text:
Now that Snapchat has announced it is planning to venture into eCommerce, the platform will likely attract even more interest from brands.
Since Snapchat doesn't have a discovery or autosuggest feature, users need to know the exact username of the accounts they wish to follow. This hurdle can make it challenging for brands to grow their following on Snapchat compared to other social media platforms. That's why it is especially important for brands to understand how to leverage the three ways of adding users on Snapchat:
1) Username
Following accounts by username requires some effort by the Snapchat user – they have to remember the brand's exact username, load Snapchat, and type in the handle.
Brands should certainly promote their usernames – for example, they can be added to the bios of other social media accounts. However, promoting the profile's unique Snapcode and URL may be more effective.
2) Snapcode
Each Snapchat account has its own unique QR code called a Snapcode. Users can follow brands on Snapchat by scanning the Snapcode with their Snapchat camera or by taking a photo of the Snapcode and selecting it from their photo gallery within Snapchat.
Brands can share these Snapcodes anywhere they'd like to promote their account. For example, they may share the Snapcode:
- as their profile image on other social media accounts
- in content published to blogs or social media
- on promotional print materials (e.g. movie posters or business cards)
- on product packaging
Last year, Sprite ran a campaign in Brazil, placing Snapcodes on millions of Sprite cans. Fifteen different Snapcodes were used, linking to accounts of online and local celebrities that shared Sprite-related stories. The campaign resulted in more than 2 million Snapchat views within two days.
A vector version of the code can be downloaded here and branded with a tagline or logo.
The inside of the white Ghost outline can then be customized as desired, but coloring outside the lines so to speak will make the QR Code unscannable, as will changing the Snapcode's dimensions or proportions and removing the frame border. The detailed brand guidelines can be found here. It's important to test the custom Snapcode before sending it out into the world!
3) Profile URL
The newest and perhaps simplest way to promote a brand's profile is by sharing its profile URL. Snapchat added this feature at the end of January 2016. Users can open the profile URL on their smartphones to instantly follow the brand.
Brands may find their profile by following these steps within Snapchat:
1) Swipe down from the camera to the profile screen
2) Select "Add Friends"
3) Choose "Share Username"
4) Choose an application to share the URL with (SMS, Email, etc.). For the purpose of simply copying the URL, it doesn't matter which application is chosen.
The URL format is always the same: http://www.snapchat.com/add/USERNAME
The profile URL can be used to promote the Snapchat account across all marketing materials – e.g. social media and blog posts, email updates and newsletters.
Bringing it all together
As with growing an audience on any platform, it all comes down to providing valuable content, worthy of followers. Snapchat content should be created specifically for Snapchat, to align with the platform's unique culture. That content can then be shared across other social media channels, to give fans a taste of what they're missing, and entice them to follow the brand directly on Snapchat.
Bottom line – combine great content, a strong call to action, and your brand's Snapchat username, Snapcode, or better yet URL, to "up" your game on Snapchat.


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Most computer users are not computer experts. While they are somewhat capable of recognizing real-life deception attempts, they do not always know how to protect themselves from similar attempts online.
In order to avoid Phishing attempts, one should pay attention to many small details. However, it is probably not feasible to expect all the users to manually compare each URL they are accessing to the real server's URL, etc.
Many Phishing attacks rely on this. For example, not many users will notice the difference between the following 'real' URL:
and the following 'forged' URLs:
In addition, in most Phishing attacks, the web page served by the attacker's machine is very similar, if not identical to the real server's web page.
The user is expected to notice the small 'lock' icon (which differs in shape and location in different browsers) which indicates that a connection is 'secure'. However, research shows that many people will attempt to login even if this indicator is missing. Not many people will notice or pay attention to the difference between a preceding 'http:' and 'https:' in a URL.
Another problem is over-relying on SSL security. It can be assumed that the protocol itself is tamper-safe and that the used encryption algorithms cannot be easily broken. However, this does not prevent Phishing attempts, as it is fairly easy for the attacker to obtain a certificate for his fraudulent domain, and act as an SSL 'bridge' between the user and the real server. SSL only protects the user's private information once a connection is established with the real server.
Relying on the alertness of the user is not a good solution to Phishing. The user's computer, however, can automatically detect any discrepancy. This is the basis for the Saphe-plugin idea (see solution details for more information).

subset: commoncrawl


text:
Family Medicine
When you're family, you share pretty much everything…genes, meals, colds…
Why not share a health care provider? A family medicine doctor can provide lifelong, comprehensive care for the young and young at heart.
Find a doctor your family can share.
Contact Us
Family Medicine Clinic (Primary Care)
3100 Tongass Ave, 2nd Floor
Clinic & Surgery Building
Ketchikan, AK 99901
Phone: 907-228-8140
PeaceHealth Medical Group Prince of Wales
1800 Craig-Klawock Road
Craig, AK 99921
Phone: 907-826-3257
This clinic is licensed as part of PeaceHealth Ketchikan Medical Center. You may receive a separate charge or billing for facility fees in addition to any professional fees for services, which may result in a higher out-of-pocket expense.
Clinic & Surgery Building


text:
5 More Acts Have Been Added To The New York State Fair Chevy Court Free Concerts Starting August 23rd
The next batch of FREE shows in Chevy Court at the New York State Fair have been announced. Along with Styx and O.A.R. performing; The Plain White T's, Salt-n-Pepa, Disney Channel star Zendaya and country artists Jana Kramer and Parmalee will be there. And did we mention, for FREE? Country superstar Vince Gill performs opening night, Wednesday, August 28th at 8 p.m. Here is the list of the already announced for the Chevy Court shows:
- Funk and soul masters George Clinton and Parliament Funkadelic, performing at 8 p.m., on Friday, August 23;
- Classic rock band Styx, performing at 8 p.m. on Sunday, August 25;
- Country superstar Vince Gill, performing at 8 p.m. on Wednesday, August 28;
- Rock band OAR (Of A Revolution), performing at 8 p.m., Saturday, August 31;
- Rock guitarist Dickey Betts, from The Allman Brothers Band, performing at 2 p.m. on Sunday, September 1, and;
- The Happy Together Tour of oldies artists The Turtles, Chuck Negron (Three Dog Night), Mark Lindsay (Paul Revere & The Raiders) and Gary Lewis, performing at 8 p.m. on Sunday, September 1.
Now you can add to the list of Chevy Court acts: The Plain White T's, Salt-n-Pepa, Disney Channel star Zendaya and country artists Jana Kramer and Parmalee.
The Great New York State Fair runs from August 23rd through September 3rd.


text:
I am a jew in Germany, some where in the 1930s. There should be other things which concern me. Like the smell of genocide which wafts through the air. Will it arrive at my doorstep in a few years, months?
But, being fickle, I worry about other things. Like a film which remains largely unwatched. I remember the blood, sweat and tears of making it. Smell of fear, police men who delete footage, paranoia , hunger. Patches of poverty as you save up for another hard drive.
Now as the film sits alone in a corner, with hardly any audience, I wonder…which is the harder phase? There is no censor certificate, showing it has to be like walking on eggshells. Getting screening spaces is becoming harder and harder. Then, there is the panacea for all-an online release. But, being on the net means risking safety issues. So, the film sits alone, in the corner. These days it never gets up and comes to me with wistful eyes to know what I am doing about getting more screenings. I send emails and emails and emails.
Entering in festival circuit has meant over a 100 rejection letters. From dozens of different countries they write the same line, may be they get it from some template in the internet. "Unfortunately, we were unable to select your film to this year's edition of the festival. We had watched a large number of documentaries, which were carefully considered and the limited space in our program has forced us to make many difficult decisions." I look at the vimeo link. The link was never played by some festivals. They screen the same films again and again, in a strange kind of film festival incest, blessed by PR managers.
I walk alone through the tunnel, worrying about the film. I remember the man who travelled across with a rag tag projector and showed the films that theatres refused to show, creating a new audience. He died alone, penniless. May be I should get a projector and go to places with a group. But, I don't have the money for the projector, there is no group and most of all, I am not a man. With a bit of vomit in my throat I remember the progressive middle-aged film curator who had an almost 7 minute conversation with my chest.
May be some films are not meant to be seen. May be I should worry more about the impending genocide.


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About the Seafront, Kangaroo Island
The Kangaroo Island Seafront has 16 rooms and 12 Villa's..... Choose from the 4star SeaFront Rooms with spectacular views and private balcony, 4star Sorrento's rooms located upstairs in the original guest building or the sanctuary of our Deluxe Villa's. Bringing the family why not stay in one of our 1, 2 or 3 bedroom Villa's. Enjoy our outdoor pool, sauna and mini golf course. Beautiful Hog Bay swimming beach, tennis courts and playground all within walking distance. Experience the warmth and friendliness of the staff that operate the Seafront, who will ensure your stay on Kangaroo Island an unforgettable one. FREE WiFi for all Seafront guests.
The Seafront is perfectly situated in Penneshaw - Gateway to Kangaroo Island, and overlooks the magnificent Backstairs Passage. Kangaroo Island is totally unspoilt, white beaches, rocky outcrops and stunning coastline is the home to an abundance of wildlife. KI is seven times the size of Singapore, literally crawling with Wildlife. You will see Kangaroos hopping near the roadside, you can get up close with Seals at Seal Bay and see Koalas cuddling a tree. This is a zoo without fences.
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The Kangaroo Island Seafront has many excellent facilities and services including FREE WiFi for all Seafront guests to make your stay more enjoyable and relaxing.
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Great Escape Package for 2 people includes: 2 nights accommodation in a 4 star room, Return Sealink Ferry for 2 adults and a standard vehicle, Hot & Cold Buffet Breakfast each morning, One $30 dinner voucher per stay in "Penny's Restaurant" Penneshaw Hotel.
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Kangaroo Island is the third largest island off the coast of mainland South Australia. The Island is 155kms long and up to 55kms wide, it covers an area of over 4,500 square kilometres.
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Phylogeny and diversification of the largest avian radiation
Edited by David B. Wake, University of California, Berkeley, CA, and approved June 17, 2004 (received for review March 17, 2004)
The order Passeriformes ("perching birds") comprises extant species diversity comparable to that of living mammals. For over a decade, a single phylogenetic hypothesis based on DNA–DNA hybridization has provided the primary framework for numerous comparative analyses of passerine ecological and behavioral evolution and for tests of the causal factors accounting for rapid radiations within the group. We report here a strongly supported phylogenetic tree based on two single-copy nuclear gene sequences for the most complete sampling of passerine families to date. This tree is incongruent with that derived from DNA–DNA hybridization, with half of the nodes from the latter in conflict and over a third of the conflicts significant as assessed under maximum likelihood. Our historical framework suggests multiple waves of passerine dispersal from Australasia into Eurasia, Africa, and the New World, commencing as early as the Eocene, essentially reversing the classical scenario of oscine biogeography. The revised history implied by these data will require reassessment of comparative analyses of passerine diversification and adaptation.
Major lineages of the ≈5,739 species of passerine birds (1) have diversified on all continents and now occupy nearly all terrestrial ecosystems. The songbirds (oscines, suborder Passeri) alone comprise nearly half of all extant avian species and represent the largest identifiable radiation of birds (2), encompassing a staggering ecological and behavioral diversity. The foundation for understanding passerine diversification and for integrating the spatial, ecological, and temporal history of the group is a comprehensive and robust phylogenetic hypothesis. A decade ago, in a pioneering work, Sibley and Ahlquist (3) used DNA–DNA hybridization to produce the first large-scale phylogenetic hypothesis for passerine birds and suggested a specific temporal history for passerine diversification. Despite often-voiced concerns about the robustness of this phylogeny (colloquially termed the "Tapestry" after its appearance on the wall at an ornithological meeting), it has provided a framework for numerous historical analyses of passerine ecology (4), behavior (5), and diversification (6, 7), and continues to fuel the search for explanations of passerine diversity (8).
Recently, studies have begun to contradict aspects of the DNA hybridization hypothesis for passerines (ref. 9; citations in ref. 10). These investigations, however, used relatively short gene sequences and, more importantly, limited taxon sampling across passerines; thus the phylogenetic, biogeographic, and temporal interpretations of the radiation were incomplete, and broad tests of the DNA hybridization tree were not possible. Here we analyze 4,126 aligned positions of the nuclear genes RAG-1 and -2 from 144 passerine species in 45 families, including representatives of all but one family recognized by current taxonomy (1). We find substantial support for many portions of the passerine tree, as well as quantitative evidence for the relationships of many enigmatic taxa. Moreover, phylogenetic analysis of these data reveals significant conflicts with the DNA–DNA hybridization tree. The phylogenetic structure and temporal scaling we have extracted from these data provide a foundation for interpretations of passerine diversification and critical tests of hypotheses purporting to explain it.
Data Collection. We sampled exemplars of every passerine family recognized by Sibley and Monroe (1), save one, the monotypic oscine passerine family Hypocoliidae (supporting information, which is published on the PNAS web site). We included samples from many subfamilies and tribes recognized by Sibley and Monroe (1), because these correspond to traditionally recognized families (11). The passerine tree was rooted with two outgroups, Gallus gallus and Coracias caudata, although use of other avian and even mammalian outgroups did not significantly affect the topologies obtained (not shown; discussed in supporting information). We amplified and sequenced a large portion of the single exons of the nuclear genes RAG-1 and -2. Methods of genomic DNA extraction, enzymatic amplification, and sequencing were as described (ref. 9; supporting information). The tandem alignment of RAG-1 and -2, generated by eye, included a total of 4,126 positions.
Phylogenetic Analyses. The tandem gene alignment was analyzed by using parsimony, maximum likelihood (ML), and Bayesian methods, as implemented in paup* Ver. 4.0b10 (12), phyml Ver. 2.1b1 (13), and mrbayes Ver. 3.0 β3 (14, 15). Combined analysis of the data was preceded by a test of congruence between the two genes (the incongruence length difference test; ref. 16), which did not approach significance (P = 0.81; see refs. 17–20 for discussion of the utility of this test). Parsimony analysis of the combined data set was accomplished using the parsimony ratchet (21), as implemented in pauprat (22) and paup* (200 iterations of the ratchet, followed by tree bisection and reconnection branch swapping), yielding 432 minimum-length trees (length = 9,431 steps, ensemble consistency index = 0.36, retention index = 0.56). Nodal robustness under the parsimony criterion was evaluated by using the nonparametric bootstrap (100 replicates; ref. 23). ML and Bayesian analyses of the data were performed using a GTR+I+Γ model of sequence evolution (24), as described (9). ML analyses were accomplished using initial searches with phyml (13), and subsequent tree bisection and reconnection branch swapping with paup*, with nodal robustness estimated by the nonparametric bootstrap (100 replicates), performed with phyml. The probability density of the Bayesian posterior was estimated by Metropolis-coupled Markov chain Monte Carlo, with multiple incrementally heated chains. In total, six independent runs of 106 generations (sampling every 100) were performed, two with three heated chains and four with four, and the results from all chains combined. The goodness of fit of the molecular data to the phylogenetic hypotheses implied by Sibley and Ahlquist's (3) DNA–DNA hybridization phenogram was evaluated under the ML criterion, using the test of Shimodaira and Hasegawa (ref. 25; as implemented in paup*, by using 10,000 reestimated log-likelihood bootstrap replicates; supporting information). Taxon sampling of the current study and that of Sibley and Ahlquist (3) was made equivalent by pruning of genera not held in common between the two (with 112 included in the comparison).
Biogeography. All species of passerines were assigned to higher taxa as defined by our ML tree (Fig. 1; supporting information) and by the taxonomy of Sibley and Monroe (1), as described (ref. 9; supporting information). The ancestral areas for passerine higher taxa were inferred from distributional data, using dispersal–vicariance analysis (26, 27), without constraints on the number of areas allowed for ancestral state reconstructions.
Molecular Clock. A likelihood ratio test (28) rejected the molecular clock for this data set (–2 ln Λ = 492, df = 142, P < 0.001), although the observed rate variation was relatively small (terminals appear at 80–119% of the mean root-to-tip path length), and largely attributable to a rate increase within the oscines (46% of root-to-tip path length variance). To account for this variation, we estimated relative nodal ages both by nonparametric rate smoothing (NPRS) (29) and by penalized likelihood (PL; ref. 30). Bootstrap estimates of the standard error (31) of these relative divergences were derived by application of these analyses to 100 pseudoreplicate data sets. The relative timescale derived from nonparametric analysis was calibrated using the basal divergence of Acanthisitta versus all other passerines, assuming it was coincident with rifting of New Zealand from Antarctica (32, 33). This calibration yielded divergence dates for oscines and suboscines [77–76 million years ago (Ma), Table 2] nearly congruent with an independently derived date (77.1 ± 11.6 Ma; ref. 34). A Cretaceous origin for passerines has been questioned (35), however, and we have provided a second independent calibration reference. We calibrated the passerine tree using pairwise divergences at the mitochondrial locus cytochrome b for closely related sister taxa sampled in our study and a previously established rate for evolution of this gene in passerines (36). This analysis (supporting information) yielded an estimated date for divergence of the Acanthisittidae only 5 million years older than the biogeographic calibration, demonstrating remarkable congruence between estimates derived from very ancient geological events (rifting of New Zealand from Antarctica) and much more recent events (speciation in the Hawaiian archipelago; ref. 36). For comparable phylogenetically independent nodes (n = 6, Table 2), our date estimates are also quite similar to those estimated from DNA–DNA hybridization distances using Sibley and Ahlquist's standard calibration (ref. 3; r 2 = 0.97 and 0.98 for NPRS and PL, respectively, type II regression), with slope estimates near one (1.3 ± 0.1 SE and 1.2 ± 0.1 SE for NPRS and PL).
Results and Discussion
Phylogenetic Relationships Among Passerines. Our hypothesis of passerine relationships (Fig. 1) provides important insight into the history of passerine diversification. At the base of the tree, our results provide evidence that the New Zealand endemic family Acanthisittidae is the sister group of all other passerines (Fig. 1, node 1), and that the latter clade can be divided into suboscines (node 2) and the oscine songbirds (node 7; refs. 9 and 33). Within the suboscines, we find additional support for a division into New World (node 5, Sibley and Ahlquist's Tyrannides) and Old World (node 3, Sibley and Ahlquist's Eurylaimides) assemblages (37, 38). DNA–DNA hybridization distances suggested that the highly diverse songbird clade (Fig. 1, node 7) was subdivided into two large clades, the Passerida and the Corvida (3); however, our data corroborate recent studies that demonstrate paraphyly of the Corvida (9, 33, 39). Moreover, the expanded taxon and character sample of the present study demonstrate that the phylogenetic structure among basal oscine lineages is more complex than previously realized.
Analyses of RAG-1 and c-mos sequences (9) previously identified three Australian groups (Menuridae, Ptilonorhynchidae plus Climacteridae, and the superfamily Meliphagoidea) as sequential sister taxa to the other oscines. Our results indicate that at least two additional Australian taxa (the Pomatostomidae and Orthonychidae) are also outside the crown oscine radiation. Although relationships of these ancient lineages violate monophyly of Sibley and Ahlquist's Corvida, we do recover a major clade of "crow-like" songbirds that roughly corresponds to this group (the "core Corvoidea"; Fig. 1, node 20), as well as a large clade roughly corresponding to their Passerida (node 21). In addition to clarifying the contents of these "core" radiations, our data elucidate their early history. First, the Australasian dawn robins and the African endemic rockfowl and rockjumpers (Petroicidae and Picathartidae) are found to be the sister groups to passeridan radiation (Fig. 1, nodes 8 and 9). Second, a newly discovered clade (Fig. 1, node 19) consisting of the cnemophiline "birds of paradise" (Cnemophilus, Loboparadisaea), berrypeckers (Melanocharitidae), and the wattlebirds of New Zealand (Callaeatidae) appears as the sister group to the "core Corvoid" radiation.
Within these two groups, our data corroborate many hypotheses posited on DNA–DNA hybridization evidence, including: (i) a close relationship between New World mockingbirds and Old World starlings (node 15, Fig. 1); (ii) wide separation of New World Vireonidae and wood warblers (Fringillidae); and (iii) separation of "Passerida" into three major groups, the Passeroidea, Muscicapoidea, and Sylvioidea (roughly corresponding to nodes 23–25, Fig. 1). In addition to these, our sampling has allowed us to identify a number of unexpectedly divergent lineages, including (i) the African sugarbirds and allies (Promerops, Arcanator, and Modulatrix; Fig. 1, node 22), (ii) an apparently ancient group of "flycatchers" (Culicicapa and Elminia; Fig. 1, node 12), and (iii) an unsuspected clade of shrike-like corvoid songbirds (node 11, Fig. 1 and Table 2), encompassing species endemic to Australasia, Asia, and Africa.
Comparison to the DNA–DNA Hybridization Tapestry. Although our results bear some rough similarity to those of Sibley and Ahlquist's (3) phenogram, the two differ significantly both in detail and in their implications for passerine evolution. As a first step toward revealing these implications, we have quantified the magnitude and statistical significance of conflict between our hypothesis and theirs. Our best hypothesis of passerine relationships conflicts with 52% (n = 55 paraphyletic groups) of the nodes defined by the Tapestry; 36% of these conflicts (n = 20) are statistically significant (Table 1). Of the nodes we tested, 54 represent higher taxa recognized by Sibley and Ahlquist (3) or Sibley and Monroe (1), of which 39% (n = 21) are not monophyletic on our preferred hypothesis: approximately half of the conflicts appear statistically significant (Table 1). Some of the conflicts observed here are correlated, because shifting individual genera between two higher taxa necessarily violates monophyly of both. However, some cases of nonmonophyly supported by our data involve nesting of large clades within others (e.g., the parvorder Passerida within the Corvida), and a number involve distant relationships among groups of genera such that paraphyly cannot be attributed to the placement of individual taxa (e.g., within Sibley and Ahlquist's subfamily Corvinae). Therefore, our results imply significant pervasive conflicts with the DNA–DNA hybridization estimate of relationships. In addition, a number of species included in the current study represent distinct lineages not included in Sibley and Ahlquist's (3) sampling, the placement of which violates monophyly of recognized taxa from the ranks of tribe to parvorder (see Phylogenetic Relationships; ref. 1). Thus, our results suggest not only that the DNA hybridization hypothesis is problematic, but also that use of the revised taxonomy based partially on it (1) as a proxy for evolutionary relationship is also questionable (6, 8).
Diversification of Passerine Lineages. Based on our data and the phylogenetic conclusions drawn from them, we have used quantitative biogeographic methods to infer dispersal patterns of passerine lineages and molecular clock methods to infer the absolute timing of their subsequent radiation across the globe. These analyses provide a previously unavailable set of spatial and temporal constraints on the rates and patterns of passerine diversification.
Basal divergences among Acanthisitta and the suboscine and oscine passerines are trans–Antarctic (32), with deeply diverging lineages distributed in South America, New Zealand, and Australasia (Fig. 2), suggesting a Gondwanan influence on the distribution of these taxa. The earliest fossil passerine is from the early Eocene of Australia (40), and the next known fossil is from the late Oligocene of Europe (41). In contrast, molecular results from this and other studies (3, 33, 34, 42) indicate that passerines began diversifying in the Late Cretaceous (Fig. 2, Table 2), ≈30 million years before their first appearance in the Southern Hemisphere fossil record, and ≈60 million years before their first appearance in the north. The lack of early southern fossils is unsurprising given the historical research bias toward northern paleofaunas (43). We propose that the large gap in the northern record is likely a function of the southern origins of passerines and the temporal history of their radiation out of Gondwana.
Our current sampling of suboscine lineages, although sufficient for testing higher-level hypotheses of relationship, precludes extensive discussion of their biogeography. However, our data suggest that the highly speciose New World suboscines began diversification in South America near the Cretaceous–Tertiary boundary (Table 2), indicating provincialism and vicariance before continental breakup of South America, Antarctica, and Australia. The biogeographic pattern of the remaining suboscines, the relatively species-poor broadbills (including the Malagasy asities; genera Smithornis, Psarisomus, Philepitta, and Neodrepanis in Fig. 1) and pittas (genus Pitta in Fig. 1), currently found on Madagascar, continental Africa, and Asia, seems to implicate tectonic vicariance involving India, Madagascar, and Antarctica followed by diversification in Asia (32). However, the separation of Old and New World suboscines, dated at ≈71 Ma, and the divergence of pittas and broadbills at 57 Ma (nodes 2 and 3 in Fig. 1, Table 2) appear too young for a strictly vicariant explanation. Reconstructing the history of suboscine diversification will require more detailed analysis, with additional taxon and character sampling (37, 38).
Basal oscine (node 7, Fig. 1) relationships and biogeographic history are greatly clarified by our data. In contrast to the classical view of oscine dispersal from the north into Australasia (44), Sibley and Ahlquist (3) hypothesized parallel diversification of northern and southern oscines (their Passerida and Corvida, respectively). The phylogenetic arrangement and inferred biogeography of basal oscine lineages as reconstructed here suggest a more complex history, in which two major sequential diversification events occurred: an ancestral Australasian diversification and a subsequent diversification of the Passerida after dispersal out of Australasia (Fig. 2), essentially reversing the classical scenario. Our phylogenetic results recognize a total of five basal oscine passerine lineages distributed in New Guinea and Australia (Fig. 1; supporting information), firmly rooting the origin of oscines in Australasia (Fig. 2). Additionally, our analyses suggest that three ancient lineages distributed in New Guinea and New Zealand form the sister group (node 19, Fig. 1) to a group we term the "core Corvoidea" (node 20, Fig. 1). Although basal relationships within the latter group are not well supported, >95% of the trees sampled in Bayesian analysis of the data placed an Australasian lineage as sister to the remaining corvoid taxa. Taken together, these relationships support an Australasian ancestry for the entire assemblage. It is from this basal Australasian radiation (from the Menuridae through node 18, Fig. 2) that the extremely diverse secondary radiation of passeridan oscines was derived.
Diversification of oscines appears to have involved dispersal of multiple lineages from Australasia, a single one of which, the Passerida, represents the bulk of passerine diversity (Figs. 1 and 2). The origins of this asymmetry in diversification are thus of particular interest. Analysis of our data identifies the sister taxa of the "Passerida" (Fig. 1) narrowly constraining the age and timing of dispersal of the group. The relatively species-poor families Petroicidae (44 species) and Picathartidae (4 species) are supported as successive sister taxa to the passeridan radiation, although the specific arrangement of these three lineages is only weakly supported (Fig. 1); the alternative resolutions require either one or two dispersals from Australasia. We estimate the divergence of the Picathartidae at 47–45 Ma, with the divergence of the dawn robins from the Passerida nearly coincident (45–44 Ma; Table 2). In contrast, the earliest inferred dispersal of any corvoid from Australia involves the lineage leading to Vireonidae + Erpornis at 40–37 Ma, at least 5 million years after the inferred passeridan dispersal, indicating a substantial head start for the latter group in its occupation of Eurasia. Other corvoids (e.g., the genera Oriolus, Dicrurus, Lanius, and Corvus or their ancestors) appear to have followed even later. Thus, the fundamental asymmetry between the diversity of the "core Corvoidea" and Australasian endemic groups on the one hand (8) and the Passerida on the other may in part be due to differences in the timing of lineage dispersal out of Australasia.
The timing and mechanisms of vertebrate dispersal between Africa and Eurasia remain an area of active research, primarily driven by interpretation of the mammal fossil record (45). We have dated the basal divergence of the newly discovered clade of shrike-like taxa found in Africa, Asia, and Australasia (node 11, Fig. 1) at 29–26 Ma. The divergence of another African/Asian disjunct pair, the sylvioid "flycatchers" Elminia and Culicicapa, appears nearly coincident (node 12; 27–26 Ma). These dates are contemporaneous with, or slightly earlier than, current fossil constraints on Oligocene mammal interchange between Eurasia and Africa (45). The establishment of currently disjunct oscine lineages in Asia and Africa was likely mediated by the presence of mesic forest throughout northern Africa and Eurasia before Miocene desertification (46), which generated disjunct patterns of distribution in many bird groups and other vertebrate lineages (47, 48). More extensive sampling of passerine lineages will undoubtedly reveal additional unrecognized faunal connections between these regions, allowing more detailed evaluation of avian dispersal into Africa.
Another important question for understanding the diversification of passerines is the impact of dispersal between the Old and New Worlds. For instance, one primarily New World group, the subfamily Emberizinae, represents ≈15% of passerines and nearly 8% of all extant bird species (1). Within the oscines, five sister-group comparisons establish maximum ages on invasions into the New World (Table 2). Three of these ages, the mockingbirds and thrashers (Mimini); sparrows, tanagers, and allies (Emberizinae); and vireos (Vireonidae), occur between 28 and 20 Ma; the fourth (the New World jays) is inferred to be somewhat younger (17–14 Ma) and the fifth (the wrens and gnatcatchers, Troglodytinae) somewhat older (34 Ma). Due to the advent of oceanic barriers, in combination with significant climatic deterioration, these times make it unlikely that dispersal of most oscines into the New World occurred via the North Atlantic (49) or Antarctica (ref. 50, contra ref. 3). These findings are in agreement with broad-scale spatial and temporal analyses of the extant Holarctic fauna (51) and with the timing and pattern of mammalian dispersal indicated by the fossil record (52), both of which suggest that dispersal into the New World in the late Oligocene/early Miocene was predominantly through Beringia. We infer that divergence of lineages within the extremely diverse subfamily Emberizinae commenced shortly after invasion of the New World (NPRS: 16 Ma, bootstrap SE = 3.3; PL: 18 Ma, SE = 1.6), a timing in close agreement with dates derived from mitochondrial DNA of this group (53). This is consistent with the hypothesis of relatively recent emberizine dispersal into South America and diversification in concert with the main thrust of Andean uplift (ref. 53; Table 5). Additional sampling of New World songbird lineages will refine the distribution of dispersal times from the Old World and allow more explicit biogeographic and temporal analysis of intrahemispheric dispersal and speciation patterns.
Most previous studies of spatial and temporal patterns in passerine diversification have either been formulated in the absence of a quantitative phylogenetic framework (54, 55) or have used a phylogenetic hypothesis (3), that shows significant and pervasive conflict with available DNA sequence data (refs. 6 and 8, but see ref. 56). The results reported here provide a robust phylogenetic framework for future studies of passerine evolution. In addition to their phylogenetic content, DNA sequence data have proven extremely informative in providing temporal constraints on the origin and diversification of the major passerine clades. These constraints must be corroborated by additional calibrations from fossils and paleogeographic vicariance events, and it is crucial that future phylogenetic analyses incorporate morphological data so that the phylogenetic position of key fossils carrying important temporal data can be established. In the future, increased taxon and character sampling should allow more accurate estimation of diversification rates (57, 58), clarify the role of Earth history in bioegographic patterns and diversification (8, 59), and permit explicit tests of adaptive explanations of passerine diversity (60, 61).
We received useful comments on various portions of the manuscript from George Barrowclough, David Fox, Sharon Jansa, Scott Lanyon, Irby Lovette, Georgiana May, Nancy Simmons, Peter Tiffin, and several anonymous reviewers. We gratefully acknowledge loans of genetic material from many institutions, including the Australian Museum; Australian National Wildlife Collection; Field Museum; Museum Victoria; Percy Fitzpatrick Institute of Ornithology; Smithsonian National Zoological Park; University of Queensland; Queensland Museum; Burke Museum; and Zoological Museum, University of Copenhagen. This work was supported in part by National Science Foundation "Assembling the Tree of Life" Grant EAR-0228693. This paper is a contribution from the Monell Molecular Laboratory and the Cullman Research Facility at the American Museum of Natural History and has received support from the Lewis B. and Dorothy Cullman Program for Molecular Systematics Studies, a joint initiative of the New York Botanical Garden and the American Museum of Natural History. Analyses were performed by using resources of the Computational Genetics Laboratory at the University of Minnesota Supercomputing Institute.
↵ § To whom correspondence should be addressed. E-mail: barke024{at}tc.umn.edu.
This paper was submitted directly (Track II) to the PNAS office.
Abbreviations: ML, maximum likelihood; Ma, million years ago; NPRS, nonparametric rate smoothing; PL, penalized likelihood.
Data deposition: The sequences reported in this paper have been deposited in the GenBank database (accession nos. AY443260–AY443339, AY443102–AY443247) and the EMBL database (accession nos. ALIGN_000669 and ALIGN_000671).
- Copyright © 2004, The National Academy of Sciences
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Up Next For Apple's iTunes: Movie Rentals?
Page 1 of 1
UPDATED: Apple and Twentieth Century Fox are set to announce a deal that will allow consumers to rent Fox movies through Apple's digital iTunes Store, according to media reports on Thursday.
The agreement will allow rentals of Fox's latest DVD releases by downloading a copy from the online iTunes store for a limited time, the Financial Times said. The Wall Street Journal also reported the deal in its online edition.
Fox's corporate parent, News Corp., had no comment. An Apple spokesman could not be reached immediately for comment.
Analysts were divided about what impact the Apple-Fox deal would have on the $9 billion U.S. movie rental business, which has seen steady declines in in-store rentals and slowing growth online in the past year.
Pali Research analyst Stacey Widlitz said the deal follows a trend of Hollywood studios selling directly to consumers and "cutting out the middleman."
"It's just a sign the studios feel ... that another distribution channel is where they are choosing to go, and incrementally it hurts Blockbuster and Netflix," Widlitz said.
However, Wedbush Morgan analyst Michael Pachter said the deal probably would expand the universe of online renters.
"I don't think that will cannibalize rental for the purpose of viewing at home," Pachter said. "I think that the primary purpose of renting movies is to consume the entertainment in the home. The primary purpose of downloading anything from iTunes stores is to consume on the go."
Pachter said the rental terms and movie release schedule would largely determine how successful the Apple-Fox deal is.
Representatives for Netflix and Blockbuster had no immediate comment on the matter.
Video sales have lagged behind the growth in popularity of music downloads on iTunes. Media companies have wanted more flexibility from Apple in pricing policies.
Shares of Netflix were down 4.5 percent, or $1.29, at $27.41 on Nasdaq. Shares of Blockbuster were down 4.8 percent, or 20 cents, at $3.98 on the New York Stock Exchange.


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Thursday, January 26, 2012
Pinterest Ideas in Action
I have been a bad blogger... not updating as often as I would like. So I am going to try to get some updates going. I have been implementing a lot of ideas I have pinned on Pinterest so I will start by describing a few.
Last year I saw these white umbrellas in the Oriental Trading catalog and thought those would be great for my Art Club to make a donate to our Holiday Auction. But I wasn't sure how the designing would go.
So this little photo from Pinterest got me started...
|Here is where it came from:
|tie dye polka dots!
|GES is our school - I like the popcorn, soda movie mask idea!
|Nature and animal theme
|this one had an animal, nature theme. They were inspired by my animal print - wild about art theme in my room!
they put their names into a word search on the last panel.
3 comments (+add yours?)
- Marilena said...
What a great project by your students.
I love the bold colors, lines and patterns.
- February 27, 2012 at 7:32 PM
- Miss said...
What a great fundraising idea- I wonder how you could make them usable in the rain? On a random note, I saw the boss of Oriental Trading on the TV show "Undercover Boss" a while back... very interesting.
- March 24, 2012 at 7:39 PM
- Steffi said...
I bought these from oriental trading and could not figure out how to approach a lesson. This is such a great idea. Thanks for sharing.
- January 20, 2013 at 9:11 AM


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We had been in town and when we returned I happened to look out the window and notice a Doe and Fawn in the yard. It must have just been born because it was a little wobbly on its legs. When ran it was all legs.
More White-tailed Deer photos can be found on my website.


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Founded in 1931, the Vancouver Art Gallery is recognized as one of North Americas most respected and innovative visual arts institutions. The Gallerys innovative ground-breaking exhibitions, extensive public programs and emphasis on advancing scholarship all focus on the historical and contemporary art of British Columbia and international centres, with special attention to the accomplishments of First Nations artists and the art of the Asia Pacific regionthrough the Institute of Asian Art founded in 2014. The Gallerys programs also explore the impacts of images in the larger sphere of visual culture, design and architecture.
The Vancouver Art Gallery is a not-for-profit organization supported by its members, individual donors, corporate funders, foundations, the City of Vancouver, the Province of British Columbia through the British Columbia Arts Council, and the Canada Council for the Arts. We thank everyone for their continuing support. The Vancouver Art Gallery is situated on the traditional, ancestral and unceded territories of the xʷməθkʷəy̓əm (Musqueam), the Sḵwx̱wú7mesh (Squamish) and səl̓ilwətaɁɬ (Tsleil-Waututh) peoples, and is respectful of the Indigenous stewards of the land it occupies, whose rich cultures are fundamental to artistic life in Vancouver and to the work of the Gallery.
Kathleen Bartels is the Director of the Vancouver Art Gallery where she has led the Gallery through a period of unprecedented growth and, in 2016, marked 15 years of leadership as the Director of this 85-year-old organization.
Kathleen S. Bartels, Director
Bartels' direction has resulted in a significant transformation in the program, melding a dynamic mix of contemporary and historical exhibitions that exemplify the Gallery's commitment to bring the best of the art world to Vancouver and the best of Vancouver to the world. Through such ground-breaking exhibitions as KRAZY! The Delirious World of Animé + Comics + Video Games + Art (2008), Beat Nation: Art, Hip Hop and Aboriginal Culture (2012), Unscrolled: Reframing Tradition in Contemporary Chinese Art (2014), How Do I Fit This Ghost in My Mouth? An exhibition by Geoffrey Farmer (2015) and MashUp:The Birth of Modern Culture (2016), the Gallery has heightened its international reputation in the contemporary art community. Outstanding historical exhibitions have become another Vancouver Art Gallery hallmark, including such original presentations as Picasso: The Artist and His Muses (which attracted a record breaking number of visitors to the Gallery in 2016), Leonardo da Vinci: The Mechanics of Man (2010), The Colour of My Dreams: The Surrealist Revolution in Art (2011), and Charles Edenshaw (2013). In addition, Bartels has to date co-curated four Gallery exhibitions with artist Jeff Wall, including Anthony Hernandez (2009), Kerry James Marshall (2010), Patrick Faigenbaum (2013), and Martin Honert (2013). In 2014, in association with the opening of The Forbidden City: Inside the Court of Chinas Emperors, the Gallery launched the Institute of Asian Art to reflect its deep commitment to exhibiting contemporary and historical Asian art and exploring the art and culture of Vancouver and its place in the world. Vigorous audience engagement has also been a priority for Bartels, and today the Gallery delivers a diverse range of public educational programs for close to 200,000 people annually designed to engage the community in understanding and appreciating the world of art and culture.
With an annual operating budget now at approximately $19 million, the Gallery has made great strides during Bartels tenure in growing the levels of contributed and earned income, with private sector donations having increased by more than 250%, the institutional endowment growing fifty-fold from $200,000 to more than $11 million today, and significant growth in attendance, including an average of 40,000 members annually. The Gallerys collection, which represents the most comprehensive resource for visual culture in British Columbia, now numbers 11,709 representing a 49% increase from 2001. Since 2006, the Gallery has ensured broader access throughout British Columbia to our permanent collection by delivering Across the Province, a Gallery-sponsored exhibition program from our collection.
For more than a decade, Bartels has led the institution on its journey to build a new, expanded Vancouver Art Gallery. In 2008, the Gallery received a gift of $50 million from the Province of British Columbia, representing the first contribution towards a $350 million capital and endowment campaign. In 2013, Vancouver City Council unanimously approved the designation of a City-owned site at West Georgia and Cambie Streets for the new Gallery. In 2014 the Gallery announced Herzog & de Meuron as the selected architects; the schematic design phase of the building was completed in June 2016. The goal for the new Gallery, scheduled to open in 2021, is to provide the citizens of Vancouver and all who visit with an amazing experience of art that celebrates British Columbia and its unique place in our world.
Kathleen Bartels has received many awards and honours during her tenure at the Gallery, including the 2015 Outstanding Individual Award by the Downtown Vancouver Business Improvement Association. She is very proud to serve as a Board member of the British Columbia Achievement Foundation
Housing a permanent collection of more than 10,000 artworks, the Vancouver Art Gallery continues to build on the collection's historical and contemporary strengths through the acquisition of work by local and international artists through donation and purchase. Currently, approximately 3% of the collection is on view.
The Permanent Collection
One of the collection's principal strengths is the abundance of works by artists of this region, a strength that reflects the Gallery's commitment to preserve and present works by British Columbia's finest artists. Through emphasis on the presence of the art of this province, the Gallery recognizes the continuing links to the history of British Columbia and its prominence nationally and internationally. The Gallery's holdings include a major collection of photo-conceptual work by internationally renowned Vancouver-based artists Jeff Wall, Stan Douglas, Rodney Graham, Roy Arden and Ian Wallace, among other distinguished artists. The Gallery also houses the most significant collection of Canadian artist Emily Carr's work. Artists E.J. Hughes, Maxwell Bates, Toni Onley, Jack Shadbolt, Bertram Charles Binning, Gordon Smith, Alistair Bell, Takao Tanabe, Robert Davidson, Michael Morris, N.E. Thing Co., Ken Lum, Ann Kipling, Gathie Falk, and Brian Jungen, among many others, are well represented.
While housing one of the most important photographic collections in North America today, the Gallery had acquired a relatively small number of significant photographs prior to 2002, key among these works by John Vanderpant, Eikoh Hosoe, Manuel Alvarez Bravo, Minor White and Donigan Cumming. Through a combination of gift and purchase, the Gallery realized a major addition of international photography in 2002 from Toronto collectors Alison and Alan Schwartz, including major works by Cindy Sherman, Andreas Gursky, Thomas Struth, Dan Graham, and others. 2003 and 2004 saw the photographic collection substantially enlarged through gifts from the Schwartz family, Sandra Simpson, Bill Jeffries, Jeremy Caddy and, most notably, the addition of the Claudia Beck and Andrew Gruft collection of more than 450 works, including important photographs by Samuel Bourne, Robert Frank, David Octavius Hill, Robert Adamson, Julia Margaret Cameron, Manuel Alvarez Bravo, Ansel Adams, Edward Weston, Lewis Hine, Tina Modotti, William Henry Fox-Talbot, Margaret Bourke-White, Weegee, Henri Cartier-Bresson, André Kertész, and others.
The Vancouver Art Gallery's collection originated with few Canadian works and a strong emphasis on British historical painting. The founding collection included only seven works by Canadian artists, six of which were gifts. The first major purchases of Canadian art were made in 1932 with On the Beach, Dinard, c. 1900-1905 by J.W. Morrice, The Road to St. Fidele, c. 1929-1930 by A.Y. Jackson, and three additional works purchased from an exhibition of Canadian art held at the Vancouver Art Gallery. It was not until 1937 that the Vancouver Art Gallery purchased a work by Emily Carr titled Totem Poles, Kitseukla, 1912, which was acquired at a cost of $400. Upon Carrs death in 1945, a selection of her works was willed to the Province of British Columbia. In 1966, the Trustees officially transferred the Emily Carr Trust Collection, totalling 157 works, to the Vancouver Art Gallery. The Collection is comprised of 252 artworks, including 146 paintings, 51 drawings and 45 ceramic works, as well as letters, books, photographs and untitled sketches.
The Vancouver Art Gallery also houses a number of major works by Canadian artists Lawren Harris, A.Y. Jackson, Arthur Lismer, Jock Macdonald, J.W. Morrice, David Milne, Harold Town, Gershon Iskowitz and Jack Bush. The collection includes a number of works by some of Quebec's best known artists, including Theophile Hamel, Antoine Plamondon, Marc-Aurèle de Foy Suzor-Coté Paul-Emile Borduas, Guido Molinari, Jacques de Tonnancour, Claude Tousignant, Charles Gagnon, Yves Gaucher, Alfred Pellan and Jean-Paul Lemieux. The Gallery has acquired major works by Quebecois contemporaries such as Genviève Cadieux, Jana Sterbak, Jocelyne Alloucherie and Betty Goodwin.
The Gallery's European historical collection includes Dutch paintings from the seventeenth century by Jan Anthoniszoon van Ravenstyn (1570-1657), Jan Wynants (1630/35-1684), Isaac van Ostade (1621-1649), Pieter Neeffs the Elder (1578-1656), Jacob Marrel (1614-1681), Jan van Huysum (1682-1749), Balthasar van der Ast (1590-1656), Ambrosium Bosschaert the Younger (1609-1645), Jan Josefsz van Goyen (1596-1665), Abraham Storck (1635-1710), Roelof de Vries (1631-c.1681), Willem van de Velde the Younger (1633-1707), Adriaen van der Kabel (1631-1705), Salomon van Ruysdael (1600-1670), Flemish-Cornelius de Heem (1631-1695), Roelandt Savery (1576-1639) and a fine first edition of Francisco Jose de Goya y Lucientes' Disasters of War.
In our 80-year history, the Vancouver Art Gallery has expanded three times. Currently operating at and beyond capacity after nearly 30 years in the renovated former provincial courthouse building, the Gallery is now planning a new, purpose-built facility that will meet the community-s needs for the next 50 years and beyond.
The Gallery Buildings
Construction of the original Vancouver Art Gallery building began in March of 1931, funded by $130,000 raised by a group of art patrons led by Vancouver businessman Henry A. Stone. The Gallery was constructed on a 132-by-66-foot site donated by the City of Vancouver at 1145 Georgia Street, several blocks west of the organization-s current location. Built for a cost of $40,000, the original Vancouver Art Gallery building was erected in a lot in what was then a residential area at the edge of downtown. It encompassed a single floor of exhibition gallery space.
In 1951, the Vancouver Art Gallery at 1145 Georgia Street was expanded to three times it original size in order to accommodate 157 works by Emily Carr, willed by the artist to the province of British Columbia before her death in 1945. Fundraising for the Gallery expansion was led by Carr-s close friend, Group of Seven artist Lawren Harris, who was instrumental in raising $300,000 toward the project, a sum matched by the City of Vancouver.
The Vancouver Art Gallery remained at 1145 Georgia Street until 1983, when it moved to its present location in the former provincial courthouse building bound by Georgia, Howe, Hornby and Robson Streets. As part of a land exchange between the Province of British Columbia and the City of Vancouver in 1974, the city had acquired a 99-year lease of the imposing, neo-classical courthouse building. Opened to the public in 1911, the structure was designed by Victoria architect Sir Francis Mawson Rattenbury (1867-1935).
Vancouver-based Arthur Erickson Architects was hired by the City of Vancouver to carry out a feasibility study on the possible uses for the courthouse building, and the firm returned a report recommending the Gallery relocate to the courthouse. The Gallery agreed to this recommendation and commissioned Erickson's firm to develop the design for a renovation of the courthouse building. Construction began on the $20 million renovation project in December of 1981. The new Vancouver Art Gallery opened to the public in October 1983 in the retrofitted courthouse building with 41,400 square feet of exhibition space.


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Wednesday, November 25, 2009
Sadly, no Barbara Crampton... but...
I am constantly amazed at the little gems that are stashed all over the interwebs. I found one tonight called "Deanimator" based on Lovecraft story "The Strange Case of Herbert West" (aka the "hero" in the movie Reanimator)
Skinny little Herbert has nothing between him and a horde of undead but his trusty six-shooter - which seems like it always need reloading. It also features some very nice animation. Pro-Tip: Use your mouse cursor to select the zombies rather than just "aiming" and shooting at the zombies.
It's very simple, very moody and very effective.
Posted by Killer Moth at 9:27 PM
Labels: game review, interwebs, stuff to play
2 comments:
- Mike Darga said...
That got pretty terrifying toward the end there. I only made it to level 10.
I like how matter-of-factly the game handles your death heh.
- November 27, 2009 at 2:14 PM
- Scott Rogers said...
I agree. How quickly and immediately the zombies take you out adds to the creepiness!
- December 2, 2009 at 8:52 PM
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Lothar Spree – The Good Man Of Tongji University
SHANGHAI – I first met Lothar Spree in Shanghai in August 2007, and we have been in regular email contact until a couple of weeks before he passed away on December 6th, 2013. I knew he was preparing for his final days in Berlin when we last exchanged ideas about China via email correspondence. He was hospitalized for some weeks, he said. He never complained, though; he never said how bad his illness really was. His last message to me read: "I go home tomorrow. Yesterday I started therapy. This will dictate my life for a while now. I am confident and determined, however, to stay active and continue my life joyfully."
The impact Lothar has left on hundreds of his Chinese students at Tongji University of Shanghai is immeasurable. He taught film art and history, especially European and German one, media theory, and, most important of all, he helped students to (re-)discover their own creativity and to express themselves through the film medium. Some of his students I met in person when they worked on short film entries and later won prizes for their pieces presented at the Xu Guangqi Short Film Festival in Shanghai. They have a bright future ahead of them. Lothar mentioned to me how lucky he was that he was given the privilege to meet some of the finest students in China, and how he loved to make a difference for them and for the future of Sino-German relations. Lothar was a great professor and educator, a kind soul, and a true friend. His many advises have stuck with me and guided me ever since. He was liked by everyone in the German community in China. He loved travelling, and he told me many stories of Germany and Italy; but he was also a man of China and Shanghai, the megacity at the forefront of China's education, which he called his home for so many exciting and wonderful years. Lothar Spree became a teacher because that was his passion and his calling. We're going to miss you, Old master!


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IntranetFiles available for downloading
1) For the Ph.D. student:
(pdf - 32 Ko)
|Ph.D. course attendance form (pdf - 76 Ko)
|Supervisory committee for the Ph.D. thesis (doc -71 Ko)
Request for amendment to doctoral agreement
(doc - 59 Ko)
|Financial support for international symposium mobility (doc - 46 Ko)
|Financial support for international mobility period (doc - 46 Ko)
|Request to write part of the thesis in a language other than French (pdf - 40 Ko)
(pdf - 63 Ko)
2) For supervising lecturers and researchers:
|Regulations for thesis co-supervision (CS) (pdf - 401 Ko)
Regulations on the maximum number of students under supervision (CS) (pdf - 418 Ko)
Request for co-supervisor without HDR status(CS) (pdf - 65 Ko) and Request form for co-supervision (CS) (doc- 39 Ko)
|Thesis salary allowance offer (website recruitment)
|Ph.D. recruitment report form
|Financial authorisation for recruitment of a doctoral student under contract (please see website intranet DRH3)
|Training programme submission for the ED211
|Supervisory committee for the Ph.D. thesis (doc - 71 Ko)
Co-supervisor agreement in France
(doc - 48 Ko)
3) Co-supervisor agreements:
Co-supervisor agreements must be completed and signed for all doctoral students registered for a thesis under joint supervision. Such students must be properly registered in both partner universities, as from the very 1st year of their Ph.D. and for each of the three years of their studies. In the event of any modifications to the initial agreement (such as a change of duration or of the names of thesis supervisors), a formal amendment must be added in writing to the original agreement.
4) Please consult reported minutes of previous Doctoral School Board meetings.
Compte rendu du 2 mars 2016 (pdf - 98 Ko)
Compte rendu du 18 février 2016 (pdf - 248 Ko)
Compte rendu du 5 novembre 2015 (pdf - 565 Ko)
Compte rendu du 10 juin 2015 (pdf - 117 Ko)
Compte rendu du 22 mai 2015 (pdf - 49 Ko)
Compte rendu du 12 février 2015 (pdf - 463 Ko)
Compte rendu du 04 décembre 2014 (pdf - 136 Ko)


text: tag:blogger.com,1999:blog-1874262419752354657.post1941559916084999742..comments2019-05-26T13:15:18.018-05:00Comments on Review This!: Review of the Best Nut Choppers I Have UsedSylvestermousehttp://firstname.lastname@example.com:blogger.com,1999:blog-1874262419752354657.post-64939407099726155672017-01-27T20:58:46.926-06:002017-01-27T20:58:46.926-06:00We own a BnB, process many pounds of nuts for our ...We own a BnB, process many pounds of nuts for our recipes and need to replace our chopper every year. BUT we will buy this chopper which seems to be purfect for our use. Alan Kousenhttps://firstname.lastname@example.com:blogger.com,1999:blog-1874262419752354657.post-79108070094429467522016-10-11T14:56:26.536-05:002016-10-11T14:56:26.536-05:00I could not enter the holiday baking season withou...I could not enter the holiday baking season without a working nut chopper -- or even breakfast most days. Barbara Radisavljevichttps://email@example.com:blogger.com,1999:blog-1874262419752354657.post-70305335844940444642016-10-08T19:39:17.925-05:002016-10-08T19:39:17.925-05:00I broke my chopper awhile ago. And I don't thi...I broke my chopper awhile ago. And I don't think about replacing it until I need it and I'm stuck without one. Thank you for the recommendation (and reminder!) Dawn Raehttps://email@example.com:blogger.com,1999:blog-1874262419752354657.post-53497077624715660482016-10-05T14:27:09.292-05:002016-10-05T14:27:09.292-05:00I can't imagine going back to chopping nuts wi...I can't imagine going back to chopping nuts with a knife. Life is too short. And they do scatter all over, as you say. I think a nut chopper is essential for anyone who uses a lot of chopping nuts. Barbara Radisavljevichttps://firstname.lastname@example.com:blogger.com,1999:blog-1874262419752354657.post-38766671578716273512016-10-05T14:25:25.224-05:002016-10-05T14:25:25.224-05:00The Progressive does have a lot of nice features, ...The Progressive does have a lot of nice features, and it's not as likely to break as a chopper with a glass base. Barbara Radisavljevichttps://email@example.com:blogger.com,1999:blog-1874262419752354657.post-61613460603760095312016-10-05T13:18:35.737-05:002016-10-05T13:18:35.737-05:00I use a lot of nuts too, and to date have been cho...I use a lot of nuts too, and to date have been chopping them by hand with a paring knife. Takes a 'long' time that way and the nut pieces tend to scatter all over the shelf! So I really appreciate this review of nut choppers. Wednesday Elfhttps://firstname.lastname@example.com:blogger.com,1999:blog-1874262419752354657.post-29442014123857391682016-10-05T12:52:44.962-05:002016-10-05T12:52:44.962-05:00What a wonderful review of nut choppers! I don'...What a wonderful review of nut choppers! I don't own one, I usually don't use nuts in my recipes even when they are called for. But I do think that these would be wonderful gifts for my daughters for the holidays coming up. Thanks for the helpful suggestions on which would be right for the person who has nuts to grind. I think I would choose the Progressive for my daughters for the Beverly Owenshttps://email@example.com:blogger.com,1999:blog-1874262419752354657.post-73270030490572162342016-10-05T11:42:59.905-05:002016-10-05T11:42:59.905-05:00It is very easy to crank. I do like the measuremen...It is very easy to crank. I do like the measurement lines, and it's also printed on the top which way to turn the handle for coarse or finer grind. Barbara Radisavljevichttps://firstname.lastname@example.com:blogger.com,1999:blog-1874262419752354657.post-38199613378191816572016-10-05T11:41:18.788-05:002016-10-05T11:41:18.788-05:00When I bought my chopper with the glass base, ther...When I bought my chopper with the glass base, there probably weren't any choppers with plastic bases in the stores. After all, I bought mine about 50 years ago. I never would have considered replacing it had it not broken. But it did break, and I didn't want to have to replace a new one again. Barbara Radisavljevichttps://email@example.com:blogger.com,1999:blog-1874262419752354657.post-27074093935932951132016-10-05T08:40:50.366-05:002016-10-05T08:40:50.366-05:00I really like that the Progressive nut chopper has...I really like that the Progressive nut chopper has measurement lines on the container. That's the type of convenience that I appreciate. The handle looks comfortable, too. Excellent review, Barb, and just in time for holiday baking! Susan Deppnerhttps://firstname.lastname@example.com:blogger.com,1999:blog-1874262419752354657.post-74866777666020054122016-10-05T08:15:40.728-05:002016-10-05T08:15:40.728-05:00This is an excellent review Barb and one that I ve...This is an excellent review Barb and one that I very much appreciate. I would never have considered a nut chopper with a plastic base if I was just standing at the store comparing them. I really like the non-slip base feature and certainly that everything can go into the dishwasher. This also sounds like a great gift suggestion for the baker in the family!Cynthia Sylvestermousehttps://email@example.com


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When you have a camera, everything is photo worthy. Whether it's the birds in the sky, or the flowers in your backyard. You get a new appreciation for the beautiful things in life and are constantly looking for a moment to capture those things. This was one of those moments. I was in Newburyport, MA and everything was vibrant. I was on cloud 9 from being at the Riverfest concert featuring the amazing band Kaleo. It was the perfect setting, a stage with the ocean in the background. As we were leaving, I spotted this colorful statue and I knew I had to take a photo. But what made it even cooler is the capability to focus on one area and fuzz out the rest, focusing in on the bright orange buoy. This picture symbolizes the essence of Newburyport, it's location on the water and history on the sea, enticing people everywhere.
Photo taken September 3rd, 2016.
If you would like your photo to be featured in photo of the week, please contact Liz Siegfried at email@example.com for a quick interview about the photo.


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Today Robert Philips made an important, yet controversial point concerning PR and trust in his article PR is dead: Public leadership is the future in PR Week.
He said the following:
"PR has abused and exhausted trust. The restoration of trust is not a function of PR. Trust is not a message but an outcome. It is complex and fragile. There is no single action, no silver bullet campaign, to resolve the trust deficit. Trust is hard-fought, hard-earned, hard-won every day – by actions, not words. If trust is the desired outcome, then PR is not the appropriate sol-ution. Beware the PR firm that talks and promises otherwise."
Although there are some brilliant points made here, let me generally disagree. PR is the bridge between an organisation and its stakeholders (or at least it should be). It helps the organisation understand what their stakeholders' expectations are and how they should behave to be successful. On the other hand, stakeholders can gain valuable information about the organisation through PR providing information and explaining the organisation's motivations and actions. This is essentially what a lots of PR definitions mean by 'mutual understanding'. And yes, most of the times this process is carried out utilising the written or spoken word. Following on this line of thought, if there was not this bridge (=PR) between organisation and stakeholders, there would be no way to make a connection between them and there would be no way to understand each other. In other words, there would be no way to trust each other.
Reputation, a huge part of which is trust, is defined by John Doorley and Fred Garcia in 'Reputation Management' (2nd ed., 2011) as
REPUTATION = SUM OF IMAGES = Performance + Behaviour + Communication
All of the above are "critical components of reputation", they say.
Accordingly, although it is true that PR in itself will not make an organisation trusted, if the trustworthy behaviour and performance of an organisation is not communicated effectively and clearly towards its stakeholders – using PR and words – trust will never develop or never will be maintained. In a nutshell, if stakeholders do not know about that an organisation is trustworthy, it is not trustworthy.
Indeed, according to the Edelman Trust Barometer 2014, communicating frequently and honestly on the state of the business and listening to customer needs and feedback are key to build trust. Thus, PR can build trust – if used well.
Finally, watch a thought-provoking video about the importance of trust below.


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Your basket is empty.
Appearance: Matt grey or black. Parchment, silver or black shade. Table clamp.
Material: Anodized and die-cast aluminium with stainless steel cables.
Design: 1989. Michele de Lucchi for Artemide.
Size: When at right angle. H 113cm. Reach 91cm. Base dia 23cm.
Shade sizes: 32 x 22cm. Cable 2 metres
Bulb: Hot 1 x E27 Halolux, max 150w or Cool 1 x E27, 15w CFL. Not included.
Please note: This light is classified as made-to-order and as such is non-refundable.
DownloadsNo downloads available
10 - 15 working days.
All mainland UK £9.95.
Non mainland UK by quotation.
For further information refer to Rume terms and conditions.


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District 4 employees are making a difference in lives
off the highway as well as on it.
The Shoshone-based team contributed $6,468 to the Relay for Life effort and cancer research. ITD employees were awarded a plaque for making the highest donation from a new team. They were also in sixth place overall out of the 59 participating teams.
The Relay is a celebration of cancer survivors and the
tangible results produced by cancer research. Participants join in memory
of those loved ones who have fallen to cancer, but also gather in recognition
that a positive attitude is a significant factor in battling the disease.
A member of each team committed to a shift in the relay that began at 6 p.m. and continued until noon the following day at Filer Elementary School. The walk is organized to recognize that cancer does not rest and neither do those dedicated to stopping it. Each team also set up a site that followed the event theme of "Color Me Cured."
Overall, the event raised $181,925, which will be used for local cancer patients and for national research.
The District 4 team was composed of: Bob Johnson, Walter Burnside, Betty Bradley, Rick Bradley, Allen King, Connie Jones, Amy Lierman, Bonita Koonce, James Bennett, Darrell McFarland, Mike Scott and Kathy Williams. Many of their family members also joined them on the weekend.
- - - - -
Photo: Mike Scott and James Bennett, along with family members, ran in the "Road to Recovery Race" that featured a makeshift snowplow. Road to Recovery is a program sponsored by the American Cancer Society to assist cancer patients by having volunteer drivers transport cancer patients to and from medical appointments.
Published 5-25-07


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Thinking of starting a self-publishing business? Here are articles to help you get started:
- How to Self-Publish Your Books
- How to Make Money Self-Publishing
- How to Earn $30,000 a Month with Self-Publishing
- How to Market Your Self-Published Books
- Book: The Publishing Game: Publish a Book in 30 Days
- Book: Print-On-Demand Book Publishing
For detailed guidance, tips and advice on how to start and run a self-publishing business, check out the following books we have selected below:
Money Self-Publishing : Learn How from Fourteen Successful Small Publishers
Many fine books exist that explain to authors how to self-publish. Make Money Self-Publishing shows them how to make money doing it. Readers are introduced to the publishing world and its jargon in Chapter One, Self-Publishing 101. Then the following chapters introduce readers to a variety of small publishers. They range in age, marital status, physical location, subject matter, and favorite marketing approaches, but they are all profitable.
Self-Publishing Books 101: A Step-by-Step Guide to Publishing Your Book in Multiple Formats (Author 101 Series) (Volume 1)
Self-publishing books has never been easier. With print on demand and eBook technology available to us, it has made the process of self-publishing available to anyone and everyone. And there does not have to be huge upfront costs either.
However, there are certain steps to self-publishing that you need to know. Bottom line: You want to get published. You want to control the future of your manuscript and your writing career.
Published!: Marcia Wieder and Top Authors Share Treasured Resources and Success Secrets
PUBLISHED! magazine features treasured resources, success secrets, and the defining moments that have shaped the lives of the world's top authors and publishing professionals. Features: Marcia Wieder, Mark Matousek Interviewed by Christine Kloser, Andreas Buergi PhD, David Title Interviewed by Jennifer S. Wilkov, Maribai Bush Interviewed by Dr. Cathy L. Greenberg, Raymond Perras, Michael Bernard Beckwith Interviewed by Debbi Dachinger, TR Garland, Marjorie Miles, DCH, MFT, John Kremer, Andrea J. Lee, Ellen Violette, Kathleen Gage, and Kricket Cody Harrison Interviewed by Louise Crooks.
The Naked Truth About Self-Publishing
Everything you wanted to know about self-publishing. Ten New York Times Bestselling authors share their knowledge, their experiences, and their souls.
The Economical Guide To Self-Publishing: How to Produce and Market Your Book on a Budget
Unpublished and published authors alike learn valuable trade secrets to successfully self-publish and market books from the updated second edition of The Economical Guide to Self-Publishing written by 26-year veteran publisher, Linda F. Radke, owner of Five Star Publications, Inc., a producer of award-winning fiction and nonfiction manuscripts for adults and children. Authors that follow Radke's expert advice will get their work to readers faster, while maintaining creative control and making more money!
The Fine Print of Self-Publishing, Fifth Edition: A Primer on Contracts, Printing Costs, Royalties, Distribution, E-Books, and Marketing
The Fine Print of Self-Publishing, now in its fifth edition, has been lauded by industry professionals as the go-to book for authors considering self-publishing. The Fine Print has helped thousands of authors understand self-publishing companies' services, contract terms, printing markups, and royalty calculations. This latest edition includes new chapters on e-book publishing and book marketing, as well as updated head-to-head comparisons of major self-publishing service providers, including free book-publishing companies to consider and self-publishing companies to avoid.
2015 Guide to Self-Publishing, Revised Edition: The Most Comprehensive Guide to Self-Publishing
The 2015 Guide to Self-Publishing is the essential resource for writers who are taking their publishing futures into their own hands, whether it's referred to as self-publishing or indie publishing.
In addition to hundreds of listings for freelance editors, designers, self-publishing companies, and more–the Guide to Self-Publishing offers articles on how to create standout covers, hire freelance designers, break in to the gift market, protect your work, promote your work, and more.
You also gain access to:
- Lists of conferences, organizations, and book fairs and festivals
- A pay-rate chart to help negotiate fair terms with any freelancers you might useI
- nterviews with successful indie authors, including Hugh Howey, Bob Mayer, Delilah Marvelle, and more
- Includes access to a one-hour webinar, "How to Format E-books With Microsoft Word," indie author Jason Matthews helps writers master e-book formatting. This webinar covers each section of your book's needs, from the title and table of contents to inserting images and hyperlinks. In just over an hour, you'll be able to professionally format your e-book and give readers something they'll enjoy.
A Detailed Guide to Self-Publishing with Amazon and Other Online Booksellers: How to Print-on-Demand with CreateSpace & Make eBooks for Kindle & Other eReaders
This is a highly detailed guide with several step-by-step instructions for how to format and publish your book both as a paperback book with Amazon (and other major online booksellers) and as an eBook with Kindle (and a variety of other eReaders)


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Getting ready for my trip to Switzerland
I am thinking about the things to bring to do on the long plane ride... Laptop, PSP, Journal, DVD player, Drawing Pads.... Sounds like a lot of fun, but come on, it's a long flight. I will post the flight schedules as I get them. I leave on Saturday June 10th. I am very excited.


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Today I thought I would do something a little different, and found some bookish questions to answer!
Hardback or trade paperback or mass market paperback?
I love a hardback however I'll have to go with paperback as that is what I tend to buy
Amazon or brick and mortar?
Brick and mortar! Book shops are one of favourite places on earth and I think its really important we support them.
Locally owned bookshop or big name chain store?
Locally owned if I can, but I don't mind the big chains
Bookmark or dog-ear?
Bookmark! I can't bear to ruin books.
Alphabetize by author or alphabetize by title or random?
Random, I am far too messy
Keep, throw away, or sell?
Keep, although I do try and donate books to my local oxfam book shop as often as I can
Keep dust jacket or toss it?
Read with dust jacket or remove it?
I tend to read with or I would lose it
Short story or novel?
Collection (short stories by same author) or anthology (short stories by different authors)?
Hmmm probably anthology as I like comparing different styles and techniques
Stop reading when tired or at chapter breaks?
chapter breaks, but don't be surprised if you find me still awake at 4am trying to get to the end
"It was a dark and stormy night" or "Once upon a time"?
Dark stormy night!
Buy or borrow?
Buy but I love to lend
New or used?
Either to be honest, but I love buying used books as it feels like they have a new life
Buying choice: book reviews, recommendation or browse?
All three! But recommendations from my mum, nana and sister are sure winners!
Tidy ending or cliffhanger?
I get very frustrated with cliffhangers but I still love them!
Morning, afternoon or nighttime reading?
I tend to not have a lot of time in the morning but I can happily while away an afternoon or evening submerged in a book
Single volume or series?
Again, either!
Favorite series?
The magicians guild trilogy by Trudi Canavan
Favorite books read last year?
Probably We Were liars by E.Lockhart
Favorite books of all time?
I couldn't say!
Thank you to the guys over at good reads for providing the questions which you can find here, http://www.goodreads.com/topic/show/1162432-questions-for-book-lovers


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On the Way to School
A film by Pascal Plisson
Available on Netflix
Rated G; 1 hour and 17 minutes
We often forget how lucky we are to go to school.
This documentary follows the paths to school for four children. In the photo above, you see Samuel from India whose brothers push and pull his wheelchair over two miles every day to arrive at school. Zahira walks 4 hours every Monday in the Atlas Mountains of Morocco to spend a week at a boarding school. Jackson and Salome walk 15 kilometers through the wilderness of Kenya. They wake up at 5;30 and work hard to avoid elephants along the way. Carlito rides a horse through the hilly countryside of Patagonia, sometimes on narrow and dangerous paths.
This is not a perfect movie. Jordan Mintzer, in a review from The Hollywood Reporter, points out some flaws. But I think you will still come away inspired by the efforts of these students to obtain an education. I suspect it will also make you reflect on your own experiences with our educational system.


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Edward Lear
Edward Lear (12 May 1812 – 29 January 1888 / London / England)
» Click to list general statistics » OR, select a date :
Limerick: There Was An Old Man Of The Dee
There was an Old Man of the Dee,
Who was sadly annoyed by a flea;
When he said, 'I will scratch it,'
They gave him a hatchet,
read more >>
- Hits: Number of visitors who read the poem on the given date.
- Posts: Number of visitors who posted the poem to a friend (via e-mail) on the given date.
- Dates that have "0" hits may not be shown on the list.
- Dates, poems and poets that have "0" hits may not be shown on the list. Statistics are generated daily.


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Yesterday I was working as makeup-artist for a fashion show. Wow! It was hectic, lots of gorgeous models and I had tons of fun! :D The clothes that were shown were burlesque and alternative fashion, which is exactly my kind of thing so it was completely awesome. I hadn't got my camera with me though, since I figured I would have my hands full anyway, so I don't have any pictures yet, but I will see if I can borrow some later. :) For now, all you will get are some pics of me and the makeup I wore to the show.
There was some glitter in the inner corner of my eye, but my camera doesn't like to photograph glitter so hence it didn't show up on the pictures. :P
*Everlasting foundation Ivory (Clarins)
*Studio finish concealer (M.A.C.)
*Compact white powder (Stargazer)
*Corrupt (Makeup Geek)
*Fluidline Blacktrack (M.A.C.)
*Corrupt (Makeup Geek)
* Posion plum (Sugarpill)
*Ice queen (Makeup Geek)
*White lies (Makeup Geek)
*Hot pink from 120-palette, you could use Dollipop by Sugarpill instead!
*Twinkle eyeshadow Alva (Make Up Store)
*False eyelashes #105 (Ardell)
* Inliner Indian ink (Isadora)


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Nipson and Muller Martini to Deliver On-demand Softcover Book Solutions
Friday, June 21, 2002
Press release from the issuing companyNew York City -- June 21, 2002 -- Speaking at a special session of On Demand 2002, executives from Nipson and Muller Martini outlined a plan that will make the on-demand production of soft-cover books a commercial reality later this year. The first result of the initiative is called the Inventory Management Solution (IMS). It was developed by Nipson, Muller Martini, and Hunkeler collaboratively with R.R. Donnelley to create an integrated production line that could cost-effectively produce runs of under a hundred to well over a thousand books. The module, which converts a roll of stock into bound and boxed books, is scheduled to start up this summer at the Harrisonburg, Virginia book plant of R.R. Donnelley Print Solutions. In their On Demand presentation, Alain Flament, Director of Business Development for Nipson, and Andy Fetherman, Manager of Muller Martini Corp.'s Digital Finishing Division, discussed the evolution of such systems. They are driven by Nipson's digital VaryPress or DMP8000 model and Muller Martini's AmigoDigital, an automated perfect binding system. Flament noted that the book market is trending from traditional production and distribution processes to an on-demand paradigm in which books are printed on an as-needed basis. Since 90% of the cost of the book is in warehousing and processing costs, the savings can be significant. Digital soft-cover production lines, such as the one that will be installed at R.R. Donnelley, have all the economics in their favor, according to the presentation. They require only two operators to run, from file input to the creation of books boxed for shipment. They can produce over 500 books per hour and are capable of handling a wide variety of formats, thicknesses and stocks. High resolution print quality is standard. On the finishing end, commercial book quality is achieved by Muller Martini's AmigoDigital perfect binder. Andy Fetherman showed how electronic book size data from the upstream machine is used to automatically set-up every length, width and thickness setting on the machine. He provided details on how the system mills and prepares the spine of each book for gluing, then utilizes both a spine gluing unit and a separate side gluing applicator to ensure the structural integrity of every book. Covers are scored and pressed to optimize the book's appearance and prevent cracking, while an electronic check is made to ensure that the correct cover is being bound to the right book block. This is all done in one continuous workflow. "The AmigoDigital can be used as an in-line solution as we're doing at R.R. Donnelley," Fetherman said, "or as a near-line finishing system, which can accept book blocks from both digital and offset presses. Whichever way one chooses, it's clear that the digital book has arrived. It does not require an electronic device to read. The efficiencies of our system have made it a paper-based reality."
Industry News
Copyright © 2019 WhatTheyThink. All Rights Reserved


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Welcome to Quality Inn Fort Wayne Hotel
Discover the perfect destinations for family vacation, or business travel at The Quality Inn Fort Wayne Hotel which is conveniently located just four miles from Indiana University-Purdue University Fort Wayne (IPFW). This Fort Wayne, IN hotel is also close to the University of Saint Francis, the Fort Wayne Children's Zoo, the Grand Wayne Convention Center, the Foellinger-Freimann Botanical Conservatory and the historic Embassy Theatre.
When you stay with us, you'll enjoy a lot of value with a lot of comfort!
Outdoor Pool
Hot Breakfast
Pet Friendly
Hotel Details
- Number Of Rooms :102
- Check in time: 3:00 PM
- Check out time: 11:00 AM
We Accept
- American Express
- Debit Cards
- Mastercard
- Travelers Checks Visa
Hotel Services
- Free Continental breakfast
- Free wireless high-speed Internet
- Free local calls
- Seasonal outdoor pool
- Pet-friendly hotel
AddressAffordable Fort Wayne IN Hotel near Purdue University & Grand Wayne Center
Fort Wayne, Indiana 46818, US


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Source: Sarasota Realtor Magazine February 2009
Author: Marc Mansfield – Government Affairs Director
This is a very informative article regarding the changes in tax implications for a second home purchase. In 2009, there are some new rules placed into effect as a result of the 2008 Housing and Economic Recovery Act when a second home is converted to a principle residence. Here are some explanations and examples of how this new rule impacts second home sellers.
Governmental Affairs
When a former second home is sold, some portion of the gain may be taxable, even if the owner has lived in the home for the required two of the previous five years. The examples below illustrate the application of this new rule.
Example 1: Post 2008 Purchase and Sale: Charlie, whose tax filing status is single, bought a vacation property costing $400,000 on March 1, 2009. On March 1, 2012 he converts the property to his principal residence. On March 1, 2014, he sells the property for $700,000, realizing a gain of $300,000. He has owned the property for 5 years and used it as a principal residence for 2 years. On these facts, 40 percent of the gain (2/5) is eligible for the $250,000/$500,000 exclusion (2 years use as a principal residence divided by 5 years of ownership. The remainder of the gain (60 percent: 3 years as non-principal residence/5 years of ownership) will be taxed at capital gains rate that applies in the year of the sale. Of the total $300,000 gain, $180,000 ($300,000 x .60) will be treated as a capital gain. If the capital gains rate in 2014 is still 15 percent the total tax would be $27,000 ($180,000 x .15) Since the remaining $120,000 gain is less than $250,000, $120,000 is eligible for the exclusion.
Example 2: Pre 2009 Conversion to a Principal Residence: Fred and Ethel bought a condo that they have used solely as a rental property since 1989. They decided to simplify life by selling their house and moving into the condo. They moved into the condo on April 15, 2008. In April 2019, they sell the condo. They have a very low basis in the condo because it was used as a rental property for 19 years (1989-2008), leaving them a gain of $600,000. When they sell the condo, they will be eligible for the $500,000 exclusion because the property was their principal residence on January 1, 2009. In this case they will pay tax on the $100,000 excess over the $500,000 ($600,000 gain minus $500,000 exclusion) at the capital gains rate effective for 2019. In addition, they will be liable for the depreciation recapture taxes for the years that the property was used as a rental property. The depreciation recapture tax will be imposed at the rate effective for 2019. The current rate is 25 percent.
Example 3: Pre 2009 Purchase and Post 2008 Sale: John and Susan, who file a joint return, bought a vacation property in 1985 for $100,000. During the years they have owned it, they have used it solely as a vacation home. On January 1, 2011, they move into the home and begin to use it as their principal residence. During the time they have owned the home, they have added $125,000 in improvements. The community where it is located is now a major tourism and resort area and they have enjoyed significant appreciation as well. In 2020 they sell the home for $1 million. Their taxable gain and exclusion are as follows:
Total amount of gain – $775,000 ($1 million selling price minus original costs of $100,000 and improvements of $125,000). Taxable post 2008 gain – This is the number of years AFTER 2008 that the property is NOT used as a principal residence, divided by the total period of ownership: Number of non-residential years – 2 (2009 and 2010 Number of years of ownership – 35 (1985 – 2020) Taxable Gain – 2/35 x $775,000 = $44,285 Tax on non-residential use – $6,643 (assuming 15 percent capital gains rate) Exclusion – Remaining gain $730,715 ($775,000 minus the $44,285)