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Master of Social Work Degree
- Total Credit Hours: 60
- Degree Format: Hybrid
About this field
Social workers help individuals, families, groups, organizations and communities restore and enhance their capacity for social functioning. Social Workers care about their fellow citizens, want to help people improve their situations and strive to make a positive difference in people's lives. The social work program at Valdosta State University prepares students for clinical practice and licensure in social work and produces graduates who are qualified to practice with diverse populations in multiple settings.
The Valdosta State Difference
The Master of Social Work program at Valdosta State can be completed on campus, online or in a hybrid format. All social work faculty members have practiced as professional social workers, are knowledgeable in a variety of areas and have experience working with many different client populations. Students in the program gain invaluable field experience by completing two separate year-long practicum placements. Students have opportunities to gain additional experience by participating in My Friend's House and South Georgia CARE-NET, two programs sponsored by the Valdosta State social work department. My Friend's House is dedicated to providing a safe environment for those who are impaired by Alzheimer's disease and dementia. CARE-NET is a program that strives to find new and innovative ways of helping and supporting informal and formal caregivers. The department also sponsors a study abroad program to Mexico in which students become immersed in the culture, take courses and visit various social work sites.
What You'll Learn
The Master of Social Work program at Valdosta State prepares students for advanced generalist practice. Social workers in advanced generalist practice use their skills as direct service providers in interventions with individuals, families, groups, organizations and communities. Students in the social work program learn about both clinical and community practice and are able to develop the requisite skills to practice in many settings such as schools, hospitals, mental health, residential treatment, child welfare, forensic, geriatric, hospice and more. The program combines coursework and practicums to prepare graduates for careers in the field.
- Case Manager
- Caseworker
- Child and Family Specialist
- Child Welfare Worker
- Client Advocate
- Clinical Social Worker
- Community Living Specialist
- Community Services Agency Director
- Crisis Counselor
- Director of Social Services
- Family Counselor
- Family Services Social Worker
- Geriatric Social Worker
- International Social Worker
- Medical Social Worker
- Mental Health Social Worker
- Occupational Social Worker
- Policy and Planning Specialist
- School Social Worker
- Social Work Researcher
- Social Worker
- Substance Abuse Counselor
- 229.219.3550
Department of Human Services
Converse Hall, 2nd Floor
1500 N. Patterson St.
Valdosta, GA 31698


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MediciNova to Present at the 20th Annual B. Riley FBR Institutional Investor Conference
LA JOLLA, Calif., May 15, 2019 (GLOBE NEWSWIRE) -- MediciNova, Inc., a biopharmaceutical company traded on the NASDAQ Global Market (NASDAQ:MNOV) and the JASDAQ Market of the Tokyo Stock Exchange (Code Number: 4875), today announced that Geoffrey O'Brien, JD/MBA, Vice President and Executive Officer, will present a corporate overview at the 20th Annual B. Riley FBR Institutional Investor Conference on Wednesday, May 22, 2019 at 11:30 am at the Beverly Hilton Hotel in Beverly Hills, California. MediciNova will be available for one-on-one meetings at this conference and investors may request a one-on-one meeting through B. Riley FBR.
About MediciNova
MediciNova, Inc. is a publicly-traded biopharmaceutical company founded upon acquiring and developing novel, small-molecule therapeutics for the treatment of diseases with unmet medical needs with a primary commercial focus on the U.S. market. MediciNova's current strategy is to focus on MN-166 (ibudilast) for neurological disorders such as progressive multiple sclerosis (MS), amyotrophic lateral sclerosis (ALS), degenerative cervical myelopathy (DCM), substance dependence (e.g., alcohol use disorder, methamphetamine dependence, opioid dependence) and glioblastoma (GBM), and MN-001 (tipelukast) for fibrotic diseases such as nonalcoholic steatohepatitis (NASH) and idiopathic pulmonary fibrosis (IPF). MediciNova's pipeline also includes MN‑221 (bedoradrine) and MN-029 (denibulin). For more information on MediciNova, Inc., please visit www.medicinova.com.
Statements in this press release that are not historical in nature constitute forward-looking statements within the meaning of the safe harbor provisions of the Private Securities Litigation Reform Act of 1995. These forward-looking statements include, without limitation, statements regarding the future development and efficacy of MN-166, MN-001, MN-221, and MN-029. These forward-looking statements may be preceded by, followed by or otherwise include the words "believes," "expects," "anticipates," "intends," "estimates," "projects," "can," "could," "may," "will," "would," "considering," "planning" or similar expressions. These forward-looking statements involve a number of risks and uncertainties that may cause actual results or events to differ materially from those expressed or implied by such forward-looking statements. Factors that may cause actual results or events to differ materially from those expressed or implied by these forward-looking statements include, but are not limited to, risks of obtaining future partner or grant funding for development of MN-166, MN-001, MN-221, and MN-029 and risks of raising sufficient capital when needed to fund MediciNova's operations and contribution to clinical development, risks and uncertainties inherent in clinical trials, including the potential cost, expected timing and risks associated with clinical trials designed to meet FDA guidance and the viability of further development considering these factors, product development and commercialization risks, the uncertainty of whether the results of clinical trials will be predictive of results in later stages of product development, the risk of delays or failure to obtain or maintain regulatory approval, risks associated with the reliance on third parties to sponsor and fund clinical trials, risks regarding intellectual property rights in product candidates and the ability to defend and enforce such intellectual property rights, the risk of failure of the third parties upon whom MediciNova relies to conduct its clinical trials and manufacture its product candidates to perform as expected, the risk of increased cost and delays due to delays in the commencement, enrollment, completion or analysis of clinical trials or significant issues regarding the adequacy of clinical trial designs or the execution of clinical trials, and the timing of expected filings with the regulatory authorities, MediciNova's collaborations with third parties, the availability of funds to complete product development plans and MediciNova's ability to obtain third party funding for programs and raise sufficient capital when needed, and the other risks and uncertainties described in MediciNova's filings with the Securities and Exchange Commission, including its annual report on Form 10-K for the year ended December 31, 2018 and its subsequent periodic reports on Form 10-Q and current reports on Form 8-K. Undue reliance should not be placed on these forward-looking statements, which speak only as of the date hereof. MediciNova disclaims any intent or obligation to revise or update these forward-looking statements.
Geoff O'Brien
Vice President
MediciNova, Inc.

subset: commoncrawl


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1988 Ford Mustang Capri Coupe - Cool Coupri
Jason Duggar Mixes And Matches His Way To One Unique Ford.
Related Video
When you first look at Jason Duggar's car, you get a nagging feeling that something's not quite right. From the rear it looks like a clean, red Mustang coupe with a staggeringly cool set of hoops. Take a stroll along either side of the car, and it looks like Jason either slapped on a later-edition Fox-body rear onto a four-eyed car, or threw on a front bumper from an '86-or-older Mustang on the later coupe body. By the time you get to the front end, though, you feel like you did the first day you sat down in high-school algebra class. There are front-end parts on this car that look vaguely familiar, yet at the same time, you can't figure it out. In a sense, Jason made up his own math equation: 1+1=3.
To tell the story of Jason's Coupri (which is the easiest way to describe this car) is to tell the story of the man himself. The 31-year-old owner of Performance Automotive in Dallas, Georgia, wanted something different. To say he took that notion way beyond the realm of what most would consider sane and possible is the understatement of the year.
Having owned numerous high-powered Ford products, including a couple of Cobras, Saleens, and Lightnings, Jason wanted something completely different this time around. His idea of "different," however, would come with the merge of a Fox-body Mustang and a Mercury Capri. Crazy? Maybe, but it sure as heck ended up being one fine piece of machinery with turbocharged power.
"In all honesty, I got the idea from two other cars I saw," Jason says. "A buddy of mine had a '90 convertible Mustang that he modified with Capri body components, and I saw an '82 GT built in the same fashion. What I didn't see was a coupe with Capri bodywork, and I thought it would look pretty cool. I wanted to do something strange and different, and I figured this would be the ticket."
While the powerplant, drivetrain, and the rest of the moving parts are a laundry list of high-performance pieces made to work in concert with one another, by far the most intriguing part of the car is, obviously, the bodywork. "I probably put between 300 and 400 hours into the bodywork and everything I had to do to the quarter-panels, the fenders, and doing the primer and block-sanding of the car," Jason says. "The fitment was one of the harder obstacles to getting the car to look like it was made to appear as it does now. Overall, the front bumper and all of its little crevices were the most difficult things to work on."
It's amazing that Jason says the bumper was the most difficult part of the body changes, and not that the '88 Mustang was changed around with parts from not only another year Mustang, but another make of car. "I had the concept of what the car was to look like long before I bought it," he says. "For four years, I took the time to search for the right parts, save up the needed amount of money to work on the car, and build it. I have to tell you, it took some wheeling and dealing, that's for sure."
After buying the car from a student whom his wife, Peyton, was teaching at a technical college, Jason set about accomplishing his task. Once the Stang was in his garage, he excised the fenders, quarter-panels, hood, and front bumper. He then spliced in fenders and quarter-panels from an '84 Mercury Capri-hence the Coupri moniker. Wanting a different look to the front end, Jason laid down a fiberglass '79 Pace Car-style bonnet and completed the body changeover with the addition of a '79 Mustang front bumper. Once satisfied with the fitment of the new and unique look and parts, he primered the flanks of the Coupri, blocked it, sanded it, and finished it off with Performance Red slathered in clearcoat.
Jason then opened the doors to the Coupri and made his way into the cabin of the car, where he made some modifications as well. The black Mustang interior remained when he was done, but a set of Kirkey race seats replaced the factory buckets. Keeping Jason and Peyton in check during any full-throttle jaunts is a pair of G-Force five-point harnesses, while a 10-point rollcage and a window net allow the car to pass tech. A Grant steering wheel was added for ease of steering input, and a host of Auto Meter gauges clue him in to the engine's vitals.
While Jason was transforming his Mustang into a Coupri, he enlisted a horsepower guru in the Outlaw 10.5 ranks to create a wild powerplant that is truly fitting for the Coupri's demeanor. Steve Petty of Proline Race Engines built the pushrod powerplant, and he certainly didn't disappoint. A Ford Racing Performance Parts Sportsman cylinder case was procured and promptly bored for the soon-to-come 347-stroker bottom-end package. Once the machine work on the block was complete, Petty laid a forged-steel crank in the main web before stuffing a forged piston/rod combo down each cylinder. A Melling oil pump squirts the lubricant throughout the engine, while a Moroso oil pan seals the bottom end.
A custom turbo grind cam was slipped into the short-block, and a pair of Edelbrock Victor Jr. aluminum heads were carefully laid down, while the Victor Jr.'s combustion chamber sealed up the cylinders to the tune of an 8.5:1 compression ratio. The valves are tickled open with a set of Pro Magnum 1.6 ratio roller rockers courtesy of Comp Cams. With such a low compression ratio and the obvious mention of a turbo grind cam, it comes as no surprise that a hairdryer would make its way into the engine compartment.
A Turbonetics T-76 turbo has its impeller spun thanks to the exhaust that is pumped into the hot side of the turbo via custom headers. The turbo creates 30 psi of boost that is promptly stuffed into the stroker mill through an Accufab 90mm throttle body and an Edelbrock Victor Jr. intake manifold. The exhaust gasses are shuffled out quietly thanks to a pair of Borla XR-1 mufflers that exit through a single downpipe that splits off into a dual-outlet, 3-inch aluminum exhaust system. For fuel, an Aeromotive fuel pump sends the go-juice through an Aeromotive regulator that keeps fuel pressure to 38 psi and into the combustion chamber via a set of 72-pound injectors. With so much cylinder pressure present, an upgraded ignition system is a must. The stock ECM was deep-sixed for a BigStuff3 fuel injection system that sends the spark signal through an MSD Digital 7 ignition box, MSD HVC coil, factory distributor, Taylor plug wires, and Accel plugs. Chilling the incoming air charge is a Precision Turbo intercooler. All told, the powerplant is good for 649 rwhp and 700 lb-ft of torque on pump gas.
Backing the turbocharged engine is a Tremec TKO 600 stick shift. Sandwiched in the bellhousing are a Spec flywheel, pressure plate, and Stage 3+ clutch. Jason makes each gear change with a Tremec shifter, and the power is transferred down the line to the 8.8-inch rear via an aluminum driveshaft. Speaking of the rear, said housing is ready to go with the addition of a set of 3.31 gears, a spool, and 33-spline Moser axles.
The final portions of the car Jason gave his attention to were the suspension and brakes. After all, he wanted his newfound pride and joy to hook hard at the track and run the best it could. First, let's check out the suspension, where up front, Jason threw in QA1 struts and springs, as well as performing a manual steering rack conversion. In the middle of the car is a pair of subframe connectors, while the hind end showcases Steeda upper and lower control arms and QA1 shocks and springs. For stopping power, Jason relies on Aerospace binders on all four corners. The Coupri rolls on BBS RK rims-the 18x8.5 fronts are wrapped in 255/40/18 Nitto shoes, while the 18x10 rears are shod in 305/35/18s. The back of the car benefits from mini-tubs that swallow up the large wheel/tire combo. If you think this car is a trailer queen, think again. Even though the rear tires screamed in agony, Jason shifted the Coupri to a best lap of 11.31 seconds at 136 mph.
"I just picked up a set of 315/30/18 Mickey Thompson drag radials that should easily get it into the 10.50s," Jason says. "The thing is, I built this car to run in the 9s. If I put in race gas and turn up the boost, the car should make 900 hp, which is more than enough to get it there. I think it's going to take me switching out the Tremec for an AOD automatic to do it, though. This way it eliminates my driving and makes accomplishing that task easier."
When all is said and done, only one phrase comes to mind when describing Jason's creation: It's one cool Coupri.
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Source: Link
HOWARD, HENRY, doctor; b. 1 Dec. 1815 at Nenagh (Republic of Ireland); d. 12 Oct. 1887 in Montreal, Que.
After studying in Dublin and at the Royal College of Surgeons in London, Henry Howard immigrated to Kingston, Canada West, in 1842. He remained there until 1845 when he moved to Montreal, where he obtained a post at the Montreal Eye and Ear Institution and soon became a specialist in ophthalmology. Displaying considerable interest in scientific questions, from 1845 to 1851 he regularly sent articles to English medical journals and to the British American Journal of Medical and Physical Science (after May 1850 the British American Medical and Physical Journal) which was published in Montreal. In 1850 his reputation as a first-rate eye specialist spread throughout North America as a result of the publication in Montreal and London of his book The anatomy, physiology and pathology of the eye.
As a doctor Howard was involved in a wide variety of concerns in his field: he took an active role in organizations which from 1840 had concentrated on the interests of the medical profession and the advancement of medicine in Canada. From 1844 he belonged to the Montreal Medico-Chirurgical Society, founded the previous year to promote contact among and exchanges between the members of the Montreal School of Medicine and Surgery, and by the time of his death he had numerous friends within this society, of which he was the senior person. In 1851 the St Lawrence School of Medicine opened; Howard lectured there in ophthalmology and otology, but his role was a minor one because of the school's brief existence.
In the next phase of his career Howard made a further contribution to the development of medicine in Canada East. In June 1861 the governor general appointed him medical superintendent of the new insane asylum at Saint-Jean, the establishment of which represented a unique experiment in Canada East. The government had been unable to commit itself to financing construction of the Beauport asylum (the Centre Hospitalier Robert-Giffard) when it was founded in 1845 [see James Douglas] and had adopted a leasing system with management turned over by contract to private individuals who eventually became the owners of the buildings. In contrast, Saint-Jean was wholly financed by the government.
In 1872 Laurent-David Lafontaine, a physician who was a member of the Legislative Assembly of Quebec, questioned certain expenses incurred by the asylum, especially for the purchase of spirits, and recommended that the care of the insane be entrusted to a religious community. Howard defended his administration, and indignantly protested against the government's desire to put all the psychiatric institutions of Quebec in the hands of private owners, whether professed religious or members of the laity. In his opinion the supervision of the asylums must of necessity be a matter for the medical profession in order to avoid any exploitation of the mentally deranged. In this regard Howard asserted that a system of state asylums offered better protection for the insane; using statistics, he demonstrated a higher percentage of cures at Saint-Jean than at Beauport, where the proportion of incurable patients had become alarmingly high as a result of the economy measures applied to the treatment of mental illness. Aware that the government was prepared to abandon its state asylum system to realize substantial savings, both in capital and operating costs, Howard proposed a compromise formula. While pursuing the objective of putting medical interests before financial ones in the care of the insane, he undertook to meet the cost of building an asylum on condition that the government would grant him a leasing contract similar to the one in effect at the Beauport asylum, which included provision for an annual government allowance of $143 per patient up to 650 patients, and $132 for each additional patient. Despite his plea the government decided in 1875 to transfer the patients of Saint-Jean to Longue-Pointe Lunatic Asylum (Hôpital Louis-H. LaFontaine, Montreal), opened in 1873 and run by the Sisters of Charity of Providence (Sisters of Providence).
Howard himself worked at the Longue-Pointe asylum from 1875 to 1887. During these years he represented the government as either a visiting physician or a member of the medical board which was set up in 1885. The government's measures in the 1880s to regain medical control of the mental institutions, which had thus far been in the hands of the owners, probably gave him considerable satisfaction. Indeed, in 1885 the government of John Jones Ross*, following criticisms about the leasing system and the state of the asylums in Quebec as well as accusations of failure to institute reforms levelled by the opposition, decided to enact a law giving the government medical control of insane asylums. There were, however, violent confrontations between the members of the medical board and certain owners of asylums who opposed the "secularizing" measures of the government.
The administrative wrangles in which Howard was involved did not adversely affect his work as an alienist. His invention of a ventilation system is evidence of both the precarious state of Canadian asylums during the 19th century and the importance that he attributed to physical treatment in the cure of insanity. Howard defined insanity as "a physical disease caused by a pathological change in the sensory nerves and the organ of consciousness . . . ." Using the resources of logic and rhetoric, he expressed the conviction that any effective treatment would have to come from the application of natural laws, otherwise only the symptoms were being tackled. Moral derangement constituted the second essential element of Howard's theory about mental illness. The natural order was to a morally sound society what the body was to an intellectually mature mind. In his opinion the ideal remedy would be for the intellectual and moral élite to contrive to isolate the insane in order to control the evolution of society, particularly by preventing such persons from reproducing.
Howard's ability probably commanded respect. However, several of his colleagues, especially the French-speaking ones, criticized the dogmatic nature of his pronouncements and the implacable logic of his reasoning. In 1881, during a criminal trial, Howard corroborated the case for the defence which rested on the contention that the accused was not responsible by reason of insanity. According to the majority of the other specialists Howard's arguments were not unassailable, and in their opinion the accused was of sound mind. The verdict of guilty shows the conservative attitude of the authorities in matters of insanity.
Howard's participation in several Canadian and American medical associations, his political activities in the St Patrick's Society, and his administrative and professional pursuits show he was an ambitious man with great intellectual energy. His most outstanding endeavour was the management of the Saint-Jean asylum. Thanks to his extensive experience as a mental specialist, he recommended administrative reforms of benefit in the treatment of the insane. On the other hand his theory about mental and moral derangement must be treated with some reservation, especially in view of its empirical nature.
[Henry Howard was the author of The anatomy, physiology and pathology of the eye (Montreal and London, 1850) and A rational materialistic definition of insanity and imbecility, with the medical jurisprudence of legal criminality, founded upon physiological, psychological and clinical observations (Montreal, 1882). He also published many articles for the British American Journal of Medical and Physical Science (Montreal) from 1845 to 1851 and the following articles for Canada Medical and Surgical Journal (Montreal): "Mental and moral science; with some remarks upon hysterical mania," 6 (1877–78): 439–53; "Some remarks on the medical jurisprudence of insanity," 6: 210–20; and "Responsibility and irresponsibility in crime and insanity . . . ," 7 (1878–79): 347–58.
Information on conditions in asylums during the period may be found at ACAM which holds the correspondence between the archdiocesan authorities, the sisters of Longue-Pointe Lunatic Asylum, and the provincial government concerning the laws related to insane asylums, 1880–85; in the annual reports of the inspectors of prisons and asylums, reprinted in Can., Prov. of, Parl., Sessional papers, from 1860 to 1867, and in Qué., Parl., Doc. de la session, 1869 to 1888. r.s.]
Borthwick, Hist. and biog. gazetteer, 144–45. Fernand Harvey and Rodrigue Samuel, Matériel pour une sociologie des maladies mentales au Québec (Québec, 1974). Heagerty, Four centuries of medical hist. in Canada, II: 92–112, 119. H. E. MacDermot, One hundred years of medicine in Canada, 1867–1967 (Toronto and Montreal, 1967).
© 1982–2023 University of Toronto/Université Laval
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Cite This Article
Rodrigue Samuel, "HOWARD, HENRY," in Dictionary of Canadian Biography, vol. 11, University of Toronto/Université Laval, 2003–, accessed October 2, 2023, http://www.biographi.ca/en/bio/howard_henry_11E.html.
The citation above shows the format for footnotes and endnotes according to the Chicago manual of style (16th edition). Information to be used in other citation formats:
|Author of Article:
|Rodrigue Samuel
|Title of Article:
|Publication Name:
|Dictionary of Canadian Biography, vol. 11
|University of Toronto/Université Laval
|Year of publication:
|Year of revision:
|Access Date:
|October 2, 2023


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Advanced Modern Hebrew II (3 cr.)
Michal Maoz-Levy (SY 200)
P: Grade of C or higher in JSTU-H 300 or equivalent proficiency.
Meets with NELC-H 506
This course is offered as the sixth semester course of the Modern Hebrew language track. It addresses the advanced level of acquisition for Modern Hebrew. This course is based on topics covered in the first two years of the Modern Hebrew program at IUB, as well as in the H300 fifth semester course. The H350 course covers the essentials of Modern Hebrew grammar and offers skill practice for conversation, composition, and reading comprehension. The course readings prepare students to work with advanced literary and academic Hebrew texts.
This course is conducted solely in Hebrew. It offers reading selections from a variety of advanced-level textbooks as well as some Modern Hebrew literature, Israeli newspapers, Modern Hebrew poetry and other materials. Students are familiarized with various writing styles including slang, journalistic, poetic, and academic writing genres. Listening comprehension skills are further practiced and developed by exposure to Israeli media. Written assignments, long-term projects, and in-class presentations allow students to master their Hebrew abilities while developing well-rounded linguistic skills.


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New York City
Renee Rosnes & Friends: Milt Hinton Jazz Concert Series
As part of the 21st season of the Milt Hinton Jazz Concert Series celebrating Women in Jazz, Renee Rosnes will perform selections from her own original compositions. She will be accompanied by Peter Washington, Bass, Steve Nelson, Vibes, and Louis Nash, Drums.
Renee Rosnes is recognized as one of the premier jazz pianists and composers of her generation. Born in Saskatchewan and growing up in Vancouver BC, she began classical studies at age three and was introduced to jazz during her high school years. Shortly after relocating to New York from Vancouver in 1986, she swiftly established a reputation as a major talent. She toured and recorded with many of the great masters, attracting international attention and building a resume that reads like a who's who of jazz, including stints with Joe Henderson, JJ Johnson, Wayne Shorter, the Carnegie Hall Jazz Band with Jon Faddis, Buster Williams, James Moody, Ron Carter and Bobby Hutcherson, among others. Rosnes has released a series of twelve diverse recordings, nine of which are on the legendary Blue Note label. Four have garnered Juno Awards, the Canadian equivalent of a Grammy. Her most recent release is "Manhattan Rain," featuring bassist Peter Washington, drummer Bill Stewart, and several tracks with vibraphonist Steve Nelson and saxophonist Rich Perry. From its inception in 2004 through 2009, Rosnes held the piano chair for the SFJAZZ Collective, an all-star ensemble that featured many contemporary luminaries including saxophonists Joshua Redman, Joe Lovano, Miguel Zenon and trumpeters Nicholas Payton and Dave Douglas among others. During her tenure with the octet, Ms. Rosnes contributed six commissioned works and several original arrangements of music by Thelonious Monk, Wayne Shorter and McCoy Tyner. Rosnes is also the host of "The Jazz Profiles," a radio interview series on CBC, featuring hour-long interviews of enlightening conversation and music with many of Canada's greatest jazz legends. In addition to performing with her own bands, Rosnes frequently collaborates with her husband pianist Bill Charlap. In 2010, the couple released their debut album, "Double Portrait" on the Blue Note label. Downbeat magazine wrote: "The counterpoint and compatibilities are so perfectly balanced, the selections and arrangements so handsome, that 'Double Portrait' is a prize."
One Night Only: October 13, 2023
One Night Only: January 7, 2024
One Night Only: September 28, 2023
Performances begin: October 11, 2023
Final performance: September 28, 2023
Performances begin: December 12, 2023


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Winkky 1 (Talisman Energy USA Inc.) - Integration Order, August 14, 2012
Integration Order, August 14, 2012
In the Matter of the Integration of Interests Pursuant to
Environmental Conservation Law ("ECL") 23-0901(3)
Within an Individual Spacing Unit Known As
Well Name: Winkky 1 (the "Well")
API Number: 31-015-23950-00-00
Well Operator: Talisman Energy USA Inc.
DEC Order No. DMN 07-18
1. The Department of Environmental Conservation ("Department") issued a well permit as defined by ECL 23-0501(1)(b)(3) for the subject well on February 7, 2007, establishing a spacing unit for the Black River formation. A map of the spacing unit is attached as Exhibit A, and a tabulation of tracts therein is attached as Exhibit B. The Well is presently owned and operated by Talisman Energy USA Inc. ("Talisman" or "the well operator").
2. In accordance with ECL 23-0901(3), the matter of integration of interests within the spacing unit was heard before the Department on April 17, 2007, at the New York State Department of Environmental Conservation, 625 Broadway, Room PA-129, Albany, New York 12233 ("compulsory integration hearing"). The affidavit of publication attached as Exhibit C attests that notice of this hearing was provided pursuant to ECL 23-0901(3)(c) and DEC Program Policy DMN-1.
3. Objections were stated at the compulsory integration hearing that raised substantive and significant issues regarding notice, elections, or integration of interests in the spacing unit as set forth on Exhibit D.
4. Pursuant to ECL 23-0901(3)(d), the matter was referred to the Department's Office of Hearings and Mediation Services for adjudicatory proceedings under 6 NYCRR part 624.
5. A legislative hearing and issues conference were duly noticed and conducted before Chief Administrative Law Judge (ALJ) James T. McClymonds on May 13, 2008. After the issues conference, the Chief ALJ issued a ruling on issues and party status on June 11, 2008 (see Matter of J. Drumm 1, et al. , Ruling of the Chief ALJ on issues and Party Status, June 11, 2008).
6. On administrative appeal, the Commissioner issued an interim decision modifying in part and otherwise concurring with the Chief ALJ's rulings (see Matter of Beach W1, et al., Interim Decision of the Commissioner, Aug. 26, 2011). The Commissioner remanded the matter to the Chief ALJ for further proceedings consistent with the interim decision.
7. The issues on remand were resolved by the parties without the need for adjudication. Accordingly, this Order may be issued without further hearings.
NOW, THEREFORE, having found that due, proper and sufficient notice was given; that all substantive and significant issues have been resolved; and that compulsory integration of interests in the spacing unit as set forth on Exhibit D will serve to protect correlative rights and is necessary to carry out the policy provisions of ECL 23-0301, it is hereby ORDERED that:
I. The subject spacing unit is integrated pursuant to ECL 23-0901(3) with respect to the Black River formation and includes the whole or partial tracts listed on Exhibit B. All operations including, but not limited to, the commencement, drilling, or operation of a well or the existence of a shut-in well upon any portion of the spacing unit shall be deemed for all purposes the conduct of such operations upon each separately owned tract wholly or partially within the spacing unit, as listed on Exhibit B, by the owner or several owners thereof. That portion of production allocated to each tract in the spacing unit shall, when produced, be deemed for all purposes to have been produced from such tract by a well drilled thereon. A mineral interest owner's right to well data from the operator and access to the well site are subject to the following provisions:
A. Integrated royalty owners, participating owners, and non-participating owners shall have access to well data pursuant to the time periods and confidentiality protections in ECL 23-0313.
B. The operator shall provide each integrated participating and non-participating owner reasonable access to the well site. Site access provided by this Order shall not be exercised in a manner interfering with the well operator's conduct of an operation.
II. The well operator indicated in the caption on page 1 of this Order is the operator of the spacing unit.
III. The well operator shall file a copy of this Order, including the Exhibits thereto, in the office of the County Clerk in the county or counties where the spacing unit is wholly or partially located. The Order shall be filed against all tracts in the spacing unit. The well operator shall also file, in the same manner, any updates to Exhibit D which result after the date of this Order from ownership changes, tax map revisions or corrections, resolution of title disputes and/or other revisions to property and ownership descriptions, provided that the unit boundary as shown on Exhibit A has not changed. The well operator must provide a copy of any such update to the Department, by certified mail, post-marked on the same date that such is filed in the office of the County Clerk. The updated Exhibit D shall be accepted and deemed incorporated into this Order; no further order of the Department shall be required.
IV. Tracts listed on Exhibit D are hereby integrated, on a non-surface entry basis, as set forth therein. Any person taking title by operation of law to any oil and gas interests listed on Exhibit D shall take such interests subject to the terms and conditions of this Order, and shall be subject to all liabilities and benefits associated therewith, unless such person, within sixty days of the taking of such interest, elects to be an integrated royalty owner, as defined at ECL 23-0901(3)(a)(3), and notifies the well operator of such election.
V. The following provisions shall apply to all integrated participating owners and integrated non-participating owners in the spacing unit:
A. The owner shall be liable for its proportionate share of all costs and expenses, including taxes, and claims of third parties related to the well, operations thereon and in conjunction therewith, and shall be entitled to its proportionate share of all benefits therefrom. If an owner`s share of production is subject to a risk penalty as defined by ECL 23-0901(3)(a)(4), the well operator shall establish a risk penalty account for such owner and all costs, expenses and benefits attributable to such owner shall be reflected in the penalty account;
B. The well operator shall hold any funds paid by the owner or recouped through the risk penalty attributable to the plugging and abandonment costs of the well, as estimated prior to the drilling of the well, in an interest bearing account until such funds are required and utilized for such purpose;
C. The owner shall be liable for and shall indemnify all other persons participating in the development of the well, whether participating owners, non-participating owners or otherwise, including the well operator, from and against all claims arising out of the owner`s non-payment of rentals, royalties and other payments or burdens on the oil and gas rights that such owner contributes to the spacing unit and from and against all claims associated with the loss or failure of title to the oil and gas rights the owner contributes to the spacing unit;
D. The well operator shall have a first lien on the production of the owner to pay any outstanding costs, expenses or claims and the well operator shall be entitled to withhold and retain for the purposes of set off any revenue or production owed or due to the owner under an order of integration. Nothing in this paragraph shall affect the well operator`s right to collect any outstanding amounts incurred nor the right of any fee owner of oil and gas interests to collect any amounts owed under the terms of any lease from such owner. The exercise of any remedy shall not preclude the well operator from seeking any other remedies available under the law;
E. Whether or not the owner is subject to a risk penalty, the well operator shall submit to the owner a written authority for expenditure of the estimated costs associated with the construction of any facilities not included in well costs beyond the surface equipment at the wellhead to the first point of interconnection with other facilities that commingle production from a group of wells that includes the well, including, but not limited to, pipe, compression, processing, treating, dehydrating or separating equipment, fixtures, related buildings and other equipment. The owner shall have thirty days to elect to participate and pay its proportionate share of such estimated cost, the failure of which shall be deemed to be an election by the owner not to participate. If the owner elects not to participate or is deemed to have elected not to participate, the well operator shall be entitled to retain for its own account all of the owner`s share of production from the well until the well operator has recouped from the net proceeds of the owner`s share of production the owner`s share of the actual costs of the facilities, plus a risk penalty of one hundred percent of such costs. Any such amounts shall be added to the risk penalty account for such owner;
F. If the owner is not subject to a risk penalty, the owner shall have the right to take its share of gas or oil production in kind and shall be responsible for its transportation and marketing arrangements downstream of the facilities constructed pursuant to paragraph E of this section. The owner`s election to take in kind must be conveyed to the well operator no later than fourteen days prior to first production from the well or upon seventy-five days written notice to well operator at any time following first production from the well subject to the expiration of any existing contracts;
G. If the owner is not subject to a risk penalty and does not take its share of gas or oil production in kind, the well operator shall market the owner`s share of production from the well ratably with its own share of production from the well for the account of the owner. The well operator shall pay the owner based on the price received by the well operator for production in the general area less (1) the owner`s proportionate share of all costs incurred by the well operator for transporting, treating, processing, or otherwise making the production, and (2) a marketing fee not to exceed five percent of the sales price of the production;
H. The well operator shall be entitled to propose and conduct a subsequent operation on a well, meaning any reworking, sidetracking, deepening, re-completing or plugging back of the well or the drilling of a lateral or an infill well in the formation for which the unit was created. Owners shall be provided with a written authorization for expenditure of the estimated costs of the subsequent operation. An owner shall not be entitled to participate in a subsequent operation as long as the owner is in a risk penalty phase. If a subsequent operation is proposed while an owner is in a risk penalty phase, the owner`s proportionate share of the actual cost of the subsequent operation plus two hundred percent of such actual costs shall be added to the risk penalty account for such owner. The owner not in a risk penalty phase shall have thirty days to elect and pay its proportionate share of the estimated costs, unless a drilling rig is on location, in which event notice of a subsequent operation may be given by telephone and the owner shall have forty-eight hours, exclusive of Saturday, Sunday and legal holidays, to make an election and thirty days to pay the owner`s proportionate share of costs. The failure of any such owner to elect and pay in a timely manner shall be deemed an election by the owner not to participate in the subsequent operation. If such owner elects or is deemed to have elected not to participate in the subsequent operation, the well operator shall be entitled to retain all of the owner`s proportionate share of production from the well until the well operator has recouped the proportionate share of the actual costs of the subsequent operation attributable to such owner, plus two hundred percent of such actual costs; and
I. The well operator, on behalf of the owner, shall be entitled to conduct all acts associated with the well and necessary facilities related thereto, including without limitation: conducting title examination and curative work on the tracts included in the spacing unit; arranging for contract services or employees of the well operator, at the customary salaries, wages and benefits of such employees, to oversee the operation and maintenance of the well and the facilities in the production unit associated with the well; arranging for and maintaining required financial security for well bonds and insurance; discharging litigation, claims of third parties and disputing tax assessments; developing and implementing emergency responses and dealing with catastrophic events; and arranging for the storage, transporting and disposal of produced water, by-products or refuse associated with production and maintenance facilities.
VI. The following additional provisions shall apply to the well operator:
A. The well operator shall hold any funds paid by integrated participating owners for estimated well costs in an interest bearing account until such funds are required and utilized to pay actual well costs. Accrued interest shall be applied to each participating owner=s share of additional costs, or refunded pursuant to Paragraph C of this Section.
B. Within ninety days of the date of this Order, the well operator shall provide integrated participating and non-participating owners with an itemized statement (calculated as of the date of this Order) of actual well costs incurred, the amount held in escrow for plugging, abandonment and reclamation, and actual well production, including actual well revenue.
C. No later than the date of the statement required by Paragraph B of this Section, the well operator shall refund to the integrated participating owners any amount paid by the integrated participating owners or withheld from the owners' share of production which, as of the statement date, exceeds the total of actual well costs incurred plus any estimated plugging, abandonment and reclamation costs, which may be held in escrow pursuant to Paragraph B of Section V of this Order. If the statement shows that well production exceeds actual well costs incurred plus any estimated plugging, abandonment and reclamation costs, the well operator shall also pay (no later than the date of the statement required by Paragraph B of this Section) the owners their proportionate share of well production as provided for in Section V, Paragraph G of this Order. If the statement shows that actual well costs and the amount held in escrow for plugging, abandonment and reclamation exceed the estimated well costs paid by the integrated participating owner and the owner's proportionate share of well production, the owner shall pay to the well operator the owner's proportionate share of the additional well costs within 30 days of the date of the statement.
D. If recoupment as provided for in ECL 23-0901(3)(a)(1) has occurred prior to the date of this order, the well operator will compensate non-participating owners for their proportionate share of production, if any, including royalties, if applicable, minus their proportionate share of costs, which occurred after recoupment. Compensation shall be by cash or certified check no later than 90 days after issuance of this order, and shall be accompanied by an accounting of production proceeds received to date.
E. Regardless of whether recoupment has occurred, the well operator must, no later than 90 days after issuance of this order, release any applicable royalties held in escrow pursuant to any previous Stipulation, including royalties due to the well operator's lessors, integrated royalty owners and integrated non-participating owners of leased tracts. The well operator is authorized to release to itself any excess royalties held in escrow pursuant to any previous stipulation.
VII. The well operator may charge participating and non-participating owners a customary fixed rate for supervision of ongoing operations. Supervision includes the following:
A. Wages, benefits and expenses of field personnel directly employed in well operations or while in transit to or from the well, and
B. Transportation of company labor, contract personnel and material necessary for well operations, subject to standard industry limitations on transportation as set forth in Section III.4 of the Council of Petroleum Accountants Societies (COPAS) B 1995 Accounting Procedure, Joint Operations.
VIII. Written communications required by this Order shall be transmitted by United States Postal Service, private courier service or hand-delivered as follows.
A. Communication from integrated owners, the well operator and other interested persons to the Department shall be made to:
Director, Bureau of Oil and Gas Permitting and Management
New York State Department of Environmental Conservation
Division of Mineral Resources
625 Broadway, 3rd Floor
Albany, NY 12233-6500
Phone: (518) 402-8056
B. Communication from integrated owners and the Department to the well operator shall be made as stated below, unless the well operator has informed the integrated owners and the Department of a change in writing in accordance with this Section.
Delena McConville
Talisman Energy USA, Inc.
50 Pennwood Place
Warrendale, PA 15086
Phone: (724) 814-5300
C. Communication from the well operator and the Department to integrated owners shall be made to the addresses listed on Exhibit D, unless the integrated owners have informed the well operator and the Department of address changes in writing in accordance with this Section.
IX. This Order is effective on the date it is signed, and is final and binding upon the well operator, all integrated owners and their heirs, successors and assigns.
by: /s/
Joseph J. Martens
Dated: August 14, 2012
Albany, New York


text:
Simple DirectMedia Layer (SDL), a library for game developers primarily, has finally released version 2.0.0 a few short days ago. Originally developed by Sam Latinga, former lead software engineer at Blizzard and current employee of Valve Software, SDL handles complicated functions such as input devices, video, threading, networking, fonts, and so forth. It complements OpenGL, which is not designed for any of the aforementioned tasks. You can see it used in games such as Telltale's The Walking Dead and Frictional's Amnesia: The Dark Descent
A simple way of understanding it is: as Direct3D gets help from DirectX, OpenGL gets help from SDL.
SDL Logo, Image Credit: Wikipedia
SDL is not a Khronos standard. Prior to the current release, it was licensed under LGPL which required any source code modifications to be shared. Version 2 has been re-licensed under zlib which removes this copyleft requirement. This is advantageous for game developers who wish to modify API while maintaining their secret sauce, increasing adoption, at the expense of potentially fewer contributions.
Latinga's employer, Valve, has interest in a simple and cross platform complement to OpenGL. Valve has been taking Linux and Mac seriously recently. A strong and more permissive SDL helps software portability. SDL is compatible with Windows, Mac, Linux, FreeBSD, iOS, and Android.
The removal of copyleft would also help Valve maintain their own fork of the library without the requirement to share and share alike. Valve was likely not the cause of the switch to zlib, however, as the change was announced during development of SDL 1.3, quite a while before he was hired.
SDL 2.0 was announced the same day as he was hired to Valve Software. This however, at least I expect, was not a coincidence. SDL is available at the project website.


text:
A new online video essay on BRIEF ENCOUNTER (David Lean, 1945), which forms an integral part of Catherine Grant's contribution to The Videographic Essay: Criticism in Sound and Image, edited by Christian Keathley and Jason Mittell, forthcoming from CABOOSE BOOKS in 2016: https://www.caboosebooks.net/the-videographic-essay
Focusing on a number of videographic explorations of matters of film editing, including her study of the dissolves in David Lean's 1945 Brief Encounter, Grant explores what such practical and audiovisual modes of research and presentation—ones which themselves evidently turn on editing—can add to the study of a feature that (with a number of key exceptions) has not received much sustained attention to date in written film scholarship. [Dissolves of Passion]
Well, 'tis the season to be jolly, and Film Studies For Free is indeed quite jolly as the holidays approach. It hasn't been an especially busy year, entry-wise, at this here blog. But it has certainly been a lucky, busy and bountiful one for its author's film-studies-related activities away from it (including at FSFF's Twitter and Facebook versions).
What customarily follows, to celebrate and give thanks for that fortune, are some links (including some choice ones not shared very much on any platform before) to openly accessible items of scholarly and critical interest.
FSFF hopes (as ever) to be back here with an update very, very soon. But in the meantime, it would like to wish its faithful, patient and much appreciated readers very happy holidays if they are having them, and to send its warmest seasonal greetings to all!
- Latest video essay (on Johnnie To's classic film Election) by Film Studies For Free's favourite and best video essayists of the year (and, with Kevin B Lee, favourite and best of all time): Cristina Alvarez López and Adrian Martin: https://mubi.com/notebook/posts/video-essay-two-takes-on-strategy-in-johnnie-to-s-election. Also see CAL and AM's Fandor byline videos and essays. And, below, watch Cristina's three marvellous videos commissioned for the recent Luis Buñuel season at the ICA (read her essay about them here). Also see their recent essay on making audiovisual essays in the new issue of Frames Cinema Journal: http://framescinemajournal.com/article/analyse-and-invent-a-reflection-on-making-audiovisual-essays/ (and links to two earlier essays they wrote on the same or similar subjects at Frames: hers and his)
- "EXTREME STATES: Remixing Cinema, Visual Art and Music in Godard's PUISSANCE DE LA PAROLE" at SEQUENCE Three by Albertine Fox. Online at: http://reframe.sussex.ac.uk/sequence3/archive/sequence-3-1/
|Online at: http://reframe.sussex.ac.uk/sequence3/archive/sequence-3-1/
- A panel discussion on late late Godard with Miriam Ross from Wellington's Victoria University, Julian Murphet, director for the centre for Modernism Studies at the University of New South Wales, filmmaker and Deakin University film scholar Dirk de Bruyn and Alex Gawronski, artist and scholar from the Sydney College of the Arts. Online at: http://www.abc.net.au/radionational/programs/finalcut/a-panel-discussion-on-late,-late-godard/7018070
- Kevin B. Lee's colossal collection of favourite 2015 video essays of film critics and assorted scholars: https://www.fandor.com/keyframe/poll-the-best-video-essays-of-2015
- In Media Res presents Star Wars: A Media Studies Primer (edited by Lauren M. Cramer). Online at: http://mediacommons.futureofthebook.org/imr/theme-week/2015/51/star-wars-december-14-18-2015
- Daniel Reynolds (Emory University) presents: Execute Minute 47: on Star Wars Wars
- Joseph Moss (Georgia State University) presents: Wait, Where is the New Star Wars Trailer Premiering?
- Garret Castleberry (Oklahoma City University) presents: Prophetic Revisionist Paratextual Ontologies: Preparing the Way for The Force Awakens
- William Proctor (Bournemouth University) presents: Star Wars Detectives
- New NECSUS: European Journal of Media Studies, Autumn 2015_'Vintage'. The below contents are all accessible here: http://www.necsus-ejms.org/portfolio/autumn-2015_vintage/
Editorial Necsus; Articles: Temps mort: Speaking about Chantal Akerman (1950-2015) by Eric de Kuyper and Annie van den Oever; Agamben's cinema: Psychology versus an ethical form of life by Janet Harbord; Richard Serra: Sculpture, television, and the status quo by Francesco Spampinato; Dredging, drilling, and mapping television's swamps: An interview with John Caldwell on the 20th anniversary of Televisuality by Markus Stauff; Special section: Vintage, guest edited by Kim Knowles; Locating vintage by Kim Knowles; A theoretical approach to vintage: From oenology to media by Katharina Niemeyer; Technostalgia of the present: From technologies of memory to a memory of technologies by Tim van der Heijden; The way we watched: Vintage television programmes, memories, and memorabilia by Helen Piper; Retro, faux-vintage, and anachronism: When cinema looks back by Stefano Baschiera and Elena Caoduro; No time like the past?: On the new role of vintage and retro in the magazines Scandinavian Retro and Retro Gamer by Kristian Handberg; Death, beauty, and iconoclastic nostalgia: Precarious aesthetics and Lana Del Rey by Arild Fetveit; Audiovisual essays: edited by Cristina Álvarez López and Adrian Martin; Learning from popular genres – with help from the audiovisual essay by C. Álvarez López and A. Martin; Construction of a Heist by Henrike Lindenberger; Comedy Vitti Style by Pasquale Iannone; Book reviews: edited by Lavinia Brydon and Alena Strohmaier (NECS Publication Committee); The Lumière Galaxy by Francesco Pitassio; Beautiful Data / The Democratic Surround by Malte Hagener; Cinema of the Swimming Pool / Cinema as Weather by Adam O'Brien; Festival reviews: edited by Marijke de Valck and Skadi Loist (Film Festival Research Network); Selling film in the summer of 2015: Midnight Sun, Il Cinema Ritrovato, and Karlovy Vary by Maria San Filippo; Made in Peru: Lima Film Festival comes of age by Sarah Barrow; Strong positioning on the international festival circuit: An interview with Diana Iljine of Filmfest München by Tanja C. Krainhöfer; Exhibition reviews: edited by Miriam De Rosa and Malin Wahlberg (NECS Publication Committee); Hollis Frampton's 'other work' by Michael Zryd; Theaters: Cinematic vintage magnified by Miriam De Rosa; Arab Pop: Whose Gaze is it Anyway? by James Harvey-Davitt; Artists' Film Biennial, ICA 2014 by Sophia Satchell-Baeza.
- New SENSES OF CINEMA!! Issue 77, 2015 - including tributes to and studies of Chantal Akerman: La Passion de L'Intime/An Intimate Passion, the Legacy of Pier Paolo Pasolini, Australian film history, Apichatpong Weerasethakul, Quentin Tarantino and more...
- New Media Industries Journal, 2.2 2015. Online at: http://www.mediaindustriesjournal.org/index.php/mij/issue/view/5
Articles: PR and Politics at Hollywood's Biggest Night: The Academy Awards and Unionization (1929-1939) by Monica Roxanne Sandler; The Impact of Working Conditions and Personality Traits on the Job Satisfaction of Media Professionals by M. Bjørn von Rimscha; The Sony Hack: Data and Decision in the Contemporary Studio by J.D. Connor;
Hacking Radio History's Data: Station Call Signs, Digitized Magazines, and Scaled Entity Search by Kit Hughes, Eric Hoyt, Derek Long, Kevin Ponto, Tony Tran; Cultural Diversity as Brand Management in Cable Television by Melanie Kohnen; TV Got Better: Netflix's Original Programming Strategies and the On-Demand Television Transition by Chuck Tryon
- New Networking Knowledge, Vol 8, No 5 (2015): Reframing Cinematic Space and Audience Practice in the Digital Age, Edited by DARIO LLINARES and SARAH ARNOLD: http://ojs.meccsa.org.uk/index.php/netknow/issue/view/48/showToc
- Introduction: Reframing Cinematic Space and Audience Practice in the Digital Age PDF Dario Llinares, Sarah Arnold
- Re-centering the Cinema Experience in a Multi-Platform, Digital Age PDF E. W. Nikdel
- New Materialist Spectatorship: The Moving-Image-Body, the Mockumentary and a New Image of Thought PDF Miriam von Schantz
- In Excess, Elsewhere and Otherwise: Feminine Subjectivity in Eija-Liisa Ahtila's multi-screen installation If 6 Was 9 (1995) PDF Elspeth Mitchell
- A Social Zombie: The Performative Nature of Contemporary (British) Zombie Cinema Fandom PDF Shanaz Shakir
- Dr Dario Llinares in Conversation with Dr Sarah Atkinson PDF Dario Llinares, Sarah Atkinson
- New at The Cine-Files: a great dossier on teaching film with contribution as follows:
Nicolas Poppe, "Teaching La Historia Oficial"; Sarah Keller, "Teaching Meshes of the Afternoon"; Ned Schantz, "Teaching The Bridge"; Patricia Ventura, "Teaching The Hangover; Tarshia Stanley, "Teaching The Birth of a Nation"; Kyle Stevens, "Teaching Casablanca"; Jaap Kooijman, "Teaching American Psycho"; Pamela Robertson Wojcik, "Teaching Pillow Talk"; David Johnson, "Teaching Smoke"; Corinn Columpar, "Teaching Touch of Evil"; Patrick Keating, "Teaching Sweet Smell of Success"; Kristi McKim, "Teaching The 400 Blows"; Ani Maitra, "Teaching Devdas and Mirch Masala"; John Bruns, "Teaching Inception"; Amelie Hastie, "Teaching Tomboy"; Jason Mittell, "Teaching The Wire"; Rashna Richards, "Teaching Invasion of the Body Snatchers".
- PROJECT ARCLIGHT! Charles Acland and Eric Hoyt have launched Arclight (http://search.
projectarclight.org), a data mining and visualization tool for film and media history.
Arclight graphs how terms and entities trend across the nearly 2 million page collection of the Media History Digital Library (MHDL, http://mediahistoryproject.org
), which includes lengthy runs of Variety (1905-1948), Broadcasting (1932-1963), Sponsor (1946-1964) Motion Picture News (1913-1930), Motion Picture Herald (1930-1948), Motion Picture Daily (1931-1964), and Photoplay (1915-1943), among many, many other publications. Arclight is integrated with the MHDL's search platform, Lantern, to allow for toggling between distant and close reading. You can find suggestions about how to use Arclight for research and teaching on our blog: http://projectarclight.org/ arguments/
- The Open Library of Humanities, a major new open access journal platform, launched in 2015 and immediately published excellent film and media studies content:
- An interview with OLH author Keith Johnston about the history of 3D cinema in the UK. Online at: https://about.openlibhums.org/2015/09/30/an-interview-with-olh-author-keith-johnston-about-the-history-of-3d-cinema-in-the-uk/
- Perspectives on Nagisa Oshima (open access ebook). Downloadable at http://utcp.c.u-tokyo.ac.jp/publications/2015/03/perspectives_on_oshima_nagisa_1/index_en.php
Preface: M. Downing ROBERTS1. Oshima in Retrospect(ives): The Question of Corporeality in Daitōa Sensō (1968) by Shota OGAWA
2. Ideology and Subjection in Ōshima Nagisa's Kōshikei (1968) by Max WARD
3. Oshima is Dead: Proxy Wars, Security, and Cinematic Love by Phil KAFFEN
4. Ōshima Nagisa on Responsibility and Premonition: Shiiku (1961) and Amakusa Shirō Tokisada (1962) by M. Downing ROBERTS
5. The Voice of the Dead: The Image of the State and Postwar Democracy in Oshima Nagisa's The Ceremony (1971) by Ryoko MISONO
- The excellent The London Film and Media Conference Readers are now available as PDF ebooks for download - free, but encouraging small donations: http://www.thelondonfilmandmediaconference.com/conference-ebook-readers-available-for-download/
- New FILM-PHILOSOPHY!! Rolling issue 89: http://www.film-philosophy.com/index.php/f-p/issue/view/89. Including, so far:
- Anti-Christ: Tragedy, Farce or Game? PDF Jan Simons
- Laughter and the Death of the Comic: Charlie Chaplin's The Circus and Limelight in Light of the Ethics of Emmanuel Levinas PDF Moshe Shai Rachmuth
- Films Blancs: Luminosity in the Films of Michael Mann PDF Davide Panagia
- Cinematic Incorporation: Literature in My Life Without Me PDF Sarah Dillon
- Trying Truths: Dreyer, Bresson and the Meaning Effect PDF Brandon White
- Ambivalent Screens: Quentin Tarantino and the Power of Vision PDF Frida Beckman
- The Permeable Self: A Theory of Cinematic Quotation PDF Chelsea Crawford
- New Offscreen 19.7, 2015 Online at: http://offscreen.com/issues/view/volume-19-issue-7 (link via Girish Shambu)
Articles: The Maltese Falcon and the Case of the Mystery Square and other things lurking in the background by Donato Totaro; Nanarophelia and the danger of praising the mediocre by Simon Laperrière; London Made Me: Personal History, Film History and My Home Town by Paul W. Salmon; The Subject Was Rose Joseph Cornell and Rose Hobart by Elaine Lennon; Beautiful Light, Vibrant Things, Speaking Minds: Terrence Malick's To the Wonder by Daniel Garrett
- New video channel: TALKS@MFM, video and audio recordings of research presentations and masterclasses held at the School of Media, Film and Music, University of Sussex. Further information linked to here: http://reframe.sussex.ac.uk/conversations/talksmfm/
- There will be lots more publications to come which are related to the fabulous NEH funded Scholarship in Sound and Image: A Workshop in Videographic Criticism at Middlebury College, U.S.A., including the book mentioned at the top of this entry: The Videographic Essay: Criticism in Sound and Image, edited by workshop directors Christian Keathley and Jason Mittell, forthcoming from CABOOSE BOOKS in 2016, as well as a related issue of [in]Transition: Journal of Videographic Film and Moving Image Studies. But there are four highlights (or related items) already online:
- Jason Mittell's account of the project
- A post by participant Melanie Kohnen for Antenna, which also includes links to some of the work produced at the workshop
- Guest Presenter in Residence Catherine Grant's video essay Dissolves of Passion on Brief Encounter, which is celebrating its 70th anniversary this winter.
- And participant John Gibbs' Three videographic exercises on Notorious (Alfred Hitchcock, 1946). including the video below:
- Jacob T Swinney's new video for Press Play: http://blogs.indiewire.com/pressplay/watch-quentin-tarantinos-best-visual-film-references-in-three-minutes-20150522
- Below, Corey Creekmur's great video essay on 'intensified continuity' How to Read a File (How to Read a Film) [The 39 Steps]. Watch Corey's other videos here: https://vimeo.com/user41519424
- Almost Bliss: Notes on Derek Jarman's Blue, curated by Donald Smith (via Ed Webb-Ingall). Read the written reflection on the below installation work here: https://vimeo.com/89415626
- Four videos (playlist embedded below) from University of Sussex Centre for Modernist Studies: 'Here by the Sea and the Sand: A Symposium on QUADROPHENIA'
- Film Theory Ch 3 The Face and the Mirror The below video essay, drawn from chapter 3 ('Cinema as Mirror: The Face and Close-Up'') of Thomas Elsaesser and Malte Hagener's Film Theory: an Introduction Through the Senses (Routledge, 2nd edition, 2015), investigates elements of film theory that highlight the close-up and the face in the films of Ingmar Bergman. Premissed as the book is on the assumption that great films 'think' their own conditions of possibility, the video essay gives a meta-cinematic dimension to a filmmaker's apparently personal themes and private obsessions. For related video essays and texts, visit the book's companion website: http://www.routledgetextbooks.com/textbooks/9781138824300/
- A video essay on Lindsay's Anderson's film If, by Ella Finch, Dilyana Atanasova, Alex Brace, Yang Jiang
- Check out the introduction (PDF) to Anna Backman Rogers' new book on American Independent Cinema courtesy of the Edinburgh University Press website: http://www.euppublishing.com/userimages/ContentEditor/1434029192585/American%20Independent%20Cinema.pdf. Check out Anna's academia.edu page for some other very interesting downloadable items: https://gu-se.academia.edu/AnnaBackmanRogers
- PhD thesis by Anna Hurina (2015) Representations of Urban Spaces and Their Transformations in Soviet Cinema of the 1920s and 1960s, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/11340/
- PhD thesis by Christopher van Eecke (2015) Pandaemonium: Ken Russell's Artist Biographies as Baroque Performance, Maastricht University: http://pub.maastrichtuniversity.nl/b9a991ae-7312-4fe4-a59c-d4b44512b92b
- Podcasts from the study day on 'The Self-Portrait in the Moving Image' at Birkbeck Institute for the Moving Image http://selfrep.wix.com/selfrep#!pagina-di-musica/c192q
- SERIAL PODCASTS! In addition to Cinema Journal's great Aca Media podcast offering and Peter Labuza's marvellous The Cinephiliacs (check out Peter's recent interview with David Bordwell), there is a great new podcast of film and media scholarly interest on the block: The Cinematologists (Dario Llinares and Neil Fox)
List of Cinematologists episodes Season 1 & 2Episode 1: Repo Man (with Director Lucien Busse) http://www.cinematologists.com/podcastarchive/2015/3/23/episode-1-repo-man Dario and Neil introduce, screen and discuss Alex Cox's 1984 cult classic Repo Man in the context of independent v mainstream filmmaking. Neil's visit to the Berlinale is reviewed plus we have an interview he conducted while in Berlin with filmmaker Lucian Busse.
Episode 2: Bande À part (with Actors Gillian Harker, Robert Dukes, Aisling M De'Ath & Adam Lannon) http://www.cinematologists.com/podcastarchive/2015/3/23/episode-2-bande-part Neil and Dario discuss perhaps Godard's most accessible film and contextualise the filmmaker's legacy covering topics of filmic influence, homage and pastiche. We also talk to four London based actors - Gillian Harker, Robert Dukes, Aislinn M De'Ath & Adam Lannon - about their process of working with directors and their own influences as actors. Episode 3: Whip it (with Prof. Linda Ruth Williams & Dr. Shelley Cobb) http://www.cinematologists.com/podcastarchive/2015/3/23/episode-3-whip-it Introduction and audience discussion of Drew Barrymore's Whip It (2009) with guest speaker Dr Laura Canning. The episode also analyses issues of gender with regards to the film industry and academia and Dario interviews Prof. Linda Ruth Williams and Dr Shelley Cobb about their AHRC funded research project investigating the status and role of women filmmakers.
Episode 4: Yojimbo (with Director Mark Herman) http://www.cinematologists.com/podcastarchive/2015/4/9/episode-4-yojimbo Neil and Dario discuss the cinematic influence of Kurosawa particularly on American New Wave filmmakers and explore the gaps in their own cinematic canons arguing whether there can be any real, definitive criteria for judging a 'great' film. Dario interviews British film Director Mark Herman about his career including the films Brassed off (1996), Little Voice (1998) and The Boy in the Striped Pyjamas (2008).
Episode 5: Bronson (with Dr. Johnny Walker) http://www.cinematologists.com/podcastarchive/2015/5/2/episode-5-bronson Neil questions Dario about his article on Nicolas Winding Refn's powerful Bronson (2008) - entitled Punishing Bodies: British Prison Film and the Spectacle of Masculinity - which analyses the prison as an aesthetic space and suggests the (de)constructions of masculinity made possible by the prison genre. Neil also interviews Dr Johnny Walker about his work on the contemporary British Horror film. Episode 6: Goodbye Dragon Inn (Dr Sarah Atkinson) http://www.cinematologists.com/podcastarchive/2015/5/13/episode-6-goodbye-dragon-inn Neil and Dario discuss Tsai Ming-Liang's 2003 ode to the cinema auditorium Goodbye Dragon Inn and discuss the concept of the cinema experience and how this has been affected by the arrival of the digital age. This theme also frames Dario's interview with Dr. Sarah Atkinson on her recently published book Beyond the Screen: Emerging Cinema and Engaging Audiences
Episode 7: Sci-fi Special (part 1) http://www.cinematologists.com/podcastarchive/2015/6/4/episode-7-sci-fi-special-part-1 In the first of a sci-fi podcast double bill Neil and Dario discuss their introductions to four films screened at the Poly, Falmouth as part of the BFI season Days of Fear Wonder. The Fly (1986), Demon Seed (1977), The Thing (1982) and Rollerball (1975) are all explored in the context of what science fiction offers as a key cinema genre. Neil and Dario touch upon the tropes of hard v soft sci-fi, artificial intelligence, the fear of technology, metaphors of alien invasion and control of reproduction, along with many other of the fundamental elements of the genre.
Episode 8: Sci-fi Special Part 2 (Pacific Rim) http://www.cinematologists.com/podcastarchive/2015/6/26/episode-8-sci-fi-special-part-2-pacific-rim In what promises to be a no-holes-barred, apocalyptic battle of the ages Neil and Dario face off in a cerebral clash of wills over a film that represents the most overt disagreement: Pacific Rim (2013). Don't miss episode 2 of the sci-fi double bill.
Episode 9a: Point Blank (Port Eliot Special) http://www.cinematologists.com/podcastarchive/2015/8/21/episode-9a Dario is on Holiday so Neil is joined by filmmaker and academic Mark Jenkin to present and discuss John Boorman's 1967 classic Point Blank starring Lee Marvin. Point Blank was released in a zeitgeist year for crime cinema that also included Arthur Penn's Bonnie & Clyde, Jean-Pierre Melville's Le Samourai and Seijun Suzuki's Branded To Kill and it stands equal to those illustrious peers. This episode also features an interview with writer Tom Shone about his latest book Woody Allen: A Retrospective.
Episode 9b: Interviews from Port Eliot http://www.cinematologists.com/podcastarchive/2015/9/9/episode-9b-port-eliot-special This episode collects the diverse interviews collected by Neil across the weekend of the festival. The conversations cover film costume with Oscar winner Sandy Powell, music documentaries with television actress Caroline Catz, poetry with Simon Armitage, extinct birds with Ceri Levy and clouds with Gavin Pretor-Pinney of the Cloud Apprecation Society. Yes. Clouds. Neil also spent time with one of his heroes, Ralph Steadman, and Neil and Dario discuss the place of cinema at modern multi-arts festivals.
Port Eliot Festival websiteNextinction by Ralph Steadman and Ceri LevyWalking Away by Simon Armitage
Episode 10: 12 Angry Men http://www.cinematologists.com/podcastarchive/2015/9/26/episode-10-12-angry-men Season 2 of the podcast kicks off with a bumper freshers edition featuring a screening of Sydney Lumet's 1957 social drama 12 Angry Men. A heavyweight cast of character actors led by Henry Fonda argue over the evidence of what appears to be straightforward guilty verdict. Neil and guest presenter Kingsley Marshall introduce what is a canonical film studies text. Dario and Neil also discuss their experiences of studying film and hopefully offer some helpful guidelines to those who are coming into university to study what is a changing discipline.
Episode 11: Tony Manero (with Prof. Will Brooker) http://www.cinematologists.com/podcastarchive/2015/10/4/episode-10-tony-manero Our intense desire for, and identification, with film characters and stars comes under the spotlight in this weeks' podcast. Neil is joined by filmmaker James Dean to introduce Pablo Larraín's unique and brutal Tony Manero (2008) about Chilean criminal who is obsessed with John Travolta's character from Saturday Night Fever. It is simultaneously bleak, shocking and unsettling with allusions to the darkest parts of human identity. Also on the podcast Dario interviews Professor Will Brooker from Kingston University about the year he is spending embodying the iconic David Bowie.
Episode 12: Planes, Trains and Automobiles (with Jeanie Finlay) http://www.cinematologists.com/podcastarchive/2015/10/25/episode-12-planes-trains-and-automobiles Neil is joined on stage at Falmouth by Kingsley Marshall to introduce John Hughes' comedy Planes, Trains and Automobiles (1987). The influence and persona of John Candy and Steve Martin is discussed along with the career of John Hughes as one the quintessential American 80s directors. The podcast also features an interview with Jeanie Finlay on her surprising and offbeat musical documentary Orion: The Man Who Would Be King (2015).
Episode 13: Dead of Night (with Jez Connolly) http://www.cinematologists.com/podcastarchive/2015/10/29/episode-13-dead-of-night The Cinematologists go on the road again, this time to the University of Bristol, to screen the Ealing produced British anthology horror Dead of Night (1945). Dario and Neil discuss the film with Jez Conolly who has co-authored a book on the film with David Owain Bates as part of Auteur's 'Devil's Advocates' series. Also discussed on the podcast is the new book by friend of The Cinematologists, Dr. Johnny Walker. Contemporary British Horror Cinema is out now from Edinburgh University Press.
Episode 14: Seconds (with journalist Andy Bass) http://www.cinematologists.com/podcastarchive/2015/11/1/18p6jz74rsjn3od3azafzzkznn0fvo In our first podcast from the University of Brighton's Hastings campus we screen the strangely superb sci-fi thriller Seconds (1966). John Frankenheimer's key themes revolve around paranoia and conspiracy with titles to his credit including The Manchurian Candidate (1962) and Seven Days in May (1964). This film takes a faustian theme and links it to social contexts of mistrust in government, consumerism and the increasing loss of identity in the modern age. The episode also features an interview with writer and historian Andy Bass who has recently written an article on the shooting of the film in his home town of Scarsdale:
Episode 15: The Hitch-Hiker (with writer Jack Thorne) http://www.cinematologists.com/podcastarchive/2015/12/2/episode-15-the-hitch-hiker-with-writer-jack-thorne Neil is joined onstage at Falmouth by Kingsley Marshall to discuss Ida Lupino's 1953 film noir The Hitch-Hiker. Neil also interviews writer Jack Thorne about, amongst other things, his up-coming theatre adaptation of Harry Potter.Link to the Film Programme episode discussed on the podcast
Link to the Senses of Cinema Ida Lupino piece mentioned by Kingsley on the podcast Episode 16: In The Mood For Love http://www.cinematologists.com/podcastarchive/2015/12/2/episode-16-in-the-mood-for-love
In one of the highlights of the year The Cinematologists screen Wong Kar-Wai's stylish masterpiece as part of the BFI 'love' season in association with The Poly, Falmouth. A veritable modern masterpiece In the Mood for Love stars Tony Leung and Maggie Cheung in iconic roles as lovers seeking refuge from disappointment, loneliness and the harsh realities of their surroundings. Dario and Neil also discuss their cinematic highlights of the year. The Guardian article by Peter Walker referred to in the podcast can be found here: http://www.theguardian.com/film/filmblog/2011/dec/19/in-the-mood-for-love


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Last Airbender movie blasted for 'whitewashing'
Fans of the TV series Avatar: The Last Airbender are slamming the movie version for its casting of white actors in the hero roles.
Ever since 12-year-old Aang came out of a block of ice in the Nickelodeon cartoon series, the other tribes in his fictional, Asian-inspired world saw Aang and his power over the elements as their last chance for peace after a century of conflict.
Now Paramount Pictures and director M. Night Shyamalan also have high hopes for Aang: that he will attract audiences to see their big-screen — and big budget — version of The Last Airbender, opening July 2.
Yet fans of the original TV series say whatever hopes they had for the live-action movie have been dashed by what is known as "whitewashing" — the selection of white actors to fill the main hero roles instead of the people of colour fans say the source material requires.
"To take this incredibly loved children's series, and really distort not only the ethnicity of the individual characters but the message of acceptance and cultural diversity that the original series advocated, is a huge blow," said Michael Le of Racebending.com, a fan site calling for a boycott of the martial-arts fantasy.
Paramount defends the film's casting, noting more than half of the credited speaking roles were filled by people of colour.
"Night's vision of The Last Airbender includes a large and ethnically diverse cast that represents cultures from around the world," Paramount said in a statement.
That doesn't impress the movie's critics, who claim most of that diversity is found among secondary characters and background extras.
Hollywood's history of whitewashing
The movie's critics say Airbender's casting is just the latest example of a long history in Hollywood of demeaning people of colour — from having white actors in makeup portray minorities to sidelining them in second-tier roles to replacing them entirely, as disappointed fans of the cartoon series say is the case with Airbender.
They point to examples like the 2008 film 21, which was based on a book inspired by the true-life story of a mostly Asian-American group of card players, yet was cast with mostly white actors in the main roles.
They also noted this weekend's release of Prince of Persia: The Sands of Time, a live-action adaptation of a video game, which stars white actor Jake Gyllenhaal in the title role rather than an actor with a Middle Eastern background.
"This part really needed to go to someone who's Persian," said Jehanzeb Dar, a blogger and independent filmmaker who is a fan of the video game but has no intention of supporting the movie.
"It's not only insulting to Persians, it's also insulting to white people. It's saying white people can't enjoy movies unless the protagonist is white," he said.
Disney did not return an email asking for comment on the casting.
"It becomes very clear that it's part of the historical pattern of Hollywood and it's not an isolated incident and it's not because they happen to be fictional characters," Le said. "It's because this is the standard procedure for Hollywood films, and it really shouldn't be. It's 2010."
But 2010 is also a time of huge stakes in the movie business, when only a small fraction of the films that are released make the vast majority of the industry's profits, said economics professor Arthur De Vany, author of Hollywood Economics: How Extreme Uncertainty Shapes the Film Industry.
Because of the financial risk, studios scrutinize everything that goes into a movie before its release — from the storyline to the cast to the marketing — in an effort to maximize box office receipts , De Vany explained.
'I think it's the default setting and it takes a conscious choice to change.'—Chon Noriega, UCLA professor of cinema and media studies
"They're trying to control the initial conditions of a chaotic process," he said. "There's only so much room at the top."
During the era of segregation in the United States, Hollywood routinely considered race when making and releasing a film. For example, actress Lena Horne, who died May 9 at 92, saw her parts in movies cut out when those films were shown in the South.
Over time, "it's what has become habitual practice," said Chon Noriega, professor of cinema and media studies at UCLA. "I think it's the default setting and it takes a conscious choice to change," he said.
Airbender's creators, Bryan Konietzko and Michael Dante DiMartino, have said they purposely chose to base their cartoon in an Asian-inspired setting as opposed to a European one, incorporating different kinds of martial arts, as well as other cultural elements like Chinese calligraphy. At least some of the main characters were drawn as people of colour.
Caucasian actors cast as heroes
Yet when it came time to cast the movie, unknown Noah Ringer was picked to play Aang. Nicola Peltz was chosen to play Katara, the girl who finds Aang in the ice, and Twilight actor Jackson Rathbone was named for the role of Sokka, Katara's brother. Jesse McCartney was originally slated to play the anti-hero Zuko, but dropped out due to scheduling reasons and was replaced by Dev Patel of Slumdog Millionaire.
That the initial casting had four white actors in the main roles, and that the three heroes are still all played by whites, is an outrage, said Guy Aoki of the Media Action Network for Asian Americans.
"It speaks volumes when the initial casting decision was to cast four white leads," he said. "For them to be comfortable with that ... it's embarrassing, it says a lot about their attitudes."
'There's this huge fan base of young Asian-Americans who were delighted to see themselves "on screen" ... It could have really been groundbreaking. That's what is so sad about this.'— Martha Nichols, Harvard journalism instructor
Le said Racebending.com has organized a letter-writing campaign to Paramount, but has received no response. Aoki said his organization had sent a letter asking for a meeting, but was ignored until filming had already started. The group met later with Paramount president Adam Goodman, who offered a prescreening.
But that hasn't happened yet, Aoki said, even though Paramount has expressed confidence that people will embrace the film once they see it.
"The filmmaker's interpretation reflects the myriad qualities that have made this series a global phenomenon," Paramount said in its statement. "We believe fans of the original and new audiences alike will respond positively once they see it."
Yet Harvard journalism instructor Martha Nichols said that while there are times when the case can be made for a movie to change something from the source material, this isn't one of them. She's the mother of an adopted 8-year-old Asian boy who is a big fan of the cartoon series, in part because of its homage to Asian cultures and characters.
The moviemakers "seem to have no clue that there's this huge fan base of young Asian-Americans who were delighted to see themselves on screen," said Nichols, who blogs at Athena's Head.
She said her son would have loved to see a hero on screen who looked like him. "It could have really been groundbreaking. That's what is so sad about this."


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June 20, 2007
Share a Tab from Your iGoogle Page
The email contains a link that includes the URLs of all the gadgets from that tab. If you click on that link, you'll get a page that lets you add all the gadgets or only some of them to a new tab in your iGoogle page. Here's, for example, the link to my iGoogle tab about Google.
Google could generate a similar link for all your feeds and gadgets that could be used to backup your iGoogle page. After all, it's just a list of links.
6 comments:
It seems like a good idea to me. This will make it easier for people like me,considering I send a lot of links and articles to friends and family.ReplyDelete
I thought the exact same thing this morning when i saw "Share a link", my words were "oh hey, you could easily create a backup that way"ReplyDelete
I like that they added the arrow there, i remember a few times where people were asking how to rename or delete tabs.
Who knows, maybe we'll be able to change the order of the tabs until the end of the year... And it would be nice to share a tab and keep all the settings. Or publish the tab as an independent page.ReplyDelete
It seems funny though but when Google is behind on something that has already been around for a long time and offered by multiple players, people DO NOT mind. The other day I was reading techcrunch story of AOL getting ready to release their own AJAX enable homepage (like iGoogle, netvibes, pageflakes), people were cursing them and wondering why AOL wants to follow others in each and every thing. I am not saying that Google follow others, always (they are way ahead in innovation than AOL) but people should take a break from bashing some old players in the game who have almost lost everything they had.ReplyDelete
yeah, I love google but Netvibes had this feature I am guessing 6 months ago.ReplyDelete
- AnonymousJuly 1, 2007 at 8:51 AM
Great blog. Yes, seems like a good idea to me....it would also be nice to share a tab and keep all the settings TimReplyDelete


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House GOP pulls Agriculture budget
The Agriculture Department's annual budget has been pulled from the House calendar in the wake of last Thursday's defeat of a five-year Farm Bill.
Even after the loss, Majority Leader Eric Cantor (R-Va.) had spoken confidently of turning next to the $19.45 billion measure which also funds the Food and Drug Administration and Commodity Futures Trading Commission. But House legislative notices no longer list the spending measure for this week's floor schedule, and the GOP's message machine has shifted to energy bills.
The House Rules Committee is still slated to consider the Agriculture budget bill Tuesday evening — leaving open a slim chance of action before the July 4th recess. And when Rules meets, House Agriculture Committee Chairman Frank Lucas (R-Okla.) is expected to have objections to some of the legislated spending provisions in the appropriations bill.
If Lucas were to insist on his points of order, it could force more cuts in a bill already about $1.3 billion below what Congress approved in March for the same accounts. But Republicans are candid to say the changed floor schedule is less about managing dollars than perceptions after the embarrassing defeat last week.
On one hand, action would give the leadership a chance to show it hasn't forgotten farmers entirely. On the other, there is a strong desire to change the subject, especially given Cantor's role in the turmoil that led to the bill's defeat.
Senate Majority Leader Harry Reid, having twice passed farm bills in the Senate in the past two years, won't make forgetting easy.
The Nevada Democrat said Monday he will oppose the easy way out of Congress simply passing another 12-months extension of current farm programs.
In a statement rich with feigned sympathy, Reid said he recognized Speaker John Boehner's dilemma and suggested Boehner take up the Senate farm bill since he was unable to pass his own.
"I have often said that Speaker Boehner has one of the toughest jobs in Washington," Reid said. "Even though the Speaker took the unusual step of announcing his support for the measure ahead of the vote, the bill still went down in flames."
"Doing nothing means no reform, no deficit reduction and no certainty for America's 16 million farm-industry workers," Reid said. "I want everyone within the sound of my voice — as well as my colleagues on the other side of the Capitol — to know that the Senate will not pass another temporary farm bill extension."


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The following is an excerpt from Dr. Shelley Drogin's remarks at the recent LIOS Graduate College graduation in June 2011:
In a recent planning meeting with the Dean of LIOS Judy Heinrich and Organizational Systems Chair Mark Jones, we were reminded of one of the great educators, Parker Palmer. Parker wrote a book and founded a program called" the Courage to Teach." As we thought about LIOS Graduate College, the phrase "the Courage to Lead" was uttered and it was one of those YES moments. I want to expand upon the concept of "the Power of Yes." But first, let me begin with the alternatives to Yes.
Our minds know all too well NO (all of us are familiar with the terrible twos that are filled with NO's); we are quite familiar with the MAYBE's, the NO-BUT'S, or YES-BUT's. However, in contrast, there are those YES moments in life that our consciousness can fall into, those YES's that exist beyond our doubts, the YES's that have no end. When I speak of "the Courage to Lead," I am reminded that we must have the courage to attend to, to pay attention to, those YES's.
Courage as a concept and as a word is rooted in the heart. The head of leadership is more about theories of practice and practice of theories. The heart of leadership, "the Courage to Lead," is about our values and dreams. It is difficult to talk about courage without exploring fear. It has been said that courage is fear that has said its prayers. Let me tell you a true story about the first tightrope walker (taken from Mark S. Lewis' commencement speech at University of Texas, 2000).
In 1859 the Great Blondin — the man who invented the high wire act, announced to the world that he intended to cross Niagara Falls on a tightrope. Five thousand people including the Prince of Wales gathered to watch. Halfway across, Blondin suddenly stopped, steadied himself, backflipped into the air, landed squarely on the rope, then continued safely to the other side. During that year, Blondin crossed the Falls again and again–once blindfolded, once carrying a stove, once in chains, and once on a bicycle. Just as he was about to begin yet another crossing, this time pushing a wheelbarrow, he turned to the crowd and shouted "who believes that I can cross pushing this wheelbarrow." Every hand in the crowd went up. Blondin pointed at one man.
"Do you believe that I can do it?" he asked.
"Yes, I believe you can," said the man.
"Are you certain?" said Blondin.
"Yes," said the man.
"Absolutely certain?"
"Yes, absolutely certain."
"Thank you," said Blondin, "then, sir, get into the wheelbarrow."
Like that man in the crowd, we often know a lot of things, some with apparent certainty. But also like that man, there will be times in your life when knowing things won't matter as much as how scary the situation is–and when that happens you'll have to decide whether or not to get into the wheelbarrow. There are times when, in order to succeed, you will have to trust –when you will have to take a big leap of faith–and when that time comes I hope you will face your fear, say your prayers, and take appropriate action.
What you have earned as graduates of this amazing institution is the ability to move on, to dare to do anything. What you retain as graduates of this amazing institution is the privilege to return any time–to return emotionally, spiritually, or just to visit. And it is what you've learned at LIOS that will in part determine what you do out there.
And my hope is that "your dreams take you to the corners of your smiles, to the highest of your hopes, to the windows of your opportunities, and to the most special places your heart has ever known."-anonymous