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Calling all students! Logo design competition with a £200 prize
The Much Ado About Portsmouth (MAAP) Shakespeare festival will be held across Portsmouth in April next year (2016), and they are looking for a great logo!
MAAP stems from a University of Portsmouth initiative, and is supported by Portsmouth City Council and the New Theatre Royal, amongst a host of other organisations and groups across the city.
Entrants are encouraged to submit logo designs created as a vector image in Adobe Illustrator (free 30-day trial available via Adobe.com), CorelDRAW (free 30-day trial available via coreldraw.com), or Inkscape (free from inkscape.org), but will accept non-vector images produced in PNG and Jpeg formats.
Please bear the following in mind when devising logos:
- A key focus of the festival is community, and bringing the different communities of Portsmouth together.
- There should also be good appeal to non-locals, in terms of bringing in tourism from outside Portsmouth to help boost our city's cultural and trade profiles.
- There is no set colour scheme or shape, but entrants should consider what kind of impact the design choices will have.
- The logo should be clear and easy to understand – although that doesn't mean it can't be clever! Simple but meaningful works well in branding.
- A great logo will look good and be legible at all sizes.
Entrants must be 16 years or older, and in full or part-time education. Entries can be submitted via email (email@example.com) or post, and should include the following details: full name, current address and telephone number, and school/college/university.
The deadline for entries is 30 June 2015, at 23:59, and the winning entry will be announced on the festival Facebook page by 1 August 2015.
By submitting an entry, it is agreed for the design to be used for all festival publicity. For full Terms and Conditions, please see the Much Ado About Portsmouth Facebook page. Follow the conversation on Twitter too.


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Today's Subjects theme is … Music! Runner-up: Post your own favourite Musical Cheez week here, and wait for admin image magic to make it appear. Please post a link to a FULL webpage, rather than a direct link to an… Read More ›
Belated Friday Hoyden: Goodbye, voice of my childhood
I grew up as a folkie. Lots of people in our bushwalking club were also folkies, so we had serious singing around the campfire as well as going along to many ceilidhs and festivals. The voice of Mary Travers was one of our icons.
Vale Les Paul
Les Paul, dead at 94 from complications of pneumonia. As Tim Dunlop notes, only a few months ago he was still regularly gigging in a club at Times Square, so he was doing what he loved almost right until the end.
It's all connected: story and song
Stuff I'm reading [click through to the links for context]: I'm reading girlejones at mynxii's place: The arts are the mechanism through which individuals of society express themselves, commentate and protest. It's what gives individuals a voice and it's a… Read More ›
Hack – "Is your taste in music sexist?" A transcript.
I've finished transcribing Triple J's Hack programme on the "Hottest 100 of All Time". For the background on this, see these previous posts: "Was the Hottest 100 Of All Time sexist? asks Triple J's Hack" "Alternative Youth Music Station Thinks… Read More ›
Was the Hottest 100 Of All Time sexist? asks Triple J's Hack
A couple of weeks ago, guest Hoyden Orlando asked why Triple J's first draft of a "potted history of music" failed to showcase significant numbers of women. (The history has since been edited.) The "Hottest 100 Of All Time" has… Read More ›
Alternative Youth Music Station Thinks There's No Alternative to Being a Bloke
Today's Guest Hoyden is regular commentor orlando, who returned to Sydney last year after a time living in the UK. Over at Triple J right now it's "Male Week". The ABC's Australia-wide, government funded youth music radio station has dedicated… Read More ›
Vale Michael Jackson
Wow, I look away from Twitbin for an hour and it explodes: Michael Jackson taken to hospital after being found not breathing, then announced as in a coma and then pronounced dead.
Sublime moment du jour
This carol doesn't get nearly enough respect. Cast out your O Come All Yes and your O Christmas Trees, this is where it's at. In Dulci Jubilo, the Choir of King's College, Cambridge. ObHeathenism: Gloucestershire Wassail, by Mars Hill Academy… Read More ›
Calling the hivemind: getting freebie stuff for your school
One of my kids' schools desperately needs new/better sound amplification equipment in their auditorium. What they currently have is not only inadequate even if it was working properly (need at least another pair of speakers to fill the space acoustically),… Read More ›


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Prior to contacting the Benjamin team, I interviewed two other realtors from different agencies and neither of them seemed to have the experience or knowledge of the marketplace.— Mary & Jim, Seller/Buyer
After speaking to Bob Benjamin I knew we had found the right realtor to help sell our home of 20 years and find us our new home. His knowledge of the marketplace and what we "should" and "shouldn't" do to get our house staged and ready to sell was amazing. None of the other realtors we interviewed provided this information. Bob, RC, and Ellen were all very professional and great to work with.
They made the home buying experience, which can be stressful at times, a breeze, due to their knowledge and experience along with their charismatic personalities. I would not hesitate to contact them in the future or to recommend them as a realtor.


text: I have been receding for at least 20 years. I would say I've lost at least 40% of my hair. Is it still possible to reactive hair follicles after all that time? Do hair follicles eventually die or do they just go into a dormant state? Does age play apart in the recovery of hair follicles?


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The Rembrandt Decisions. A Novel for Young Adults with humor, romance and intrigue.
Shipping calculated at checkout.
This novel blends humor, romance, and intrigue in telling the story of about young art curator who curates a 92-year-old millionaire's priceless art collection. For young adults.
Author: Anne V. Badgley.
Title: The Rembrandt Decisions.
Publisher: New York: Dood, Mead and Company, 1979.
Condition: Unmarked text. Small pieces missing at edge of dust jacket. at top of front flap. Very Good in good dust jacket.
Hardcover. (#30227)
Keywords: Artists, European Art, Art History, Children's Books, Dutch Art, Netherlandish Art, Art Fiction, Works on Paper, Graphic Arts, Etching, Young Adults, Young Adults Novel, Art Novel


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A small firm manufactures necklaces and bracelets. The total number of necklaces and bracelets that it can handle per day is at most 24, It takes one hour to make a bracelet and half an hour to make a necklace. The maximum number of hours available Per day is 16. If the profit on a necklace is ₹ 100 and that on a bracelet is ₹ 300. Formulate on L.P.P. for finding how many of each should be produced daily to maximize the profit ? It is being given that at least one of each must be produced.
Let x necklaces and y bracelets are manufactured
:. L.P.P is
Welcome to Sarthaks eConnect: A unique platform where students can interact with teachers/experts/students to get solutions to their queries. Students (upto class 10+2) preparing for All Government Exams, CBSE Board Exam, ICSE Board Exam, State Board Exam, JEE (Mains+Advance) and NEET can ask questions from any subject and get quick answers by subject teachers/ experts/mentors/students.
One Thought Forever
"There is a close connection between getting up in the world and getting up in the morning."
– Anon
"There is a close connection between getting up in the world and getting up in the morning."
– Anon


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"Pete and I became friends after being in the same study group for biology my spring semester.
It's my turn.
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I knew it wouldn't be long now.
His mouth parted slightly, and a light sheen of sweat formed on his upper lip.
" His thumb stroked my wrists now, which caused a low moan to creep up my throat.
But I soon found myself squatting in the tub.


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4147 Powderhorn Dr. San Diego, CA 92154
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I had the opportunity to work with my colleages at StoryTech and LiveWorx, a "one-of-a-kind digital transformation event for the industrial enterprise" to craft these tech trends around the FUTURE OF WORK. LiveWorx brings together 6,500+ technologists who will advance their business strategies, solve challenges, establish connections, experience disruptive tech demos and redefine the future of work. LiveWorx features 6,500+ tech innovators in … Read More
CHECK OUT THE LATEST TECH TRENDS FROM REAL ESTATE… From smart homes to real time virtual open houses to advanced visualization and data management tools, there's a lot of tech to unpack in the home building and buying industries. I have the opportunity to work with StoryTech and my colleagues at PCBC to put together this Housing Technology Trends Report. Dedicated … Read More
TOP TECH TRENDS FROM THE CONSUMER ELECTRONICS SHOW 2019!!! Along with my colleagues at StoryTech, I worked with the Consumer Electronics Show to curate the top trends happening on the show floor this year in Vegas. The Consumer Electronics Show continues to be the go-to show for brandsand businesses interested in consumer technology. CES® 2019 will featuremore than 4,500 exhibiting … Read More
Digging into the World of Esports and The Blockchain with ReadyUp!
Digging into the World of Esports and The Blockchain with ReadyUp! from readyup.com This week on the Tech Cat Showwe spoke with Roderick Alemania, CEO of ReadyUp, a platform that's connecting esports and the gaming community. Roderick has long been an entrepreneur at the forefront of content trends and Ready up is a great example of a number of trends coming together: live events, … Read More
Developing autonomous and intelligent technologies for good!
This week on the Tech Cat Show we chatted with John C. Havens who is the executive director of the IEEE Global Initiative on Ethics of Autonomous and Intelligent Systems. John took some time to explain the IEEE Global Initiative as well as the new CXI or the Council on Extended Intelligence. Here are some paraphrases from the interview: On Intelligent technologies: "… there's this … Read More
Marketing the Blockchain with Tony Winders and Alon Goren
Marketing the Blockchain with Tony Winders and Alon Goren This week on The Tech Cat Show… Finishing up our month of Blockchain, we were joined this week by Tony Winders, CMO and Principal Consultant at The Winders Group, and Alon Goren, Co-Founder of Crowd Invest Summit and CEO of Goren Consulting Group. Our conversation with them taught us how to market … Read More
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At the Crossroads of Freedom and Equality Essay
By Henry Ayala
Today, I'm going to write about why we emphasize the learning of Black history during Black History Month and the argument against "Black History is American history". It is an argument well said in recent times, but in my humble opinion people are viewing it from the wrong perspective. What I want you to gain from this essay is a changed perspective from Black History Month to what it actually is, Black Awareness Month.
Prior to 1926, most people learned very little about the contributions of black people in American history. We learned about slavery, sure, and the underground rail road, but not so much about a broad range of important black people and their achievements and …show more content…
We all understand the concept of inertia. Things want to stay like they are and resist movement from an established trajectory. So if you want to get something moving or alter its trajectory, you have to apply some kind of force. It won't just change on its own. You have to take some kind of action. In regard to the narrative of American history, some kind of action was needed to set things right. Negro history week and later Black History Month was such an action.
At some point we'll reach a point where the history books are fully populated with all of the important contributions of all groups of people. And in the case of black people, the same American history that everyone learns 12 months a year will fully incorporate those contributions in an integrated way, absent the historical bias that previously caused them to be overlooked or ignored. At that point there won't be any need for special focus. Are we there yet? Have we already passed it? I don't


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of England est 1972
Beautifully made Riding Crop/ Stick
We are pleased to offer you a General Purpose Riding Crop (stick) in 2 styles, one with an antler handle or one with an antler hook married to the stock with a strong nickel-silver collar and a part plaited fibreglass stock and an open leather keeper.
Note: Please choose antler style A or B when ordering.
The stock length including antler is 20" x 16mm diameter. Buy one similar to this
We can't guarantee the antler hook is going to be precisely the same as the one shown, they will vary as they are organic. Delivery will be 7-10 days from time of ordering one of our men's Hunting whips as they are all individually made.
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Collar Engraving
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Shipping Charge - selected at checkoutUK & NI £6.00, £12.00 to all destinations worldwide. We will provide a UK postal system tracking number as soon as the item is dispatched.


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4 years ago the installation of my broadband was so problematic I received an apology from bt's CEO and compensation of £600 . ( and an assurance that bt's relationship with openreach would improve.)
So, when I recently moved house I assumed everything would run smoothly. Wrong !
An openreach engineer was supposed to connect my infinity broadband on Monday ..... But he never turned up! I therefore took the day off work for nothing. On Wednesday I was informed by text that a new appointment had been made .... For next month!!!
I phoned to complain, and after 3 hours on the phone ( mainly on hold ) I was told the appointment would happen tomorrow and I would receive a text this morning confirming this .
No text arrived. So ... After another hour on the phone I spoke with Stephanie at accringtpn who told me that I was 'misinformed' about tomorrow's engineers visit and that due to the bank holiday weekend it would now be next week before I would be given a new installation date.
The reason for the failed engineers visit was given was ' lack of available resources ' . I pointed out that as openreach had failed to keep their appointment they should treat this case as a priority. But no. It appears I just go to the back of the queue again .
This is appalling. I still have no idea when my broadband will be connected, have lost a days work and spent over 4 hours on the phone.
Once again I will be seeking full compensation. Why cant BT get something as simple as a broadband connection right?
I have been a personal BT customer for 20 years and run a business that spends £20000 per year with BT . I am so tempted to transfer my business to another provider that offers good customer service - and keeps their promises ( and answers the phone within half an hour!)
A disappointed customer
Order number VOL12-79735113****
Hi Sunshinemike
Welcome to the forum.
I am sorry to learn of the experience you've had this week, when trying to get Broadband installed.
Send us an email using the contact us link in my profile. You will be able to find this link in the section 'About Me'.
You should remove your order number, this is a public forum.
[edit] Mods on the ball


text:
THE IRISH SUN has claimed that traces of heroin have been found in the canteen toilets of RTÉ.
The claim follows allegations by the Sunday Independent that both RTÉ and the gardaí had turned a blind eye to illegal drug use by the organisation's top staff – claims which have been strenuously denied.
The Sun claims that a reporter gained access to RTÉ studios and swabbed for traces of illegal drugs using a testing kit. It says that "suspected traces of of street heroin" were found on the a toilet lid in the main canteen.
Kevin Dawson, RTÉ's Head of Corporate Communications, told the newspaper should "make available to the gardaí without delay all of the information and materials in its possession" for evaluation. He added that the broadcaster would then "await advice from the gardaí and will co-operate fully".
Dawson insisted that the health, safety and welfare of RTÉ staff are a priority. He also pointed out:
The traces as described have been found in the part of RTÉ's premises most frequently accessed both by staff and by visitors to RTÉ including the general public.
Meanwhile the Irish Examiner reports that RTÉ and the government are at loggerheads after comments by Pat Carey, the Minister for Community, Equality and Gaeltacht Affairs. Carey said that RTÉ – and the media in general – were "very judgemental" about the circumstances surrounding the death of model Katy French in December 2007, which was linked to cocaine, and that it had now "come home to roost in their own case".
Carey added that it was essential for large organisations like RTÉ to assist staff who may be suffering from drug abuse:
It's too easy to turn a blind eye to people's idiosyncrasies, or whatever, but lives are at risk. At the end of this chain there's a dealer, there is someone making money.


text:
When shipping bulk liquid products, there's a lot of preparation that goes into making your shipment a success. From the initial intake of lane and product information to the equipment used in the final delivery, there is a long list of items thatContinue Reading
In the world of liquid bulk shipping, everything is 'big' – the loads, the tanks, the miles, and the costs. One more thing is big relative to other shipments: the risks. So you would think every operational element would be examined, re-examined andContinue Reading
Posted in Liquid Bulk Transport


text:
|Lars Magne Ingebrigtsen
|bug#6763: 22.214.171.124; Doc string of `window-line-height'
|Thu, 14 Jul 2011 15:33:11 +0200
|Gnus/5.110018 (No Gnus v0.18) Emacs/24.0.50 (gnu/linux)
IRIE Shinsuke <address@hidden> writes: > `pos-visible-in-window-p' with no args returns t or nil, so this > expression returns a boolean if (window-line-height) is nil. > Since `pos-visible-in-window-p' can't be the substitute, such an > expression merely causes a meaningless result. Do you have a test case that shows this bug? The doc of `pos-visible-in-window-p' says: --- If POS is visible, return t if PARTIALLY is nil; if PARTIALLY is non-nil, return value is a list of 2 or 6 elements (X Y [RTOP RBOT ROWH VPOS]), where X and Y are the pixel coordinates relative to the top left corner of the window. The remaining elements are omitted if the character after POS is fully visible; otherwise, RTOP and RBOT are the number of pixels off-window at the top and bottom of the row, ROWH is the height of the display row, and VPOS is the row number (0-based) containing POS. --- ROWH should be what you're looking for, otherwise? -- (domestic pets only, the antidote for overdose, milk.) bloggy blog http://lars.ingebrigtsen.no/
|[Prev in Thread]
|Current Thread
|[Next in Thread]


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08 Oct 2019
(PANEL SESSION) How To Support Storage Regulations Across Europe In Order To Increase The Bankability of Energy Storage
- What are the key parameters to unify regulations on energy storage across Europe?
- How to structure markets to maximise the use of batteries and reward batteries for the quality and responsiveness of their service accordingly?
- How to incentivise network companies to buy local flexibility services and enhance investment in storage all over Europe?


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FIGJAM HEADSHOTS: Fine Headshots for Actors in NYC
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Here is one that I got out of a documentary called "Chasing Perfection" which explores what it takes to be an elite athlete.
Michael Johnson the champion 200m and 400m runner was interviewing Sir Dave Brailsford who helped Great Britain Cycling win 8 Gold medals at both the 2008 and 2012 Olympic Games
When Bailsford started as performance director of Great Britain Cycling, part of the challenge was knowing that where they wanted to be as a team seemed so far off, and where were the gains going to come from? At the elite level you don't get the massive steps of improvement in performance, so the challenge is to then find where the small incremental progressions are across a number of different areas within the sport.
"The whole principle came from the idea that if you broke down everything you could think of that goes into riding a bike, and then improved it by 1%, you will get a significant increase when you put them all together" Dave Brailsford (2012)
The following is a transcript from the documentary where he talks about this approach
"Instead of looking for perfection, let's look for progression. Can we progress from where we are today, and make a little step forward, in a whole host of different areas? And people said, 'yeah no problem, I can do that.' I can actually start that now and I can do something next week, so we started looking at all these different things, training, nutrition, equipment, technology, everything we could look at, and the way we're behaving, our attitudes. Are we smiling? Are we not smiling? You know, all these little things and you put it together and lo and behold we'd started to feel like we'd gotten some momentum"
Seems simple, doesn't it!
It made me think.
Can I apply this idea of marginal gains to my teaching?
Does this have any relevance to student learning?
Does it somehow relate to the rubrics we're developing?


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In jazz music it is common to perform consecutive eighth notes with an alternating duration pattern of long-short. The exact duration ratio (the swing ratio) of the long-short pattern has been largely unknown. The first experiment describes measurements of the swing ratio in the ride cymbal from well-known jazz recordings. The second experiment was a production task where subjects adjusted the swing ratio of a computer generated performance to a preferred value. Both these experiments show that the swing ratio varies approximately linearly with tempo. The swing ratio can be as high as 3.5:1 at comparatively slow tempi around 120 bpm. When the tempo is fast the swing ratio reaches 1:1, that is, the eighth notes are performed evenly. The duration of the short note in the long-short pattern is approximately constant (≅ 100 ms) for medium to fast tempi.
A method is presented which semi-automatically extracts the fundamental frequency and displays as continuous signals vibrato rate, vibrato extent and sound level. The method is tested on specially made recordings of violin music with piano accompaniment, using a small microphone mounted directly on the violin. The fundamental frequency was successfully extracted by means of a waveform correlation program. Likewise, vibrato rate and extent were extracted separately for each tone from the fundamental frequency signal after elimination of its DC component. The results seem promising, offering the opportunity of visual examination and measurement of changes in vibrato characteristics during performances of entire pieces of music.
Background: Scratching is a novel musical style that introduces the turntable as a musical instrument. Sounds are generated by moving vinyl records with one or two hands on the turntable and controlling amplitude with the crossfader with one hand. With this instrument mapping, complex gestural combinations that produce unique 'tones' can be achieved. These combinations have established a repertoire of playing techniques, and musicians (or DJs) know how to perform most of them. Scratching is normally not a melodically based style of music. It is very hard to produce tones with discrete and constant pitch. The sound is always strongly dependent on the source material on the record, and its timbre is not controllable in any ordinary way. However, tones can be made to sound different by varying the speed of the gesture and thereby creating pitch modulations. Consequently timing and rhythm remain as important candidates for expressive playing when compared to conventional musical instruments, and with the additional possibility to modulate the pitch.Aims: The experiment presented aims to identify acoustical features that carry emotional content in turntable scratching performances, and to find relationships with how music is expressed with other instruments. An overall aim is to investigate why scratching is growing in popularity even if it a priori seems ineffective as an expressive interface.Method: A number of performances by experienced DJs were recorded. Speed of the record, mixer amplitude and the generated sounds were measured. The analysis focuses on finding the underlying principles for expressive playing by examining musician's gestures and the musical performance. The found principles are compared to corresponding methods for expressing emotional intentions used for other instruments.Results: The data analysis is not completed yet. The results will give an indication of which acoustical features DJs use to play expressively on their instrument with musically limited possibilities. Preliminary results show that the principles for expressive playing are in accordance with current research on expression.Conclusions: The results present some important features in turntable scratching that may help explain why it remains a popular instrument despite its rather unsatisfactory playability both melodically and rhythmically.
By means of varying timing, dynamics, pitch, and timbre musicperformers put emphasis on important events of a musical piece andprovide their listeners with acoustic cues that facilitate the perceptualand cognitive analysis of the musical structure. Evidence exists thatthe speed and the accuracy with which stimulus features are beingprocessed contribute to how a stimulus itself is evaluated. In our study,we tested whether expressive timing facilitates auditory grouping andwhether these timing variations influence pleasantness judgments. Tothis aim, participants listened to short atonal melodies containing oneor two auditory groups and performed both a cognitive and anevaluative task. The expressive phrasing patterns of the excerpts weregradually modified ranging from inverted phrasing through deadpanversions to exaggerated timing patterns. Reaction times decreasedand hit rates increased with a more pronounced grouping structureindicating that subtle timing variations alone do facilitate theformation of auditory groups in a musical context. Timing variationsalso modulated the direction of pleasantness ratings. However, theresults suggest that the threshold of an expressive musicalperformance to become more pleasant than its deadpan counterpartpresumably can be exceeded only by the simultaneous covariance ofmore than one acoustic cue.
The organization of sound into meaningful units is fundamental to the processing of auditory information such as speech and music. In expressive music performance, structural units or phrases may become particularly distinguishable through subtle timing variations highlighting musical phrase boundaries. As such, expressive timing may support the successful parsing of otherwise continuous musical material. By means of the event-related potential technique (ERP), we investigated whether expressive timing modulates the neural processing of musical phrases. Musicians and laymen listened to short atonal scale-like melodies that were presented either isochronously (deadpan) or with expressive timing cues emphasizing the melodies' two-phrase structure. Melodies were presented in an active and a passive condition. Expressive timing facilitated the processing of phrase boundaries as indicated by decreased N2b amplitude and enhanced P3a amplitude for target phrase boundaries and larger P2 amplitude for non-target boundaries. When timing cues were lacking, task demands increased especially for laymen as reflected by reduced P3a amplitude. In line, the N2b occurred earlier for musicians in both conditions indicating general faster target detection compared to laymen. Importantly, the elicitation of a P3a-like response to phrase boundaries marked by a pitch leap during passive exposure suggests that expressive timing information is automatically encoded and may lead to an involuntary allocation of attention towards significant events within a melody. We conclude that subtle timing variations in music performance prepare the listener for musical key events by directing and guiding attention towards their occurrences. That is, expressive timing facilitates the structuring and parsing of continuous musical material even when the auditory input is unattended.
This article presents a computational model of expression in music performance: The GERM model. The purpose of the GERM model is to (a) describe the principal sources of variability in music performance, (b) emphasize the need to integrate different aspects of performance in a common model, and (c) provide some preliminaries (germ = a basis from which a thing may develop) for a computational model that simulates the different aspects. Drawing on previous research on performance, we propose that that performance expression derives from four main sources of variability: (1) Generative Rules, which function to convey the generative structure in a musical manner (e.g., Clarke, 1988; Sundberg, 1988); (2) Emotional Expression, which is governed by the performer's expressive intention (e.g., Juslin, 1997a); (3) Random Variations, which reflect internal timekeeper variance and motor delay variance (e.g., Gilden, 2001; Wing & Kristofferson, 1973); and (4) Movement Principles, which prescribe that certain features of the performance are shaped in accordance with biological motion (e.g., Shove & Repp, 1995). A preliminary version of the GERM model was implemented by means of computer synthesis. Synthesized performances were evaluated by musically trained participants in a listening test. The results from the test support a decomposition of expression in terms of the GERM model. Implications for future research on music performance are discussed.
Communication of emotion is of fundamental importance to the performance of music. However, recent research indicates that expressive aspects of performance are neglected in music education, with teachers spending more time and effort on technical aspects. Moreover, traditional strategies for teaching expressivity rarely provide informative feedback to the performer. In this chapter we explore the nature of expressivity in music performance and evaluate novel methods for teaching expressivity based on recent advances in musical science, psychology, technology, and acoustics. First, we provide a critical discussion of traditional views on expressivity, and dispel some of the myths that surround the concept of expressivity. Then, we propose a revised view of expressivity based on modern research. Finally, a new and empirically based approach to learning expressivity termed cognitive feedback is described and evaluated. The goal of cognitive feedback is to allow the performer to compare a model of his or her playing to an "optimal" model based on listeners' judgments of expressivity. This method is being implemented in user-friendly software, which is evaluated in collaboration with musicians and music teachers.
Communication of emotions is of crucial importance in music performance. Yet research has suggested that this skill is neglected in music education. This article presents and evaluates a computer program that automatically analyzes music performances and provides feedback to musicians in order to enhance their communication of emotions. Thirty-six semiprofessional jazz/rock guitar players were randomly assigned to one of 3 conditions: (1) feedback from the computer program, (2) feedback from music teachers, and (3) repetition without feedback. Performance measures revealed the greatest improvement in communication accuracy for the computer program, but usability measures indicated that certain aspects of the program could be improved. Implications for music education are discussed.
This paper presents a unique dataset consisting of 20 recordings of the same musical piece, conducted with 4 different musical intentions in mind. The upper body and baton motion of a professional conductor was recorded, as well as the sound of each instrument in a professional string quartet following the conductor. The dataset is made available for benchmarking of motion recognition algorithms. An HMM-based emotion intent classification method is trained with subsets of the data, and classification of other subsets of the data show firstly that the motion of the baton communicates energetic intention to a high degree, secondly, that the conductorâs torso, head and other arm conveys calm intention to a high degree, and thirdly, that positive vs negative sentiments are communicated to a high degree through other channels than the body and baton motion â most probably, through facial expression and muscle tension conveyed through articulated hand and finger motion. The long-term goal of this work is to develop a computer model of the entire conductor-orchestra communication pro- cess; the studies presented here indicate that computer modeling of the conductor-orchestra communication is feasible.
Previous studies on vocal motor production in singing suggest that the right anterior insula (AI) plays a role in experience-dependent modulation of feedback integration. Specifically, when somatosensory input was reduced via anesthesia of the vocal fold mucosa, right AI activity was down regulated in trained singers. In the current fMRI study, we examined how masking of auditory feedback affects pitch-matching accuracy and corresponding brain activity in the same participants. We found that pitch-matching accuracy was unaffected by masking in trained singers yet declined in nonsingers. The corresponding brain region with the most differential and interesting activation pattern was the right AI, which was up regulated during masking in singers but down regulated in nonsingers. Likewise, its functional connectivity with inferior parietal, frontal, and voice-relevant sensorimotor areas was increased in singers yet decreased in nonsingers. These results indicate that singers relied more on somatosensory feedback, whereas nonsingers depended more critically on auditory feedback. When comparing auditory vs somatosensory feedback involvement, the right anterior insula emerged as the only region for correcting intended vocal output by modulating what is heard or felt as a function of singing experience. We propose the right anterior insula as a key node in the brain's singing network for the integration of signals of salience across multiple sensory and cognitive domains to guide vocal behavior.
Somatosensation plays an important role in the motor control of vocal functions, yet its neural correlate and relation to vocal learning is not well understood. We used fMRI in 17 trained singers and 12 nonsingers to study the effects of vocal-fold anesthesia on the vocal-motor singing network as a function of singing expertise. Tasks required participants to sing musical target intervals under normal conditions and after anesthesia. At the behavioral level, anesthesia altered pitch accuracy in both groups, but singers were less affected than nonsingers, indicating an experience-dependent effect of the intervention. At the neural level, this difference was accompanied by distinct patterns of decreased activation in singers (cortical and subcortical sensory and motor areas) and nonsingers (subcortical motor areas only) respectively, suggesting that anesthesia affected the higher-level voluntary (explicit) motor and sensorimotor integration network more in experienced singers, and the lower-level (implicit) subcortical motor loops in nonsingers. The right anterior insular cortex (AIC) was identified as the principal area dissociating the effect of expertise as a function of anesthesia by three separate sources of evidence. First, it responded differently to anesthesia in singers (decreased activation) and nonsingers (increased activation). Second, functional connectivity between AIC and bilateral A1, M1, and S1 was reduced in singers but augmented in nonsingers. Third, increased BOLD activity in right AIC in singers was correlated with larger pitch deviation under anesthesia. We conclude that the right AIC and sensory-motor areas play a role in experience-dependent modulation of feedback integration for vocal motor control during singing.
It started with an idea to create an empty space in which you activated music and light as you moved around. In responding to the music and lighting you would activate more or different sounds and thereby communicate with the space through your body. This led to an artistic research project in which children's spontaneous movement was observed, a choreography made based on the children's movements and music written and recorded for the choreography. This music was then decomposed and choreographed into an empty space at Botkyrka konsthall creating an interactive dance installation. It was realized using an interactive sound and light system in which 5 video cameras were detecting the motion in the room connected to a 4-channel sound system and a set of 14 light modules. During five weeks people of all ages came to dance and move around in the installation. The installation attracted a wide range of people of all ages and the tentative evaluation indicates that it was very positively received and that it encouraged free movement in the intended way. Besides observing the activity in the installation interviews were made with schoolchildren age 7 who had participated in the installation.
There have been few empirical investigations of how individual differences influence the perception of the sonic environment. The present study included the Big Five traits and noise sensitivity as personality factors in two listening experiments (n = 43, n = 45). Recordings of urban and restaurant soundscapes that had been selected based on their type were rated for Pleasantness and Eventfulness using the Swedish Soundscape Quality Protocol. Multivariate multiple regression analysis showed that ratings depended on the type and loudness of both kinds of sonic environments and that the personality factors made a small yet significant contribution. Univariate models explained 48% (cross-validated adjusted R2) of the variation in Pleasantness ratings of urban soundscapes, and 35% of Eventfulness. For restaurant soundscapes the percentages explained were 22% and 21%, respectively. Emotional stability and noise sensitivity were notable predictors whose contribution to explaining the variation in quality ratings was between one-tenth and nearly half of the soundscape indicators, as measured by squared semipartial correlation. Further analysis revealed that 36% of noise sensitivity could be predicted by broad personality dimensions, replicating previous research. Our study lends empirical support to the hypothesis that personality traits have a significant though comparatively small influence on the perceived quality of sonic environments.
We are interested in how the perceived soundscape quality varies across everyday environments, and in predicting ratings using psychoacoustic descriptors and individual personality traits. Two listening experiments (n = 43, n = 42) with recordings of rural and urban parks, shops, and restaurants were conducted. Loudness, Fluctuation strength and other descriptors of soundscapes were extracted, and participant Big Five dimensions and Noise sensitivity were estimated. In Experiment 1, quality ratings depended strongly on soundscape type and weakly on traits such as Emotional stability. In Experiment 2, a multivariate regression model explained 25% of Pleasantness and 30% of Eventfulness (cross-validated adjusted R2). The contribution of personality traits reached a tenth of psychoacoustic descriptors. 36% of Noise sensitivity could be predicted by Big Five dimensions. The article discusses the results in light of personality theory. Both broad and narrow personality traits might be helpful to understand people's appraisal of sonic environments.
Crossmodal associations may arise at neurological, perceptual, cognitive, or emotional levels of brain processing. Higher-level modal correspondences between musical timbre and visual colour have been previously investigated, though with limited sets of colour. We developed a novel response method that employs a tablet interface to navigate the CIE Lab colour space. The method was used in an experiment where 27 film music excerpts were presented to participants (n = 22) who continuously manipulated the colour and size of an on-screen patch to match the music. Analysis of the data replicated and extended earlier research, for example, that happy music was associated with yellow, music expressing anger with large red colour patches, and sad music with smaller patches towards dark blue. Correlation analysis suggested patterns of relationships between audio features and colour patch parameters. Using partial least squares regression, we tested models for predicting colour patch responses from audio features and ratings of perceived emotion in the music. Parsimonious models that included emotion robustly explained between 60% and 75% of the variation in each of the colour patch parameters, as measured by cross-validated R2. To illuminate the quantitative findings, we performed a content analysis of structured spoken interviews with the participants. This provided further evidence of a significant emotion mediation mechanism, whereby people tended to match colour association with the perceived emotion in the music. The mixed method approach of our study gives strong evidence that emotion can mediate crossmodal association between music and visual colour. The CIE Lab interface promises to be a useful tool in perceptual ratings of music and other sounds.
We present a theory by which idealized models of auditory receptive fields can be derived in a principled axiomatic manner, from a set of structural properties to (i) enable invariance of receptive field responses under natural sound transformations and (ii) ensure internal consistency between spectro-temporal receptive fields at different temporal and spectral scales.
For defining a time-frequency transformation of a purely temporal sound signal, it is shown that the framework allows for a new way of deriving the Gabor and Gammatone filters as well as a novel family of generalized Gammatone filters, with additional degrees of freedom to obtain different trade-offs between the spectral selectivity and the temporal delay of time-causal temporal window functions.
When applied to the definition of a second-layer of receptive fields from a spectrogram, it is shown that the framework leads to two canonical families of spectro-temporal receptive fields, in terms of spectro-temporal derivatives of either spectro-temporal Gaussian kernels for non-causal time or a cascade of time-causal first-order integrators over the temporal domain and a Gaussian filter over the logspectral domain. For each filter family, the spectro-temporal receptive fields can be either separable over the time-frequency domain or be adapted to local glissando transformations that represent variations in logarithmic frequencies over time. Within each domain of either non-causal or time-causal time, these receptive field families are derived by uniqueness from the assumptions.
It is demonstrated how the presented framework allows for computation of basic auditory features for audio processing and that it leads to predictions about auditory receptive fields with good qualitative similarity to biological receptive fields measured in the inferior colliculus (ICC) and primary auditory cortex (A1) of mammals.
We show how the axiomatic structure of scale-space theory can be applied to the auditory domain and be used for deriving idealized models of auditory receptive fields via scale-space principles. For defining a time-frequency transformation of a purely temporal signal, it is shown that the scale-space framework allows for a new way of deriving the Gabor and Gammatone filters as well as a novel family of generalized Gammatone filters with additional degrees of freedom to obtain different trade-offs between the spectral selectivity and the temporal delay of time-causal window functions. Applied to the definition of a second layer of receptive fields from the spectrogram, it is shown that the scale-space framework leads to two canonical families of spectro-temporal receptive fields, using a combination of Gaussian filters over the logspectral domain with either Gaussian filters or a cascade of first-order integrators over the temporal domain. These spectro-temporal receptive fields can be either separable over the time-frequency domain or be adapted to local glissando transformations that represent variations in logarithmic frequencies over time. Such idealized models of auditory receptive fields respect auditory invariances, can be used for computing basic auditory features for audio processing and lead to predictions about auditory receptive fields with good qualitative similarity to biological receptive fields in the inferior colliculus (ICC) and the primary auditory cortex (A1).
The EU-IST project MEGA (Multisensory Expressive Gesture Applications; see www.megaproject.org) addresses innovative technologies for multimodal interactive systems in artistic scenarios. Basic research on expressive communication in music, gesture and dance has been focused by EU-IST-funded European researchers in psychology, technology and computer engineering. The output from this cooperation with artists has also revealed ideas and innovations for applications in social, artistic and communicative entertainment. However, even the most careful basic research and computer engineering could never estimate the real efficiency and benefit of such new expressive applications. The purpose of this article, therefore, is to get feedback from the audience and the artists/ performers/ players at three public MEGA events: the interactive music concert Allegoria dell'opinione verbale, a dance performance by Groove Machine and a public game (Ghost in the Cave). General attitude, perceived communication/affect and practical efficiency were evaluated by questionnaires. Results showed that: (a) the performers were able to control the expressive output within the application, (b) the audience was positive to each event,
Two new computer programs are presented for the purpose of facilitating new research in music performance modeling. Director Musices (DM) is a new an implementation of the user interface for the KTH rule system. It includes a new integrated player and several other improvements. The automatic sampler facilitates the sampling of a MIDI-controlled instrument, such as the Disklavier piano from Yamaha. Both programs are open source, cross-platform written in Java and in the case of DM including also different lisp dialects.
This paper will describe an ongoing collaboration between the authors to combine the Director Musices and Conductor programs in order to achieve a more expressive and socially interactive performance of a midi file score by an electronic orchestra. Director Musices processes a "square" midi file, adjusting the dynamics and timing of the notes to achieve the expressive performance of a trained musician. The Conductor program and the Radio-baton allow a conductor, wielding an electronic baton, to follow and synchronize with other musicians, for example to provide an orchestral accompaniment to an operatic singer. These programs may be particularly useful for student soloists who wish to practice concertos with orchestral accompaniments.
We describe the first stage of a two-stage semialgorithmic approach to music performance rendering. In the first stage, we estimate the perceptual salience of immanent accents (phrasing, metrical, melodic, harmonic) in the musical score. In the second, we manipulate timing, dynamics and other performance parameters in the vicinity of immanent accents (e. g., getting slower and/or louder near an accent). Phrasing and metrical accents emerge from the hierarchical structure of phrasing and meter; their salience depends on the hierarchical levels that they demarcate, and their salience. Melodic accents follow melodic leaps; they are strongest at contour peaks and (to a lesser extent) valleys; and their salience depends on the leap interval and the distance of the target tone from the local mean pitch. Harmonic accents depend on local dissonance (roughness, non-harmonicity, non-diatonicity) and chord/key changes. The algorithm is under development and is being tested by comparing its predictions with music analyses, recorded performances and listener evaluations.
The interactive game environment, Ghost in the Cave, presented in this short paper, is a work still in progress. The game involves participants in an activity using non-verbal emotional expressions. Two teams use expressive gestures in either voice or body movements to compete. Each team has an avatar controlled either by singing into a microphone or by moving in front of a video camera. Participants/players control their avatars by using acoustical or motion cues. The avatar is navigated in a 3D distributed virtual environment using the Octagon server and player system. The voice input is processed using a musical cue analysis module yielding performance variables such as tempo, sound level and articulation as well as an emotional prediction. Similarly, movements captured from a video camera are analyzed in terms of different movement cues. The target group is young teenagers and the main purpose to encourage creative expressions through new forms of collaboration.
The interactive game environment EPS (expressive performance space), presented in this short paper, is a work still in progress. EPS involves participants in an activity using non-verbal emotional expressions. Two teams use expressive gestures in either voice or body movements to compete. Each team has an avatar controlled either by singing into a microphone or by moving in front of a video camera. Participants/players control their avatars by using acoustical or motion cues. The avatar is navigated /moving around in a 3D distributed virtual environment using the Octagon server and player system. The voice input is processed using a musical cue analysis module yielding performance variables such as tempo, sound level and articulation as well as an emotional prediction. Similarly, movements captured from the video camera are analyzed in terms of different movement cues. The target group is children aged 13- 16 and the purpose is to elaborate new forms of collaboration.
Vibrato is one of the most important expressive parameters that players can control when rendering a piece of music. The simulation of vibrato, in systems for automatic music performance, is still an open problem. A mere regular periodic modulation of pitch generally yields unsatisfactory results, sounding both unnatural and mechanical. An appropriate control of vibrato rate and vibrato extent is a major requirement of a successful vibrato model. The goal of the present work was to develop a generative, rule-based model for expressive violin vibrato. Measurements of vibrato as performed by professional violinists were used for this purpose. The model generates vibrato rate and extent envelopes, which are used to control a sampled violin synthesizer.
Expressivity is one of the most important aspects of music performance. However, in music education, expressivity is often overlooked in favor of technical abilities. This could possibly depend on the difficulty in describing expressivity, which makes it problematic to provide the student with specific feedback. The aim of this project is to develop a computer program, which will improve the students' ability in communicating emotion in music performance. The expressive intention of a performer can be coded in terms of performance parameters (cues), such as tempo, sound level, timbre, and articulation. Listeners' judgments can be analyzed in the same terms. An algorithm was developed for automatic cue extraction from audio signals. Using note onset–offset detection, the algorithm yields values of sound level, articulation, IOI, and onset velocity for each note. In previous research, Juslin has developed a method for quantitative evaluation of performer–listener communication. This framework forms the basis of the present program. Multiple regression analysis on performances of the same musical fragment, played with different intentions, determines the relative importance of each cue and the consistency of cue utilization. Comparison with built‐in listener models, simulating perceived expression using a regression equation, provides detailed feedback regarding the performers' cue utilization.
The Director Musices generative grammar of music performance is a system of context dependent rules that automatically introduces expressive deviation in performances of input score files. A number of these rule concern timing. In this investigation the ability of such rules to reproduce a professional pianist's timing deviations from nominal note inter-onset-intervals is examined. Rules affecting tone inter-onset-intervals were first tested one by one for the various sections of the excerpt, and then in combinations. Results were evaluated in terms-of the correlation between the deviations made by the pianist and by the rule system. It is found that rules reflecting the phrase structure produced high correlations in some sections. On the other hand, some rules failed to produce significant correlation with the pianist's deviations, and thus seemed irrelevant to the particular performance analysed. It is concluded that phrasing was a prominent principle in this performance and that rule combinations have to change between sections in order to match this pianist's deviations.
Music listening ofien produces associations to locomotion. This suggests that some patterns in music are similar to those perceived during locomotion. The present investigation tests the hypothesis that the sound level envelope of tones allude to force patterns associated with walking and dancing. Six examples of such force patterns were recorded using a force platform, and the vertical components were translated from kg to dB and used as level envelopes for tones. Sequences of four copies of each of these tones were presented with four different fixed inter-onset times. Music students were asked to characterize these sequences in three tests. In one test, the subjects were free to use any expression, and the occurrence of motion words in the responses was examined. In another test, they were asked to describe, ifpossible, the motion characteristics of the sequences, and the number of blank responses were studied. In the third test, they were asked to describe the sequences along 24 motion adjective scales, and the responses were submitted to a factor analysis. The results from the three tests showed a reasonable degree of coherence, suggesting that associations to locomotions are likely to occur under these conditions, particularly when (1) the inter-onset time is similar to the inter-step time typical of walking, and (2) when the inter-onset time agreed with that observed when the gait patterns were recorded. The latter observation suggests that the different motion patterns thus translated to sound level envelopes also may convey information on the type of motion.
A set of ordered context-dependent rules for the automatic transformation of a music score to the corresponding musical performance has been developed, using an analysis-by-synthesis method [Sundberg, J. (1987): "Computer synthesis of music performance," pp. 52-69 in (J. Sloboda, ed.) Generative Processes in Music, Clarendon, Oxford]. The rules are implemented in the LeLisp language on a Macintosh microcomputer that controls a synthesizer via a MIDI interface. The rules manipulate sound level, fundamental frequency, vibrato extent, and duration of the tones. The present experiment was carried out in order to find out if the sensitivity of these effects differed between musicians and nonrnusicians. Pairs of performances of the same examples were presented in different series, one for each rule. Between the pairs in a series, the performance differences were varied within wide limits and, in the first pair in each series, the difference was pat, so as to catch the subject's attention. Subjects were asked to decide whether the two performances were identical. The results showed that musicians had a clearly greater sensitivity. The pedagogical implications of this finding will be discussed.
Recently developed parts of a computer program are presented that contain a rule system which automatically converts music scores to musical performance, and which, in a sense, can be regarded as a model of a musically gifted player. The development of the rule system has followed the analysis-by-synthesis strategy; various rules have been formulated according to the suggestions of a professional string quartet violinist and teacher of ensemble playing. The effects of various rules concerning synchronization and timing and also tuning, in performance of ensemble music are evaluated by a listening panel of professional musicians. Further support for the notion of melodic clzarge, previously introduced and playing a prominent rule in the performance rules, is found in a correlation with fine tuning of intervals.
Recently developed parts of a computer program are presented that contain a rule system which automatically converts music scores to musical performance, and which, in a sense, can be regarded as a model of a musically gifted player. The development of the rule system has followed the analysis-by-synthesis strategy; various rules have been formulated after having been suggested by a professional string quartet violinist and teacher of ensemble playing. The effects of various rules concerning synchronization and timing and, also, tuning in performance of ensemble music are evaluated by a listening panel of professional musicians. Further support for the notion of melodic charge, previously introduced and playing a prominent rule in the performance rules, is found in a correlation with fine tuning of intervals.
In an analysis- by-synthesis investigation of music performance, rules have been developed that describe when and how expressive deviations are made from the nominal music notation in the score. Two experiments that consider the magnitudes of such deviations are described. In Experiment 1, the musicians' and nonmusicians' sensitivities to expressive deviations generated by seven performance rules are compared. The musicians showed a clearly greater sensitivity. In Experiment 2, professional musicians adjusted to their satisfaction the quantity by which six rules affected the performance. For most rules, there was a reasonable agreement between the musicians regarding preference. The preferred quantities seemed close to the threshold of perceptibility.
Several music computers can now convert an input note file to a sounding performance. Listening to such performances demonstrates convincingly the significance of the musicians' contribution to music performance; when the music score is accurately replicated as nominally written, the music sounds dull and nagging. It is the musicians' contributions that make the performance interesting. In other words, by deviating slightly from what is nominally written in the music score, the musicians add expressivity to the music.
This article presents an overview of a long-term research work with a rule system for the automatic performance of music. The performance rules produce deviations from the durations, sound levels, and pitches nominally specified in the music score. They can be classified according to their apparent musical function: to help the listener (I) in the differentiation of different pitch and duration categories and (2) in the grouping of the tones. Apart from this, some rules serve the purpose of organizing tuning and synchronization in ensemble performance. The rules reveal striking similarities between music performance and speech; for instance final lengthening occur in both and the acoustic code used for marking of emphasis are similar.
The article describes the methods used in synthesizing a performance of the first movement of Monteverdi's Vespers from 1610. The synthesis combines results from studies of singing voice acoustics, ensemble acoustics, and rules for music performance. The emphasis is on the synthesis of choir sounds.
Analysis by synthesis is a method that has been successfully applied in many areas of scientific research. In speech research, it has proven to be an excellent tool for identifying perceptually relevant acoustical properties of sounds. This paper reports on some first attempts at synthesizing choir singing, the aim being to elucidate the importance of factors such as the frequency scatter in the fundamental and the formants. The presentation relies heavily on sound examples.
Starting from a text-to-speech conversion program (Carlson & Granstrom, 1975), a note-to-tone conversion program has been developed (!Xmdberg & ~rydh, 1985). It works with a set of ordered rules af fe&- ing the performance of melodies written into the computer. Depending on the musical context, each of these rules manipulates various tone parameters, such as sound level, fundamental frequency, duration, etc. In the present study the effect of some of the rules developed so far on the musical quality of the performance is tested; various musical excerpts perbrmed according to different combinations an5 versions of nine performance rules were played to musically trained listeners who rated the musical quality. The results support the assumption that the musical quality of the performance is improved by applying the rules.
This article presents the CASimIR framework for online experiments, its use for creating a music audio game, and initial results and analyses of the collected data. Gathering user data is essential to understand the semantics of music audio and CASimIR is a new open framework for creating games with a purpose and surveys to collect user data in the Web and social networks. Its design facilitates collaborative data annotation in dynamic environments by providing modules for managing media and annotation data, as well as functionality for creating and running online real-time multi-player games. Technical benefits of the extensible framework as well as its cost effectiveness are discussed. As a case-study, we present its use in Spot The Odd Song Out, a multi-player game for collecting annotations on musical similarity and rhythm and we analyse the quantity and quality of data obtained to date with this game. The results and lessons for future data collection projects in the context of shared and linked data are discussed.
The insula contributes to the detection and integration of salient events during goaldirected behavior and facilitates the interaction between motor, multisensory, and cognitive networks. Task-fMRI studies have suggested that experience with singing can enhance access to these resources. However, the long-term effects of vocal motor training on insula-based networks are currently unknown. In thisstudy, we used restingstate fMRI to explore experience-dependent differences in insula co-activation patterns between conservatory-trained singers and non-singers. We found enhanced insula connectivity in singers compared to non-singers with constituents of the speech sensorimotor network, including the cerebellum (lobule VI, crus 2), primary somatosensory cortex, the parietal lobes, and the thalamus. Moreover, accumulated singing training correlated positively with increased co-activation in bilateral primary sensorimotor cortices in the somatotopic representations of the larynx (left dorsal anterior insula, dAI) and the diaphragm (bilateral dAI)—crucial regions for motorcortical control of complex vocalizations—together with the thalamus (bilateral posterior insula/left dAI) and the left putamen (left dAI). The results of this study support the view that the insula plays a central role in the experience-dependent modulation of sensory integration within the vocal motor system, possibly by optimizing conscious and non-conscious aspects of salience processing associated with singing-related bodily signals.


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Man killed in motorcycle crash on Parkway North
One man is dead after a motorcycle crash in Ohio Township, according to the Allegheny County Medical Examiner's office.
Samuel Perez Lopez, 25, of McKeesport was driving southbound on the Parkway North around 5:15 p.m. Thursday when the crash happened just north of the Camp Horne Road exit, the medical examiner's report said.
He was pronounced dead at the scene.
Further details about the crash were not immediately available.
Jacob Tierney is a Tribune-Review staff writer. You can contact Jacob at 724-836-6646, [email protected] or via Twitter .


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We often compare the "modern" ideal of beauty to those of earlier ages, but we rarely notice changes in our ideals of beauty from one decade to the next. Join us as we review ideals of beauty and makeup trends by decade, as embodied by 10 beauty icons of the 20th century. 1900s Beauty Icon: Gladys Cooper The actress Gladys Cooper perfectly embodied the Edwardian ideal of beauty - pale skin, full brows, deep-set dark eyes and pearly pink lips. To obtain that pale complexion, Edwardian women used enamel and rice powd... Read More
Each decade had its beauty icons, women that were not afraid to defy fashion and show courage every time they stepped on the red carpet. Take a look at our top 10 beauty icons from the 80s list and choose the one you loved most.80s Beauty Icon: Brooke ShieldsBrooke Shields is probably one of the most representative 80s beauty icons. She was even named 'Face of the 80s by Times Magazine, so she definitely deserves a spot on our list. Plus, who could forget her Calvin Klein ad she shot at only 15? The cult movie 'The Blue Lagoon' star stayed i... Read More
Every decade has its own stars, beautiful women that soon became beauty icons. The 90s beauty icons were powerful and stylish, true models for many teenage girls back in the day. Check out our list of the most important 10 beauty icons from the 90s.90s Beauty Icon: Uma ThurmanUma Thurman is definitely one of the 90s beauty icons. Who could forget her Mia Wallace part in the cult Tarantino movie, 'Pulp Fiction'? Her black bob, red lipstick, piercing eyes and great dance moves made her deserve a spot in our 10 best 90s style icons list.90s Sty... Read More
Beauty marks can completely change your look and make you stand out. And when it comes to these 10 beautiful celebrities, these beauty spots might have contributed to their worldwide success. Here 10 amazing celebrities with beauty marks!Lovely Celebrity with Beauty Mark: Cindy CrawfordCindy Crawford definitely deserves to be included among these 10 beautiful celebrities with beauty marks. The 90s supermodel was not only famous for her long legs and gorgeous hair, but also for the mole she proudly flaunted. And what makes her unique is the f... Read More
A big nose changes your look, however, there are celebrities for whom this particular trait has become a real trademark throughout the years. Check out who made the beautiful women with big noses list!Beautiful Women with Big Noses: Anne HathawayAnne Hathaway is certainly one of the most beautiful women with big noses. This talented American actress manages to pull it off because her nose works great with her big smile, piercing eyes and defined eyebrows. Plus, she's a very stylish woman who isn't afraid to take fashion risks.Stunning Celebr... Read More


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2015-10-28, 21:58
(2015-10-28, 21:57)im85288 Wrote: For the similarshows widget what is meant to be the onclick action associated? When I click on a show it starts playing theme music for some reason. Would it be possible to return the tvshowid so that I can use a custom onclick to open the tv show in the library?
it should already do that... The show should be opened in the library.


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Otherwise engaged / Lindsey Palmer.
Available copies
- 3 of 3 copies available at LARL/NWRL Consortium.
- 2 of 2 copies available at Lake Agassiz Regional Library. (Show preferred library)
Current holds
0 current holds with 3 total copies.
|Call Number / Copy Notes
|Shelving Location
|Due Date
|Crookston Public Library
|PAL (Text)
|Twin Valley LINK Site
|PAL (Text)
|Thief River Falls Public Library
|PAL (Text)
Record details
- Physical Description: 308 pages ; 23 cm
- Publisher: New York : Skyhorse Publishing, 2019.
Content descriptions
|Summary, etc.:
| "Life is sweet for New Yorkers Molly and Gabe: they're young, in love, and newly engaged. But when Gabe sells his first novel--a thinly-veiled retelling of his wild love affair with ex-girlfriend Talia--and it becomes a national sensation, Molly can't help but feel like the third wheel. To make matters worse, Talia reappears in Gabe's life, eager to capitalize on the book's success and to rekindle what she had with Gabe... at least, that's how it seems to Molly. But of even more concern? Gabe doesn't seem concerned at all. Instead, he's delighting in his newfound fame and success. Jealous, paranoid, and increasingly desperate, Molly starts to spin out of control. Her social life, work life, and love life all go to pieces. As fact and fiction, and past and present, begin to blur, Molly realizes the only way out of this downward spiral is to fight her way back up. But what--if anything--will be left of her life and her relationship when she arrives?"-- Provided by publisher.
ReviewsAuthor Notes
- Booklist Reviews : Booklist Reviews 2018 December #2
Molly is loving life as a newly engaged woman to Gabe, who just sold his first novel. When she reads the book, however, she quickly realizes that it could be considered a retelling of his relationship with his ex, Talia. Molly goes off the deep end, stalking Talia, messing up at her job in HR, maxing out her credit cards, and running into the arms of her first loveâdespite her imminent wedding. Palmer's latest (after If We Lived Here, 2015) is right on time for the resurgence of the chick-lit novel (see also Hannah Orenstein and Samantha Young). Combining relationship woes and female friendship, she creates a humorous take on what happens when a woman is scorned. Secondary characters, including Molly's best friends and her sister-in-law, are well developed, and their own story lines give the novel even more depth. Molly's relationship with her Type A mother will have readers laughing, as will her inner monologues as she's reading Gabe's novel. An excellent read, best enjoyed with a good glass of wine. Copyright 2018 Booklist Reviews.
Lindsey J. Palmer is the author of two previous novels, Pretty in Ink and If We Lived Here. She worked as a features editor at Self, and previously at Redbook and Glamour. A graduate of the University of Pennsylvania, she earned a Master of Arts in English Education from Teachers College, Columbia University, and taught high school English for several years. She's currently a scriptwriter at BrainPOP, an animated educational site for kids. Lindsey lives in Brooklyn, New York, with her husband and daughter. Find her at lindseyjpalmer.com.
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|Love stories.
Domestic fiction.
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Provinces, SANA- Army units on Saturday re-established full control over 22 towns in the eastern countryside of Aleppo, killing more than 1200 terrorists.
The source added that the army reestablished control over the towns and farms of al-Asilan, al-Fakhha, Khrbet al-Fakhha, al-Mezzeh al-Shamaliyeh, al-Ghar city, Jeb al-Hamam, Maskaneh wheat hermitages, al-Ajouziyeh, al-Ramadaniyeh, al-Masoudiyeh, al-Mahmoudiyeh, Jadiaa kabira and jadiaa Saghira, al-Hamra, al-Nua'imiyeh, alFaisaliyeh, al-Mowaniyeh, al-Kaltah, Um Rejel, Um Hajrah, al-Taybbeh and Rasem al-Ghazal.
It added that more than 1200 ISIS terrorists were killed including Abu Hozaifa al-Lyibi, a military leader of ISIS, and hundreds of others got injured the military operations carried out in the eastern countryside of Aleppo. Some 101 vehicles, 4 tanks, 2 BMPs, 7 cannons and mortars an 12 command centers for the terrorists were destroyed as a result of the army's operations.
Other terrorist leaders identified among the dead are Abu Jihad al-Souri, Osama Izz-Eddin Burghul, Mustafa Abdil-Badie Qanbar, Saif-Eddin Muhannad Jahjah, Mohammad Awwad al-Kildani, Abu Sayyaf Zein-Eddin al-Tunisi, Qutaiba Abdul-Nafei al-Thaqlan, Bassam al-Shaabo and Ziad Hassoun.
Earlier, the Army units, in cooperation with backing forces carried out a number of intensive operations against the ISIS positions in the southeastern countryside of Aleppo, establishing control over the northeastern and middle parts of al-Tweihina Mountains to the east of Khanaser-Athria axis in the southeastern side of Aleppo countryside.
A number of the ISIS terrorists were killed in the operations and their equipment and fortifications were destroyed.
Deir Ezzor
The army units carried out bombardments and airstrikes against ISIS positions and movement axes in Talet Alloush, al-Thardeh roundabout, al-Makabbat, the Panorama area and the surrounding hills, Palmyra road, al-Rashdiyeh neighborhood and in the villages of al-Jenineh and Aiyyash in Deir Ezzor province.
A military source told SANA Saturday that the army operations killed more than 70 ISIS terrorists and destroyed 4 machineguns-equipped vehicles, canons, a tank and a truck.
Meanwhile, SANA reporter in Deir Ezzor said that the army units carried out intensified operations against the ISIS movement axes and gatherings on the axes of the Cemeteries and al-Maqabar areas, al-Thardeh Mountain, Juniad battalion, Talet Alloush, Talet Milad, the Panorama Farms, the youth housing and in the surroundings of 137 regiment.
The source added that the army inflicted heavy losses upon the ISIS terrorists in personnel.
A military source confirmed that new areas in the Syrian Badiya (desert) with an area of /1400/ square kilometers have been controlled by the Syrian army during the military operations carried out in the past 24 hours, targeting positions and gatherings of ISIS terrorists eastern Palmyra in Homs countryside.
The source said that army units supported by allies regained control over an area of /1400/ square km in the Syrian Badiya, killing or injuring many of ISIS terrorists and destroying their weapons.
The source pointed out that the army units in cooperation with the allies continue the military operations against the terrorist organization of ISIS in several axes in the Syrian Badiya and chase down the terrorists there.