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Expressive Processing: On Process-Intensive Literature and Digital Media
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1 Expressive Processing: On Process-Intensive Literature and Digital Media Noah Wardrip-Fruin B.A., University of Redlands, 1994 M.A., New York University, 2000 M.F.A., Brown University, 2003 Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Special Graduate Studies at Brown University Providence, Rhode Island May 2006
2 c Copyright 2006 by Noah Wardrip-Fruin
3 This dissertation by Noah Wardrip-Fruin is accepted in its present form by Brown University as satisfying the dissertation requirement for the degree of Doctor of Philosophy Date Andries van Dam, Chair Recommended to the Graduate Council Date Wendy Hui Kyong Chun, Reader Date Robert Coover, Reader Date David G. Durand, Reader Date George P. Landow, Reader Approved by the Graduate Council Date Sheila Bonde, Dean of the Graduate School iii
4 Preface and Acknowledgments Preface A number of my committee members have told me that my writing is not quite like a traditional doctoral student s both for good and for ill. I suppose this comes from the fact that I identify as a fiction writer as much as, or more than, I see myself as a scholar. Given this, I am thankful for the ways that my committee has reigned in my unconscious gravitation toward tools of fiction (e.g., suspense) that are inappropriate in the scholarly domain, while still allowing me to structure my prose toward what I hope is a pleasing flow of language and argument. The result, in its best moments, can perhaps be seen as a productive hybrid between traditional dissertation writing and my personal writing inclinations. However, despite the best efforts of my committee, I have not been able to completely move away from my tendency toward the slow reveal. In the spirit of ameliorating this, let me list here at the very outset some of the things I hope are provided by this study: A set of example interpretations of expressive processes. These range from the first work of digital literature (Christopher Strachey s love letter generator) iv
5 through a set of historical examples (e.g., Tristan Tzara s newspaper poem, the Oulipo s N + 7 ) and culminate in a critical survey of the field of story generation. In each case the specific operations of the processes are examined, compared with the operations of related processes, and considered within the context of their initial creation and reception. A clearer set of concepts for discussing the internals of digital literature and digital media. Beginning with the simple distinction between surface, data, and process and then building up to a more fine-grained model of process-oriented contributions described with these terms: implemented processes, abstract processes, operational logics, and works of process. A sense of what is brought into focus, and what is marginalized, when comparing processes. Specifically, comparisons of processes carried out by authors, audiences, and automatic computation and, within this, the differing forms of indeterminacy as viewed from each perspective. A consideration of some of the culture of computation, from the perspective of digital literature. By taking the forms of literature, and by being clearly authored artifacts, works of digital literature can provide legible examples of ideas in circulation in the wider fields of computation. This study examines works that reflect big dreams such as automatic authorship, simulating human behavior, and a computational universal language. It also uses digital literature, and particularly fiction, as a focusing mechanism for looking at the broad currents in fields such as artificial intelligence and natural language processing. v
6 Finally, its initial chapters use digital cultural objects to drive a clarifying discussion of what we might mean by terms such as digital in the first place. It is my hope that the coming pages provide the above to readers both convincingly and pleasurably. Acknowledgments This study grows out of a yearlong series of conversations with David Durand. It would not have been possible without his intellectual guidance and support. George Landow s Hypertext was the first book I read that discussed digital literature. I am in his debt both for providing that opportunity, which has shaped my thinking since, and for his generous feedback on this study. My work here would be conceptually narrower and significantly less readable without the careful attention and helpful comments of Wendy Chun. I am thankful for how she has pushed my thinking and writing. I came to Brown to work with Robert Coover and have never been disappointed. For the last five years I have greatly appreciated his generosity with his energy, time, and knowledge. Brown has been a leading institution for innovative interdisciplinary digital work for more than four decades, in large part due to the project sponsorship and stewardship of Andy van Dam. I am honored to be able to count my dissertation among those projects. vi
7 I should also thank other faculty, fellow students, and friends at Brown especially: Sascha Becker, Poppy Brandes, Josh Carroll, Michael Cohen, Brian Evenson, Thalia Field, Julia Flanders, Forrest Gander, William Gillespie, Shawn Greenlee, Daniel C. Howe, Jamie Jewett, Carole Maso, Miranda Mellis, Talan Memmott, Elli Mylonas, Gale Nelson, Butch Rovan, Benjamin Shine, Roberto Simanowski, Anna Joy Springer, Brian Kim Stefans, and Vika Zafrin. A number of friends beyond Brown also offered their thoughts at important points in the development of this study. I especially thank my editorial collaborators Pat Harrigan, Nick Montfort, and Jill Walker as well as my fellow Grand Text Auto bloggers Mary Flanagan, Michael Mateas, Scott Rettberg, and Andrew Stern. I have also done quite a bit of the work on this dissertation in southern California. While there I have been lucky to have intellectually stimulating feedback from Jeremy Douglass, Jessica Pressman, and Mark Marino, who were all pursuing related work during the same period. Another important intellectual stimulation for this work came in the conversations and presentations at the 2005 Digital Arts and Culture (DAC) conference. I would particularly like to acknowledge the contributions to my thinking of DAC organizers and attendees Espen Aarseth, Ian Bogost, John Cayley, Markku Eskelinen, Fox Harrell, Jesper Juul, Nancy Kaplan, Lisbeth Klastrup, Raine Koskimaa, Lev Manovich, Torill Mortensen, Stuart Moulthrop, Phoebe Sengers, and Susana Tosca. As for institutions beyond Brown, there are two I should particularly mention. First, I should thank UC Irvine s Game Culture and Technology Laboratory and its director Robert Nideffer (as well as its partial host, the California Institute for vii
8 Telecommunications and Information Technology) for having me as a visiting scholar during the academic year. Second, I should thank the UC San Diego Communication Department for being willing to hold a faculty position open for me during that same academic year, so that I might write this dissertation. My family Nathan, Carolyn, Mark, Elma, Buford, Gertrude, and Richard not only supported me during the process of my graduate work, directly and indirectly, but also provided an intellectually stimulating and arts-oriented environment from the first moment of my life. Finally, none of this would have been possible without Jennifer Mahal, and I dedicate this study to her. viii
9 Contents Preface and Acknowledgments Preface Acknowledgments List of Tables List of Figures iv iv vi xiv xv 1 Introduction 1 Expressive Processing Fixed media and process-oriented work Understanding systems Digital systems Focusing on Process A model of digital media Digitally-authored work Understanding the Digital Stored program digital computers Beyond Code Aesthetics Accessing Processes Source code Process descriptions Disassembly and decompilation Black box analysis Close interaction An Overview of this Study ix
10 2 Surface, Data, and Process 55 Reading Digital Works Christopher Strachey Writers, Computer Scientists, and Game Designers From plain text to expressive animation From epistolary novel to in the moment Interactive characters and generated stories Writers versus computer scientists? Process intensity and computer games The limits of process intensity Understanding the Love Letter Generator The generator s surface The generator s data The generator s processes Revisiting Surface, Data, and Process Chance and Choice 104 Reading Randomness Cybertext s Surface, Data, and Process Traversal functions Comparing processes Chance in context Author and audience indeterminacy Audience and Work Processes Process-intensive literature Hidden-process literature The need for interaction Three Indeterminate Processes Dada Surrealism Shannon s n-grams Comparing the processes Five Processes, Divided Three Ways Implementations, Logics, and Potential 141 Understanding Generation Abstract, Implemented, and Literary N-Grams Clarifying processes x
11 Bringing n-grams to micros Four implementations of a process Processes, abstract and implemented Literary n-grams Monologues of Soul and Body Operational Logics Linguistic and literary logics The logics of Fable s NPCs Graphical and textual logics Potential Literature Transformations and interactions Transformation and constraint Creations that create Reconsidering Processes Process variations Fictional Worlds and Words 220 Symbolic Manipulations Mis-Spun Tales Well-spun versus mis-spun Forms of Fiction Ryan s definition Fiction and its depiction Digital possible worlds Story generators as fiction Tale-Spin Elements of Tale-Spin s simulation Spinning tales The worlds of Tale-Spin Mumble and Natural Language Generation Structure-oriented NLG NLG templates Departing from writing Mumbled stories Re-Reading Tale-Spin AI as writing Missing characters Imagined narrators xi
12 Learning from Tale-Spin Authorial and Statistical Intelligence 278 Author Functions Minstrel and Universe Minstrel Creating stories from stories Minstrel s TRAMs Minstrel s stories Universe Universe s characters Universe s stories What kind of author? Statistical Techniques Natural language processing revisited Statistical techniques for language Selection through statistics Layers of contributions Sentences and stories Things That Think (Like Us) Simulation versus authorship Expressive Intelligence 321 Uniting Data and Process Brutus and Terminal Time Brutus Mathematized betrayal Creating a story Brutus and creativity Terminal Time Computational ideology Presenting the story Beyond neat and scruffy Evaluating Expressive AI AI as hypermedia AI as intelligence AI and art Toward Interaction xii
13 Authors and audiences Interaction warrants processes Expressive Processing AI as inspiration Conclusions and Future Work 377 A Deeper View of Processes A Wider View of Digital Literature Interaction Turing test vs. Turing machine Forms of interaction-focused digital literature Forms and roles of computation Surface and Audience Computation at the surface Bodies at the surface Audiences and networks Final Thoughts Bibliography 412 xiii
14 List of Tables 2.1 Love Letter Generator s Data Universe Output Brutus s Ideal Representation of Betrayal Brutus 1 s Implemented Representation of Betrayal xiv
15 List of Figures 1.1 A model of digital media A focus on process, data, and author(s) Digital literature (dotted oval) is seen as within digital cultural production more generally (dashed oval) and shares its characteristic of including both digital media (left half, clear) and digitally-authored work (right half, hatched) Process-intensive work (most intense at bottom) forms, with process-light work, a gradient that runs across the distinction between digital media (left half) and digitally-authored work (right half, hatched) Works with newly-defined processes (dots) occur against the backdrop of a larger number of works that employ pre-defined processes. Newly-defined processes occur both in process-intensive (bottom) and process-light (top) areas of endeavor; in digital literature (dotted oval), digital cultural work (dashed oval), and wider areas employing digital computation (figure as a whole); as well as in digital media (right) and digitally-authored work (left, not hatched in this figure) Playing Spacewar! NPC attitudes toward Fable s player character Lifting words in Text Rain Collapsing words in Screen The first chapter s model of digital media xv
16 1 Introduction Expressive Processing In 1996 poet, programmer, and theorist John Cayley wrote that the innovative processes being developed by literary practitioners introduce a new element into the critical understanding and assessment of new literary objects. We must begin to make judgements about the composition of their structure to assess, for example, the structural design or composition of the procedures which generate literary objects not only the objects themselves (p. 168). It has been a decade since Cayley wrote these words. Yet, today, we find ourselves in much the same position. We are aware that procedures are central to the creation of digital works, but we are only beginning to consider how we might interpret such processes themselves, rather than simply their outputs. This is true in the field of digital literature, the wider field of the digital arts, and in the general consideration of digital cultural objects: from computer games to websites. The goal of this study is to begin this work in earnest. 1
17 2 Fixed media and process-oriented work We return to our favorite books and films because they bring us something new each time we experience them. However, it is important to understand that these media bring us something new because we their audiences experience them anew. What they show us, on the other hand, is the same each time. These media are essentially fixed, stable saying the same words and showing the same images, in the same order, at each encounter. Authors such as Cayley, on the other hand, direct our attention to the fact that we are increasingly experiencing media that not only say things and show things but also operate. These media have internally-defined procedures that allow them to respond to their audiences, recombine their elements, and transform in ways that result in many different possibilities. These human-designed processes separate such media from fixed media, which have only one possible configuration. Of course, we have had reconfigurable and process-oriented works for a long time. Some of these works are operated by their audiences. Others are composed through processes carried out by their authors. The change, now, is the large number of works driven by processes that are defined within the works themselves and that are carried out automatically by digital computation. For the next few pages I will refer to such works as digital works, while using the term fixed media to describe traditional media such as most books and films. 1 It is my belief that we will not be able to 1 Some may object that, in using the term fixed media, I am eliding important facts: that even a traditional a book can be read in many ways, that a film is experienced in a time-based manner, and so on. This is not my intention. Rather, I mean to point to other aspects of these media: A book s words do not change from reading to reading. A film s images are shown in the same order,
18 3 fully engage digital works until we consider not only how we experience them but also how they operate. Our cultural objects are undergoing a profound shift, and our approaches to understanding them as creators, as critics, and as audience members must expand as a result. Understanding systems In some ways we are faced with a truly dramatic transformation. Our media objects have been fixed for nearly our entire history as a species. Cave paintings are fixed, tablets bearing the Code of Hammurabi are fixed, a Gutenberg Bible is fixed and so is a vinyl disk of Kind of Blue, a celluloid print of Metropolis, or a digital broadcast of Battlestar Galactica. From the perspective of media one of the fundamental ways that we define and reproduce our cultures the move to media objects that carry out processes is a profound shift. On the other hand, the challenge of understanding systems, and the processes that drive them, is not new. In fact, this challenge has been with us longer than we have had media. Consider, for example, the human body. We take in food and produce waste. We fall ill and recover from illness. We conceive children, give birth to them, and watch them develop into adults. All of these are results of the fact that the human body is a complex system driven by processes. For most of human history our ability to understand these systems has been limited, but also essential to our survival. While we could not uncover the mechanisms of these processes, we could observe correlations that gave us some insight. Some foods interacted with our with the same timing, at each viewing.
19 4 digestive processes better than others, and cooking some foods made them a better fit with our processes. Some treatments seemed to help people recover from illness, while others did not. But correlational data, from observation and experiment, only took us so far. Now, from the relatively recent advent of approaches such as microbiology, our species has begun pushing a new frontier: actually understanding the operations of our bodily systems, so that we can see the causes of phenomena. This not only changes how we understand our bodies, but also offers new opportunities for intervention in its systems, and these systems interactions with illnesses. Now, let us return to considering digital works, which also have internal processes. In interpreting digital works, the challenge we face is to find appropriate ways to bring our basic approaches for understanding dynamic systems like the body to bear on something which has always, previously, been fixed: our media. Digital systems Of course, the new forms of process-oriented media that have emerged over recent decades are not quite like our bodies. There are a number of important differences. The most profound, for our purposes, is that media such as computer games and websites are human-authored systems. While we are still puzzling over the operations of the body s systems (e.g., gene expression) we know how these digital systems are composed. Human authors have defined the data files (images, sound, text), written the software, and designed and built each aspect of the hardware from processor chips to storage devices, from display screens to input devices.
20 5 Our challenge, then, with digital works, is not to try to unlock the mysteries of how these systems operate. We know how they operate, at a general level, because we created each aspect of the technology. So, to which of the human-authored elements of the system will we turn our attention, and what forms will our attention take? When looking at a novel such as Virginia Woolf s To the Lighthouse we have many options. We can look at the book itself, in its different editions, and perhaps how these connect with histories of publishing. We can look at wider literary constellations within which To the Lighthouse is one point: perhaps feminist novels, or war novels, or novels that contain autobiographical elements. We could focus on Woolf as an individual, and the novel as one element of her life. But most of Woolf s fellow writers, along with most critics and other audience members, will even if they make connections with these other ways of considering the novel turn much of their attention to the words of Woolf s book. It is the text where most of Woolf s authoring effort was focused, and it turns out to also be the element that grounds most of our interpretive attention. Faced with the processes of digital works, we must again answer the question of where to turn our attention. Of course, as with other media forms, we will benefit from taking a wide variety of approaches. But I believe that, as with Woolf s words, we will find one element central. If we were to take a survey of writings about digital work by those in the arts and humanities thus far, and attempt to determine what aspect of digital systems is most interesting, we would first find that detailed commentaries on system operations are thus far extremely rare. What we have, instead, are mostly passing comments about
21 6 the processes of digital systems, with most attention focused on the aspects of works that are more like traditional, fixed media. If we were to accept this limitation, and look at what aspect is most mentioned in these passing comments, it is likely that the answer would be binary numbers. We find a virtual sea of comments about the binary, zeros and ones, bits and bytes the manipulation of such numbers by processors, their storage in memory, their transmission across networks, and the supposedly reductive and/or liberating encoding of all data in this form. But I believe such comments give much more attention to binary mathematics than it deserves. The most obvious alternative to a focus on binaries one that has long had attention among computer scientists, and is gaining attention among artists and scholars is a focus on code. Here, much as with Woolf s words, attention is on the place where the effort of the author is focused. A digital system s operations are defined by the painstaking crafting of computer programs, the authoring of of code. Computer science has a tradition of viewing such code aesthetically, citing virtues such as economy of expression. For traditional humanists a focus on code promises the opportunity to employ familiar critical tools in a new context, where reading code becomes much like reading any other expressive text. But I believe this, too, while closer to the mark, does not identify the element of digital systems that will prove most important for our attention. Code is attractive to traditional critics in part because it is, like traditional media, fixed. But our fundamental challenge is to begin to understand dynamic media systems. In other words, I believe we need to focus on what code is used to express and construct: the operations of systems. The examination of code is only one potential
22 7 window through which we can manage to view these operations. Binary mathematics are even less central, forming a nearly incidental support for the execution of computational processes. Learning to interpret media systems based on their operations will not replace a focus on audience experiences of media, just as the study of microbiology does not replace an understanding of gross anatomy. Rather, it will complement and expand audience-focused understandings. We will move beyond understanding works that embody digital processes, that are dynamic systems, through frameworks developed for fixed media. We will be able to situate, critique, and learn from how these media operate, not just how they appear from a typical experience. Meeting this challenge will require new perspectives and new vocabularies. It will also require new histories, as earlier work is reconsidered in light of our new approaches. This study attempts to make contributions to these interconnected efforts. Focusing on Process The examples of digital work cited above (computer games and websites) are of a type that I will call digital media. More work on definitions will take place in a few pages but for now let us say that digital media is media for which digital computation is required at the time of audience experience. 2 2 Others use the term digital media differently. For example, in popular use the term can encompass much that I have referred to as fixed media including fixed music distributed on compact disks, fixed video distributed on DVDs, and so on. This meaning can be seen in legislative uses, such as the Digital Media Consumers Rights Act of 2003, a bill introduced in the U.S. House of Representatives. These types of media do require digital computation at the time of audience
23 8 Authors and scholars of digital media myself included have mostly focused on interactive digital media. There are a number of reasons for this, probably not the least of which is that successful interactive works are doing something that nondigital media do rarely (and generally with much less complexity). Interactive works also clearly require computation in order to be what they are the computation is necessary to support the interaction. But, unfortunately, that is usually about as far as the consideration of computational processes goes in writing about digital media. A work s processes are considered only to the extent that they are useful in explaining the audience s experience. This study will reverse the relationship between process and interaction found in most studies of digital media. Rather than interaction as the focus, with process moved to the periphery, here process will be the focus but with the audience and interaction always present, if not given a central place in most of the discussion. Further, the processes considered will be shaped by a particular interest in digital cultural production, especially digital literature (and within that on fiction). In order to make this clearer, it will be useful to begin with a broader view of experience, but in a different sense than I outline later in this chapter. Given the potential for confusion from these and other issues, some prominent writers have abandoned the term digital media. For example, Lev Manovich has tended not to use the word digital. He writes in The Language of New Media: Because of this ambiguity, I try to avoid using the word digital in this book (2001, 52). Manovich, instead, uses the term new media. Janet Murray, on the other hand, views media as the problematic term, rather than digital. In Hamlet on the Holodeck (1997) she writes primarily of digital environments. Further, in Inventing the Medium Murray uses medium rather than media, writing: [T]he term new media is a sign of our current confusion... How long will it take before we see the gift for what it is a single new medium of representation, the digital medium, formed by the braided interplay of technical invention and cultural expression at the end of the 20th century? Given that there is no consensus in the field, this study will seek to clarify important terms as they are introduced.
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InkaNatura Travel is the only leading tour operator in Peru owned by Peru Verde a nonprofit conservation group.
InkaNatura Travel Peru has been established 18 March 1996, in Lima, Peru where our main office is located. We also have local offices in Cusco, Chiclayo and Puerto Maldonado.
Our combined experiences support our ability to deliver high quality vacations. Our major customers are English Speaking tourists and World Wide Tour Companies abroad that have been using our services for a long period.

subset: commoncrawl


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Steam Crashing on Fedora 20 when Message Received
I found this on the Steam forums. I was having a problem with Steam under Fedora 20 crashing when I received a message from one of my friends. It's a selinux permissions problem with the sound that is played when you receive a message. Below is a copy and paste of the post.
Original Post
This is really a bug with Steam that they need to fix. Having execheap is apparently bad and avoidable so hopefully with some pressure Valve should sort it out.
setsebool -P selinuxuser_execheap 1
Is a workaround in the meantime. Although you need to remember to set it back later when it's sorted.
Original Post


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|Message view
|« Date » · « Thread »
|« Date » · « Thread »
|Steve Loughran <ste...@hortonworks.com>
|Re: Need to add fs shim to use QFS
|Thu, 11 Oct 2012 08:59:53 GMT
Good point Steve. This touches on the larger issue of whether it > makes sense to host FS clients for other file systems in Hadoop > itself. I agree with what I think you're getting which is - if we can > handle the testing and integration via external dependencies it would > probably be better to have the Hadoop client code live and ship as > part of the other projects since it's more likely to be maintained > there. Perhaps start a DISCUSS thread on common-dev since this > pertains to other file systems aside from QFS? > > Seems reasonable -I'll let you start it. We had this problem with Ant; I'm sure the Maven team hit it too: at first having lots of libraries that bond to external apps makes sense, because nobody else will do them for you. As your application becomes more successful, those obscure tasks become a liability as nobody ever regression tests them, most people don't even have a setup to run them by hand -and you fear support issues related to them as they will be non-reproducible, let alone fixable. Looking at the Ant task list, <netrexxc> and <wljspc> spring to mind -the latter has only ever been tested in WinNT4 and Solaris 5.x, meaning nobody has actually run it it since 2001 and Windows XP hitting the market. http://ant.apache.org/manual/Tasks/wljspc.html The fact that there are no open JIRAs related to KFS are probably a metric of its use -again an argument for pushing the work out to the KFS team -though they will need to work with bigtop to ensure that an RPM can install the kfs support into /usr/lib/hadoop/lib
|View raw message


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"Laurie Wilson has been my photographer for a few years now and each time our photos are breathtaking. She's easy going and makes the session fun and exciting. I'll be using Laurie Wilson for many years to come.. Highly recommend her as a photographer." -Melissa Mauller
"Laurie has done all of my photographs from engagement, wedding, newborn, 3 months, 6 months, 9 months, 12 months (for my daughter), all family holidays and any other photo needs. I can tell you that I trust her creative genius to capture the best shots and I am truly captivated every time she shows us our photos. I will never use another as she has grown to be a wonderful part of our family. She is honestly the best. Thank you Laurie. We love you." -Caitlin Shaw-Ferland
"Laurie takes amazing photographs that have a magical, ethereal quality to them. She works wonderfully with children too--my daughter really dislikes being photographed and we have stunning photos of her radiating happiness. And she really went above and beyond when she squeezed in a photo session for our family on her way to a family vacation this summer! We look forward to having Laurie photograph our family each year as long as she still visits Michigan!" -Shaneé Laurent
"After researching local photographers in my area, there was only one that I knew I needed to have for my wedding; Laurie Wilson Photography. My husband and I were completely blown away with her talent, creativity, being able to truly capture emotions and her use of natural lighting in her photos. Laurie not only says she will capture what you desire, but she delivers her promise with passion. She truly is a diamond in the rough. Thank you Laurie!" -Kayla Rickard
"First let me say, thank you and we love our wedding pictures! We can't say enough about our engagement photos either. We were amazed at how every special moment was captured, and now we can relive those moments through our photos. We appreciated your professionalism and positive attitude throughout our engagement session and our entire wedding day. You were amazing to work with and your talent is evident in every photo taken. Can't wait for you to capture the rest of the special moments in our lives!" -Amy Snyder-Howe
"Laurie Wilson is brilliant! She has something so special that you can't just learn in school. She is born with this natural ability to capture these amazingly beautiful moments that are so easily missed. I am truly touched by her work. For any event in your life, big or small, you can trust Laurie. She will deliver the most phenomenal pictures that you have ever seen. She will make you feel at ease and very natural during the whole process. You will love her professionalism and work ethic. I am so blessed that she discovered this incredible talent she has. She will forever be my favorite photographer!! " -Natalie Smith
"Laurie did an amazing job capturing our wedding! The variety of photos we received, from posed photos to-candid photos was breathtaking. The wedding day was such a blur that it is awesome to be able to go back and relive the day through her photos. Every time we go back through them we find more favorites. Her attention to detail is very impressive; there are photos that we would never have even thought of. It is going to be very difficult picking out which photos to put in albums and which ones to frame there are just too many gorgeous ones to choose from!' -John & Daneen Muscato


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My Curls Are Proof
I was four years old when my parents were hosting a party for the Junior Chamber of Commerce. I went from guest to guest showing them a photo of me as a 2 year old and before my hair had been cut short. I told each guest that I was really a little girl and not a little boy and that the photo was my 'proof'. After the party, that photo and all other photos of me with my long curls were hidden away. My memory of the loss of my photos has never been forgotten. I recovered my precious photographs when I was in my 30's and years after I had transitioned from male to female. Mother didn't see the point to hiding them any longer. I am now in my 60's and living a very happy life.


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LGBT student and trainee group
Our LGBT Student and Trainee Group exists to provide a safe environment for our LGBT students and their friends to meet and discuss matters on behalf of the LGBT student community and promote awareness of LGBT issues.
The LGBT Student and Trainee Group meets regularly to accommodate your study timetables, and aims to provide support and advice to anybody that might need someone to talk to or just want to have a few questions answered. Chaired by , Karen Tanner, one of our Associate Deans, and Geraldine Crehan, Course Lead, the LGBT meetings are lively, informative and supportive to any students who wish to join.
Upcoming meetings:
- Welcome LGBT drop-in session, Wednesday 20 September, 9.30-10am in Seminar Room 5.
- Wednesday 11 October, 1-1.50pm, Seminar Room 5
- Wednesday 8 November, 1-1.50pm, Seminar Room 5
- Wednesday 7 February, 1-1.50pm, Seminar Room 5
- Wednesday 7 March, 1-1.50pm, Seminar Room 5
- Wednesday 18 April, 1-1.50pm, Seminar Room 5
- Wednesday 23 May, 1-1.50pm, Seminar Room 5
We are always keen to have members of the LGBT society represent the student population at our open days and evenings via our student ambassador scheme please contact Isabelle Bratt for further information about this.
In addition, we endeavor to make sure that all our social events are always friendly, welcoming and a great place to meet people so we hope to see you at one of our gatherings very soon.
Karen Tanner, LGBT Join-Chair (with Geraldine Crehan)


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De Revolutionibus Orbium Coelestium very influential work of Nicolaus Copernicus. He is an astronomer. 1543 is a year when this tale is first time published in Nuremberg. Holy Roman Empire works on a geocentric system is very much accept.
De Revolutionibus Orbium Coelestium PDF
In the start, Copernicus work is very brief. He sent this one to his close buddy. 1514 a physician library claim that his work match to another work named Commentariolus. So, he decided to renovate his system. He comes from Italy in 1510. After coming from Italy, he wrote a very amazing thing. He wrote about the motion of the earth. He also gives a preferable information about the motion of planets.
The text of De revolutionizes present. His student named Rheticus. He printed his book again. Via Heidelberg studied is the masterpiece in the 19th century. This book includes very helpful information. He writes this book according to his own observation. This book contains an amazing model who helping the people. Copernicus does not want to publish this one.
Georg Joachim Rheticus is a young man in this tale. He is the mathematician. He comes in 1539 in Freudenberg for studying. And he is from Wittenberg. Here he reads here many texts. He here read Copernicus. After studying it, he decided to wrote about his non-technical subject in the form of open text. Nurnberg is the tutor of Reticles. He is the astronomer. Then he helps him and printed his letter in 1540. Copernicus was very happy and favor his work. He also gave permission for further this type of work and print. The Reticles again published his work by his name.
With the strong action from Rheticus. He sees the action of the first general is very adverse. Copernicus decided to give his major book to his close buddy named Bishop Tiedemann Giese. He said Bishop Tiedemann Giese to give this book further Rheticus. This one is published by Johannes Petreius at Nurnberg. 1543 is the time when this one is published few day before the death of Copernicus.


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A former U.S. State Department employee, who pleaded guilty to snooping on celebrity passport applications, was sentenced this week to one year of probation and fined $5,000, the Department of Justice said Wednesday. In January, Gerald Lueders, 65, of Woodbridge, Va., admitted to illegally accessing a database to view the passport applications of more than 50 actors, politicians, musicians and athletes. He is third State Department to plead guilty to similar charges. — DK
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Author : Patricia C. Wilcox.
Published : Wed, Apr 4 2018 :2 PM.
Format : jpg/jpeg.
Category : JD Templates.
Topic : Job description template ideas.
Think of this as describing the purpose of the position, and its role within your company or organization as a whole. A job summary will briefly acknowledge the fundamentals of the position, so leave space on your job description template to answer.
A job description or JD is a document that describes the general tasks, or other related duties, and responsibilities of a position. It may specify the functionary to whom the position reports, specifications such as the qualifications or skills needed by the person in the job, and a salary range. Job descriptions are usually narrative, but some may comprise a simple list of competencies; for instance, strategic human resource planning methodologies may be used to develop a competency architecture for an organization, from which job descriptions are built as a shortlist of competencies


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Beanfields is a family owned company and values shape everything we do. We use "kinder prosperity" to express our commitment to help update food and business practices. A percentage of our profits are committed to profit-sharing with employees and stakeholders, and contributed to non-profit efforts to help farmers grow healthier, more sustainable crops. Above all we want to bring you better snacking choices, we believe that great taste and good nutrition can and should coexist.
A vegan snack with all of the familiar cheesy flavor of the worlds best selling chip flavor, nacho
Welcome to BeanFields Bean & Rice Chips Nacho, where they've created torilla chips with an award winning taste. BeanFields Bean & Rice Chips Nacho are made from a blend of black & navy beans and long-grain rice, and are free of the 8 most common food allergens.
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We have two worship services on Sunday at 8:30 and 10:30 am.
8:30am worship (Sanctuary) is a gentle start to the day—not as crowded as 10:30am, but still a chance to worship with song, sermon, and sacrament. We celebrate Communion every Sunday at this service. All are welcome at the Table.
10:30am worship (Sanctuary) includes our Chancel Choir and the energy of a full sanctuary. We sing, we pray, and we learn in ways that are never quite the same from week to week. We have a familiar rhythm to things that you'll recognize, but we're flexible when it comes to things like how the furniture is arranged and what doxology we sing.
Education Hour is on break for the summer.
Join us for Summer Courtyard Fellowship at 11:30 AM.


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Discount Offers
Reference Library – Discount Offers
Carphone Warehouse launches 10-day 'Black Tag' deals; HTC and Samsung Galaxy …
Carphone Warehouse's 10-day Black Tag event from November 23 to December 3 is helping customers enjoy more discount deals over a longer period of time. The idea is to avoid the mad rush and panic of Black Friday deals at various retail stores. You can also read about Black Friday deal updates1 here. Amazon and Argos are the major retail stores offering Black Friday deals, and Carphone Warehouse s to follow suit with significant discounts on smartphones of most popular brands. The mobile phone retailer boasts of 2,400 stores across Europe and is a highly recognized retailer.
Carphone s Black Tag event s likely to focus on savings on popular mobile brands like HTC and Samsung, provided the offer falls under a selected contract category. Along with this, customers will enjoy SIM free offers, too, reports Independent2. According to Carphone Warehouse organizers, mobile discount offers that extend for a prolonged period help customers get the satisfactory deals they want. Recent research found that one-day panic shopping invited more chaos and confusion, so events like Black Tag help customers make big savings over a longer period of time. What are the offers?
Receive 500 minutes of unlimited texts and 500 MB data on Samsung Galaxy S6 Vodaphone network at 22 per month. Get a free offer on O2 at 23.50 (AU$49.17) per month that includes 500 minutes of unlimited texts and 500 MB data. The iPhone 6s (16 GB) s available on EE for 50 (AU$104.61) at 32.49 (AU$67.97) per month.
Another offer includes iPhone 6 (16 GB) on O2, which is for free at 28.50 (AU$59.63) per month, including 500 minutes of unlimited texts and 500 MB of data.
Contact the writer at firstname.lastname@example.com or tell us what you think below.
- ^ Black Friday deal updates (www.telegraph.co.uk)
- ^ Independent (www.independent.co.uk)
Huawei offers EUR 50 discount for 77777 likes on Facebook – Telecompaper (subscription)
Huawei is offering a EUR 50 discount on its Honor 7 smartphone on 21 September if it reaches 77,777 likes on Facebook, inside-handy.de reports. Before the weekend, the company had almost 75,000 likes. The promotion is only available on 21 September at the online shop vMall.
Customers have to register to be entitled to the discount.
A voucher is displayed in the shop.
With the EUR 50 discount, the Honor 7 will be sold for EUR 299.
Kyivstar offers business discount for payment in advance – Telecompaper (subscription)
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Hello Darlings
Welcome! My name is Demi Bang, if you're interested in reading more about me, click on the "About Me" link in the navigation menu.
On my website, you'll be able to find my blog where I talk about whatever goes in my mind, to my services. If you need help with social media then you've come to the right place.
Feel free to roam around and shoot me an email if you have any questions at email@example.com


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TECHNICAL | Hasselblad 503cx 150mm lens Tripod
Welcome to this weeks portrait tips and techniques. This week's blog post is about "interactive portraiture" or as I often refer to as "the story telling portraits". This style is easily applied with young children, but with a bit of creative thinking can be used for any age group, children or adult.
It's not new, artists have been applying the story telling style as a way of expression long before photography was invented. So this week I am going to let the images show my version of interactive portraiture with a brief description of my thoughts and hopefully this can contribute or change your thought process to the way you photograph a session.
Firstly, what is "interactive portraiture? For me it is personalising a portrait session by asking questions about the family lifestyle and applying that lifestyle to the session. Some examples of lifestyle would be fishing, reading, bikes, boating, cars and for younger children it could be dolls, teddy's, painting and drawing etc. This planning process takes place during my planning consultation with the client before the actual portrait session.
Before I start talking about the images, you need to understand all these images are set up and directed. My style has always been a "directive" approach as opposed to a "follower" (candid). I work to my strength as a director and enjoy the process of planning and creating wall portraits as art.
Others may enjoy the candid approach. There is no right or wrong, just follow what you enjoy, but I would suggest adding the clients lifestyle into the mix. This will give them something unique and usually pays better because you took the time to personalise their portraits.
The first example above is an easy one. The boys love the water, so why do a country theme when the lifestyle is beach. I directed the boys by making a game of it. The youngest one enjoyed running back and forth from the water, so all I had to do is direct the eldest boy to a better position, so his brother wouldn't run out of the frame. Then I asked the boy to dig for shells, which he was very happy to do. (Seagulls were a bonus). The attention span is usually good for 5 minutes, then I find it's time for a change. As a storm was coming fast, we had less than 3 minutes to set up, shoot and go.
TECHNICAL | Leica M6 35mm F1.4 | black & white – tinted & artwork in PS CS3
In the second image, it's obvious the life style is fishing. The weather was dark, windy and about to rain. The first thing is to find a good scenic spot to allow the kids to face the wind. This would help eliminate hair blowing in all directions.
Next was to place the kids in a pleasing composition that wasn't too structured, such as a triangular pose. The idea was to give each child's face and body their own space and angle the bodies to make a more interesting composition.
Sometimes I'll tell them what I'm looking for (sitting, squatting or kneeling) then see what they do naturally. If I think their natural pose looks right, that's it, if not I'll make some small adjustments such as a face angle or a hand etc. to refine the look.
NOTE: Sometimes with interactive portraits you don't always see all of each individual, this is often deliberate, so it doesn't look over posed. These interactive images are just part of the session, of course there are other group and individual images to compensate for full face views.
I find these are the "art images" that clients want to display on their walls, so usually full recognition of each individual is not that important, it's the mood, character and personalisation that is important.
TECHNICAL | Canon 5D 70-200mm F2.8L
The boys above are cousins and when they visit their grandparent's farm, they love to ride all over the property. So in consultation with the parents, I found out this was the common bond between the boys.
The property is an avocado and pineapple farm, so there were many tracks the boys could ride up and down. This is how I make it interesting for the kids. Find something they like doing and incorporate it into part of the sitting, this will give more co-operation and extend the attention span.
TECHNICAL | Hasselblad 503cx 150mm | tripod
Sometimes with mixed age groups, I try to get the kids to talk amongst themselves and wait for the reaction. Little ones will play, but for the older kids, it's not cool. So I find setting them up in the scene and directing or teasing works best. Eventually there is a reaction, so it's a game of patience.
I'm always looking at the angles of the face and where possible I'll direct the kids to move. Above is an example of two profile views and a two – third facial view.
For me it's still important to fine-tune the portrait, but if there is a reaction and the pose isn't quite correct, I'll still take the photo because expression is the most important thing. Having said that, I'm not suggesting going for expression only and not applying craftsmanship. Do both when possible.
This photot was totally controlled, shot with a Hasselblad on a tripod in low light – two shots were all that was required for this pose, then I moved to another spot. So slowing the process down, thinking and creating does work.
Although I mostly photograph with a DSLR camera these days, I still use a tripod for about 30% of my images.
These are usually the interactive images, where I want to see and be involved with the kids. Preferring to direct from over the top of the camera, rather than hiding behind the camera and talking from behind it.
TECHNICAL | Canon 5D 70-200mm F2.8L
Another example of setting the scene and waiting for the right moment. Usually with boys this age you don't have to wait too long for a reaction. In this image I have a two – third face view and two profile views.
So that's it for this week, I hope his "directive" style has shown a different way of creating portraits. Some may think it's old school and would prefer the "photo journalistic" approach. In my experience as a portrait photographer, we should apply all three disciplines – classic, directive and reactive.
I try to apply these 3 styles in my sessions, not always in equal proportions, but enough to create variety for my clients. Usually they like all three, but it's the "classic" and "directive" styles, that is usually the larger wall size prints. My theory is that many clients think the "reactive" candids look too easy to do and they think they can do it themselves. The classics and directive images appear to take on a more craftsmanship experience to them and possibly see more value as art.
Just a theory.
Until next week, happy shooting
5 Responses to "INTERACTIVE PORTRAITURE"
Hayley Says:
September 21st, 2010 at 8:34 pm
What wonderfully wise words Wayne. I'm so glad you shared this as I have always thought it looked like luck was always on your side with the interaction and posing. Sounds like your direction is what is spot on and makes it more attainable for others like me to try it out. Thanks so much…looking forward to the next 'lesson'.
Natalie Di Petta Says:
September 29th, 2010 at 3:35 pm
"Thanks Wayne.
Fantastic reading and some great tips in there. I find my clients value the same kind of image as yours do, but I have never really thought about it till reading this. I will be thinking more about that next time I shoot. Thanks!"
sonia Says:
October 2nd, 2010 at 4:03 pm
I am loving your heart Wayne .. thank you for sharing
Rob Heyman Says:
October 19th, 2010 at 10:15 pm
Believe me Hayley, there is no no luck involved when Wayne is on the job.
Portrait Tips and Techniques » Blog Archive » PHOTOGRAPHY TIPS FOR HOME STUDIES Says:
September 24th, 2012 at 6:28 pm
[…] I set the boys up at the bridge for an interactive portrait. I prefer a very low perspective when photographing this style and it allows me to get down […]


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Practice Accreditation
The Society of Chiropodists and Podiatrists - Practice Accreditation Scheme
What does it mean?
For our practice to have been accredited by the Society of Chiropodists and Podiatrists we have reviewed our standards to ensure that they comply with national standards and best practice within the profession. We applied for practice accreditation so that our clients know that their care is being provided within a safe environment. The accreditation scheme amoungst other things also requires that:
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- Staff engage in continuing professional development to keep their knowledge and skills up-to-date
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Peer review and inspection
In achieving accredited status, we not only undertook a careful review of the practice, and asked another registered podiatrist to check our findings, but we also agreed to the practice being inspected by independent inspectors appointed by the Society of Chiropodists and Podiatrists.
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Members of the Society of Chiropodists and Podiatrists are registered with the Health Professions Council (HPC). It is advisable to ensure that your chiropodist and podiatrist is registered with the HPC. To check please telephone 020 7582 0866 or check on-line at www.hpc-uk.org; if they are not registered, you should inform the HPC.
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Tel: 0845 450 3720 Fax: 0845 450 3721 Email: firstname.lastname@example.com Web: www.feetforlife.org
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Instead, will this qualify as proof that I really have been working at a flower shop??? This is what I managed to assemble for myself from the "unsaleable" odds and ends left after closing on my second to last weekend of work. I had no preconceived idea for this, but was very happy with the colour combination and variety when I finished.
It really seems that it's all about hats with me these days. Which leads me to share with you that a door has opened for me to begin marketing my creations. I have had a vendor at the farmers market approach me to ask if I would like to try selling my hats in her booth.


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An Indonesian Woman Who posed as a man just to get married was arrested on Thursday, After The shocked wife, Henyati discovered this deceptive mischief several months after the pair tied the knot in a Ceremony on Java Island, Dailymail Reports.
The wife was full with suspicion when the "HUSBAND" refuse to consummate the union.
"She falsified all the documents for the marriage… My family and I were deceived. We feel so embarrassed," Heniyati said. When they met, Suwarti, 40, gave herself the male name, Muhamad Efendi Saputra, and said she was a police officer.
Police said they were still investigating the reason for Suwarti's deception. All Suwarti would say is that she had been disappointed by a previous marriage, from which she had a 17-year-old child.
After a whirlwind romance lasting a couple of months, the pair married late last year in their home district of Boyolali, with Suwarti reportedly even hiring people to pretend to be her male alter ego's relatives at their wedding.
After several months of married life, Heniyati finally discovered an identity card in Suwarti's wallet showing who she really was, said Kariri. Suwarti could face up to 7 years in prison for falsifying her identity. Heniyati says she regrets not testing it before buying it. Lol!! So funny
Wole Oduwole
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Season 4, Episode 12
Bushmans Playground
Kent and Dean are traveling up to Northwestern Manitoba to enjoy a fly-in fishing trip to Pistol Lake Lodge. The pike and walleye will be hungry as the ice had just come of the lake. Joining the Trigger Effect guys will be JoJo and Karen the makers of the Bushman Bar. This will be some action packed fishing you will not want to miss.
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Antenna Technologies is a Swiss foundation committed to the scientific research of technological, health and economic solutions in partnership with universities, non-profit organizations and private companies to meet the basic needs of marginalized populations in developing countries.
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Shots of a country fair and fiesta and a few outtakes in the office.
rtmoratin & wuxiong.
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Diane Devine (Mizusawa)
Diane Devine is President of Devine Marketing Group, a strategic marketing, branding and management company located in Portsmouth, NH. She is classically trained in consumer packaged goods and has more than 25 years' experience in strategic marketing. Devine has held senior management positions including VP/SVP with tier one companies such as Kraft, General Foods and Saatchi & Saatchi.
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M.B.A., New York University
B.A., Rowan University, Communications/Marketing


text: She was born in the year 1648 in San Miguel Mepantla, a village in Mexico. Various accounts of her life attest that she was an illegitimate child, whose parents were Isabel Ramírez de Santillana and Pedro Manuel de Asbaje, with five siblings: four sisters and one brother, likewise considered illegitimate (Kantaris, par. 11).


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In 2017, I originally wanted to read 26 books. One every other week. But I started off the year unemployed (I had just graduated with my teaching certification) and did a lot of reading. So much reading, in fact, that I decided that I needed to change my goal. I decided to go for 52 books in one year.
I did not read 52 books last year.
It looks like my final count on GoodReads was 36 books. I did, quite easily, hit my original goal of 26, so there's that, but I didn't hit the secondary goal.
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Photo by Radu Marcusu on Unsplash


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