text:
Getting In
Schools & Colleges
- College of Agriculture & Environmental Sciences
- College of Arts, Humanities, & Social Sciences
- College of Business & Economics
- College of Education
Theatre Program
Dr. Darius Omar Williams, Program Director
The objectives of the Theatre Arts Program are as follows:
- to teach students how to use theatre as a means of self-expression, awareness, and discipline,
- to acquaint students with the great works of the theatre through reading and producing them,
- to prepare students for professional careers in acting and technology,
- to prepare students for admission into graduate schools,
- to convey the skills necessary to promote theatre as a means of enhancing culture in the community, and,
- to assist students in developing the skills necessary to participate in global Theatre opportunities through studies of the histories and cultures of selected peoples, participate in plays, and meetings with dramatists, actors, artists, and intellectuals from other countries and cultures.
Professional Theatre (Acting)– Bachelor of Fine Arts (Curriculum Guide)
Professional Theatre (Theatre Technology)– Bachelor of Fine Arts (Curriculum Guide)
- Admission is based upon the general admission requirements of the University. All majors must maintain a minimum grade point average of 2.0. If your GPA drops below 2.0 you will not be cast for any productions or given crew assignments until your GPA is 2.0 or better. Recommendations will be made by your academic advisor to attend tutorial sessions.
- Students must pass an annual juried evaluation in acting or technology. The evaluation will be based on the improvement in creativity, technique, attitude, and determination.
- The fulfillment of acting, audition, and crew assignments – except when advance exemptions by faculty have been granted – is expected.
- Transfer students with previous training will be evaluated by the faculty, who might exempt the student from certain requirements. The exemptions will depend on demonstrated ability and experience.
- The students must earn at least a "C" in all theatre courses listed on the curriculum guide in his/her concentration.
- Anyone showing a fundamental weakness in an area of study might be requested by the Theatre Arts Program Director to take additional course work in the area.
- Active participation is expected in at least two of the following organizations: The Richard B. Harrison Players, Alpha Psi Omega, NCTC, SETC, the Black Theatre Network, or the National Association of Dramatic and Speech Arts.
- All students under the acting concentration must audition for all main stage productions, faculty directed studio productions and the Richard B. Harrison Players.
- All students must participate in load-ins and strikes of all main stage productions – unless excused beforehand by the executive director of theatre, theatre arts program director, the director of the play, or the technical director.
- Only graduating seniors will be allowed to appear or participate in off-campus commercial productions. Exceptions for students other than seniors will be considered once the following steps have been completed: (1) The student submits a letter to the theatre program chair stating the producing organization in which he/she is wanting to work , his/her time commitment to the project, the reason he/she wishes to participate in the project and the benefits he/she will receive; (2) An interview with the theatre program director to review current GPA, completed course work, class attendance, past and present theatre participation; (3) An interview with the faculty along with the program director who will then make the final decision.
In order to become a candidate for the B.F.A. with an option in Acting, the student must:
- Make as least a "B" in Acting I and II.
- Candidates must exemplify;
a. Attributes of a professional artist, which includes talent, a willingness to learn and develop, discipline, commitment, and cooperation.
b. Potential leadership skills.
c. Genuine love, respect, and appreciation of the theatre.
d. Active involvement during the first year of residency.
- Pass a ten-minute acting audition and interview. The acting audition should include two or more of the following contrasting pieces: comedy, drama, tragedy, and song and dance. The passing average is 80%.
- Present a ten-minute one-person show for the senior showcase during the senior year,
- Perform an audition at two of the following events:
a. M.F.A. Program
b. North Carolina Theatre Conference (NCTC)
c. Southeastern Theatre Conference (SETC)
d. Irene Ryan Audition
e. University/Regional Theatre Audition (URTA)
f. Local, Regional or National Professional Theatre Companies
In addition to the curricular requirements, the students must complete such co-curricular obligations as (a) the pre-qualifying audition, (b) the qualifying audition, (c) the progress evaluation, (d) general audition, (e) production assignment, and (f) the senior thesis project.
This audition will occur in the student's second or third semester of residency, at a date and time to be assigned by the Theatre Arts Program Director.
- The Qualifying Audition must be at least ten minutes in length.
- The judges will consist of the student's academic advisor, along with two members of the performance faculty.
- It will be the student's responsibility to select the materials performed. The academic advisor, however, must approve the student's selections.
- Approval of the material by a performance faculty member must be obtained by the end of the semester prior to the one in which the student is required to perform. The performance faculty member must also approve any subsequent changes the student wishes to make in the selection. (NOTE: These stipulations are for the student's protection. They are designed to guarantee that the student allows sufficient time for preparation and to insure that the material he/she selects is appropriate.)
- Preparation of the qualifying material is solely the responsibility of the student.
- The BFA Acting audition will be held the first semester of each year. Should a student's qualifying performance be deemed unsatisfactory, he/she will be required to repeat it the following semester. The Theatre Arts Program Director will assign a new date. The student's academic advisor must approve any changes in the qualifying material.
The comments and opinions of the student's adjudicators will be collected by the academic advisor and communicated orally to the student within one week after the performance. In the event of an unsatisfactory rating, a written explanation will be given to the student.
The Theatre Faculty will evaluate each student at the end of each academic year during jury hearings. Evaluation is based on observation of production activities (quality and quantity) and on academic progress toward the degree. Recommendations resulting from the evaluation will be reported to the student by the academic advisor.
All Acting students are required to audition for all main stage productions and for the Richard B. Harrison Players, the department's varsity organization. Each student is also required to make a professional audition at two or more of the following: The North Carolina Theatre Conference, Southeastern Theatre Conference, University/ Resident Theatre Conference, the Irene Ryan Acting Award Competition, M.F.A. Acting Programs, Local, Regional, or National Professional Theatre Companies.
Each student must serve as Assistant Director or Stage Manager for at least one major departmental production or Studio production. This requirement must be met at some point during the student's first six semesters of residency. Evidence of its completion must be furnished in writing by the student to the Theatre Arts program director.
The Acting student's degree program culminates with a staged senior showcase, performance. The performance is the student's final demonstration of his/her craft proficiency and, as such, is a project the student should begin planning as early as possible in his/her residency. To ensure protection of the student's interests and to provide a reasonable guarantee that a project of the highest quality will result, the Theatre program has adopted specific procedures for the selection, preparation, and execution of the Senior thesis project. This information is listed in detail in the Theatre Arts Student Handbook.
(Theatre Technology)
The Theatre Technology option offers professional training in the crafts and arts of the technician.
The objective is to combine course work in Theatre technology with ample opportunities to construct fully mounted productions. The curriculum is a carefully structured series of courses aimed at covering the full gamut of technical productions. All courses are of practical variety; student technicians are given specific problems and are asked to find workable solutions. Faculty and peer-evaluation assist the student in perfecting skills.
The program presupposes that entering students have little or no background in technical theatre and design. Therefore, we introduce them to design and provide technical background in the crafts. Every student technician spends at least one semester as a costumer, master carpenter, shop foreman, master electrician, stage manager, sound technician, properties master, costume master, and assistant technical director. During those semesters, the student is given full responsibility for the areas assigned him/her, with, of course, ample assistance from the faculty. Each student serves a senior directing project as the studio theatre's technical director, allowing him/her the experience of personnel management, purchasing, and scheduling.
It should be noted in this regard that the constant diet of twelve-hour workdays extending to midnight and beyond, which are commonplace for tech students in many institutions is not allowed here. We feel strongly that students spending that much time and energy in shop cannot possibly achieve the full measure of growth in the art. Therefore, all production work is carefully scheduled so that it can be completed no later than 11:00 PM. However, Saturdays and Sundays will be used for specifically called times.
We realize that our students arrive with the kind of total commitment required for success in the theatre. We assume further that they come with basic insights, if not necessarily the kind of training or experience, needed for effective work. We look, therefore, upon our course work as an experimentation and practice. To intensify that experience, the student technician is normally given from four to eight major departmental productions to work on as a technician.
We wish to give the student as much learning time as possible. We assume that students want to leave an undergraduate school ready to deal with the realities of professional theatre work. We consider it our function to provide them with an opportunity to spend at least three years working with what is, in effect, a company with excellent artistic directions that can assist the student in learning and refining skills and broadening experiences. We do not promise to make every student a great technician; we do promise to make every student as good a pre-professional technician as capability allows.
In order to become a candidate for the B.F.A. with an option in Technology, the student must do the following:
- Make at least a "B" in Stagecraft and Elements of Play Production.
- Candidates must exemplify
a. Attributes of a professional artist, which includes talent, a willingness to learn and develop, discipline, commitment, and cooperation.
b. Potential leadership skills
c. Genuine love, respect, and appreciation of the theatre
d. Active involvement during the first year of residency
- Pass an interview, resume and portfolio review. The technology review will consist of the student presenting his/her resume, any and all projects along with their portfolio as it presently stands.
- Design and/or technically direct a main stage production by the end of their senior year.
- Present Portfolio and interview at two of the following:
a. M.F.A. Program
b. North Carolina Theatre Conference (NCTC)
c. Southeastern Theatre Conference (SETC)
d. United States Institute of Theatre Technology (U. S. I.T.T.)
e. University/Regional Theatre Audition (URTA)
f. Local, Regional or National Professional Theatre Companies
In addition to the curricular requirements, the student must complete such co-curricular obligations as (a) the qualifying interview (b) the progress evaluation, (c) portfolio and resume presentation (d) production assignment, and (e) the senior thesis project.
This interview will occur in the student's second or third residence at a date and time assigned to the student by the Theatre Arts Program Director.
- The Qualifying Interview must include resume and portfolio.
- The judges will consist of the student's academic advisor, along with two members of the technology and design faculty.
- It will be the student's responsibility to select the materials to be included in their resume and portfolio. A member of the technology and design faculty, however, must approve the student's selections.
- Approval of the material by - a member of the technology and design faculty must be obtained by the end of the semester prior to the one in which the student is required to present. The technology and design faculty member must also approve any subsequent changes the student wishes to make in his portfolio. (NOTE: These stipulations are for the student's protection. They are designed to guarantee that the student allows sufficient time for preparation and to insure that the materials he or she selects is appropriate.)
- Preparation of the qualifying material is solely the responsibility of the student.
- The B.F.A. Technology interview will be held the first semester of each year. Should a student's qualifying interview and portfolio presentation be deemed unsatisfactory, he/she will be required to repeat it the following semester. The Theatre Arts Program Director will assign a new date. A member of the technology and design faculty must approve any changes in the qualifying material.
- The comments and opinions of the student's adjudicators will be collected by his/her academic advisor and communicated orally to the student within one week after his/her interview and presentation of portfolio. In the event of an unsatisfactory rating, a written explanation will be given to the student.
The faculty during jury will evaluate each student at the end of each academic year. Evaluation is based on observation of production activities (quality and quantity) and on academic progress toward the degree. Recommendations resulting from the evaluation will be reported to the student by his/her academic advisor.
All technology students are required to interview for all main stage production positions and for the Richard B. Harrison Players, the department's varsity organization. Each student is also required to make a professional interview at two or more of the following: the North Carolina Theatre Conference, Southeastern Theatre Conference, University Resident Theatre Conference, the United States Institute of Theatre Technology, M.F.A. Design/Technology Programs, Local, Regional or National Professional Theatre Companies.
Each student must serve as a member of the (1) running crew, (2) stage manager or assistant stage manager, (3) assistant technical director, or assistant designer for at least one major departmental production or Studio production. This requirement must be met at some point during the student's first six semesters of residency. Evidence of its completion must be furnished in writing by the student to the Theatre Arts program director.
The Technology student's degree program culminates with a final production project supervised by a faculty member in the technology area. The production is the student's final demonstration of his/her craft proficiency and, as such, is a project the student should begin planning as early as possible in his residency.
To ensure protection of the student's interests and to provide a reasonable guarantee that a project of the highest quality will result, the Theatre program has adopted specific procedures for the selection, preparation, and execution of the Senior thesis project. This information is listed in detail in the Theatre Arts Student Handbook.
Accredited by the National Association of Schools of Theatre (NAST) since 1988.
THEA 110. Acting for Non-Theatre Majors (formerly THEA 210) Credit 3(3-0)
This course will include an examination and analysis of the actor's craft through improvisation, sensitivity exercises, sense of emotional memory, and other exercises. These are used in order to free the student's mind and body for the work of creating the playwright's world. (F;S)
THEA 111. Acting I (formerly THEA 211) Credit 3(2-2)
This course will emphasize acting as organic interrelationship of self and environment. Students will learn to release individuality through improvisational exercises in relaxation and physical freedom, along with observation research, justification of action, objectives, talking and listening, inner focus through senses, all focusing on the Stanislavski Method, and on Dialogue and Text. Culminating projects under faculty supervision will be given. Theatre majors only. (F)
THEA 112. Acting II (formerly THEA 212) Credit 3(2-2)
This course is a continuation of Acting I with concentration on working on a role; breakdown of text into actions, objectives, beats; sensory work and its application to script. Students will learn developing and sustaining characters and action in increasingly complex texts. Rehearsals and performance of scenes and one-act plays with faculty and student directors will be emphasized. Prerequisite: THEA 111 or consent of the instructor. (S)
THEA 114. Theatre Movement I (formerly THEA 214) Credit 2(1-2)
This course is an introduction to the development of an expressive body. Emphasis will be placed on entering energy flow, harmonious alignment, Yoga exercises, Alexander technique, modern dance and ballet to achieve flexible, free, strong, and restfully alert body. Students will develop imaginative resources and sense of form through structures of improvisation in space. Theatre majors only. (F)
THEA 115. Theatre Movement II (formerly THEA 215) Credit 2(1-2)
The focus of this course will be on movement and breathing to increase range in body and voice, along with some dance techniques and styles. Concepts in weight, space, time, and flow; improvisations; and movement using imagination and forms found in music and dance composition will be emphasized. Prerequisite: THEA 114 or the consent of the instructor. (S)
THEA 131. Elements of Play Production (formerly THEA 231) Credit 3(2-2)
Study and application of the basic principles of all phases of theatre production and design as they relate to practical experiences in acting, directing, lighting, scenery design, and construction will be emphasized. Laboratory hours and audience attendance are required. (F)
THEA 141. Stagecraft (formerly THEA 241) Credit 3(2-2)
This course will consist of the study of basic principles of physical theatre, evolution of modern stages, building scenery and properties, lighting, makeup, and front-of-house practices. Working on crews and lab hours are required. (S)
THEA 201. Theatre Production Lab (formerly THEA 401) Credit 1(0-2)
Students will work in various capacities for productions, including scenery, sound, special effects, property, lighting, costume, publicity, house, and/or makeup. Must be repeated for a maximum of three (3) credit hours. (F;S)
THEA 203. Acting III (formerly THEA 415) Credit 3(3-0)
Students will gain experience in the application of the Stanislavski techniques to define and fulfill the actor's work in terms of form and content as required by the play and its performance. Examination of the special demands of auditioning and cold readings; development of portfolios and actor's prompt script books are required. Course fee required. Prerequisite: THEA 212. (F)
THEA 204. Acting IV (formerly THEA 416) Credit 3(3-0)
Students will learn creating and sustaining character and action in texts since 1900. Emphasis will be on organic interrelation of acting, speech, and movement in scene study. Actor explores deeply the demands made by form and content of each script. Prerequisite: THEA 415. (S)
THEA 217. Stage Voice I (formerly THEA 317) Credit 3(1-4)
This course is an introduction to the mechanics of voice for the stage. Special attention will be given in good stage diction, articulation, voice projection, and speaking effectively with non-regional dialect. The student will be introduced to the International Phonetics Association language. (F)
THEA 218. Stage Voice II (formerly THEA 318) Credit 3(1-4)
Stage Voice II is a continuation of Stage Voice I (THEA 217). Students will improve their stage diction, articulation, and voice projection, while strengthening their comprehensive knowledge of the vocal mechanism. Further exploration and usage of the International Phonetics Association language and its application the use of dialects will be examined in the course. Prerequisite: THEA 217 or the consent of the instructor. (S)
THEA 232. Advanced Play Production (formerly THEA 431) Credit 3(3-1)
Students will study specific theoretical and practical work in the methods of play production, along with detailed script analysis. Work on crew required. Prerequisite: THEA 131. (S)
THEA 257. Makeup for the Performing Arts (formerly THEA 456) Credit 2(0-4)
The student will receive intensive study in the fundamental principles and practices of makeup for stage and media. This course provides drawing and face-painting skills, as well as, practices in the uses of cosmetics, wigs, and hairpieces. The student will work with departmental productions. (S)
THEA 260. Introduction to Drama and Theatre (formerly THEA 360) Credit 3(3-0)
This is an introduction to the study of drama and theatre, including playwriting, directing, acting, design, and technical theatre. No experience in dramatic production is required. There will be lecture discussions, performances, demonstrations, films, tapes and guest appearances. (F;S)
THEA 290. Stage Management (formerly THEA 584) Credit 3(2-2)
This is the study of the functions and responsibilities of stage managing, including the development of prompt scripts, union (or company) rules, handling of auditions and rehearsals, and the calling of the productions. (S)
THEA 311. Acting Styles (formerly THEA 511) Credit 3(3-0)
The student will have a review of historic theatrical styles, including Greek, Shakespeare, Restoration, comedy of manners, and modern. Class projects will focus on work in two styles, one classical, the other contemporary. Movement, voice, and speech, integrated directly with acting concerns in studio instruction and coaching, will be emphasized. Final acting project is required. Prerequisite: THEA 204. (F)
THEA 312. Acting Projects (formerly THEA 512) Credit 3(3-0)
The student will prepare and perform an individual role of some length and complexity. Individual problems of actors will be emphasized, along with detailed critiques of roles. Prerequisite: THEA 311. (S)
THEA 321. Directing I (formerly THEA 422) Credit 3(3-0)
This course is a practical beginning study of theories, practices, and techniques of play direction. Attention is given to the principles of analysis and research of casting and rehearsing. Exercises, lectures, and demonstrations will be used. Final project will be a scene or one-act play. (F)
THEA 322. Directing II (formerly THEA 521) Credit 3(3-0)
The student will study the development of an approach to conceiving a theatre production, including the definition of people, situations, ideas, and action-flow inherent in a script. Also studied will be the identification of form and structure from director's point of view, along with the fundamental considerations in physical staging. The final directing project is a full-length play. Prerequisites: THEA 321 and 290. (S)
THEA 341. Stage Lighting (formerly THEATRE 445) Credit 3(3-1)
This is a beginning course in stage lighting that emphasizes the practical aspects of electricity, optics, color, psychology of light, position, control, distribution, and timing. Working on crews is required. (S)
THEA 342. Sound Design for the Theatre (formerly THEA 542) Credit 3(2-2)
This course is an in-depth study of uses of mixing boards, amplifiers, microphones, and recording devices for the Performing Arts. Prerequisite: THEA 241 or consent of the instructor. (S)
THEA 343. Scene Design (formerly THEA 543) Credit 3(3-0)
The student will study the fundamentals of set design theory; basic mechanical and conceptual solutions for a variety of theatre spaces; and the development of presentational and research skills. (S)
THEA 345. Drafting for the Theatre Credit 3(2-2)
Students will receive intensive instruction in the techniques of theatrical drafting, in areas of scenery, lighting, and sound. Prerequisite: THEA 141 or the consent of the instructor. (F)
THEA 346. Computer-Aided Design for Theatre Credit 3(2-2)
This course will offer students techniques of computer-aided design and drafting. Attention will be given to scenic, lighting, and costume designs. Prerequisite: THEA 345 or the consent of the instructor. (S)
THEA 352. Costume Design (formerly THEA 552) Credit 3(2-2)
This course will introduce students to the fundamentals of watercolor, chalk, ink, and charcoal mediums; also studied will be costume design and an extensive range of visual, written, and verbal techniques that comprise play analysis and the design-team collaboration. Prerequisite: THEA 550. (F)
THEA 362. History of Costume and Décor (formerly THEA 550) Credit 3(3-0)
This course will examine the styles of costuming, architecture, furnishing, and ornamentation. Students will be exposed to highlights from ancient Egyptian to the present, with emphases on research and development. Prerequisite: THEA 141 or consent of the instructor. (F)
THEA 367. African American Drama I (formerly THEA 467) Credit 3(3-0)
This course will study the history and criticism of African American drama and theatre from William A. Brown in 1821 to Lorraine Hansberry. The schools, periods, classes, subclasses, and types of drama will be analyzed. (F)
THEA 368. African American Drama II (formerly THEA 468) Credit 3(3-0)
This is a continuation of African American Drama I. Course will study the history and criticism of African American drama and theatre from Lorraine Hansberry to the present. The schools, periods, classes, subclasses, and types of drama will be analyzed. (S)
THEA 375. Playwriting (formerly THEA 466) Credit 3(3-0)
This course studies the process of creating a play, including plot development, structure, characterization, and dialogue. Students will write a one-act play, which will receive a stage reading at the end of the course. (S)
THEA 390. Theatre Management (formerly THEA 584) Credit 3(3-0)
This is a study of theatre organizing and producing. This course will emphasize the analysis of the principles and methods of finances, box office, promotion, and house management. (F)
THEA 398. Theatre Internship (formerly THEA 571) Credit 3(0-6)
This course is designed to provide the student with a collaborative field experience in the profession. These experiences might or might not be salaried positions in a professional theatre or arts administration company. The student must be a participating performer, manager, or designer/technician. May be repeated for credit.
THEA 413. Acting for the Camera (formerly THEA 513) Credit 3(1-4)
This course will provide practical experience in camera techniques for actors, utilizing commercial, film, and television scripts. Students will work directly with agents and casting directors, allowing them the necessary exposure to marketing the actor for work in the film industry. Prerequisite: THEA 204. (S)
THEA 452. Advanced Costume Design (formerly THEA 553) Credit 3(2-2)
This course is for advanced costume-design students. It emphasizes multi-character and highly complex methods and technologies. There will be continual development of script analyses, styles, research techniques, and rendering skills. Prerequisite: THEA 532. (S)
THEA 464. History of the Theatre I Credit 3(3-0)
This course examines the interrelatedness of theatre's technical, dramatic, and theoretical aspects in the development of the art form from its origins in the dance and ritual of preliterate cultures to the neoclassic France. (F)
THEA 465. History of the Theatre II Credit 3(3-0)
This course is a continuation of Theatre History I. Studies will be the development of technical, dramatic, and theoretical aspects of modern theatre from German Romanticism to the present. Periodic examinations and papers are required. Additionally, each student will research the intellectual, cultural and social background of a particular play or performance style and will apply that research in a performance project. (S)
THEA 469. Modern American Drama Credit 3(3-0)
This is the study of the major currents in dramatic writing since 1900 in the U.S. as they reflect changes in society, audience, and literary form.
THEA 471. Creative Dramatics (formerly THEA 561) Credit 3(3-0)
Students will have an introduction to creative drama through improvisational theatre techniques. Emphasis will be on movement, voice, ensemble, and teaching strategies. Students will learn to use these activities in schools and community centers and with elderly and special-needs populations.
THEA 472. Children's Theatre (formerly THEA 562) Credit 3(3-0)
Various techniques used in producing children's theatre with adult actors in school and community settings will be studied. Experience in design, lighting, costuming, acting, and promotion will be gained. Class work and participation in A Children's Theatre Production are required.
THEA 490. Independent Study (formerly THEA 572) Credit 3(3-0)
This course provides opportunities for the individual student to study in a specific area of theatrical production. Establishment of an independent study requires approval of the student's advisor and the study-supervisor prior to registration. May be repeated for credit. (F;S;SS)
THEA 496. Theatre Projects (formerly THEA 563) Credit 3(3-0)
This course is for advanced individuals interested in specialized, concentrated research or production project. Project will be selected by students in collaboration with the instructor. Comprehensive exam is to be taken. Thesis is to be written or project presented. (F)
Donna Baldwin-Bradby
Visiting Assistant Professor
B.F.A., North Carolina A&T State University; M.F.A., Virginia Polytechnic University
Sonya Bennett-Brown
Adjunct Lecturer
B.M., Salem College for Women; M.M., North Carolina School of the Arts
Frankie Day
Professor, Theatre Arts Program Director and Executive Director of The Paul Robeson Theatre
B.A.., South Carolina State College; M.F.A., Southern Illinois University (Carbondale)
Gregory Horton
Associate Professor
B.S., North Carolina Central University; M.F.A., Michigan State University
Ray Collins
Adjunct Assistant Professor
LAMDA; M.F.A. University of New York
Deborah Kintzing
Adjunct Assistant Professor
B.A., University of Tennessee; M.F.A., University of North Carolina at Greensboro
Tina Yarborough Liggins
Adjunct Assistant Professor
B.F.A., University of North Carolina at Greensboro; M.F.A., Virginia Polytechnic University
Miller Lucky, Jr.
Associate Professor
B.F.A., North Carolina A&T State University; M.F.A., University of Florida (Gainesville)
Jeffrey Richardson
Associate Professor
B.A., Morgan State University; M.F.A., Purdue University
Vanita V. Vactor
Associate Professor
B.A., Hiram College; M.A., Western Illinois University; Ph.D., New York University
Points of Pride
Largest HBCU
N.C. A&T is the largest public HBCU in the nation
N.C. A&T is the No. 1 producer of engineering degrees on the undergraduate level awarded to African Americans.
Admired CEO
Chancellor Harold Martin Sr. is named among the Triad's Most Admired CEOs by the Triad Business Journal.
Academic Excellence
The university's Center for Academic Studies in Identify Science is the first and only National Intelligence Science and Technology CASIS in the United States.
Higher Research Activity
N.C. A&T is classified as an R2: Doctoral University of Higher Research Activity by the prestigious Carnegie Classification of Institutions of Higher Education.
Teaching / Research
N.C. A&T is the highest-ranked public school for combining research and teaching by the Wall Street Journal.
Engineering Professor and Student
N.C. A&T is an inaugural and pioneering tenant of the innovative Union Square Partnership for healthcare training.
2016 MEAC Champs
N.C. A&T Women's Basketball team are the 2016 MEAC Champions
Bowl Champs
Aggies win 2015 Inaugural Air Force Reserve Celebration Bowl and Black National Championship.
Tarik Cohen
Running back Tarik Cohen broke the university and MEAC record becoming the MEAC all-time leading rusher.
Hall of Fame
The 1968 Aggies football team was inducted into the N.C. A&T Sports Hall of Fame as the first A&T team to win a black college national championship.
Aggie Track & Field
Three track & field athletes are named to the NCAA All-Academic team for excellence in their events and in the classroom; maintaining a minimum 3.25 GPA.
Kim Terrell-Kearney
Former professional bowler Kim Terrell-Kearney named N.C. A&T bowling coach
Track & Field Ranking
The United States Track & Field and Cross Country Coaches Association ranked A&T men's track and field team among the top-25 in program history.
Gail Wiggins
JOMC Professor Gail Wiggins selected as the NABJ Educator of the Year
PALO! Lyceum Series
The Band PALO! performed at N.C. A&T for the Lyceum Series
CD - Jazz Preeminence
A&T Theatre arts performs first production of "Radio Golf" by African American playwright August Wilson.
The Theatre Program at A&T was the first accredited Bachelor of Fine Arts (BFA) at an HBCU in North Carolina; second in the nation.
Black Nativity performances
The Theatre Arts Program is nationally ranked by Black Broadway as one of the top five Theatre Arts programs for African American students
Travis Alexander
Travis W. Alexander has been named National Conductor for the 105 Voices Of History National Concert Choir


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subset: commoncrawl


text:
Tuesday, 27 March 2007
Happy Tuesday
One of the Yahoo groups I belong to is ATCoZ. The group is pretty much member-directed, and there are always loads of swaps on the go at any one time, on a whole variety of themes or ideas. Just recently, I've participated in swaps on themes of favourite colour, starfish, love, my first name and kittycats. Above you can see my ATCs from some of those swaps


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My career as a designer of interactive products began on the Labor Day weekend of 1990. My poor parents still aren't sure what I do, and unfortunately, they're not the only ones. Although my tenure as an interactive designer has been accompanied by an explosion in the complexity and quantity of interactive hardware and software products, the art, discipline, and craft of interactive design in general and Web design in particular remain a work in progress.
For better and for worse, the Web's openness, accessibility, and technical flexibility have enabled, if not encouraged, individual solutions to what are often collective problems. A behavioral convention or visual standard on one site might be completely different on another site. The result is a level of inconsistency detrimental to both individual users and to the Web as an interactive medium. Unfortunately, because the Web lacks a central authority to recommend, encourage, or impose consistency, the description and adoption of relevant conventions are typically preceded by years of evolution, inconsistency, and confusion.
Exacerbating the situation, the sheer newness of the Web and the speed at which it's been adopted, has failed to provide the time to develop the comprehensive methodologies, processes, or disciplines necessary for the consistent, controlled creation of truly useful and usable sites.
It is these two concerns—inconsistency in implementation and inconsistency in approach—that led me to write Making the Web Work. The goal of this book is two-fold. On one level, it sets out to describe, analyze, and recommend solutions to common Web-based interface problems. At a higher level, it also sets out to provide a standard methodology for deconstructing and prioritizing the issues involved in the design of interactive products in general and Web applications in particular.
My hope is that Making the Web Work will serve as a catalog and critique of some of the visual and interactive conventions in use on the modern Web. I also hope my analysis and critique will add to your understanding and appreciation of the discipline of interactive design as well as your own ability to practice that discipline. Finally, I hope the process and methodology of my analysis will serve as a useful illustration of how to systematically deconstruct an entire application into a collection of separate but interrelated problems.
Put another way, I hope that in these pages I have given you not only a few fish and a few good fishing tips, but also a method for thinking about the practice of fishing and how to ensure that it's repeatable, sustainable, and well-managed.
There are a lot of different reasons to write a book. Some authors have a particular perspective to advocate; others have a story to tell; still others, an event to report. The more altruistic say they want to give something back to their readers. I decided to write a book because I wanted to learn how to be a better designer. I wanted to develop a deeper understanding of what I had been doing for the past decade, and the best way I knew to do that was to try to explain it to somebody else.
Surely you will disagree with things you read here, and even if you don't, there will certainly be plenty of others who will. That's fine. Part of the fun and interest of working in the field of interactive design is the uncertainty and complexity of it all.
As you're reading, keep in mind that I don't have the answer to the problem you're trying to solve. I don't know the problem you're trying to solve. What I do have, however, is experience with similar problems and a way of thinking about them that you may find useful. Between these pages, you won't find any magic solutions, "Tips and Tricks," or "Top 10 Dos and Don'ts." Instead, you'll find an analysis and approach to the problems you're likely to encounter during the process of designing an interactive experience, be it an entire site or one small feature. I don't expect anything I say here to be the last word. In fact, I hope that in many cases it is but the first word, and look forward to continuing the conversation. You can reach me at email@example.com.
Like a design project, when you sit down to write a book, it's important to consider who's going to be doing the reading. For Making the Web Work, I envisioned three types of readers:
Practicing designers. These are the people "on the ground" with the day-to-day responsibility of solving design problems. If you're an experienced part of this group, I suspect you already perform the type of analysis presented here; however, my catalog of problems and solutions may shortcut some of your own efforts. On the flip side, if you're a relative newcomer, my analysis and methodology may aid your understanding of the unique challenges and methods associated with interactive design.
Product marketers. If you work in product marketing and don't have the support of a professional designer on your product, and so the responsibility for design decisions likely falls to you. And even if you do have a dedicated designer, you probably still have significant input on many design decisions because different solutions invariably have unique cost/benefit profiles. If you fall into this camp, Making the Web Work will give you an understanding of how to approach and prioritize the issues and decisions you're likely to encounter.
Software engineers. Even in organizations with robust design resources, chances are good that the engineering staff outnumbers the design staff at least 10 to 1. If you're an engineer, you already know that any specification is unlikely to fully capture or anticipate every permutation and corner case the code must ultimately address. As a result, it's not uncommon for you to have to make decisions affecting the design. For you, Making the Web Work will provide a method for considering and prioritizing issues according to their impact on both the code and users. In addition, it will give you examples of the analysis designers typically use to solve problems and highlight some of the best practices currently in use on the Web.
This book starts with the assumption that you have an interest in creating Web sites that are easy to use. It presupposes the basic tenant of user-centered design: Products should serve the goals and desires of the people consuming the product, not the goals and desires of the people or organizations that created them. If you don't enter this book with at least an open mind about the value and role of design, we're going to have a difficult time.
Making the Web Work is divided into five parts. Here is an overview of what you'll encounter in each part:
Part I, Foundations, sets the stage for the rest of the book by defining common terminology, outlining the typical phases of the design process, and presenting a comprehensive model for deconstructing and prioritizing an entire application.
Chapter 1, Common Ground: Defining Web Applications and Establishing the Goals of Design
What is a Web application, and what are its natural advantages and disadvantages?
What is the purpose and ultimate goal of a user-centric design methodology?
Chapter 2, Putting the User First: Describing Target Users and Product Goals
What is the role of the design function?
What are some of the common process issues associated with designing Web applications?
Chapter 3, Deconstructing the Problem: Prioritizing and Categorizing Different Aspects of the Interface
How can a complex user interface be deconstructed into discrete issues that can be prioritized and solved individually?
Part II, Tier 1: Structure analyzes the key aspects of designing the overall structure of a Web application.
Chapter 4, The Conceptual Model: Selecting a Fundamental Motif
How can you create a fundamental model that helps users grasp the application's basic purpose and nature?
Chapter 5 The Structural Model: Understanding the Building Blocks of a Web Interface
What are the most basic interface components of a Web application, and what are their appropriate uses?
Chapter 6, The Organizational Model: Organizing and Structuring Content and Functionality
What are the different ways to organize content and functionality?
Which organizations and categorizations are appropriate in a given situation?
Part III, Tier 2: Behavior, addresses the behavioral aspects of a Web application's user interface. The part's chapters delve into designing navigation, manipulating the state of the application, editing information, online help, and reporting errors.
Chapter 7, Viewing and Navigation: Creating Consistent Sorting, Filtering, and Navigation Behaviors
What are the most effect navigation devices and conventions for Web applications?
What is the best interface for sorting, filtering, and managing long lists of information?
Chapter 8, Editing and Manipulation: Using HTML Input Controls to Accurately Capture Users' Data
What is the appropriate use of each HTML input control?
What are some of the interface options for selecting one or more items from a list?
What are the interface options for entering dates?
Chapter 9, User Assistance: Communicating with Users Through Help, Status, and Alerts
What level of online help is appropriate for an application?
What are the interface options for reporting errors and application status?
Part IV, Tier 3: Presentation, discusses the visual and textual presentation of an application. The part's chapters address page layout, table layout, typography, color, and visual style as well as labels and other textual elements.
Chapter 10, Layout: Positioning Elements to Maximize Understanding And Readability
What are the best options for an overall page layout?
What are the options for placement of primary, secondary, and lower-level navigation elements?
Chapter 11, Style: Defining Visual Appearance
What are the considerations when evaluating options for an application's visual style?
What factors affect legibility of text and data. and which visual styles best communicate the behavior of buttons and links?
Chapter 12, Text and Labels: Writing for the Web and Calling Things by Their Right Names
What is the purpose of text in a user interface?
How is writing for the Web different from writing for other mediums?
Part V, Case Studies, synthesizes the concepts introduced in the preceding parts, demonstrating how the best sites on the Web solve interface problems:
Chapter 13, Amazon.com: Browsing the Aisles of the Web's Supreme Retailer
Chapter 14 Ofoto: Looking at the Leading Online Photo Processor
In the interest of setting appropriate expectations, it's good to know at the beginning what you will not be getting in the end. I have deliberately excluded a variety of topics not because I don't think they're important, but because they are well covered in other books.
Although it is a common component of books about interactive design, you will not find anything here about user research, including usability studies, ethnographic studies, contextual inquiry, market research, or focus groups. Certainly, these functions offer important input into the design process as well as validation of the design's results; however, the focus of this book is the design activity itself.
Similarly, there is nothing in Making the Web Work about the technical details for implementing any designs. Although successful designers must have intimate knowledge of their medium's abilities and limitations, I have chosen not to provide that knowledge here. If this were a photography book, you might say it covered composition instead of chemistry.
A more thorny exclusion involves requirements gathering and task analysis. Although both activities play a critical role in defining the problem the interface has to ultimately address, these topics are more closely related to the larger issue of product design in general than to interface design in particular.
Clearly, these topics have an important role in developing and creating Web applications. You should not assume from their absence that I don't think them important or that they shouldn't be part of the designer's vocabulary. For a detailed bibliography and recommendations for a variety of book and resources, please visit my Web site at www.baxleydesign.com.
In addition to deciding what to put in and what to leave out, writing a book forces authors to standardize terminology and other conventions. Sometimes these decisions have philosophical implications; other times they're simply ways to enforce consistency. In either case, I've settled on the following standards.
User interface versus user experience: The sudden and dramatic influx of graphic designers into the interactive design arena has been accompanied by a host of new terms and job titles. One of the most popular is "user experience." As I understand it, user experience encompasses every aspect of a person's interaction with an organization—everything from the company Web site, to customer support, to shipping labels, to how the receptionist answers the phone. In other words, everything.
Unfortunately, user experience has become entangled, confused, and synonymous with the more specific term "user interface," a term that has been used in the software industry for decades. Despite its techno-babble overtone, user interface is the correct term for describing the specific layer of an interactive product where the technology and the user come together. Making the Web Work is about user interface, not user experience.
Information architecture: Information architecture, as a term and a job title, was popularized by Richard Saul Wurman in his book Information Architects. Wurman's book profiled a number of professionals from the graphic design community, who specialized in presenting complex information in a visually digestible form. Wurman referred to them as "information architects" because he believed they were taking raw information and shaping it into a particular form to communicate a particular message.
Somewhere in the middle of the Internet explosion, the term was co-opted to refer to the design activity concerned with organizing content and functionality. Since that transformation, there has been an ongoing debate within the design community as to exactly what IA means and exactly what information architects do. I have chosen to avoid the debate by using the term "organizational model" to refer to the organization and classification aspects of the interface.
I have made this choice for two reasons. First, the title of architect is inappropriate to the creation of interactive media as well as the role of design in that medium. Second, I do not believe that information architecture is a design activity separate and distinct from other design activities. Clearly, it's a specialty at which some are more skilled than others, but it's simply a different aspect of the design. Therefore, I think of information architects as designers specializing in organization and "findability."
Conventions versus patterns: Taken from the lingo of object-oriented programming, the term "patterns" is often used to describe the set of solutions that have developed to address recurring interface problems. In a very real sense, this book serves to document some of the patterns currently in use in Web applications. Unfortunately, the use of the word "pattern" in this context, although definitely accurate, is a bit arcane. Therefore, I've chosen to use the more common word "conventions."
Books about design are a unique and challenging combination of words and pictures. Although the words are clearly the product of the author, the pictures are typically gathered from other sources.
Instead of relying on my own designs and creations, I have generally chosen to use images taken from actual Web sites that are publicly available. As a result, my examples are almost exclusively from consumer sites rather than corporate intranets, licensed software, or other proprietary sites. Although this approach results in a book that appears to be focused on consumer sites, the problems presented affect all types of Web applications, regardless of their business niche or audience.
Looking at the examples, you will notice a lack of specific URL references. The dynamic nature of Web applications generally requires programming variables and other information to be carried along in a hopelessly long, cryptic, and dynamically generated URL. Including these URLs would not only be tedious, but also useless because the programming logic and design of URLs undergo constant revision. Even without their specific addresses, however, most of the examples are shown with enough context to illustrate the point and to show you how to get to the site if needed.
Early on in the process, I wrote a short list of values I hoped to instill in the book. There was one for each vowel, which made them a bit easier to remember:
Of course it's you, the reader, who is the ultimate judge of whether I've pulled it off. I hope you'll let me know.
All the best…
—Bob Baxley


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Damian Lewis celebrated his Golden Globes win on Sunday (13Jan13) by dancing to Psy's mega hit Gangnam Style at a star-studded afterparty.
The Brit walked away a winner after he was honored at the Hollywood prizegiving with the Best Performance by an Actor in a TV Series Drama for his role on Homeland.
After the ceremony, Damian Lewis headed straight to a bash thrown by Fox network bosses and showed off his fun side by performing the now famous Gangnam Style moves performed by the South Korean rapper.
His onscreen son Jackson Pace joined in the routine, before Damian Lewis hit the floor for a slow dance with his wife, Harry Potter star Helen McCrory.
According to E! News, the actor refused to talk to the press on his way to the afterparty, telling reporters, "I'm too drunk to talk!"


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There were branches and leaves and debris all over her car, a motorcycle rider that had stopped cleared most of them off the car.
There are a few more dings in this old battle-scarred survivor.
Kristi's phone lost it's charge and she asked 5 people if she could borrow their cell phone to call us to come and get the boys.. they all refused until the last woman thought about it a while before she let her use it. :-(
Look at all the scratches that the electrical cables made as they scraped across the hood of the car. :-(
All the way across..
And here is the culprit for all this unhappiness.
It was amazing how many people thought it was okay to drive under this log instead of turning around and going a different route.
The only person who stayed with Kristi to help her until the authorities got there was a Reverend who is the director at Menucha.
Do you see the hanging electrical wires hanging down? We were the first to arrive, we put the boys in my car and waited until the District 14 Fire Dept truck from Aims arrived on the South end and the Police arrived on the north side - they took a report from Kristi and then Dayle drove the Mustang with Kristi and we brought them home. Kristi was very shaken. To think if she was a split second later she'd have been under the log.
This all occurred in a remote area, see the moss on the trees? It was on Gordon Creek Road and we were right near the bridge over the creek.
We want to thank the Fire Dept and Police Dept for their help.
Here is Gordon Creek which flows into the Sandy River which feeds into the Columbia River.
After resting up from the excitement we headed over to our son Shawn's house - we wanted to spend time with them as the mover comes on Tuesday to load up all their household and they drive out early Wednesday - Shawn, the two boys, 3 German Shepherds.. and a cat. He will be driving straight through to Temecula, California. We also celebrated Michael's 16th birthday. Kristi made chocolate cupcakes, we sang Happy Birthday to him. Dayle and Travis had gone to Popeye's Chicken and brought dinner for everyone.
When we arrived at Shawn's house, his three really good friends were there to visit and tell him goodbye. The boys played with the dogs in the backyard all afternoon. Our little grandsons are going to miss their cousins immensely. I did okay until I asked the boys to pose with the dogs.. for one last photo.. and that's when it hit me.. they will be 1,066 miles away from now on. 16 hours of driving. :-( Our two older children have chosen to live near their spouse's family. We're going to miss these guys.
I want to thank those of you who leave comments on my blog posts. It's how you know if you're being read and appreciated. :-)
I hope you have a wonderful week. ((hugs)), Teresa :-)


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Monday, 29 February 2016
Using Up Vegetables In A Hot Pot
See my easy way of adding vegetables into your diet quickly and easily!
Posted by Louise Usher at 05:17
Labels: cooking, health, hot pot, nutrition, recipe, using up vegetables, vegetarian
Wednesday, 10 February 2016
Asda cheap "wonky veg" box
Well Done ASDA!!!
Over on my Facebook page http://www.facebook.com/lusherlifenutrition you can see a photo I posted to the link Asda have posted.
They are now getting all the 'less pretty' vegetables which may take longer to peel etc and popping them into a big box and selling them for just £3.50!!!
Great way to top up your nutribullet, make soup, juice or add bulk to your main meal.
Posted by Louise Usher at 01:33
Labels: asda, box, cheap, eating cheaply but healthily, vegetables, wonky veg
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© Lusher Life Nutrition. All rights reserved.


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Our Special selection are all made-to-measure frames incorporating some of our more unusual Traditional frames. Specials include the elegant Serpentine top French mirror (No17), a Trumeau mirror (No18, the French version of an English Pier glass mirror), the bold and decorative No25 rectangular Regency mirror. The range also inculdes Irish Ovals (No 46) and Georgian style architectural mirrors (No 30).
For these styles we custom make the size exactly to your specification and hence prices are on application only.
Late 18th century style Irish oval mirror with black ebonised frame with incised pattern in real silver leaf and faceted cut glass beads.
Price listed is not accurate - we need to find new source for the crystal elements before we can properly price this item
Large French painted panel mirror with decorative music ornament to top frieze and other gilded ornaments.
This very traditional style mirror, evocative of Grand French Chateauxs, seems to be having a resurgence - sometimes with a slightly modern twist (recently favoured in the popular Grey finish).
The Background colour can be painted to customers specification and the design motif in the centre can also be customised - we have one of the lagest collection of authentic composition moulds in the country.
It is a bold statement piece - be brave!
We have this back on display in the showroom - we welcome you to visit for a close up look.
It can also be made into a TV Mirror (£3,030) - it would house a TV up to 48".
Regency rectangular mirror with a half round reeded frame and bevelled glass.
The corners are square block pediments with acanthus scrolls. It is also available with lion head or oak leaf corners so it can be customised to suit your taste and decorative scheme.
As a low overmantel mirror it works well for rooms with low ceilings or where the gap between the mantelpiece and a rail is not high.
Tall french style mirror with serpentine shaped top surmounted by on ornate crest. The sides of the frame are decorated with entwined flowers.
For those who like to be original this is an unusual style that makes for a memorable piece of decorative wall art. Certainly not a design you will see widely.
Georgian style architectural mirror with triangular broken pediment top and bevelled glass.
Shown here in the Rubbed Gilt finish.
A traditional design that you might see in a panelled library - old school and timeless.
We also have this design in a slightly larger design if your space allows for it.
This is a spectaular frame, using hundreds of tiny leaves of real gold leaf, in dozens of diferent tones. It is a real one off and labour of love for our gilders.
A Stunning Hand carved gilt-wood mirror in a Roccoco style using C scrolls and acanthus leaf decorations. Finished in 23Kt gold.
A wonderful and contemporary round frame, finished in ebony. With an elglomise convex panel mirror that really finishes this statement piece. The Frame is 157 mm wide, with 3 distinct steps. The convex glass has been hand finished.
20th Century reproduction round mirror. This round mirror is finished in Dutch Gold Leaf with a deep scalloped frame, a rope twist inner detail, a black slip and Flat beveled plate.
20th Century Reproduction mirror. With craved dragons on the cartouche, finshed in Dutch Gold Leaf.
A beautiful contemporary beech rectangular mirror with polished plain glass.
Perfect for a modern space or to be converted into a TV Mirror - contact us for details
A beautiful contemporary walnut rectangular mirror with polished plain glass.
Perfect for a modern space or to be converted into a TV Mirror - contact us for details
With it's vertical lines this Art Deco mirror creates a perfect mix of bohemia and glamour into any interior, reminiscent of the era's bold architectural style.
This mirror will bring a real sense of the 1920's into your home.
Its small proportions will make it versitile for use over mantel shelves, console tables and bar areas.
The bold symmetry of this frame, with it's glossy black mirrored insert really brings a dramatic statement to your room.
The fan like structure of this mirror is evocative of the sky scrapers of the early 1930's New York.
It's pleasing shape and fine proportions represent the massive jump the Art Deco movement represented, from the seamingly archaic styles of pre WW1.
This curved Archetypal Art Deco Mirror would look right at home in a cafe in 1930's Paris. With its curving lines this mirror brings both energy and elegance to any interior.


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Charitable Donations
Guilderland Real Estate Agency Gives Back!
CM Fox Real Estate is a Guilderland Real Estate Agency committed to giving back to the community. The Capital Region is not only where we work; it's where we live. Every year we work hard to take part in community events and hold fundraisers for local community businesses and families. We hold our clients, our neighbors and our friends close to our hearts. It is our way of saying "thank you" to all the people we serve and more importantly, all the people that serve us.
2016/2017 CM Fox Charitable Donations
Tina Webster Fundraiser
Pinehaven Charity Event
Thomas Patrick Morrison Foundation
Hale Storm Fundraiser
ASGR/ Carter's Crew
Open Space Institute
Guilderland Girls Softball
RPAC (Realtor Political Action Committee)
Women's Council of Realtors
St Lucy/St Bernadette Church
Sunmark Charitable Community Foundation
American Legion Riders
George Amedore for Senate
GCAR (Greater Capital Assoc of Realtors)
Altamont Fall Festival
St John Carillion Fund – Bells for Burls
LLS (Leukemia & Lymphoma Society)
Crohns & Colitis
Speech & Language Program on Wheels
Northeast Kidney Foundation
JDRF (Juvenile Diabetes Research Foundation)
Ronald McDonald House Charities
NAMI (National Assoc for Mental Illness)
BT Everyday Hero
Support the Troops
Rodino Family Fundraiser (on-going)
St. Catherine's Center for Children
Hereditary Angioedema (HAE)
Sadie's and Lizzie's Lemon-Aid
Our newest cause was created by 10 year olds, Sadie and Lizzie. They wanted to give back too. Their goal is to get kids involved. "Kids helping others" is their motto and it is working! ANYONE can run a Sadie's and Lizzie's Lemon-Aid stand and each Lemon-Aid stand benefits a different charity. Sadie and Lizzie know kids are passionate about giving back as well and they came up with a way for kids to get involved in a charity their passionate about. CM Fox Real Estate donates the lemonade and banner and the kids run the stand. Furthermore, CM Fox Real Estate MATCHES all proceeds made up to $200. We've donated more than $1,500 in just mover one month. We are excited for what the future holds!
Golf Event Donations
CM Fox recently visited the Ronald McDonald House to donate $10,000 to the local charity from our recent golf event, and to spend time with some of the children who live there. It was quite an experience and we cannot wait to work again with the Ronald McDonald House in the future.
We also donated $10,000 to the Juvenile Diabetes Research Foundation that was raised from our golf event, which will go towards fighting for a cure for type 1 diabetes. We thank everyone who participated in last year's golf event, and cannot wait to see this year's outcome!
Food Drive & Christmas Angels
This year CM Fox coordinated a food drive for the Regional Food Bank, where we ended up donating 224 pounds of food! Thank you to everyone who participated, these donations will help meet the needs of over 1,000 charitable agencies that the Regional Food Bank serves and will help many people in need.
CM Fox also participated in a program called Christmas Angels from the Guilderland Commerce and St. Catherine's Center, where children from local families were able to choose a gift they were looking forward to receiving this year for Christmas. It was a fantastic turnout:15 gifts were given to the Guilderland Commerce and 30 gifts were given to St. Catherine's! Thank you to everyone who bought a gift, there will be many happy children this year.


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How computation applies to your interests
Before coming ITP, I had worked as Junior Designer in Social media advertising agency in New York for short term. Before getting job, I went to School of Visual Arts 2014 in New York, and major was Graphic Design especially, interactive design. I am a visual person , so love doing every visual things. Drawing, taking picture and crafting etc. Mostly, I take a daily picture and draw doodling. Be honest, I hesitate to decide what I will do cause, I have big interest of installing and something craft thing, but don't have any installation information before, and it will be very new for me. Based my background, I know I need digital interaction. Of course, I have interest of digital interaction, but I am curious about interactive installation. Hope I can do both, so still I try to extend my view.


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365 Cards - Day 141 - DIY Hand drawn .
Well , no laughing in the cheap seats I did my best.Using a rough outline which you can see at the top I am proud (LOL)to introduce 'Fifi ze French Poodle '. Once she was coloured in I went over the outline with a fine black pen adding detail to her paws.
WISE WORDS -Don't keep making the same mistake..there are plenty out there to chose from.


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Online Accreditation Standards: A Review of US Accrediting Organizations
Institutions of higher education are accustomed to dealing with a number of regional and national accrediting agencies for the whole institution as well as for specific programs. Distance education adds an additional layer of complexity to these dealings. Online program administrators need a clear understanding of the different standards set out by the various agencies with oversight over their programs. In an article in the latest Online Journal of Distance Learning Administration, Suzanne Keil and Abbie Brown of East Carolina University detail findings from a review of distance education policy as it is reflected by several major accrediting organizations.


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NAFSA: Association of International Educators, Partners of the Americas, and the Department of State are pleased to announce a new grant competition as part of President Barack Obama's 100,000 Strong in the Americas Initiative. 100,000 Strong in the Americas is the Administration's signature education initiative in the Western Hemisphere designed to foster region-wide prosperity through increased higher education collaboration. To implement the President's vision, the Department of State established a public-private partnership with NAFSA: Association of International Educators and Partners of the Americas to raise money for competitive "Innovation Grants" for higher education institutions, following the work of the Commission on the Abraham Lincoln Study Abroad Fellowship Program and the Senator Paul Simon Study Abroad Act.
- The Promoting Study Abroad Focusing on Health and Nutrition competition is available to all higher education institutions in the United States, Argentina, Brazil, Chile, Mexico, Peru, and Venezuela.
- The competition will focus on health and nutrition programs with an emphasis on programs that positively address challenges of obesity and the importance of physical activity.
- Grants up to $25,000 will be awarded to institutions that show a commitment to increasing student mobility between the United States and one or more of the six other eligible countries.
The deadline for questions about this program is September 26, 2014, and the closing date for proposals is October 31, 2014 by 5:00 PM US Eastern Standard Time. To learn more and apply, visit www.100kstrongamericas.org/educate.


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Our little house has a house guest of the not-so-little variety. But, she'd doing OK.
Liia is my little sister. Yes, she's a Bernese mountain dog, but she's still kind of my little sister. Mostly because I don't actually have a little sister.
See, my parents have left for three weeks on a pretty big trip. They've gone to Spain to walk the Camino de Santiago de Compostela with a group of like-minded masters students. For my dad, it's a part of a course and an adventure. For my mom, it's the fulfilling of a dream and an adventure.
For the three weeks that they'll be gone, Liia needed a place to stay. We've tried the boarding thing. It doesn't work, not with her. See, she's a big dog. She's a big dog who is very attached to her people, not particularly well socialized with other dogs and a bit of a wuss. Put her in an unfamiliar, sometimes clinical place surrounded by other animals and strangers who don't know her quirks and you have a very big, very scared dog. Last time we put her in a kennel, the employees didn't know what to do so they left her by herself and only handled her from the end of a long pole. Since then, we've only boarded her with knowledgeable family friends.
Since the last time my parents went on a trip, the Husband and I bought a little house on a 150 foot lot. You may have heard something about that. You know what this means? Now that we have a backyard, we are a viable — in fact, logical and free — option for dog sitters. So, on Monday night, we welcomed Liia into our little house. She's never happy when my parents are gone — it will take her a few days to start eating properly again — but it's nice to see her happy-excited welcome when I come home.
I might have to take her for a walk tonight to give her a bit of a break from her annoying 'niece' though…
Please follow!


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The science of life.
The study of biology teaches us about the nature of living matter, explains our relationship to the natural world, and provides a solid foundation for careers in biology and related fields.
Students interested in biology at the chemical level may opt to major in biology with a concentration in biochemistry. Premedical students are often biology majors; the major also dovetails nicely with environmental study.
At Washington College students work in close relationships with their instructors, and many choose to participate in undergraduate research. The recently completed John Toll Science Center, with its modern, well-equipped laboratories, is an ideal setting for hands-on learning. Because of our location on Maryland's Eastern Shore, courses and faculty interests are often oriented toward the environment and the Chesapeake Bay.
A John Toll Fellow conducting neuroscientific research on campus this summer, Kaitlyn Marino '19 is using a zebrafish model to test memory after stroke.
The collaborative research of Hannah O'Malley '12 and biology Associate Professor Aaron Krochmal makes the cover of Animal Conservation.
Sabrina Jenkins '19 has landed an internship in the pediatric cardiology unit at Children's National Medical Center.
Three top biology majors were selected to present their lab research at the 57th Annual Meeting of the Society of Toxicology, held in mid-March in San Antonio, Texas.
With a career as a medical doctor—quite possibly in cardiology—firmly in her sights, Maija Adourian '18 is basing her Senior Capstone Experience on a poster presentation she co-authored with biology professor Mindy Reynolds and presented in March at the annual meeting of the Society of Toxicology.


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Jennifer Park counsels prospective undergraduate freshman and transfer students regarding admission policies and procedures for the University and the School of Architecture. In addition, she is the point of contact for high school students interested in the Summer Exploration of Architecture program. With an MS in Counseling, Ms. Park integrates management and problem solving skills to evaluate and offer solutions during the admission process.
University of Southern California
Harris Hall 210
Los Angeles, CA 90089-0291
Work: (213)740-2420
Other: (800)281-8616
Fax: (213)740-8884


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Your at-home blood pressure monitor may be providing false readings, says a study published in the July 2017 American Journal of Hypertension, which found that 70 percent of these devices are "unacceptably inaccurate."
Medical researchers tested dozens of home monitors and discovered they were off the mark within 5 mmHg (millimeters of mercury, or a unit of pressure) about 70 percent of the time and were off by 10 mmHg about 30 percent of the time. Interestingly enough, they also concluded that the readings were more inaccurate in men than in women.
"High blood pressure is the number one cause of death and disability in the world," said lead study author Jennifer Ringrose in a press release. "Monitoring for and treating hypertension can decrease the consequences of this disease. We need to make sure that home blood pressure readings are accurate."
"As a family doctor, I am so happy about seeing this issue brought to light," Jennifer Caudle, a family physician and assistant professor at Rowan University School of Osteopathic Medicine, tells Yahoo Beauty. "Time and time again, I see the home blood pressure cuffs of my patients not reading accurately. This is something that is widespread — it's something I deal with on a daily basis."
While the researchers admit it's difficult to pinpoint the exact reasons for the incorrect measurements, they state that various factors — such as arm shape, arm size, and stiffness of blood vessels — are not always taken into account when a machine is designed. However, Caudle says you can take certain steps that help minimize inaccurate results. Number one on the list: Test yourself during the wind-down portion of your day.
"It's important not to check your blood pressure when you're running around, stressed, or have recently exercised," she states. "You want to make sure that you're sitting, resting comfortably for at least five minutes, preferably 10 minutes. I'd do it at the end of the day, once you've relaxed."
And the way you're seated is critical, as well. The American Heart Association (AHA) advises to sit with your back straight and supported on a sturdy chair with both feet flat on the floor. "Make sure that your arm is resting at the level of your heart, so you might want to put it on a table or desk," adds Caudle. "Plus, the cuff must be placed on your bare skin, not over clothing."
Also, she says to avoid caffeine, tobacco, and alcohol for at least 30 minutes before using the monitor "because all of those factors can increase your blood pressure."
When it comes to choosing a home blood pressure device, the AHA recommends purchasing an automatic, cuff-style, bicep (upper-arm) monitor. It's imperative to make sure the cuff fits your arm properly, which can be done by measuring around your upper arm.
"If it's too small or too big, it can affect the reading," explains Caudle. "Your doctor can help you figure out the size you need."
Your safest bet: Bring the home device to your physician's office.
"Because there are so many monitors on the market and all different types of cuffs have inaccurate and accurate readings, having your blood pressure cuff checked against your doctor's is really the first thing you should do," she concludes.
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The Minority Concept in the Turkish Context: Practices and Perceptions in Turkey, Greece and France, by Samim Akgönül
- Details
- Category: Book Reviews
- Published: 31 January 2015
- Written by Louise Favel
Samim Akgönül's book is a blend of sociology, history and political science.The author is a professor at the University of Strasburg and a researcher at the French National Scientific Research Centre (CNRS). In his new book, Samim Akgönül questions the term "minority", focusing specifically on France, Greece and Turkey. This concept of minority is approached by the author very much in the same vein as the French sociologist, Marcel Mauss did, i.e., as a total 'social fact'. 'Socials facts' are conceptual tools for studying different social situations. The author considers the Muslim minorities in Greece as products of the Ottoman Empire's former supremacy, and the Turkish minorities in France as the consequence of the arrival of Turkish immigration in France during the 1960s. Samim Akgönül claims that the issue of minorities in Turkey arose during the 1923 Turkish revolution, simultaneously with the state's will to obliterate all differences between them.
According to Samim Akgönül, the notion of minority refers essentially to religion. Moreover, he assets that the concept is complementary to its opposite - the concept of majority. I agree with him on this point, because when one belongs to a minority, one must simultaneously be conscious of the opposite, i.e. belonging to the majority. One needs to be aware of the fact that this otherness defines one in certain ways.
After the French and Turkish revolutions, Catholics and Muslims respectively became the minorities in each of these countries. This entailed that the concept of "laïcité" in Turkey came to mean becoming European. Since then, Turkey has adopted Sunday as its day of rest. In addition, it adopted the Gregorian calendar without any clear idea what the celebrations exactly meant. The significance of Christmas was perceived by some urban Turkish families as being the day Santa Claus brings presents for children. Laïcization in Turkey can be correlated with Westernization. "Laïcism" means two things: first, it guarantees freedom for people to worship and practice their religion freely. At the same time, it restricts certain fundamental rights, such as wearing religiously connoted clothes and accessories. The latter has turned out to be an issue both in France and in Turkey.
Viewing "laicism" as the majority, the author holds that Sunnis, the Alevis and the Orthodox Christians are the minorities of present day Turkey. However, he doesn't take into account the size of these minorities, when the Sunnis represent 75% of the population, the Shia only 25%; Orthodox Christians are few in number, when compared with the Muslim minority.
The author considers syncretism to be negative. He explains that the latter has traditionally been seen in Turkish society as a hybrid. This is the case for the Alevis, who have been under suspicion for a very long time. Moreover, he argues that it is more difficult in general to set up an intercultural dialogue between denominations of the same religion, for instance between Catholics, Orthodox and Protestants. The author criticizes the new meaning, inspired by French history and thought, conferred on the term "nation". The author asserts that during the Ottoman Empire, this term was used to define individual communities spatially situated within such and such a state entity. It is very interesting to see what a great influence France had on this country and how its way of thinking probably changed the Ottoman Empire's vision of its own structures, and concepts...The "millet" system, established long before France conceived its idea of a nation-state, divided all the communities into independent entities, each under its own jurisdiction.
It seems to me that this book undertakes an exploration of the question of modernity. It reveals just how strongly the Ottoman Empire wanted to become part of this "modern world". This was manifested by its changing its alphabet, by the process of laïcization and the adoption of The French concept of the nation-state. To further pursue the author's reflections, one might wonder if modernization is something unequivocally beneficial for society, and to what a degree it may impact a given society, and probably, at least partly, transmute it. While attempting to answer the latter question, one cannot help raising further questions - such as, for instance, what the benefits for those who partake in the phenomenon of globalization may really be…


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A Day at a Glance
This year tutoring takes place on Tuesday, Wednesday and Thursday afternoons. Students may attend two times per week.
Once for a one-on-one or small group session, and another afternoon for Homework Help.
Tuesday – Thursday
3:00 pm
Lolly's Place staff arrives
3:15- 4 pm
Students arrive at Trinity Presbyterian Church
Open Art Studio / Puzzles & Games/ Family Room/ Book Check-out
4-4:15 pm
Gathering & Snack
TUTORING SESSION 1: 4:15-5 pm
TUTORING SESSION 2: 5-5:45 pm
6:00 pm
Student Pick-up / Staff Departs


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Ross commenced his career in 1978 and has been at the forefront of Melbourne's residential real estate market ever since. A 'hands on' estate agent to this day, Ross realised the importance of raising client service benchmarks from the outset. He has had a progressive focus on innovation and technology and has implemented many of management strategies now adopted throughout the industry.
Over the course of a highly successful career Ross has personally conducted in excess of 2500 auctions and managed thousand of rental properties throughout the competitive inner city environment.
The fact that Ross is regularly invited to address property forums on Real Estate management and the implementation of systems is a reflection of the nationwide regard in which he held by his industry peers.
Ross is a recipient of the Australasian Real Estate Agency Best Practice John Grieg Trophy for service to estate agency practice and he remains one the profession's most forward looking and progressive thinkers.
Mobile: 0418 321 952
Stephen is the former Principal/Managing Director of Summons and Francis First National Real Estate of West Ryde. Stephen has served the industry in various capacities throughout his career in real estate, which commenced in 1964.
Stephen Francis served as President of the Real Estate Institute of Australia from October 1999 to October 2000 and as President of the Real Estate Institute of New South Wales from 1997 - 1999.
Stephen is a fellow of the Real Estate Institute of Australia and, in 1989, was the inaugural recipient of the Woodrow Weight Award for outstanding contribution to real estate agency practice. In November 2000 Stephen received from the Real Estate Institute of New South Wales its highest honor of Life Fellow.
Mobile: 0418 223 933


text:
Public Speaking Tuition in Brook
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The luxury 4-star Venetian Ruzzini Palace Hotel is located in campo Santa Maria Formosa, at the heart of the historic center of Venice.
This luxury venetian hotel has an elegant meeting room which can comfortably accommodate from 16 to 20 clients around the boardroom table, ideal for business meetings. The boardroom is equipped with Wi-Fi connection, large flat screen television with DVD reader, video conferencing services and an overhead projector.
Ruzzini Palace Hotel in Venice offers 28 accommodation options among its rooms, junior suites and suites. Honeymoon suites are available for those seeking some extra luxury.
The amenities expected from the prestigious 4 star hotels of Venice will ensure that the guests of Ruzzini Palace will enjoy your stay in Venice.
Ruzzini Palace Hotel's amenities
All Guest Rooms and Suites: Telephone, ADSL Modem Connection, Flat Screen Satellite TVs, Minibar, Safe Deposit Box, Air Conditioning, Courtesy Kit, Hairdryer
In the Junior Suites and Suites: Tea and Coffee Maker, DVD Reader, Bathrobes
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text:
Report: Communities in 4 states dominate in well-being
Report: Communities in 4 states dominate in well-being
When it comes to well-being, communities in Florida, California, Colorado and Texas dominate, according to a new report from Healthways Inc. and Gallup.
The research, produced in collaboration with Health eVillages, a program of Robert F. Kennedy Human Rights and Aptus Health, ranks 190 U.S. communities for overall well-being and includes a special section on community access to basic healthcare services, such as health insurance and having a personal doctor.
"Leaders need metrics that illuminate where the pressing needs exist and where to invest for change," said Kerry Kennedy, president of the Robert F. Kennedy Human Rights and a member of the Health eVillages board of directors.
The analysis is based on data from the Gallup-Healthways Well-Being Index, a measure of real-time changes in well-being.
The 10 U.S. communities with the highest well-being:
Naples-Immokalee-Marco Island, FL (highest)
- Salinas, CA
- North Port-Sarasota-Bradenton, FL
- Fort Collins, CO
Barnstable Town, MA
- Santa Cruz-Watsonville, CA
- Boulder, CO
- Charlottesville, VA
- Anchorage, AL
- San Luis Obispo-Paso Robles-Arroyo Grande, CA
The 10 U.S. communities with the lowest well-being:
- Charleston, WV (lowest)
- Fort Smith, AR–OK
- Hickory–Lenoir–Morganton, NC
- Huntington–Ashland, WV–KY–OH
- Chico, CA
- Youngstown–Warren–Boardman, OH–PA
- Toledo, OH
- Worcester, MA–CT
- Dayton, OH
- Rockford, IL
"It's not impossible to improve well-being in communities," said Dan Buettner, Blue Zones LLC founder and National Geographic Fellow. "By focusing on making healthier surroundings, we've been able to help people live longer and better in 26 American cities. The key is identifying evidence-based designs and policies that make the healthy choice, the easy choice."
The report also ranks cities by the individual factors that go into the overall rankings: physical health and an individual's sense of purpose, social relationships, financial security and relationship to the community.


text:
Richard Waters
Richard is a Personal Contact Minister in Colorado, Oregon, Europe
Richard was born in Germany of British parents and grew up in England. He has been self employed most of his working life and has started businesses in England, Germany and America. Richard moved to America in 2001 and is currently a technical author, Illustrator, web designer specializing (shopping carts and eCommerce) and more recently started a yurt business with his wife: www.CampingYurts.com. He has traveled extensively, but makes his home in America. He is married to Alicia Waters and they have 3 children.
"I look forward to meeting any that come through the network and try to meet others around the country whenever I travel".
Richard Waters
He can be reached on the groups or at this email
richard at old town prints dot com
old town prints should be typed as all one word
Join The Living Network of The Companies of Ten
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text: Please note that in all contract extension threads, every player finishing his 5th 100K year is listed as an FA. It is your job as an owner to point out the instances where a player had a September callup in his first season, making him eligible for a 6th 100K year. If you do not point this out, the player will go to FA and will be fair game.


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Four Palestinians including an elderly woman were injured after Israeli Occupation Forces (IOF) opened fire on protesters in two separate villages in the occupied West Bank, Ma'an news agency reported Friday, while 15 Palestinians, including a prominent leader, were arrested.
Two Palestinian women, 72-year-old Yusra Mohammed al-Haj al-Abd and 48-year-old Jumana Ahmed Shayib, were injured by so-called "sponge" bullets in the village of Farun south of Tulkarem in the West Bank.
"Sponge" bullets are made from high-density plastic with a foam-rubber head, and are fired from grenade launchers. Israeli police have been using them in Occupied Palestine and annexed East Jerusalem since the use of rubber-coated metal bullets was prohibited there, but protocol explicitly prohibits firing them at the upper body.
An Israeli spokeswoman said the IOF had entered the village – which is in Area A, technically under full Palestinian control – on "some sort of routine patrol" and as they were leaving locals started "hurling stones" at them.
She claimed that Israeli forces fired at the "lower bodies" of the two women after they allegedly "hurled stones at the soldiers."
However, according to Ma'an, both women, who were rushed to a nearby hospital for treatment, sustained "upper body" wounds.
Similarly, in a separate incident also on Friday, Israeli forces shot two Palestinian youths with "sponge" bullets during clashes in the al-Khalil town of Beit Ummar.
According to the Popular Resistance Committee in Beit Ummar spokesman, Mohammed Ayyad Awad, two Palestinian youths, 17 and 20, were injured in the head and hand by IOF fire, adding that dozens of Palestinians suffered from excessive tear gas inhalation.
Al-Khalil is home to roughly 160,000 Palestinians and around 500 Zionist settlers, who live in a number of illegal settlement compounds heavily guarded by Israeli troops.
Zionist settlers live in the center of al-Khalil's Old City in line with a 1997 agreement that split the city into two areas. H1 is under the control of the Palestinian Authority, while H2 is under Israeli military occupation.
Awad said clashes broke out after Israeli forces raided the area, prompting Palestinian youths to hurl stones at the soldiers in protest.
Since September 2000, following the Second Intifada, at least 9,100 Palestinians have been killed by Israelis, including 2,053 Palestinian children, the equivalent of one Palestinian child being killed every three days for the past 14 years.
Israel detains DFLP leader
Meanwhile, the IOF detained a leader in the leftist Democratic Front for the Liberation of Palestine (DFLP) at a checkpoint in annexed East Jerusalem.
Nader Jaffal, 42, was arrested at an Israeli checkpoint near the illegal Ma'ale Adumim settlement, which occupies a strategic position on the main road between Jerusalem and Jericho.
According to Jaffal's wife, Abeer, the soldiers claimed there was an arrest warrant, or what Israeli authorities call "an administrative detention order" against Jaffal, which in reality means that he could be detained without charge or trial for a potentially unlimited amount of time.
Jaffal, a father of three children, had spent around 15 years in Israeli jails for a number of charges.
Friday's arrests came one day after the IOF detained 14 Palestinians in the village of Azzun near Qalqilya after a Molotov cocktail was thrown at an Israeli settler car.
Israeli news website Walla quoted Israeli military sources as saying that among the detainees were two individuals "suspected of involvement" in what Israeli authorities called a "terrorist attack."
Over 7,000 Palestinians are currently languishing in 17 Israeli prisons and detention camps, according to the Palestinian Ministry of Prisoners' Affairs.
Among Palestinian prisoners behind Israeli bars, there are 18 women, 250 children, 1,500 sick detainees, who are mostly in a critical condition, and 540 Palestinians held under administrative detention without any trial.
The roots of the Israel-Palestine conflict date back to 1917, when the British government, in the now-famous "Balfour Declaration," called for "the establishment in Palestine of a national home for the Jewish people."
Israel occupied East Jerusalem and the West Bank during the 1967 Middle East War. It later annexed the holy city in 1980, claiming it as the capital of the self-proclaimed Zionist state – a move never recognized by the international community.
(Ma'an, Al-Akhbar)


text:
Knowledge Management for Development Conversa (KM4Dev Conversa)*
The Knowledge Management for Development Forum (KM4Dev Forum) and Online Open Space (KM4DevOOS) is a series of face-to-face and virtual meetings/workshops organized by the Knowledge Management for Development Community (KM4Dev).
Event history:
KM4Dev Conversa – Encuentro KM4Dev Latinoamérica y el Caribe, September 19-21, 2018, Medellin, Colombia
Conference Theme: Aprende – Comparte – Inspírate: Gestión del conocimiento y aprendizaje para el desarrollo en Latinoamérica y el Caribe
2nd KM4Dev Online Open Space, June 21, 2018
KM4Dev Harare Gathering, July 25–26, 2017, Harare, Zimbabwe
Workshop Theme: Learning from Invisible Communities of Practice: The role of informal actors and relationships in African food systems
1st KM4Dev Online Open Space, June 14, 2017
KM4Dev Seattle Gathering, April 6-7, 2017, Seattle, WA, USA
Workshop Theme: Practical Experiences of the Application of Communities of Practice (CoPs)
KM4Dev 2017 Geneva Open Space, 2 April, 2017, Geneva, Switzerland
(in conjunction with the Global Partnership Conference: Knowledge for Development, 3-4 April)
Workshop Theme: Knowledge Management for Development, towards a Knowledge Sharing Society
KM4Dev 2016 Vienna Event, October 15, 2016, Vienna, Austria
(in conjunction with the Knowledge Cities World Summit (Theme: Knowledge for Development), Oct 12-13, and the Global Knowledge for Development Summit, Oct 14)
Workshop Theme: The Future of Knowledge Management for Development
2015 ???
KM4Dev Bonn Workshop, July 8-9, 2014, German Development Institute / Deutsches Institut für Entwicklungspolitik (DIE), Bonn, Germany
Workshop Theme: Knowledge for Development (K4D): Galvanizing Opportunities of a Promising Theme for Improved Development Cooperation
KM4Dev Seattle Workshop, July 29-31, 2013, Seattle, WA, USA
Workshop Theme: Stocktaking on knowledge management for development
2012 ???
KM4Dev Rome Workshop, September 30, 2011, International Fund for Agricultural Development (IFAD), Rome, Italy
(in conjunction with the Second Global AgriKnowledge Share Fair, Sep 26–29)
Workshop Theme: (1) Future of KM4dev and (2) Face to Face Fun, Sharing and Learning
KM4Dev Africa Special Session, October 19, 2010, International Livestock Research Institute (ILRI), Addis Ababa, Ethiopia
(in conjunction with the Share Fair on Agricultural and Rural Development Knowledge in Africa (AgKnowledge Africa), Oct 18-21)
KM4Dev Cali Workshop, May 27-28, 2010, International Center for Tropical Agriculture (CIAT), Cali, Colombia
(in conjunction with the Latin America and Caribbean Knowledge Fair, May 25-27)
Workshop Theme: Knowledge Management for Development in Latin America
KM4Dev Brussels Workshop, October 6-8, 2009, Brussels, Belgium
Workshop Theme: Knowledge Sharing/ Knowledge Management in a World Of Change
KM4Dev Almada Workshop, 18-21 June 2008, Lisbon (Almada), Portugal
Workshop Theme: Open Space on Topics of Current Interest in Knowledge Management for Development
KM4Dev Zeist Workshop, 18-20 June, 2007, Zeist, Netherlands
Workshop Theme: Work on Collaborative KM/KS and Organizational Leaning Projects
Knowledge Management for Development Forum (KM4Dev Forum 2007), February 8–9, 2007, Asian Development Bank (ADB), Manila, Philippines
Forum Theme: Strengthening Knowledge Networks for Development: Understanding Issues, Facing Challenges, and Seizing Opportunities
KM4Dev Brighton Workshop, July 10-12, 2006, Brighton, UK
Workshop Theme: Knowledge, Learning and Change in International Developmen
KM4Dev Geneva Workshop, June 20-21, 2005, ILO, Geneva, Switzerland
Workshop Theme: Culture and Knowledge Sharing: Making the Invisible Visible
KM4Dev Washington Workshop, June 24-25, 2004, World Bank Institute (?), Washington, DC
Workshop Theme: Knowledge Sharing for Development: A Learning Activity
KM4Dev Amsterdam Workshop, September 19, 2003, De Rode Hoed, Amsterdam, Netherlands
Workshop Theme: Transforming and sustaining inclusive development communities: an evidence-based approach
KM4Dev Kathmandu Workshop, July 16-18, 2003, Kathmandu, Nepal
Workshop Theme: Human Development Issues in South Asia: Identifying Practical Knowledge Sharing Approaches
KM4Dev Ottawa Workshop, May 12-13, 2003, International Development Research Centre (IDRC), OT, Canada
Workshop Theme: Knowledge Management and International Development: Knowledge Sharing in Communities of Practice and in Globally Distributed Organizations & Networks
KM4Dev The Hague Workshop: The Hague, November 13-14, 2002, ISNAR, The Hague, Netherlands
Workshop Theme: Knowledge Management Initiatives: Experiences of Development Agencies
KM4Dev African Workshop, May 29-31, 2002, Universidade Eduardo Mondlane, Maputo, Mozambique
Workshop Theme: Knowledge Management (KM) and International Development: Knowledge Management Champions in Africa
KM4Dev Chennai Workshop, 18-20 September, 2001, M.S. Swaminathan Research Foundation, Chennai, India
Workshop Theme: Knowledge Sharing for International Development
KM4Dev European Workshop (Knowledge Management Conference), June 26-28, 2000, Institute for Development Studies (IDS), Brighton, UK
Workshop Theme: Knowledge Management for Development Organizations: Strategies, Policies, and Technologies
KM4Dev Washington Workshop, February 2-4, 2000, Benton Foundation, Washington, D.C
Workshop Theme: Knowledge Management – Implications and Applications for Development Organizations