of good.' "
Once Tropicana found what nutritional attributes moms want, it enlisted the help of kids to identify the flavors they like most, resulting in the sweet and sour varieties CherryWorld, GrapeWorld and AppleWorld. The colorful pouch shows kids a glimpse of a whole new Tropicana Tropolis World, while an online universe allows them to discover the fun in fruit through interactive games. The package is designed to fit in lunchboxes and small hands for a fun-to-squeeze experience. The top easily tears off to make eating independently a breeze for on-the-go kids.
Tropicana Tropolis is available in select stores in limited markets, with expanded distribution expected in 2012. Suggested retail price is $2.49-3.49 per four pack.


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Next Episode of Eggheads is
Season 21 / Episode 19 and airs on 19 September 2019 17:00
General knowledge quiz in which teams from all over the UK battle to beat the formidable Eggheads.
Jeremy Vine(Host)
Dermot Murnaghan(Host)
Barry Simmons(Barry Simmons)
Lisa Thiel(Lisa Thiel)
Kevin Ashman(Kevin Ashman)
CJ de Mooi(CJ de Mooi)
Daphne Fowler(Daphne Fowler)
Chris Hughes(Chris Hughes)
Judith Keppel(Judith Keppel)
Pat Gibson(Pat Gibson)
Dave Rainford(Dave Rainford)
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The Case Against Aaron Swartz Was Complete Garbage
from the whether-or-not-it-had-an-impact deptAs I stated in my initial post about Aaron Swartz's death, I don't think it's fair to "blame" the DOJ or others on Aaron's suicide -- just as I don't think it's fair to blame anyone's suicide on a third party, no matter how horrible their actions. That said, the DOJ's actions in this case were quite clearly horrible, and since the case will now never go forward, it seems imperative to highlight just how badly the DOJ acted in this case.
Larry Lessig's post made some clear points suggesting that the feds and MIT were out of line in pursuing this case, which seems like an understatement:
Here is where we need a better sense of justice, and shame. For the outrageousness in this story is not just Aaron. It is also the absurdity of the prosecutor's behavior. From the beginning, the government worked as hard as it could to characterize what Aaron did in the most extreme and absurd way. The "property" Aaron had "stolen," we were told, was worth "millions of dollars" — with the hint, and then the suggestion, that his aim must have been to profit from his crime. But anyone who says that there is money to be made in a stash of ACADEMIC ARTICLES is either an idiot or a liar. It was clear what this was not, yet our government continued to push as if it had caught the 9/11 terrorists red-handed.Lessig made it clear that the feds sought to get Aaron to agree to a plea deal, in which he'd plead guilty to some aspect of the charges against him, in exchange for letting him off on the more serious charges. Aaron did an amazing thing and refused, believing that he had not done anything wrong:
Aaron had literally done nothing in his life "to make money." He was fortunate Reddit turned out as it did, but from his work building the RSS standard, to his work architecting Creative Commons, to his work liberating public records, to his work building a free public library, to his work supporting Change Congress/FixCongressFirst/Rootstrikers, and then Demand Progress, Aaron was always and only working for (at least his conception of) the public good. He was brilliant, and funny. A kid genius. A soul, a conscience, the source of a question I have asked myself a million times: What would Aaron think? That person is gone today, driven to the edge by what a decent society would only call bullying. I get wrong. But I also get proportionality. And if you don't get both, you don't deserve to have the power of the United States government behind you.
In that world, the question this government needs to answer is why it was so necessary that Aaron Swartz be labeled a "felon." For in the 18 months of negotiations, that was what he was not willing to accept, and so that was the reason he was facing a million dollar trial in April — his wealth bled dry, yet unable to appeal openly to us for the financial help he needed to fund his defense, at least without risking the ire of a district court judge. And so as wrong and misguided and fucking sad as this is, I get how the prospect of this fight, defenseless, made it make sense to this brilliant but troubled boy to end it.And, for those who don't think that pushing back against the feds is an amazing thing, you have no clue how much pressure the federal government can put on you when it wants you to plead guilty. Two years ago I wrote about a documentary called Better This World, which is about an entirely different subject, but really opened my eyes to the way the feds handle some of these cases. It's not about what's right. It is entirely about them winning, getting the press coverage and "making examples" of people. And they'll go to amazing lengths, and create pressure that you and I can only have nightmares about, to get people to accept bogus "plea" deals, just so they can notch up another "win." It's scary, scary stuff. Fighting back may have been the right thing to do, but must have created a level of stress unimaginable to most people.
The WSJ has provided more details about the hard line that federal prosecutors had taken with Aaron, including last week's demand that he plead guilty to all counts and spend time in jail:
Mr. Swartz's lawyer, Elliot Peters, first discussed a possible plea bargain with Assistant U.S. Attorney Stephen Heymann last fall. In an interview Sunday, he said he was told at the time that Mr. Swartz would need to plead guilty to every count, and the government would insist on prison time.In exchange for pleading guilty across the board, Heymann apparently promised that they would ask for a shorter sentence, though that's never a guarantee:
Mr. Peters said he spoke to Mr. Heymann again last Wednesday in another attempt to find a compromise. The prosecutor, he said, didn't budge
The government indicated it might only seek seven years at trial, and was willing to bargain that down to six to eight months in exchange for a guilty plea, a person familiar with the matter said. But Mr. Swartz didn't want to do jail time.The report also notes that his girlfriend was unaware of any depressive episodes until right after Wednesday's decision by Heymann to refuse to budge on jailtime and a guilty plea on all counts.
"I think Aaron was frightened and bewildered that they'd taken this incredibly hard line against him," said Mr. Peters, his lawyer. "He didn't want to go to jail. He didn't want to be a felon."
As for the details of the case itself, they were absurd -- and it is no wonder that Swartz refused to plead guilty. Back in September, we delved into the ridiculous details of the final indictment -- which upped the felony count, all of which was based on the idea that he had done some sort of massive computer hacking for the sake of some criminal conspiracy. And yet... that was clearly never the case. As Tim Lee detailed, at worst, it appeared that Swartz might possibly be guilty of trespassing. Yes, he went into a computer closet at MIT, but he got access to a network which was open for all, and he downloaded documents that were made available freely to all on that network.
Many people have reasonably pointed to a blog post from Alex Stamos, the CTO of Artemis Internet, who had been brought on as an expert witness on Aaron's behalf. After demonstrating that his reports have been used on behalf of prosecutors in attacks, and pointing out that he's no friend of hackers, Stamos highlights in detail just how completely bogus the charges against Swartz were:
That's from someone who clearly had detailed knowledge about the situation. Other legal experts had come to similar conclusions after the original indictment came out. Way back when, we had pointed to an article by Max Kennerly in which he looked closely at the indictment and was left confused as to how it got as far as it did. Kennerly has since updated his post (both after the new indictment and again over the weekend, in which he notes that Stamos' post suggest that his own original analysis didn't even go far enough after discovering the details). Kennerly looked at how the case really revolved around whether or not Swartz's activities violated the terms of service, but given the details of the case, combined with Stamos' comments and the fact that (since Swartz was charged) multiple courts have ruled that a mere terms of service violation is not a violation of the Computer Fraud and Abuse Act (CFAA), this case seemed to have absolutely nothing legitimate.
I know a criminal hack when I see it, and Aaron's downloading of journal articles from an unlocked closet is not an offense worth 35 years in jail.
The facts:
- MIT operates an extraordinarily open network. Very few campus networks offer you a routable public IP address via unauthenticated DHCP and then lack even basic controls to prevent abuse. Very few captured portals on wired networks allow registration by any vistor, nor can they be easily bypassed by just assigning yourself an IP address. In fact, in my 12 years of professional security work I have never seen a network this open.
- In the spirit of the MIT ethos, the Institute runs this open, unmonitored and unrestricted network on purpose. Their head of network security admitted as much in an interview Aaron's attorneys and I conducted in December. MIT is aware of the controls they could put in place to prevent what they consider abuse, such as downloading too many PDFs from one website or utilizing too much bandwidth, but they choose not to.
- MIT also chooses not to prompt users of their wireless network with terms of use or a definition of abusive practices.
- At the time of Aaron's actions, the JSTOR website allowed an unlimited number of downloads by anybody on MIT's 18.x Class-A network. The JSTOR application lacked even the most basic controls to prevent what they might consider abusive behavior, such as CAPTCHAs triggered on multiple downloads, requiring accounts for bulk downloads, or even the ability to pop a box and warn a repeat downloader.
- Aaron did not "hack" the JSTOR website for all reasonable definitions of "hack". Aaron wrote a handful of basic python scripts that first discovered the URLs of journal articles and then used curl to request them. Aaron did not use parameter tampering, break a CAPTCHA, or do anything more complicated than call a basic command line tool that downloads a file in the same manner as right-clicking and choosing "Save As" from your favorite browser.
- Aaron did nothing to cover his tracks or hide his activity, as evidenced by his very verbose .bash_history, his uncleared browser history and lack of any encryption of the laptop he used to download these files. Changing one's MAC address (which the government inaccurately identified as equivalent to a car's VIN number) or putting a mailinator email address into a captured portal are not crimes. If they were, you could arrest half of the people who have ever used airport wifi.
- The government provided no evidence that these downloads caused a negative effect on JSTOR or MIT, except due to silly overreactions such as turning off all of MIT's JSTOR access due to downloads from a pretty easily identified user agent.
- I cannot speak as to the criminal implications of accessing an unlocked closet on an open campus, one which was also used to store personal effects by a homeless man. I would note that trespassing charges were dropped against Aaron and were not part of the Federal case.
In short, Aaron Swartz was not the super hacker breathlessly described in the Government's indictment and forensic reports, and his actions did not pose a real danger to JSTOR, MIT or the public. He was an intelligent young man who found a loophole that would allow him to download a lot of documents quickly. This loophole was created intentionally by MIT and JSTOR, and was codified contractually in the piles of paperwork turned over during discovery.
Given the disclosures by Swartz's expert, Alex Stamos, which are linked at the beginning of this post, it seems that Swartz had a strong argument that he did indeed have "authorization." As Stamos says, at the time of Swartz's downloads, "the JSTOR website allowed an unlimited number of downloads by anybody on MIT's 18.x Class-A network" and "Aaron did not use parameter tampering, break a CAPTCHA, or do anything more complicated than call a basic command line tool that downloads a file in the same manner as right-clicking and choosing 'Save As' from your favorite browser."Separately, it has been pointed out numerous times that the only real party who had any reasonable claim to "harm" was JSTOR, and it had said from early on that it had settled its issue with Swartz when he agreed to turn over his hard drive with everything he'd downloaded. Now, a bit more has come out, as apparently JSTOR itself asked federal prosecutors to drop the case:
Thus, all Swartz did was write a script to find and download the files. As a factual matter, that may have been "authorization," rendering it lawful everywhere. Even if the script was "exceeding authorization," if the First Circuit had adopted the same rule as the Fourth Circuit and the Ninth Circuit, then Swartz would likely have been not guilty as a matter of law. All of which further shows why this prosecution should not have been brought in the first place; the prosecutor is supposed to exercise their judgment to do justice.
Elliot Peters, Swartz's California-based defense attorney and a former federal prosecutor in Manhattan, told The Associated Press on Sunday that the case "was horribly overblown" because Swartz had "the right" to download from JSTOR, a subscription service used by MIT that offers digitized copies of articles from more than 1,000 academic journals.So even the supposedly "harmed" party didn't want the case to go forward. And yet, Stephen Heymann kept pushing.
Peters said even the company took the stand that the computer crimes section of the U.S. Attorney's Office in Boston had overreached in seeking prison time for Swartz and insisting , two days before his suicide , that he plead guilty to all 13 felony counts. Peters said JSTOR's attorney, Mary Jo White , the former top federal prosecutor in Manhattan , had called Stephen Heymann, the lead Boston prosecutor in the case.
"She asked that they not pursue the case," Peters said.
The case is now gone, so we'll never see how a judge rules on it. We can hope that, given everything above, a judge would have clearly seen what a joke the case was, and dismissed it. But, you never know how judges will rule, and especially when they're not very technically savvy, they'll give a ridiculous amount of deference to federal prosecutors, merely because of their position. But the ridiculousness of the case should be pointed out over and over again to remind everyone of the problems we get when the federal government gets too powerful, and knows that it can use that power against someone it doesn't like.
Whether or not the impending trial contributed to Swartz's death, one thing is undeniable: the case itself was a complete farce, and that should not be forgotten. One hopes that, among other things, one of the legacies of Swartz's death may be to fix broken laws that allowed this prosecution to move forward, and to figure out a way to dial back the aggressiveness with which federal prosecutors take on cases these days.
Filed Under: aaron swartz, cfaa, copyright, doj, hacking, legal issues, pressure, stephen heymann, us attorneys


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Odd Sleeping Patterns
Saturday, February 14, 2009
I don't know what is going on with me but... as you can see, it's 430 am. I'm awake. I have been for an hour.
My sleeping keeps getting interrupted. I don't know why.
The other day, I think on Tuesday, I was asleep by 930 since I get up for work at 430. I woke up at 130 and was up... on Twitter, reading blogs, emails, etc. I laid back down at 300. Couldn't sleep, so at 330 I got up. I said F it... the alarm will go off in an hour anyway... so I made my coffee, put some laundry in, and got ready for work.
Yesterday I woke up at 330 again and was up doing the same thing... Twitter, reading blogs, and emails... I got the kids off to school and ran some errands for a couple of hours. By 1130 I was so tired I couldn't take it so I came home and took a nap before my daughter got out of Elementary school early (130). I slept until 330.
Sometimes I think someone is waking me up. My mom passed almost two years ago and you can call me crazy if you want to, but I believe in ghosts. And I think Mom visits us sometimes. I am not alone in this. My siblings have signs of her visiting too. And we are 2600 miles apart. So maybe Mom wants me to wake up?
I don't know... all I know is my sleeping pattern is on the fritz. At least I have until Tuesday before I go back to work. Then I work 3 days and off for 3 more again.
Comments? Suggestions?


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The Faculty History Project documents faculty members who have been associated with the University of Michigan since 1837, and the history of the University's schools and colleges. This project is part of a larger effort to prepare resources for the University's bicentennial in 2017. Find out more.
Rudolph H. Gjelsness
Rudolph H. Gjelsness
|Years at Michigan:
1925 - 1928
1937 - 1965
Assistant Librarian
Professor of Library Science
Chair of Library Science
Professor Emeritus
Faculty Member Resources
LSA Minutes
October 5, 1946
The Michigan Alumnus
June 1, 1965
Regents' Proceedings


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BAYBORO � Pamlico County property owners � facing no hike in taxes � have a chance Monday to voice their opinions about the county�s $15.9 million budget.
BAYBORO � Pamlico County property owners � facing no hike in taxes � have a chance Monday to voice their opinions about the county�s $15.9 million budget.
A public hearing will be held during the county commissioners� regular meeting, beginning at 7 p.m. on the second floor of the county courthouse.
Residents also will see no change in current water rates under the proposed budget.
The 62.5 cents per $100 valuation property tax rate remains the same after commissioners completed work on a budget that included slicing $2.1 million off new requests from its own county department heads and outside agencies, including schools.
County Manager Tim Buck presented the final budget two weeks ago, and it was available for public viewing. It includes $220,000 from the county�s unallocated fund balance. The county budget has been balanced with county savings each of the past two years, although no withdrawal from that account has been necessary.
Buck said he was confident the current budget year spending, which ends June 30, would again be balanced without using fund balance.
The county tax base is $1.6 billion, about $1.5 billion being in real estate.
County employees are scheduled for a 3 percent cost of living hike, the first such raise for 150 workers since 2008-09. Including benefits, its totals $169,000.
Monday�s meeting also lists a request for two closed sessions in regard to personnel.
Charlie Hall can be reached at 252-635-5667 or firstname.lastname@example.com


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York Minster. Gothic Nave, Interior
Cathedral and Metropolitical Church of Saint Peter in York, commonly known as York Minster, is the cathedral of York, England, and is one of the largest of its kind in Northern Europe.
Canon EOS 5D Mark III 1/40s, f 4.0, ISO 640, 24 mm
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