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Updated: 2 May 2016Introduction
At its core, this is a project is about time: how we understand time, how we value time, and how people experience time differently according to different lived circumstances and different imaginaries of the world.
More specifically, ClockWork encourages people to grapple with the monetary value of time for people working in different sectors of the U.S. economy and at different income levels. We have attempted to represent income disparity and frustration here through sound; to express an aesthetics of experience somehow.
We arrived at the method of sonification after months of provocative theoretical conversations on the broad topic of time, grounded in our diverse disciplinary perspectives. We chose to produce a series of sonifications for our final project for purposes of expediency, and because as a team we remained committed to creating something that might lend itself usefully to social justice-related efforts, in formal educational settings and beyond.
The sonifications use higher pitch and louder volume to represent greater effort during a particular space of time, which pulls attention to the ways in which time is experienced and valued differently across income levels. This aesthetic choice points to the idea that even linear time is not linear in the same way for all people. A minute becomes more arduous, or perhaps feels longer, for someone working a minimum wage job than for a high wage earner.
At first glance, our project is stark in its simplicity. We are working within the time systems that we know and use everyday (e.g. hourly/monthly/yearly). We're doing linear, but we're doing linear sort of slant. We offer this as a productive starting point. Our intention is that this project is "good to think"—that we can think about it, and with it, together.
In what follows, we're going to break it down for you: our thinking at various stages, our hesitations and critiques, and some emergent ideas you may want to consider and run with. We'd also like to link you to other cool projects that are working with similar ideas and challenges. We've started an annotated bibliography to get you thinking. We'd also like to show you how to do some of this stuff on your own, or to at least get you started off in a helpful direction.
This is the food for thought section of ClockWork.
Why Time?
We make all kinds of assumptions about what time means, how time is experienced, and how time can or should be represented. Different disciplines offer rich perspectives on what time means and how we might imagine it conceptually. What do we do when universalizing arguments about time become difficult because we realize that people don't understand or experience time in the same way? How do we avoid imposing dominant conceptualizations of time onto every question? How do we come to recognize our own biases? Time is a fertile subject to interrogate and theorize because there are endless possibilities.
In the first several weeks of Praxis, everyone brought in a written piece that grappled with time in interesting and challenging ways. Each of the pieces offered a helpful provocation, and insight into what a diversity of disciplinary perspectives could bring to the subject.
Note: If you would like to add an annotation of your own, get in touch with us!
Ethan encouraged us to engage with Wai Chee Dimock's concept of "deep time," in which she "propose[s] a more extended duration for American literary studies, planetary in scope," because "the force of historical depth is such as to suggest a world that predates the adjective American." Dimock suggests that conceptualizing time in this way would force scholars of American literature to re-periodize the works they study. In so doing, they would re-interpret American texts and linguistics through large-scale analysis that encourages questions such as: "How does a literary text sound when it is read twenty years, two hundred years, or two thousand years after it was written?" What are/what is the significance of "the traveling frequencies of literary texts"? For Ethan, these provided a helpful point of entry into how scholars of American literature have and could conceptualize time in relation to their discipline.
Gillet wanted to include historical work that questioned the relationship of time to the present and future, and also interrogated Western ideologies of time. In his 1996 chapter, "The past as future: Aborigines, Australia and the (dis)course of history," Bain Attwood discusses the dangers of Western historical and archaeological epistemologies that posit the past as separate from the present, such that it becomes possible to analyze and learn objective "truths" about the past. Attwood further warns of the potential for certain modes of producing history to function as a colonizing device. He argues that telling only one particular version of history serves in fact to create the past, the present, and the future (see also Chimimanda Ngozi Adichie on "The Danger of a Single Story"). In this sense, practices of history can function as active means of time-making, rather than merely representations and analysis of what has passed.
Lydia brought Charles Keil's 1987 essay, "Participatory Discrepancies and the Power of Music," to our conversation. According to Keil, musics that are supposedly 'out of time' display evidence of humanity, and therefore, become relatable and meaningful in human ways. His notion of participatory discrepancy refers to subtleties that are often too small to notate by conventional means.
Rachel brought us a canonical article by Karl Stockhausen called "How Time Passes." In the article, Stockhausen argues that "music is a series of events in time." Duration and pitch occur in "different areas in one time scale."
James introduced us to Kari Kraus, who looks in this article at the long history of the study of textual transmission and places speculative computer-based reconstruction of texts into historical relationship to other forms of speculating on the text, specifically recension editing, divination, and Biblical hermeneutics. In particular, Kraus is interested in "the role of conjecture in textual scholarship," which she argues "is thus concerned with issues of transmission, transformation, and prediction."
Bremen brought in anthropologist Henrick Vigh's 2008 essay, "Crisis and chronicity," part of a special edition of Ethnos focusing on "situations of chronic crisis and uncertainty" (7), in which Vigh offers the concept of 'chronicity' as a means of grappling with human experience in places where crisis is endemic: less like an event (something that happens), and more like a condition (the way things are). Vigh argues that in places where enduring conditions of crisis characterize everyday lived experience, ethnographers might conceptualize crisis itself as "a terrain of action and meaning," rather than as background context. Chronic conflict is a space of excess, he argues; a space characterized by excessive violence, yes, but also by heightened awareness of surroundings, and radical possibilities for provisional imagining. When crisis is "endemic rather than episodic" (5), Vigh argues, people tend to live with "increased social reflexivity," a raised consciousness of "our modes of constructing meaning," including "the way we interpret the social environment, our perspectives and our horizons" (19). As ethnographers, attenuating our work to such environments means focusing on "how agents act in crisis, instead of through it" (17), he suggests. This may enable us to begin re-examining theoretical categories of 'praxis', 'routinisation' and 'narrative' in terms of 'navigation', the 'provisional' and "multiple possible terrains." After all, Vigh argues, "it is through the social imaginary that we locate ourselves in the world, position ourselves in relation to others and seek to grasp that sphere of our existence which we have not yet experienced but which we nonetheless act towards in anticipation" (20). Thinking about time in relation to lived experience thus leads us to focus on the future as a site of ethnographic inquiry.
Our Ethos
What are the ethical considerations that underpinned our thinking and working processes throughout the year? What does ethics have to do with the digital humanities?
Social Justice. Several of us joined the Praxis team with a desire to engage digital humanities tools as a means of furthering social justice-related goals, or at least exploring the potential of DH for engaged projects in the future. This commitment informed our time and temporality-related conversations before we began to conceptualize a finite project (note: the ethical implications of time emerge in case studies and enumerated themes above). When the moment arrived to hunker down and scope a final project, this commitment remained in the background of all of our questions and pitches.
We thought in terms of concrete subject areas, such as:
• Labor that doesn't get counted, such as domestic and gendered labor, or prison labor;
• Categories of analysis used in polling;
• Data that might relate meaningfully to affective experience, such as, what is it like to be a worker in this place in this body.
We ended up with lots of ideas for which no adequate data was available, for various reasons:
• Areas of non-quantifiable meaning or value (e.g. stuff that cannot be numerically expressed);
• Specific, clean, consistent data about prison labor (though some stats exist, we couldn't find figures that were both trustworthy and representative of the kinds of questions we wanted to ask; in order to work with this kind of data, we would have to launch an intensive research effort, to gather the data ourselves);
• Formerly incarcerated people with full voting rights restored (same problem as above).
Emerging approaches, like Feminist DH and Postcolonial DH, inform our whole ethical project, too. We encourage you to check them out!
Why Sonifications?
We chose the method of sonification because we wanted to work with a mode of representation that would offer an alternative to visual modes (e.g. "data visualization") that have come to dominate the virtual sphere in recent years.
If you haven't checked out our sonifications yet, we encourage to you to find them here.
We considered the possibility that engaging a different medium might make a user's experience of time different. We were interested in whether or not certain ways of interpreting our data might lend themselves to a user encounter that felt more or less "true." Could this be possible?
We asked ourselves lots of questions, like: is interpretive soundscape to illustration as sonification is to bar graph? We played with the idea that while sonification does some of the same work that a regular visualization might do, it also does so much more.
Interested in making your own sonification? Check out our tutorial in the "helpful technical skills" section below!
We made a collective decision to represent time through sonifications before we selected a data set. As Sarah Frazier explains, sonification in its purest form is "the process of turning scientific data into sound, including music." Choosing to do sonifications meant that we could only work with a particular type of information, or data.
See "How did we select our data?" to learn more!
How Did We Select Our Data?
Choosing sonification as an approach meant we had to choose clean, numerical data, and we had to be sure that our data was coming from consistent sources. In other words, we needed to make sure that we were working with apples and apples, not apples and oranges.
Why don't we pick something super simple so we can explore all the considerations involved even in the simplest data representation. So, for example, although we found compelling data about prison labor embedded in narrative pieces such as journalistic essays and annual reports, we could not use it to do sonifications because what we found wasn't adequately consistent or adequately specific to render directly the three categorical parameters we had outlined (measurable time, earned wages, and commodity cost) in sound.
To be more specific, we found one source that offered average prisoner earnings in a particular place. We found another article that listed the kinds of commodities that have been produced by prisoner labor over the past decade (check it out: you may not know who's making your underpants). But we had no way of meaningfully correlating the insights offered by these separate accounts, or transforming them into the kind of numerical data that would have been necessary to make a sonification work, logistically, not to mention aesthetically.
Throughout the year, we discussed doing a project that would attempt to represent various types of time in relation to Washington D.C.'s Go-Go music. In other words, we had thought about a project that could explore the time of Go-Go in terms of: the rhythm, or the musical time; the time experiencing go-go as a musician or an audience-member in a club; and the time of Go-Go in terms of the specific historical time within particular D.C. neighborhoods. A large part of why we abandoned this line of inquiry for our final project lay in our ethical concerns regarding representing the experiences and expertise of the (oft-marginalized) people who play/create/participate in go-go music and the go-go music community. Recognizing that this endeavor was beyond the scope of something we could accomplish both in terms of the time we had left (no pun intended) and in terms of the ethical commitments that guided our process.
With these constraints in mind, we revisited our earlier discussions about time to consider how we might select a data set that would both resonate with our guiding ethos and also stimulate further such intellectually engaging conversations.
Ethan proposed that we work with governmental data from the Bureau of Labor Statistics (BLS) about the average prices of milk and gasoline during the months of 2014, in relation to average and median incomes for a range of professions in that same year. Ethan's idea enabled us to work exclusively with government-sourced data, and to play with the idea that time can come to be valued differently according to lived circumstances.
Once we decided on this dataset, a variety of related questions and considerations emerged.
We noted, for example, that this data did not reflect hidden labor such as prison and domestic labor, nor did it include work considered to be part of the "informal" economy. Yet these are realms in which important work is remunerated at significantly lower hourly wages than the minimum wage, if at all.
Hidden labor is invisible in several senses of the term. First, certain forms of labor are not recognized by large swaths of the American public, since they are not accounted for in standard governmental data. Moreover, such labor may not even be recognized as labor. At a human level, the invisibility of such labor in data collection processes, and the related absence of representation to mainstream audiences (if the data doesn't exist, then NPR can't report it), in turn renders not only the labor acts, but especially the people doing the labor, nonexistent.
A choice not to include such labor in our representations (sonifications) of time-commodity-wage relationships in the U.S. risks reproducing this invisibility.
But since we could not undertake data collection about hidden labor ourselves, we also recognized that culling together data on invisible labor from a variety of sources would also be problematic, because we wouldn't have the time or resources to determine exactly what was being measured or counted, how the data was collected, where inconsistencies might lie, and so forth.
Since sonification requires neat, clean data, we returned to the BLS statistics with awareness of the shortcomings of the dataset.
Given that the BLS offers information on a variety of areas of employment as well as on consumptive activity, we knew that by selecting this data we could be sure we were comparing apples to apples, so to speak.
In the process of making all of these decisions, and weighing the pros and cons of multiple potential paths, we thought to ourselves, hey, actually this has been pretty fruitful, maybe this process could be useful to other people, too.
And that's what led us to construct this entire project as a learning process, not just a set of products.
Sonification is a mode that enabled us to represent (and indeed, interpret) time in both linear and nonlinear ways. The linear aspects are easy to describe: our sonifications move chronologically, from January through to December 2014, as on a standard timeline. Yet these renderings have nonlinear valence, too: they enable a physical experience of time, specifically, the possibility to listen to time, at least a particular interpretation of temporal relationships.
We are excited about the iterative potential of engaging you in our project. What do you think there is to learn from our questions and choices? We encourage you to run with any ideas that might emerge. And please keep us posted!
Questioning Information
For most of us on the team, qualitative research is absolutely essential. We believe in taking the time to do responsible research about lived experience—from the anthropologist who learns through fieldwork in situ; to the historian who conducts oral histories and sifts through the archival (and qualitative) material of various individuals and organizations to formulate an argument; to the literary theorists who do close readings of texts; to the musician whose ethnographies of musicians and musical communities represent a critical corollary to the analysis of the music itself. For all of us, "data" is more than just numbers.
Qualitative and Quantitative
Our decision to work with sonification forced us to contend with what happens when you can't use qualitative data, or information that isn't easily translated into numbers. Sonification, of course, as both method and outcome, is a political argument like any other form of representation.
Many of the ideas we brainstormed during the first several months of the fellowship could not be interpreted through sonification, since sonifications, by definition, emerge from qualitative research. With all this in mind, we cycled back to earlier conversations about time in order to see what discussions could possibly correspond to clean, numerical data that would help us to make a sonification. We landed on our conversations regarding the connections between labor, consumption, and time. During these conversations, wondered about questions like: how is time embodied in a physical item available for purchase/consumption? How do our relationships to "things" vary based on the valuations of our time by our employers and/or governmental entities and institutions? How does a person's experience of working time differ when their time is financially compensated differently? How do race, gender, age, sexuality impact the experience of laboring time?
In some ways, our project represents a larger question: what constitutes information? And a related question: what constitutes legitimate information? And who gets to decide?
Another important question arose, too: can you, and if so, then how do you, render qualitative insights quantitatively? What are the affordances and risks?
One way of thinking about the trade-off we made in working with data sets from the Bureau of Labor Statistics is that it means people's experiences are rendered in numbers according to a hyper-specific focus: how many dollars they earn per hour. We have no idea what else is going on in these people's lives, who they are, what their living conditions are, what other resources they have or don't have that are hidden by the numerical focus on wage earnings per hour.
Medium and Message
We chose a simple data set with a simple argument on purpose, as a starting point for engaging bigger questions. Our sonifications offer a very basic idea is: people who earn less money need to work more hours in order to afford basic commodities.
Our logic in choosing a sound-based method had partly to do with wanting visitors to ClockWork to feel the pressure of struggling to pay for basic commodities like milk.
We didn't just want them to see that anesthesiologists make more than minimum wage workers and therefore spend less of a percentage of their salary on basic food; we wanted them to feel that pressure.
In other words, we wanted them to experience somehow the qualitative aspects of not earning enough: the stress and the urgency of such a situation, or of such a condition.
Of course, you might say, a representation cannot recreate the experience it is representing. Perhaps it could imitate. But a secondary affective experience (like data rendered in sound) simply cannot be a direct translation of one person's qualitative experience to another person.
Our ability to be affected by sounds, and the ways in which we might be affected by particular sonifications, has much to do with the particular ways in which we have been trained. How we appreciate music, or interpret certain kinds of sound, has partly to do with our physical bodies (different people hear loudness and frequency differently, for example), but it likely also has to do with our different lived experiences. Some people in the Praxis cohort, for example, were disturbed by first version of the sonification Rachel tried out; they experienced the sounds as harsh. Meanwhile, for others, the sounds were stimulating, and even pleasant: a kind of sound is quite normal among academic sound studies communities.
The point is that we cannot assume that sounds have meaning that is somehow universal, any more than we could assume that each of us experiences sound in exactly the same way.
We in the Praxis cohort are all American PhD students who share certain aesthetic and ontological premises, while also diverging on a wide range of intellectual and perceptual concerns: for example, about the ways pressure is represented, about what is too loud, about what constitutes a meaningful representation of the data at hand.
Then would it be fair to suggest that sonifications are mostly quite linear, and in effect reproduce the same structures of understanding that are embedded in standard visual representations like graphs and charts? In other words, if the data itself is the same, the relationships we are representing are the same, and the questions of scale are the same as what would be required to render a visual graph, then how are sonifications different in terms of what they offer? Are sonifications simply a different technological means toward reproducing the interpretive frames we take for granted?
Or, what if we entertain the possibility that rendering data aurally does offer a closer, a more affecting, experience with the data? This might be true for people seeking non-visual engagement with certain kinds of information, or for those who do not see, or those who for various reasons are captured by sound more than by looking. Sound does offer a different affective experience. So does the potential of sonification to generate a different affective valence through pitch and other sound qualities make a meaningful difference to what we are conveying?
What would it mean if we could actually induce an affective experience in someone, as opposed to making an argument through words or other symbols? What would this allow? What might the dangers be?
What Does the Digital Offer?
Rather than creating a digital interface that would simply interpret a humanities question, or a humanities project that would interpret some aspect of the digital, our desire was to work toward engaging both modes somehow simultaneously and seamlessly.
We were motivated by questions like: might digital tools help us to understand humanities questions differently? Explore new conceptual possibilities? Arrive at new arguments? What does the digital bring to bear on our questions about time, specifically?
Humanists and Digitalists and Digital Humanists
What assumptions do we make when we label humanities and the digital as separate categories? What's the deal with the idea of digital humanities?
One example of this debate or discussion includes Dave Parry's, "The Digital Humanities or Digital Humanism."
For further questions to help you think through selecting, manipulating, and presenting data, and for a more detailed glimpse into the kinds of queries that helped us shape our data selection process, see our documentation page.
On a related note, we've been paying attention to feminist critiques of sonification (see further resources below) that may be of interest. Also, check out Kaveh Waddell's important and thought-provoking essay in The Atlantic about how big data disproportionately harms poor communities.
Developing ClockWork brought us into many exciting discussions, and ideas continue to emerge about how to meaningfully integrate humanities and digital praxis.
What do you think? What are possible avenues going forward for improving upon this project? How could we make it better? What else would you like to see, or hear, or experience? Let us know!
Helpful Technical Skills
We relied upon a variety of technical skills in the making of this project.
Rachel and James used super collider to make the sonifications about time, wages, and commodity prices.
They have also put together a tutorial that you can work through to learn how to make your own sonification!
Watch their video tutorial on it:
Also, look at the reference card pdf, the coding, and the excel sheet providing the dataset at the base.
Here's a helpful general explanation of sonification as a method: this one isn't focused on coding, but it's a great starting point for thinking about whether sonification could work for you.
As a team, we used GitHub to manage project priorities and suggest edits and changes.
Learn more about W3C, how we documented our project, and how you might document yours, on our Documentation page.
Check out more learning opportunities in the Further Resources section below!
Further Resources
Feminist Digital Humanities: Theoretical, Social, and Material Engagements around Making and Breaking Computational Media"
This is the syllabus for Jacqueline Wernimont's course on Feminism and the Digital Humanities offered most years at the Digital Humanities Summer Institute (DHSI) at the University of Victoria. There are tons of excellent articles here, many of which are immediately linkable, and also a useful bibliography of pieces that people can find in print. Note the sidebar with current research, grant projects, and recent posts, too!
Postcolonial DH Course (instructors: Roopika Risam and Micha Cárdenas)
This course was taught by Roopika Risam and Micha Cárdenas at HILT (Humanities Intensive Learning and Training) 2015.
Learning opportunities, institutions, and people to know about
Black Girls Code
Rails Girls
Hackbright Academy (software engineering school for women)
Digital Humanities Summer Institute
Humanities Intensive Learning and Teaching (HILT)
INKE (Implementing New Knowledge Environments)
Center for Digital Scholarship at Brown University
FemTechNet, based at the New School
Text Encoding Initiative at Brown University Center for Digital Scholarship
Feminist Digital Humanities Twitter hashtag: #femdh
List of women in DH
Anastasia Salter, "That's Not How Scholarship Works" and "What would feminist data visualization look like?"
Jeri Wieringa and Celeste Sharpe did a Rails Girls DH at CHNM a few years ago. They also did something similar called DH Bridge, with Python instead of RoR (and somewhat better) Bikeshed
CHI 2016 Pervasive Play Workshop
Gina Trapani and Open Source Community
An open-source portal for specifications
Other rad projects and links
The Guardian Magazine's Kantar Information is Beautiful Awards
Most common use of time by age and sex
Sounding Out! Sound Studies Blog
Mapping Police Violence
The man who rebuilt 1920s Harlem in virtual reality
Census Americans (Twitter bot)
Data-Driven DJ
Humanities Approaches to Graphical Display
Postcolonial DH
Annotated Bibliography
We are working to build a bibliography of essays and articles related to time theory, representational methods, and ethics in the digital humanities.
Note: We have chosen to list all citations alphabetically in Chicago Style, according to the Chicago Manual of Style.
Want to contribute? Get in touch!
Attwood, Bain, ed. In the Age of Mabo: History, Aborigines and Australia. St. Leonards, Australia: Allen & Unwin, 1996.
In his chapter, "The Past as Future: Aborigines, Australia and the (dis)course of History," Attwood discusses the dangers of both (Western) historical and archaeological epistemologies which posit that the past is completely separate from the present, and thus able to be analyzed to learn objective "truths" about the past. Attwood further warns of the potential for the act and product of history to function as a colonizing device, in which telling a particular version of history in fact creates a past, a present, and a future. Thus, history can function as a means of time-making rather than or in addition to the representation and analysis of time past. He does many other important and interesting things with this article, but this is what Gillet was drawn to in terms of thinking about the relationship between epistemologies of time and of history.
Auslander, Leora. "Coming Home? Jews in Postwar Paris." Journal of Contemporary History 40, no. 2 (2005): 237-259.
Auslander argues that historians should expand their understanding of sources to include material culture. She writes, "Experiences come to be lodged in things; loss of the object-companion of an experience, therefore, threatens the loss of the memory itself." (239) For Gillet, this article is helpful in furthering our exploration of the connection between time and things. (See Ethan's blog posts and visualizations for a look at some of these inquiries.) For instance: How can particular times be experienced/reexperienced through physical things and spaces? How do domestic workers' (both professional and unprofessional) laboring time "animate" the objects with which people interact in their homes? How are temporal experiences written throughout the physical spaces of one's home, school, workplace, etc?
Braudel, Fernand. The Mediterranean and the Mediterranean World in the Age of Philip II, Vol. I. New York: Harper and Row Publishers, 1972.
Here, Braudel lays out his philosophy of time, which he posits occur along three planes, all moving at different speeds and with differing levels of influence on history/people's lives. The first (and to Braudel, the most significant) is geographic time--which is cyclical, almost imperceptible, and shapes all events major and minor. The second is political/economic or social time, from which we can learn the history of groups and groupings. And the finally there is the time in which individuals' daily cycles and interpersonal interactions occur. This, for Braudel, is the most superficial sense of history and the fastest passage of time.
Chabot, Yoan, Aurélie Bertaux, Christophe Nicolle, and M-Tahar Kechadi. "A complete formalized knowledge representation model for advanced digital forensics timeline analysis." Digital Investigation 11 (2014): S95-S105.
Link to a PDF of the essay through Penn State.
Dimock, Wai Chee. "Deep Time: American Literature and World History," American Literary History. December 2001, Vol. 13, Issue 4, p.755-775.
Dimock, Wai Chee. "A Theory of Resonance," PMLA. October 1997, Vol. 112, No. 5, pp. 1060-1071.
Wai Chee Dimock's concept of "deep time… propose[s] a more extended duration for American literary studies, planetary in scope…. the force of historical depth is such as to suggest a world that predates the adjective American." Dimock suggests that by doing so, scholars of American literature would have to re-periodize the works they study and re-interpret American texts and linguistics through large-scale analysis that allows us to question: "How does a literary text sound when it is read twenty years, two hundred years, or two thousand years after it was written?" and what are/what is the significance of "the traveling frequencies of literary texts"? Her works go much further than these musings, but for Ethan, these provided a helpful entre into how scholars of American literature have and could conceptualize time in relation to their discipline.
Drucker, Johanna. "Humanities approaches to graphical display." DHQ: Digital Humanities Quarterly 5, no. 1 (2011): 1-21.
This article starts thinking through how humanists can start to use visualization tools in a way that aligns with humanistic methodology (and not just sciences from which it is usually borrows!). Also starts theorizing that all data is really capta when, in her words in the abstract, "rethought through a humanistic lens." This is really cool stuff, and was helpful to us as we were thinking through visualization, sonification, and other possibilities for our Praxis project. Here's a link to the digital version of the article.
Frazier, Sarah. "Sonification: Data like you've never heard before." Earthzine. 23 July 2013.
Frazier explains sonifications in layman's terms. She doesn't get into the nitty gritty of coding, but rather describes general methods of sonifying and provides examples of uses of sonification. The examples she gives demonstrate the use sonifications for making large quantities of scientific data more easily digestible. Link to the article online here.
Keil, Charles. "Participatory discrepancies and the power of music." Cultural Anthropology 2, no. 3 (1987): 275-283.
In this essay, Keil writes about music that is personally involving and socially valuable is said to be "out of time" and "out of tune."
Kim, Dorothy and Jesse Stommel, "Introduction: Disrupting the Digital Humanities" (2015).
Link to Kim and Stommel's essay here. Learn more about Disrupting the Digital Humanities in the About the Project section at the top of the page.
Kraus, Kari. "Conjectural Criticism: Computing Past and Future Texts." DHQ: Digital Humanities Quarterly 3:4 (2009) 1-28.
Looking at the long history of the study of textual transmission, this article places speculative computer-based reconstruction of texts into historical relationship to other forms of speculating on the text, specifically recension editing, divination, and Biblical hermeneutics.
Nelson, Peter. "Cohabiting in Time: Towards an ecology of rhythm." Organised Sound 16, no. 02 (2011): 109-114. Peter Nelson This article is about ecologies of sounds in time and human experience. Link to the abstract here.
Nowviskie, Bethany. "Digital humanities in the Anthropocene." Digital Scholarship in the Humanities (2015): fqv015.
This blog post of hers is amazing. It talks a lot about sustainability, and time when it comes to the production of DH projects and such. Access the digital version of "Digital Humanities in the Anthropocene" here.
Ortega, Élika. "Multilingualism in DH" (2015).
Link to Ortega's article online.
Presner, Todd. "The Ethics of the Algorithm: Close and Distant Listening to the Shoah Foundation Visual History Archive," forthcoming in: History Unlimited: Probing the Ethics of Holocaust Culture. (Cambridge: Harvard University Press, 2015), paired with Stephen Smith, "On the Ethics of Technology and Testimony: A response to Todd Presner."
A pre-publication argument about the ethics of databases and algorithms based on the experience of developing an audio-visual database of genocide survivor testimony.
Risam, Roopika. "On Disruption, Race, and the Digital Humanities" (2015).
Link to
Risam's article online.
Underwood, Ted. "Theorizing research practices we forgot to theorize twenty years ago." Representations 127, no. 1 (2014): 64-72.
Underwood writes about how algorithmic mining of big data sets is in many ways blackboxed, but he's critical of people not talking about how their searching, what for, and so on - all the stuff we're trying to make transparent. His words: (65) "The scholarly consequences of search practices are difficult to assess, since scholars tend to suppress descriptions of their own discovery process in published work." All about how, quoting from that main page, "defining a discipline becomes more an exercise of exclusion than inclusion.
Whorf, Benjamin Lee. "The relation of habitual thought and behavior to language." ETC: A Review of General Semantics (1944): 197-215.
In this classic essay, Whorf discusses linguistic relativity, subjectivity in words and thoughts. Link to the essay on Stanford University's website.


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Sports description
Short track speed skating
The sport evolved from long track speed skating, increasing the season length by transferring it from the open to indoor track. It is done on every continent with an increasing popularity, thanks to its high speed, the spectacular take-overs and the tactical solutions so specific to the sport. At the 1988 Calgary Winter Olympic Games short track was introduced as a demonstration sport, nonetheless four years later in Albertville it became part of the official programme.
The track
Short track events are organised on 60×30 meter ice, that is the ice also used for ice hockey, where the competitors run on an oval ice track with a length of 111.12 meters. In the "ends" of the oval ice track, designating the race area, seven cones are located inside which competitors must not compete. Integral parts of the tracks and the competitions are the track-stewards, who in case of the displacement of the cones immediately put them back to their original position. It is also their task to observe the quality of the ice between the races. They water the track, allowing for faster gliding while also evening out the ice's surface.
It sometimes happens that after a fall or a caught toe-pick a larger piece bursts out from the ice. The whole created this way is filled up with frosty snow, and frozen with dry ice.
Compulsory equipment
– safety type helmet
– cut resistant long sleeved and long legged clothing
– cut resistant gloves or mitt
– neck protector
– shin protector
– knee protector
The glasses are not compulsory.
The blade
The width of the blades varies between 1.1 and 1.25 mm, depending on the personal preferences of the competitors. The blades must be fixed to the boot at a minimum of two points with no moveable parts. Blades are sharpened with the help of sharpening machines and various special stones.
There is another machine for the grinding of the blades – the curves, due to the speed and other physical barriers, are also subject to frequent changes, their settings depend on the feedback of the competitors.
The shoes are made out of carbon, with special technique – they are moulded on the feet of the competitors; making the shoes of the ice skates to be unique pieces.
The protective mats
During competitions, the track is surrounded by special protective mats that can absorb the competitor's kinetic energy, hence decreasing the risk of injuries. The impacts are engulfed by a minimum ninety-centimeter-thick, multi-layered mat system, padded with air chambered sponge layers.


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A Raspberry Pi + IKEA arcade table to make yourself
Barely a month slips by at the moment without my ordering some new flat-packed goodies from IKEA. Our family, still gradually settling into the house we moved into just before our eldest was born, goes about its book-savouring, toy-categorising, craft-supply-hoarding life within a sturdy framework of TROFAST, EKBY and BESTÅ. The really great thing is that much of this furniture lends itself to modification, and spannerspencer's PIK3A Gaming Table, using a Raspberry Pi and the iconic LACK side table, is a wonderful example.
The build instructions over at element14 are generously illustrated with photographs, bringing this project within reach of people who don't have a ton of experience, but are happy to chuck some time at it. (If I give this one a go, I'll probably start by getting a couple of tables so that I have a back-up. The mods to the table don't need any fancy tools – just a drill, a Stanley knife and a hole saw – but these are the steps at greatest risk of mistakes you can't undo.) The tutorial takes you through everything from cutting the table so as to avoid too many repeat attempts, to mounting and wiring up the controls, to the code you need to run on the Arduino and how to upload it.
You can buy a new LACK table for £6 in the UK, although the nice red glossy version in the pictures will set you back a whole £2 more. A Raspberry Pi, an Arduino Leonardo, an old LCD monitor, some cheap computer speakers, a joystick, buttons, cables and connectors, and a power supply complete the bill of materials for this build. If you want to make it extra beautiful or simply catproof it, you can add a sheet of acrylic to protect the monitor, as spannerspencer has. He's also included a panel mount USB port to make it easy to add USB peripherals later.
The PIK3A Gaming Table went down a storm over at element14, and its successor, the PIK3A Mark II two-player gaming table (using a LACK TV bench) is proving pretty popular too. Give them a go!


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Shop in person, local, and handmade this holiday season.
]]>With each purchase, 50% will be donated to Direct Relief - which is a humanitarian aid organization, active in all 50 states and more than 80 countries, with a mission to improve the health and lives of people affected by poverty or emergencies – without regard to politics, religion, or ability to pay
Stay safe, healthy, and pray for our world.
]]>Fall Market Days
Frederick, MD
September 20-22
The Hive Market
Ellicott City, MD
September 27-29
Hillary's Chicks Picks
Leesburg, VA
October 3-6
]]>Boxwood Collection's Grateful For Girlfriends Event
Glyndon, MD
April 12-14, 2019
Chartreuse & Co. Spring Market Days
Buckeystown, MD
May 4, 2019
Levity of Easton Mother's Day Trunk Show
Easton, MD
May 17, 18, 19, 2019
July 19, 20, 21, 2019
Chartreuse & Co. Summer Market Days
Buckeystown, MD
September 13, 14, 15, 2019
Chartreuse & Co. Fall Market Days
Buckeystown, MD
December 14, 2019
Makers Market at Green Spring Station
Lutherville, MD
This collection is full of simple beauty, bright gemstones, cultured pearls, blues, greens, and grays. I hope you love it as much as I've enjoyed creating it.
If you love the catalog, look into Sundance Resort - it's absolutely magical, tucked away in a canyon at the base of Mount Timpanogos just outside of Salt Lake City, Utah. I'm still dreaming of our visits there and am anxiously awaiting a summertime trip there hopefully soon.
]]>Levity of Easton
21 N. Harrison Street
Easton, MD (Across from the Tidewater Inn)
For more information visit: https://www.greenspringstation.com/makersmarket/
10751 Falls Rd.
Lutherville, MD 21093
I'm so excited to spend the weekend in Easton during the Waterfowl Festival. I'll be at Levity of Easton, across from The Tidewater Inn from 10-5 on Saturday. Stop in and check out their unique selection of handmade gifts, art, cool clothes and accessories. It's never too early to check a few gifts off your list!
Hope to see you!
21A N. Harrison St.
Easton, MD 21601
]]>I'm thrilled to be part of the Fall Market Days at Chartreuse & Co.
Market Days! Sept 15-17
Fri/Sat 9am-4pm, Sun noon-4pm
6 acres filled with guest collectors, designers, & artisans, 4barns, 2 vintage farm buildings, Mob'Wich Gourmet Food truck, Loew Winery, mini farmers market,
Crooks & Crows perform LIVE, Sat/Sun.
Buckeystown Pike, Frederick, MD
If you haven't checked out their monthly Barn/ Tag Sales, visit their website http://chartreuseandco.com for details, dates, and photos.
I've been in the studio day and night and have lots of new designs and all time customer favorites including long gemstone necklaces, druzy necklaces, single pearl chokers, gemstone earrings, hammered gold and silver earrings, new gunmetal chain necklaces and more!
* I'm in love with my new sign from Vintage Metal Co. !!!
Hope to see you there!
This place in the mountains, amid nature's casualness toward death and birth, is the perfect host for the inspiration of ideas: harsh at times, life threatening in its winters of destruction, but tender in attention to the details of every petal of every wildflower resurrected in the spring. Nature and creativity obey the same laws, to the same end: life.
- Robert Redford


text:
Portland State University. Department of Psychology
First Advisor
Nancy A. Perrin
Date of Publication
Document Type
Degree Name
Master of Science (M.S.) in Psychology
Recycling (Waste, etc.) -- Citizen participation, Prediction (Psychology)
Physical Description
1 online resource (2, vi, 88 p.)
The prediction of self-reported recycling behaviors was examined using variations and expansions of Ajzen's theory of planned behavior. Three hundred and forty-eight residents from the Multnomah, Clackamas and Washington counties in Oregon completed a questionnaire that assessed attitude, subjective norms, perceived behavioral control, intentions, self-reports of recycling behavior, moral obligation and past behavior. Recycling behaviors and intentions were grouped into three categories of difficulty by a factor analysis. Structural equation analysis did not support Ajzen's model. It was found that although attitudes was correlated with the antecedent variables, it did not directly influence intentions or behaviors. Perceived behavioral control had the largest direct influence on behavior. Subjective norms had the greatest direct influence on intentions. Past behavior, as measured, was not significantly related to any variable in the model. The inclusion of moral obligation added significantly to the ability to predict recycling behavior. Moral obligation directly influenced subjective norms, attitude, perceived behavioral control and behavior. The results suggest that programs that aim to increase recycling behaviors should focus on: the community good as the motivation for recycling, the impacts of the individual's recycling behavior on community resources, the "how to's" of recycling, and supplying services and information about those services.
In Copyright. URI: http://rightsstatements.org/vocab/InC/1.0/ This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s).
If you are the rightful copyright holder of this dissertation or thesis and wish to have it removed from the Open Access Collection, please submit a request to email@example.com and include clear identification of the work, preferably with URL
Persistent Identifier
Recommended Citation
Kiwala, Kathleen L., "A Model to Predict Recycling Behaviors: Reusing Ajzen's Model One More Time" (1993). Dissertations and Theses. Paper 4607.


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The California Department of Insurance has approved a filing by USAA to give homeowners insurance discounts to USAA members living in communities recognized by the Firewise Communities/USA® program. This discount applies to policies issuing or renewing on or after October 1st 2014.
What is USAA?
USAA provides insurance, banking, investments, retirement products and advice to 10.3 million current and former members of the U.S. military and their families. Known for its legendary commitment to its members, USAA is consistently recognized for outstanding service, employee well-being and financial strength. USAA membership is open to all who are serving or have honorably served our nation in the U.S. military – and their eligible family members. Founded in 1922, USAA is headquartered in San Antonio.
What is Firewise Communities/USA®?
The national Firewise Communities/USA recognition program is administered by the National Fire Protection Association (NFPA) and provides a 5-step template for wildfire safety at the neighborhood level. Participating communities follow these guidelines to achieve initial recognition and then commit to annual activities to maintain this status.
What is the discount?
To reward USAA members and encourage more residents of wildfire risk areas to take safety steps, USAA is providing a 5% discount on the homeowner's insurance premium of its members who live in communities recognized by the Firewise Communities/USA program in California.
How do I become eligible for the discount?
USAA members living in a recognized community with a USAA California homeowner's policy will automatically receive the discount when their policy renews on or after October 1st, 2014. USAA has partnered with Firewise to automatically determine if a home is in a recognized community. The Firewise website has a list of the recognized communities. Residents need to know the name of their subdivision or community. New USAA policies for homes in recognized communites also qualify for the discount. If your community is not a recognized community, the Firewise website provides information on how to start the recognition process. If you are a USAA member living in California, you must reside within the boundaries of a recognized Firewise Communities/USA site to qualify for the discount. You can check your community's status by reviewing this map and you also may speak to a USAA representative to find out if you qualify.
I'm not a USAA member. Does my insurance company provide this discount?
To date, USAA is the first large insurance company to provide a specific discount to residents of Firewise Communities/USA sites. You can speak with your insurance agent to find out if your insurer offers any discounts or other incentives for wildfire safety. California residents that are not USAA members should contact their insurance company regarding any wildfire discounts or other safety programs.
Is USAA going to make this discount available to its members who live in other states?
USAA intends to pursue this discount for its members living in states with significant wildfire risks. To do so, the company must file for a rate change with each state's Department of Insurance for approval or notification. When those filings take place they are typically a matter of public record and NFPA will be keeping its website up to date on this topic.
I've done Firewise mitigation work on my home, does that make me eligible for a discount?
Congratulations on taking steps to better protect your home. USAA believes community-level action is important and provides the discount to members in participating Firewise communities to reward actions taken at the community level, rather than singling out individual properties. USAA offers other wildfire related products and services to its members; please contact USAA for more information. If you have done work on your property, and would like to significantly reduce the risk of wildfire loss in your community, please talk to your neighbors about joining with you to start the Firewise recognition process.
Why is the discount for Firewise instead of other programs?
The Firewise Communities/USA recognition program has national scope and consistent criteria for recognition. NFPA has collected and maintained data on all participating communities since 2002, including data that specifies the exact location boundaries for each community. USAA's research also found a favorable difference in loss experience for members who live in Firewise communities in California. USAA chose the NFPA/Firewise based on their expertise and experience in the community wildfire prevention and feels its program best aligns with its wildfire strategy.
Other Firewise and USAA related resources
- Find out if you are a part of a Firewise Community.
- Submit an application to to become a Firewise community.
- USAA's three ways to keep wildfires away.
- USAA's tips to prepare against wildfire.
- See if you are eligible for USAA Homeowners Insurance.


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VIDEO: Introducing our new vertical garden!
Thursday, 14 July 2016
by Natura Pacific
Would could be better than a cool wall of green and the sound of trickling water in your workplace? The team here at Natura Pacific are very excited to be helping put together our very own green wall which will form the backdrop to our workspace. Take a look while Mark shows you how the
- Published in Announcement, GroNative, Sustainable living, Videos
Tagged under:
australian gardening, green wall, GroNATIVE, indoor ferns, indoor gardening, native plants, natura, vertical garden, work environment
A new species of water bug on the Gold Coast
Monday, 13 June 2016
by Natura Pacific
Here at Natura Education we are very privileged to be working with a team of educators and scientists that are not only skilled in delivering a variety of education programs to students of all ages, but are also experts in their respective fields. John Pumpurs is Natura Education's resident frog and water bug expert and
- Published in Announcement, Education
Natura-Pacific takes out UN Environment Award
Tuesday, 07 June 2016
by Natura Pacific
Running since 2000, more than 40 schools, journalists, local councils, environmental organisations and individuals were finalists in the 2016 UN World Environment Day Awards. And last night, in a glittering ceremony in Melbourne, Natura-Pacific was announced winner of the Business Award category. Natura Pacific, which has a small team of just 15, provides environmental education
- Published in Announcement, Community, Consulting, Education, Media
We are 2016 Healthy Waterways Awards Finalists!
Wednesday, 01 June 2016
by Natura Pacific
We are very excited to share that our recently released Waterways Field Guide has been nominated as a finalist for the 2016 Healthy Waterways Awards, in the category of Sustainable Education. These guides were developed as an initiative of Gold Coast Waterwatch, which was supported and undertaken by both the City of Gold Coast Catchment Management
- Published in Announcement, Community, Education, Media
Tagged under:
2016 healthy waterways awards, biodiversity, catchments, coastal ecosystems, environment, environmental education, field guide, gold coast, healthy waterways awards, kids in nature, learning, macro invertebrates, Natura education, outdoor education, SEQ Catchments, water bugs, water quality, waterwatch, waterways
Waterways Field Guide – Series 2 to 4 are here!
Friday, 27 May 2016
by Natura Pacific
In December last year, Natura Pacific and City of Gold Coast released the first in a series of field guides titled "Waterways Field Guide, Series 1: Water Bugs". Take a look at our article on this here. Being an initiative of Gold Coast Waterwatch, the Water Bugs guide was quickly heralded to be a success by
- Published in Announcement, Education, Resources
Natura's native plants app scores share of $1M funding
Tuesday, 15 March 2016
by Natura Pacific
Most of the plants that end up as weeds in the Australian landscape start out as garden plants. But a Gold Coast social enterprise is about to make inroads in reduce the spread of weeds. Natura Pacific, based at Burleigh Heads is working in partnership with Griffith University to produce an app which will help
- Published in Announcement, Consulting, Education, GroNative, Media
Calling all 'Earth-Friendly' early childhood professionals!
Tuesday, 12 January 2016
by Natura Pacific
Can you believe we are into a new year? If you are anything like us you may still be recovering from the end-of-year and Christmas whirlwind! For those of you in childcare this may well have been a flurry of arranging enrolments for the new year, preschoolers moving on to big school, graduations, Christmas parties,
- Published in Announcement, Education
Ethical Enterprise Awards 2015
Thursday, 05 November 2015
by Natura Pacific
This week at Natura Pacific we received some fantastic news from the Ethical Enterprise Awards 2015, run by Melbourne-based Moral Fair Ground and Australian Ethical. We have been nominated as one of 11 finalists for the award and are invited to attend the Awards Dinner and Conference in Melbourne on 4th December!! Essentially this award aims
- Published in Announcement, Consulting, Education, Media
Natura Education joins hands with Nature Play Qld!
Tuesday, 27 October 2015
by Natura Pacific
The Natura Education team are very excited to have recently joined the Nature Play Qld network! So why are we so excited? What is Nature Play all about? Well, to quote directly from their website… "Nature Play QLD's mission is to increase the time Queensland kids spend in unstructured play outdoors and in nature. It
- Published in Announcement, Education, Nature Play
- 1
- 2


text:
Translated by Shasu
Edited by Kruncs
Pingback: Summoned Slaughterer | Summoned Slaughterer – Chapter 53: This Is The New Shit - Light Novels Feed
Freaking love this novel! Thank you so much for translating and editing and all the hard work!
OMG what´s wrong with this page … the sidebar doesn´t work i try to read chapt 53 get linked to old page get a error 404 O,o
u deactivate adblock page starts scrolling up and down like it´s on some drugs


text:
Limited Staffing DVD
Limited staffing is never ideal, but it is a reality for much of the fire service. When faced with limited staffing on the fireground, it is crucial to understand the tactics that are available to you and how to keep your firefighters safe when implementing those tactics.
In this live presentation, Chief John Buckman III walks us through his operational checklist and size-up. Buckman discusses being outgunned on the fireground and the important role of command during these incidents.
It's important to understand the limitations as well as the tactics that these situations call for.
John M. Buckman III is a former fire chief, national organization leader, author, trainer, and professional photographer. He is the director of government and regional outreach for IamResponding.com and the education coordinator for the Volunteer and Combination Officers Section. He has published eight books, authored more than 200 articles, and presented programs in all 50 states, each province of Canada, the Dominican Republic, and Beijing, China. He served as president of the International Association of Fire Chiefs from 2001–2002 and cofounded the Volunteer and Combination Officers Section of the National Fire Academy Alumni Association.
DVD 2019/ 1 hour, 29 minutes
You might also be interested in:
- Firehall Mall
- First Alert Smoke & Carbon Monoxide Alarms
- Coming Soon – Pre-Order
- ATS Online Training
- NFPA Standards & Fire Codes
- Ontario Codes
- Fire Safety & Public Education Materials
- Fire Service & Rescue
- Fire Investigator
- Fire Inspection & Code Enforcement
- Apparatus Driver/Operator
- Fire Protection/Systems & Apparatus
- Vehicle Extrication/Highway Safety
- Hazardous Materials
- Industrial / Facility
- Building & Life Safety
- Fitness / Wellness / Health & Safety
- Wildland
- Management / Leadership / Advancement
- Firefighter Entry Level
- Emergency Medical Service
- Emergency Management/Terrorism
- Firefighting Novels/History/Memoirs
- Deals & Steals


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Branding's Effect on Employee Retention & Recruitment
Organizations often focus their branding and marketing efforts on enhancing the customer or client experience to make sure they get "the warm fuzzies" whenever they think about the brand. However, there is an entirely different audience segment that is often overlooked yet critically important – employees.
Your workforce, regardless of your industry, is one of the biggest representations of your company, so it's important to make sure they're as proud of your brand as you are. As marketers, we know people have an innate desire to work someplace they'll be proud of, and that intrinsic feeling drives a lot of employment decisions. This is especially true in today's connected society where when you tell someone where you work, you can guarantee they're going to Google it to check out the website.
Brand Effects on Your Current & Prospective Employees
It's the same for prospective employees. They want to know when they take that new job, they'll be able to boast to their friends about how cool their new company is. If your brand or website is struggling and your competitors' brands and websites are on-point, chances are slim you're going to be able to have the most recruited roles of 2018. They're going to go to work for the company that has a brand and website that make them feel good.
Speaking of the warm fuzzies — whereas benefits packages and compensation used to be the main selection criteria, more and more people are motivated to work somewhere or share a brand based on personal interests, community service and technology. That's why encompassing personal interests such as sustainability and charity work into your brand and website will make it relatable and personally interesting to both people who work with your company and those who desire to. Clients and prospects will appreciate the positive, more personalized image too!
MD, DC & VA Recruitment Marketing & Advertising Service
If hiring and keeping the best and brightest employees, no matter whether you are healthy or disabled employees, is important to you (and we can't imagine a scenario where it's not), give your brand and marketing materials a closer look. Recruitment marketing and advertising is becoming more and more important. If you find you need help strengthening your brand and the various mediums where it's communicated, you've come to the right place. We know just the creative agency to help. Contact our brand developers!
Reference: Hibberts.com/Unfair-Dismissal/.


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The Red Carpet Fashion Show strikes again, with leading local and international designers collectively showcasing their finest on 2 December, 2017.
Taking the runway to new heights, this year's couture calendar celebration is being hosted at the all-new super club, Cocoon, on the 31st Floor of the ABSA building in Cape Town.
Having recently undergone a R10million refurbishment the 830 sqm venue is fitted with state-of-the-art contemporary finishes throughout, enabling an 80 metre runway. Guests will be seated comfortably in lavish lounge settees, served with complimentary cocktails and elaborate canapes.
Cocoon overlooks the city with unsurpassed views of the mountain, harbour, V&A Waterfront and city bowl. Its glass casing and incandescent chandeliers add expressions of light refractions throughout, reflecting the golden glow of the surrounding city lights.
"We are beyond excited about this year's show" says Red Carpet Concepts MD and founder of the Red Carpet Fashion Show, Jade Allen. "We're pushing the boundaries with this one… I have no doubt guests will be wowed with what we have in store."
Artists Ana Kuni and Linnea Frank will be launching their East meets West exhibition at this year's RCFS. Mounted upon life-size metallic canvasses the works celebrate the universal cultural extremities unified by the embryo, drawing in the theme of The Golden Egg.
This Red Carpet Concepts Production promises live entertainment throughout the evening. After the fashion show the venue will magically transform into two dance floors, taking guests deep into the night. Attendees can enjoy an array of fabulous interactive activations and a take home gift bags exceeding expectation.
General admission tickets are R450.00, covering the fashion show, catering, welcome bubbly, complimentary cocktails and gift bag.
VIP lounge admission starts from R850.00 per person and includes extravagant catering, complimentary bubbly, speciality cocktails and wine. Elevated VIP table booking also available with bottle service and assigned waitress.
Tickets available via Quicket: http://qkt.io/RCFS2017
For more information on VIP table bookings, participation or sponsorships please contact email@example.com


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Dior is one of the most leading and demanding cosmetics brands all over the world.Dior was found in year 1947 and since then they had given so many makeup and skincare products as well as fragrances.
Diorshow New Look Mascara is one of the most eligible and exciting product for the season of spring.This product contains formula pairs nano-brush with a high precision and serum formula to multiply volume lash by lash, with instantly and continued use.This nano brush structured in two parts, the lower part of the brush is made up with four reservoirs and rows of separating spikes which loads lashes from the root and give a maximum extension.
Diorshow New Look Mascara.
Look.                              Price: $ 28.50
Note: Price is mentioned..For purchasing this product contact us at [email protected]..


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Connecting with Students During COVID-19
In the past 7-10 days, those of us who love and care for students have been thrown a curveball. I don't know about you, but I keep going to my bookshelf looking for the book, "How to Do Youth Ministry During COVID-19" and I cannot seem to find it!
Anybody else out there with me?
I thought I would share with you some things I have started doing in the past week. Clearly, right now, this is trial and error and I am no expert. But, we all have to pool our ideas and I hope this might give you some suggestions.
My sweet spot is small groups and one-on-ones. I am constantly referring back to the blog post, "The 4 Cries of a Student's Heart," that Doug Franklin wrote. The four cries of a student's heart are: 1. Spend time with me. 2. Discover Me. 3. Connect with me. 4. Pursue me.
How can I practically meet those needs when I cannot physically be in the same room with the high school girls God has gifted me for this season?
- Group Text. My small group has a group text and I am trying to reach out to them in this format every single day. Ideas: Share a Bible verse, word of encouragement, or something funny, but my favorite is to ask a question that requires a response. For something funny, it might simply be "How many days have you been in those pajama pants?". Or sometimes, I go a bit deeper, "Today I felt _______."
- Individual Text. I take a look at those daily group texts I send out and notice who is not giving me a response. Definitely reach out to them in an individual text. "Hey, haven't seen you respond…how are you doing?" Also, I treat my Zoom small group time (see below) like a normal small group time, so if someone didn't "show" up, I text them immediately after letting them know I missed them! (Be sure to check on your church's policies and procedures before contacting students individually.)
- Individual Coffee Date via FaceTime. I love my coffee dates/one-on-one chats. I am setting up times telling them to grab their favorite drink/snack and meeting with them via FaceTime. Yes, at first it is a bit awkward, but then you fall into the rhythm of it. And here is the thing, it is so great to see their faces and it gives you a much better idea of how they are doing. (Be sure to check on your church's policies and procedures before contacting students individually.)
- Zoom Small Group. I have a confession, I am old (55) and some of you young ones may have been doing this for years. I have to admit, it was a bit intimidating to me doing my first small group this week in this format. But, let me encourage you to dive in and do it! Zoom is great because not only could I see each of the girls, but they could also see each other! And THIS helps build community. Right now, as they are confined to their homes, they need community. This week my goal for our time was to get the girls comfortable with the Zoom format and we just talked about what we were thankful for. Next week, we will go to our more "normal" format of small group.
- Snail Mail Letters of Encouragement. WHAT? Do people still do that? Yes, they do and let me tell you from experience, students LOVE to get snail mail. It is a great way to say you value them enough to take a moment and HAND WRITE a note of encouragement to them.
Those of us in youth ministry have been talking about how busy our students are. We have been reading the books on how to get them to our youth events. Right now, we have a captive audience! Yes, they have their e-learning, but there are no sports and clubs filling up their time. Right now, these students have only time on their hands.
We are being given an incredible opportunity to pour into them and care for them. Yes, it looks a bit different than what we signed on for, but it can be done with God's help.
As an adult, I am having a difficult time wrapping my head around where we are right now with this COVID-19. Can you imagine how they are feeling? Let's give them a safe place to process and shine the light of Jesus into this darkness.
About the Author
Cheryl Franklin Baertschi
Cheryl Franklin Baertschi and her husband live in Carmel, Indiana and have raised 4 boys. After their youngest left the nest 6 years ago, she decided to fill the quiet house with high school and college age girls that she could encourage, mentor and disciple. She continues to learn daily from them.


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I am making a WordPress plugin and hit a rough point. I'm trying to make it so a user can select from all their post types, including custom post types. The code I have below shows the post, page, and attachment post types in a dropdown in the WordPress admin.
$args = array(
'public' => true,
'_builtin' => true
$output = 'names'; // names or objects, note names is the default
$operator = 'and'; // 'and' or 'or'
$post_types = get_post_types( $args, $output, $operator );
echo '<select name="custom-post-types">';
foreach ( $post_types as $post_type ) {
echo '<option value="'. $post_type.'">' . $post_type . '</option>';
echo '</section>';
I understand how users could use their functions.php to hook in their custom post types, but I am trying to avoid that pain for them and rather have the plugin grab all theirs automatically. I've tried looking at other plugins and searching but the search results aren't relevant for this and other plugins were over my head for figuring out.
Appreciate any help, thanks.


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After spending a few days in Seoul, South Korea, I took the train to Busan. Busan is the next largest city in South Korea after Seoul. This port city is a common side trip to take for visitors to Korea. Known for its nature, specifically its beaches, this city was a nice juxtapose to my South Korean adventure after Seoul. I was in Busan for two days, and this is my list of must-sees and must-dos for this city.
Gamcheon Cultural Village
This was my favourite place in Busan. It's an adorable little village with kitsch and reminiscent of Cinque Terre. Monikers that Gamcheon has been referred as include Santorini and Macchu Picchu of Korea – I have never been to either, but I respectfully disagree and call it the Cinque Terre of Korea. More specifically, the Manarola of Korea.
Supposedly, you can get a map and follow it to get stickers or points or something like that. I was more than content roaming the town by myself and getting lost in the little alleyways that cut through the clustered pastel houses.
Gamcheon is a photographer's dream. Littered all over this village are street art of sculptures and murals, all created by the residents.There were ample space and alone time for me to take lots of photos along the way (without an audience). Residents are extremely friendly, and pay you no mind at all. Except for the few ahjummas who slowed down and smiled while I was having my solo photoshoot. But then would scurry away sheepishly when I asked them to join me for a photo.
Some viewpoints here would be the Stairs to See Stars no romantic connotation here; it was named so because the stairs were so steep that at the end of climbing it, you would get so dizzy from exhaustion that you'd see stars. The Little Prince and Fox statue is a famous photo location perched at the top of Gamcheon. Supposedly there's always a line for a photo here, but I was lucky that I only had to wait a turn.
Use the Tourist Bus
Be like a local and take the Busan tourist buses. Although the bus service is meant for tourists, evidently it's catered more for the Korean tourists. The tour guide will wholly be in Korean though there are English language pamphlets. The drivers don't speak English either, but you can get by with basics.
There are two companies that run the tourist buses, Busan City Tour Bus (BUTI) and Jumbo Bus. Both the buses depart from the same stop at Busan station. The buses run different routes, so I used both services to get to the next attractions listed here.
Taking the tourist buses were the easiest and fastest way to get from one tourist attraction to the next. Although Busan is well-connected by metro and buses, some of the attractions are located at opposite ends and would require lots of planning. I only had a full day to visit all the places below, and the BUTI and Jumbo Bus combo did it for me.
Haedong Yonggusa Temple
Haedong Yonggusa Temple is one of the more unique temples I've visited because it was built right on the rocky cliffs by the sea. The temple overlooks the beautiful sea, and the view is the definite highlight here. This Buddhist temple was first built in 1376 by the great Buddhist teacher known as Naong during the Goryeo Dynasty.
I entered by the back, via the Fisheries Science Museum. If you enter by the supposed real entrance out front, you'll walk through a street market of sorts. Statues of the 12 zodiacs will also greet you. It was extremely crowded when I visited. The temple was decorated with colourful lanterns and I believe it was in preparation for Buddha's upcoming birthday.
Haeundae Beach
This is the most famous beach in Busan. As expected, it was crowded. AF. While I was there, there was a sandcastle event going on. It was not summer when I visited, but the sun was shining bright and warm. I imagine the waters were still quite chilly though, I was comfortable in my leather jacket getup.
A friend highly recommended that I stay at Haeundae Beach, not just for the easy beach access, but also due to the dizzying array of food options in the area. Also because Haeundae is not dead at night. If it was summer, I'd probably stay at Haeundae Beach, I chose not to since it was much too chilly to do any swimming.
If you want a more peaceful and less crowded beach experience, hop on over to…
Gwanggali Beach
Granted, I didn't actually visit Gwanggali beach, but the bus went past this stretch of beach.
Save some joggers, the beach was empty. Gwanggali may not be as long as Haeundae beach, but I imagine the lack of people here makes for a more peaceful day in the sea.
Taejongdae is considered one of Busan's natural monument.
Prior to arriving here, I kept reading blog after blog telling me to take the Danubi tram up. And nothing useful came up when I googled if I could just, well, walk up. FYI, you most definitely can. The hike up is perfectly doable hike, by the way, and extremely pleasant, past the sea and lots of trees.
It's most famous for its rock beach, the Instagram shot, if you will. The rock beach unfortunately enough, was gated off at the time of my visit. I'm guessing it was due to weather; it was extremely windy when I visited. Like crazy windy. The needle-like structure in front of the Yeongdo Lighthouse is also another trademark of the park.
You're suppose to be able to get down on the other side of the cliffs to some tented eateries, where local ladies will serve you the freshest seafood. I wasn't able to, because the wind was so strong at one point I literally couldn't move forward. Insane. For the sake of not falling over the steep stairs, I apologized to my tummy and backed the hell up where I came from. I saw the tented eateries from above though, so they were still open. Wondering how their tents were intact down there.
Oryukdo Island
Like Taejongdae, Oryukdo Island is a monument of Busan.
There is a skywalk that is basically a glass-bottomed bridge hanging off the cliff. As this was my second last stop of the day by BUTI, I arrived about 6.00 pm, and missed walking here. It closes at 6pm.
Oryukdo Island is really a cluster of rock islands off the southern coast or Busan. Depending on the day and tide, you're suppose to be able to see either five or six rock islands. Oryukdo is made up of Usakdo, Surido, Gonggotdo, Guido and Deungdaedo. Supposedly you can hike along the coastline as well. If you're not hiking, you're there to spot these five islands, and enjoy the view. And I suppose go on the Skywalk, which I didn't feel like I missed out on since it's literally a short glass-paned 5-minute walkway that lets you see directly to the sea below. Regardless, Oryukdo Islands was a beautiful location to bookmark on a trip to Busan.
Nampodong / BIFF Square
Nampodong was my last stop on the BUTI bus. This is your vibrant shopping street – the Myeongdong of Busan. Nampodong is home to the BIFF (Busan International Film Festival) Square. Spot the many handprints and footprints of famous stars scattered all over the area.
This is where you also indulge in Korean street food. Try the Hotteok, a fried pancake stuffed with brown sugar and sunflower seeds. Simple, but ultra addictive. Fishcake is a specialty of Busan too, so grab a stick of Odeng at one of the many carts there with a side of Tteokbokki.
Fortune-telling seems like a huge thing here, as one whole section of the market were just rows of small tents of Korean fortune tellers and tarot card readers.
Jagalchi Fish Market
I'm not a big fan of fish – also one of the reasons why the famous Noryanjing Fish Market was not part of my itinerary while in Seoul – but this was very close to Nampodong. I've never seen so many live octopus in a single place, so that was an experience. The indoors fish market didn't smell fishy at all which I thouhgt fascinating. It smelled like the sea – testament to how fresh the seafood is there. A thing to do there is to purchase the fresh seafood, and have it at freshly cooked to your preference at the many restaurants there.


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Immm Rice & Beyond, the unique Thai street food spot in Uptown from the co-owner of Spoon Thai, opened on Sunday. The restaurant features a rotating selection of steamed rice dishes at the former Thai Avenue address at 4949 N. Broadway St. The restaurant was also referred to as Immm Tong.
The featured items, kao rad gaeng — a style of Thai street food served on a bed of rice— will change regularly, and ownership says to check out the restaurant's Facebook page for the day's selection. That menu will include a variety of curries, including dried panang curry with pork, green curry with featherback fish balls and sweet five-spice stew with pork, eggs and puff tofu. They'll also have more familiar items available. The soft opening is until Wednesday, and they're offering a 20-percent discount to customers.
Immm Rice & Beyond, 4949 N. Broadway St., (773) 293-7378, over 11 a.m. to 9 p.m., seven days a week.


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