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Our ten full-time faculty members ensure expertise in applied and non-commercial photography. Another ten professional and photographer and scholars add further diversity to the range of skills and ideas that students are exposed to at the Southeast Center for Photographic Studies.
Benson, Steven www.stevenbensonphotographer.com
Steven Benson has specialized in editorial, annual report and advertising photography providing digital and traditional photographic services to publishers, advertising agencies, design firms and Fortune 500 companies. He has been sent on assignment throughout North America and Europe, as well as, Mexico, the Caribbean, Russia, Brazil and Japan for clients AT&T, Ford, Chrysler, General Motors, Unisys, Borg-Warner, Allied Signal, Hughes JVC Technology Corporation and Canadian National Railroad, among others. Steven received his Masters Degree in Fine Art from Cranbrook Academy of Art. He is the recipient of three Creative Artist Grants from the Michigan Council for the Arts and a NEA/ArtsMidwest Fellowship. His photographs are represented in museum collections including the Museum of Fine Art-Houston, Detroit Institute of Arts, Bibliotheque Nationale-France, Centre Georges Pompidou, and Museet for Fotokunst-Denmark. Recent solo exhibitions have been at FotoFest Biennial, Argentinean Biennial of Documentary Photography (2004), International Festival of Photography-Poland, Internationale Fototage Biennial-Germany (2005), International Photography Gathering-Syria, Daegu Photo Biennale-South Korea, Lianzhou International Festival of Photography-China, Odense Foto Triennale-Denmark (2006), FlatFile Galleries-Chicago (2007), and FotoFest Biennial (2008).
His book, The Cost of Power in China: The Three Gorges Dam and the Yangtze River Valley, with essays by A.D. Coleman and Dai Qing, was published by Black Opal Press (2006). He has been an educator, fine art and commercial freelance photographer for more than 25 years. He is on the National Board of Directors of the Society for Photographic Education.
Biferie, Dan - Chairperson www.danbiferie.com
Dan Biferie is an active artist and has displayed his photographs in more than 150 exhibitions nationally, which include "Contemporary Photography As Phantasy," Santa Barbara Museum of Art, CA; "Fact & Fiction: The State of Florida Photography," Norton Gallery of Art, West Palm Beach, FL; "20th Century American Photography," Nelson-Atkins Museum of Art, Kansas City, MO; "Four Southeastern Photographers," Contemporary Arts Center, New Orleans, LA; and "Dan Biferie, Digital/Photographs," Galeria FF, Lodz, Poland. His works have been widely published and are represented in major public collections including, the National Museum of American Art, New Orleans Museum of Art, the High Museum and the Bibliotheque Nationale in Paris. He has lectured and conducted workshops at numerous colleges and museums throughout the nation. He was awarded an Individual Artists Fellowship from the Florida Division of Cultural Affairs for his work in digital imaging in 2008.
Dan is a Senior Professor and Chair of the Daytona State School of Photography, where he has taught for the past thirty-four years. He was founding director of the DBCC Gallery of Fine Arts, organizing more than 500 different exhibitions, lectures, workshops and seminars during his twelve-year tenure, and served on many state and national arts panels. He played a leading role in the creation of the Southeast Museum of Photography. He received his MFA and BFA from Ohio University and an AS in photography from Daytona State College.
Breitenbach, Eric ericbreitenbach.com
Eric Breitenbach is a documentary photographer and filmmaker who has exhibited his work in both media widely throughout Florida and the southeast. Since 1991 he has had films shown on public and cable television, and more recently has produced documentaries for The Sundance Channel, Fox, Lifetime Television, and National Geographic Explorer. His photographs have been published in such magazines as Newsweek, Details, The New York Times Magazine, Essence, and Information Week. He is one of ten photographers represented in A New Life - Photographs From The Suburban South, published by DoubleTake Books and W.W.Norton.
Eric has been a faculty member at the Southeast Center for Photographic Studies at Daytona State College since 1981. He has also taught as an adjunct in the UCF film program and in the art department at Rollins College. He lives in Deltona with his wife Phyllis and an array of four-legged companions.
Burrell, Jason - B.S. Coordinator www.jasonburrell.com
Jason Burrell attended the Rhode Island School of Design Summer Program and earned a Bachelor of Art in Studio Art from Salve Regina University. For his junior year he attended Parson's School of Design in Paris. His education continued with a Master of Fine Art in painting from the Savannah College of Art and Design and a second Master of Fine Art, this time in drawing, from the University of Cincinnati. He exhibits his paintings and drawings across the country and internationally.
Jason serves as the program coordinator for the University of Central Florida component of the Southeast Center for Photographic Studies.
Jarvis, Elena - Journalism www.dscinmotion.com is the campus paper
Elena Jarvis is a veteran feature writer, columnist and editor, with more than three decades of professional experience for news organizations such as Gannett, Scripps-Howard and The Times Mirror Company. She also has an extensive freelance background and has taught journalism since 1989.
Before coming to Daytona State College in 2001, she was adviser of Student Media at the University of California, Los Angeles. Besides being the lead journalism professor, Elena is the student advisor for the student publications "In Motion" and "Ole"
Miller, Kevin - Director, Southeast Museum of Photography
Kevin Miller is the Director of Daytona State College's Southeast Museum of Photography. Since 2001 he has curated and presented more than 200 exhibitions and produced numerous exhibition catalogues and texts. With a background and studies in Photographic History and Theory, Art History and Museum Studies, he has previously held positions as the Department Chair of Visual Arts at Daytona State College, photography faculty at Southern Illinois University and as the head of photographic studies at Charles Sturt University and the Melbourne School of Art, both in Australia. Prior to commencing his academic career in 1986, he operated a freelance fine art and commercial photographic business. He holds graduate qualifications from the Royal Melbourne Institute of Technology and an MFA from Southern Illinois University.
Monroe, Gary www.garymonroe.net
Upon leaving the University of Colorado at Boulder in 1977 with a Master's degree in Fine Arts, Gary Monroe returned home to photograph the old world culture of Miami's South Beach. Grants from the National Endowment for the Arts, the Cultural Affairs Division of Florida's State Department, Florida Humanities Council and the Fulbright Foundation have supported his photography. His photographs of Haitian people, throughout Haiti and Florida, followed. He next photographed "the rite of passage" of vacationers at Disney World for a decade. Since, he has traveled to photograph in countries including Brazil, Israel, Spain, Cuba, India, Trinidad, Poland and Egypt. He is currently photographing the effects of corporate-driven architecture on the Florida landscape, among other interests.
His long-time fascination with outsider and vernacular art has led Gary to write about non-traditional Florida art. His book, The Highwaymen: Florida's African-American Landscape Painters, was published in 2001. In 2003, Extraordinary Interpretations: Florida's Self-taught Artists was released. Harold Newton: The Original Highwayman followed in 2007. His third Highwaymen book, about Al Black's prison murals, was published in 2009. His book, Silver Springs: The Underwater Photographs of Bruce Mozert, was recently released, while his book about E. G. Barnhill, an early photo-colorist, will be published next year. He has written articles for magazines, such as Smithsonian, Folk Art Messenger and Raw Vision. .
Spencer, Steven
Steven Spencer earned an MFA from Louisiana State University, a B.S. in Photographic Technology from Florida A& M University and an A.S. in Industrial Photographic Technology from Brevard Community College. He did additional graduate work at the Nova Scotia College of Art & Design. He joined the faculty in the University of Central Florida Art Department in 2003 where he teaches courses in the B.S. in Photography degree program as well as History of Photography courses.
Before teaching for UCF Steve worked in the professional photographic industry for over 22 years and has been published extensively. He was the photographer for the State of Louisiana's Office of Tourism, managed a commercial photographic lab, and was employed as a photojournalist. He has conducted photographic workshops in academic and professional settings in the digital technologies, the archaic processes, photography as installation, and the fine art of book making. He has authored a Photoshop Skills Workbook and a workbook on the Art of Non-Silver Photography. Steve has exhibited in group and juried shows regionally and nationally with one-person exhibitions in Canada and the U.S.
Wyatt, Laine www.lainewyatt.com
Laine Wyatt is an Assistant Professor with the University of Central Florida where she has taught art and photography since 2000. She took an undergraduate degree in studio art/photography from the University of Florida, did postgraduate work at San Francisco State University and received her MFA in studio art/photography from Florida State University. Wyatt was awarded an Individual Artist Fellowship from the Florida Division of Cultural Affairs in 1997, and a Faculty Development Grant from the College of Wooster in 1999 where she was a visiting professor. She was also awarded an Artist Enhancement Grant from the Florida Division of Cultural Affairs in 2006, 2007 and again in 2008.
Laine has exhibited her work in approximately 100 shows across the nation and in Europe and has won a number of awards for individual works. She is an active member of the Society for Photographic Education and has served as Portfolio Reviewer at the national conference since 2005. She coordinates the annual thesis show for the Southeast Center for Photographic Studies/UCF seniors. She taught previously at the College of Wooster in Wooster, OH, and at Florida State University.


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Bungie is adding some new weapons and vehicles to the Halo armory for this fall's Reach, but those toys aren't what everyone is going to be talking about. No sir. The big deal this time around is armor abilities and loadouts. The developer recently went into detail about all of these new changes to help get you ready for that May 3 public beta. We've picked the highlights out here to fill you in on what's what.
But first, a word about Elites. These warriors are going to be unlike anything you've experienced before, according to Bungie. Bigger, faster, and with better shields, these are not the same guys you remember from the first Halo game. Normally, they're roughly the same speed as a Spartan, but with the new Evade roll maneuver, they are described as "easily the most agile combatants on the battlefield in multiplayer." Add in health that recharges fully without the need for health packs and at a faster clip and you might start to think that these guys are a bit unbalanced. Bungie apparently thinks so, too. In some modes, the games will only be Spartans vs. Spartans or Elites vs. Elites. No mixing of species here. However, there are some modes that Bungie is not detailing just yet in which the classic foes will face off.
Now, back to the equipment. Armor abilities are not something that you'll find and pick up on the map, as you did in the past with the overshield or active camo. They come packed in Load Outs, which is essentially Halo's new class system. Each gametype or matchmaking list will have a set of Load Outs defined by Bungie for you to choose from. These will include which armor ability you get, as well as your starting weapons. Some options shown included the Air Assault Load Out (pistol, rifle, 2 frag grenades and the jet pack) and the Operator (shotgun, pistol, 3 frag grenades and the armor lock ability). If you kill someone, their weapons will fall and be up for grabs as usual but the armor ability will not. That can only be had by choosing it in your Load Out, which can be changed mid-fight before spawning back in. Other weapons, as always, can be found in select places around each map.
For the beta, Bungie has revealed five armor abilities. Active Camo is available to both Elites and Spartans. It becomes less effective the faster you move and also jams radars, including your own. Armor Lock is a "burst of invulnerability." Hit it once for a quick bit of protection or hold it down for a longer temporary shield. When you use it, you can't move. Nothing can move you in fact, not even a vehicle which will find nothing but an impassable wall. Projectiles will even get deflected. Evade is a speed burst in the form of a rolling dodge, and it is used only by Elites. The last two have already been talked about a lot and are fairly self-explanatory -- the jet pack and the spring move.
Each of the returning weapons (SMGs and battle rifles are out) have been reworked and tweaked a bit, so you can expect to relearn how they handle when the beta launches. This was a necessity for several reasons, though it stands to reason that the biggest reason for some changes is the removal of dual wielding. It's out in Reach. One weapon at a time for you.
Some of the new weapons introduced so far include the Plasma Repeater, which is a bit different than the Plasma Rifle in that it slows down as it heats up and it requires a reload instead of a recharge. It's a bit more effective than the traditional Rifle, which will still probably be the go-to weapon for Elites in the campaign. Another new Covenant weapon is the Plasma Launcher. This puppy can send a stream of four plasma explosives which then will track any opposing player or vehicle, similar to the Needler. The last new Covenant weapon introduced so far is the Focus Rifle. This is described as a combination of the Sentinel Beam and the Beam Rifle. You can zoom in with it and the launch a beam of death.
For the human tech, there's a new grenade launcher. The neat part about this is that if you hold down the trigger after firing, the grenade won't explode. This allows you to decide when that grenade will go off and I can already see pros using this to make inexperienced players look really bad.
No new vehicles are being introduced for the beta. The Warthog, Ghost, Banshee and Wraith will all make appearances. The only major change is that the chain gun on the Warthog will now overheat.
That enough for you? Everything we've seen and heard so far points to Halo: Reach being a huge leap forward over past entrants to the franchise. And Bungie isn't yet done revealing new features. Stay tuned.

subset: commoncrawl


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1-10 October 2012
Plac Grzybowski, Warsaw, Poland
Sukkah is a impermanent structure created as a commemoration of the dwellings, which gave a temporary shelter to the Israelites on their migration away from Egypt. Sukkah City event originates from New York, where in 2010 international competition chose twelve architects to build and present, their modern versions of the ancient structures. The results of their work have been presented in Union Square Park. Two years later Warsaw has a chance to host its own Sukkah City event. JCC (Jewish Community Center) Warsaw has chosen five architectural offices to construct their interpretations of Sukkah, which can be viewed in Plac Grzybowski from 1st of October for ten days.
Sukkah's design rules:
• "The roof must be made from something that once grew in the ground, and is no longer attached to the earth"
• "In day, one must have more shade than sunshine"
• "At night, one must be able to see the stars from within the Sukkah, through the roof"
• "The Sukkah must be at least 10 Handbreadths tall"
• "The roof cannot be made of utensils, or anything conventionally functional when is not part of the Sukkah"
• "The third wall doesn't need to be complete"
• "Roof cannot be made out of food"
• "The Sukkah must enclose a minimum area of at least 7 x 7 square handbreadths"
• "The Sukkah must draw the eye up to its roof, and to the sky beyond"
Following the above mentioned "manifesto" our proposal for the Sukkah refers to both its location and specific time of the year adding other meaningful layers to the already quite characteristic construction typology. Warsaw is a place, where at this time of the year, kids have a great opportunity, to get to know basic concepts of construction for the first time. They gather chestnuts from the ground and then connect them with wooden sticks attempting to create simple forms which often resemblance animal figures. We have decided to take up a challenge of verifying, whenever it is possible to use the chestnuts as a real construction material. Hanging from a rather iconic wooden structure the small fruit is assembled into a catenary, to fulfill the function of roof and walls at the same time.
People involved:
Krzysztof Banaszewski, Małgorzata Kuciewicz, Simone De Iacobis, Kasia Kuźmińska, Krzysztof Syruć, Jelena Markovic, Davide Gravino, Michal Supron, Paul Juin, Magda Pawlikiewicz
– official event website
– New York's "Sukkah City 2010" website
Structure details:
Dimensions: 2.0 x 2.0 x 2.4m
Primary structure: wood
Secondary structure: string and wooden sticks
Roof and wall cover: chestnuts (over 8000)


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Neil Robertson made a maximum 147 in the final of the UK Championships in York this afternoon.
Up against Liang Wenbo, the world number three was 3-2 in front when he potted 15 reds and 15 blacks, followed by all of the colours.
As well as being the third 147 of his career after previous triumphs at the China Open and Wuxi Classic, the Australian has also collected £44,000 in prize money.
Robertson's latest maximum is the 115th that has been officially recorded by the sport's governing body.


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Swapo at 57: You're a man now, boy!
The rise of Swapo in the 1960s as a liberation movement to oppose racially-motivated segregation is probably the most decorated episode of its 57 years of existence. The foundation laid during that decade was strong enough to carry liberation activities in consequent years, eventually leading to national independence in 1990. Key to this was the existence of a common hunger to free the motherland, particularly among young people who did not care what tribe or part of the country they hailed from. That group of men and women simply loved Namibia. They did not love Namibia for its tenders, fishing quotas or EPLs. They shared a common national goal to restore the dignity of all of us – black, white or khaki. Many were tortured, humiliated and sentenced to hard labour in slave-like prison conditions. The facilities resembled Nazi concentration camps, yet in time the party and the people overcame these obstacles. Today many challenges continue to hover over our heads; some of them orchestrated by us. True, the legacy of colonialism is almost indelible. It cannot be wished away just like that. It is deep-rooted and may require decades of digging to uproot it entirely. But power is now in our hands. Sometimes the power seems too much and we don't know how to use it. The senior leaders of Swapo seem to still possess the desire and original ideals of the party. It's the new entrants who seemed to lose the plot. The hunger for positions, power and influence has reached disturbing proportions. The Swapo of 57 years ago was never about any of that. It was about ideals, political direction and principle. That's why it was easy for its members and leaders at the time to see where they were headed. They could smell the future and had a rough sketch of how this country would be. Irrefutably, we are the nation we are today because of Swapo. The party has worked around the clock for that recognition – so, both friend and foe ought to take their hats off for the ruling party. Swapo has a duty though to protect its legacy and history. Any shortcomings in the party today come from within. While it is true that there are external enemies of Swapo, including perhaps clandestine machinations by some foreign powers, the bulk of the problems emanate from within. The party cannot allow itself to be captured drivers of a bourgeois nationalist agenda, where the deep-seated aspirations of the masses are leapfrogged by the parochial self-interest of a few. While we reject the notion by some that things have gotten worse in Namibia after Swapo took over the reins of leadership, we agree that the gulf between the wealthy elite and those at the lower end of the economic spectrum has widened and those close to political power have become wealthier overnight, without proof of their sweat. That Namibia was until recently, or probably still is, the most unequal country on Earth is both shocking and tragic, especially considering the vast natural wealth of the country and the fact that it is under the rule of a party that once leaned heavily towards socialism and egalitarianism. We hope President Hage Geingob's continues to focus on narrowing the gap between the haves and have-nots and that his many poverty eradication interventions prove effective in this regard.
2017-04-21 10:49:41 1 years ago


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Oh my fellow introverts, have I got a challenge for you! This post is going to be filled with a little tough love.
Over the last couple of years, I've read a lot about introverts, specifically introverts and the church.
- Are Churches Isolating Introverts?
- 14 Ways to Handle a Christian Introvert.
- Introverts in the "Imago Dei?"
This last article particularly got to me. The author, Richard Beck, states,
But introverts fare poorly in these sociable churches. The demand to visit, mix, and share with strangers taxes them. Worse, given that these social activities are declared to be "spiritual," introverts feel morally judged and spiritually marginalized. As if their very personality was spiritually diseased.
As a fellow introvert, I'm going to tell you one thing. Get over it.
Now, before you think I'm being overly harsh, let me tell you I've had to give myself the same speech a million times. I'm one of the biggest introverts you will ever meet, and when each Sunday our pastor invites us to greet those around us, my heart starts pounding, and I'd love to run for the door.
But I don't.
Because church is not all about me. I think sometimes we get the wrong idea about church. We think, "What can I get out of the service this morning?" rather than thinking, "How can I glorify God at church this morning?"
Yes, I love it when I'm overcome with emotion during worship. I love it when a particular sermon strikes a chord with me. But my main purpose for being at church is to worship God with my church family. And how can I effectively worship if I'm focused on how I don't fit in? Or on how overwhelming it is to be around three hundred cheery people?" Or on how uncomfortable it is to pray aloud in Sunday School?
Believe me, at times I feel all of those things. But all of those things have something in common. They are focused on me, me, me.
When I consciously focus on God and others, I find I'm not as overwhelmed by my introvertedness. When I sing, I close my eyes and pretend it's just me and God. Because really, when I'm singing it's just me…singing to God.
When I greet those around me, I try really hard to focus on the other. Who are they? What brought them to church today? By focusing on making the other person feel welcome and loved at church, I forget my own discomfort.
When I pray aloud during Sunday School, I think about the subject I'm praying for. The list of prayer requests is often long and serious. Much more serious than the way I trip over my own tongue when I pray. And God knows what I'm saying, even if the words don't come out right.
Like it or not, church is a social place. We are social beings, even if we're introverted. We need our church family to encourage us, to pray for us, and to hold us accountable. And we nee to be encouraging our church family, praying for them, and holding them accountable.
I'm not saying you have to be involved in every social activity that comes your way. But, introverts, we need to put ourselves out there. We need to get to know others and let them get to know us. We need to step outside of our comfort zones.
2 Corinthians 12:9-10 says,
But he said to me, "My grace is sufficient for you, for my power is made perfect in weakness. Therefore I will boast all the more gladly about my weaknesses, so that Christ's power may rest on me. That is why, for Christ's sake, I delight in weaknesses, in insults, in hardships, in persecutions, in difficulties. For when I am weak, then I am strong.
Am I saying being introverted is a weakness? Not really. Like any personality type, being introverted has it's strengths and weaknesses.
We're typically good listeners, good thinkers, and loyal friends. Frequently we're not so good in large gatherings, like Sunday morning worship services.
So what is the secret to thriving in the church as an introvert? It's simple. Not easy, but simple.
Use your strengths to glorify God. But don't hide behind your weaknesses and say church isn't for you. Allow God to overcome your weaknesses. You'd be surprised at how He can use you on a Sunday morning. Just give Him a chance. When you are weak, He makes you strong. And when He does, all the glory goes to God. And that's the way it should be.
Like this post? Keep reading!
This post is linked at Essential Things Devotions.


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This web site discusses projects, programs, and guidelines adopted by the ASCE to promote sustainability in engineering.
This web site discusses projects, programs, and guidelines adopted by the ASCE to promote sustainability in engineering.
U.S. Department of Energy – Energy Efficiency & Renewable Energy
The U.S. Department of Energy's Energy Efficiency and Renewable Energy site promotes governmental green initiatives.
A non-profit organization committed to promoting the goals of sustainable development through the production of LEED standards, which seek to help engineers and architects develop cost-efficient and energy-saving green buildings.
The WBDG is a web-based portal providing one-stop access to up-to-date information on a wide range of building-related guidance, criteria and technology from a 'whole buildings' perspective. It is made available by the National Institute of Building Sciences.
Allen, David T. and David Shonnard. 2002. Green engineering: Environmentally conscious design of chemical processes. Upper Saddle River, N.J.: Prentice Hall PTR.
After a brief discussion of the role of professional engineers and scientists in sustainable development, this book presents a series of case studies looking at issues of water use and management, air pollution, decision-making in regard to the environment, and social and ethical dimensions of sustainable development.
Desjardins, J.R. 2000. Environmental ethics: An introduction to environmental philosophy. Belmont, C.A.: Wadsworth Thomson Learning. (3rd ed.)
The text serves as an introduction to ethical theory as it applies to environmental issues and as a casebook on contemporary problems of science, industry, and individual decision-making. It provides a readable, yet philosophically careful survey of the field of environmental ethics. It is comprehensive, covering topics from the relevance of Aristotle's ethics for environmental issues to Deep Ecology and Ecofeminism.
Gorman, Michael E. Matthew M. Mehalick, and Patricia Werhane. 2000. Ethical and environmental challenges to engineering. Upper Saddle River, N.J.: Prentice Hall.
This book features full-length, multi-faceted, real-life cases of design and managerial dilemmas involving environmental ethical dilemmas in a variety of settings--together with background readings that illustrate how one can integrate ethical and environmental challenges into engineering decisions, especially early in the design process.
Haselbach, Liv. 2008. The engineering guide to LEED-new construction: Sustainable construction of engineers. New York: McGraw-Hill.
An anthology of case studies, essays and recommendations for the environmentally-friendly mechanical design of products and processes.
Olson, Robert L. and David Rejeski. 2005. Environmentalism and the technologies of tomorrow: Shaping the next industrial revolution. Washington: Island Press.
This volume provides a detailed explanation of the scientific principles that underlie sustainable design, as well as discussing the ethical concepts inherent in green design from a multidisciplinary perspective. Includes case studies and exercises for students.
Vallero, Daniel A. and A.P. Vesiland. 2007. Socially responsible engineering: Justice in risk management. Hoboken, N.J.: John Wiley Publishing Company.
This book focuses on environmental aspects of engineering ethics, gives a historic and philosophical background for the concept of environmental justice, and discusses the technical tools necessary to help engineers evaluate projects from an ethical perspective and to properly access the risk it presents to communities that may be impacted.
Vallero, Daniel. 2006. Paradigms lost: Learning from environmental mistakes, mishaps and misdeeds. Boston: Butterworth-Heinermann.
This book contains a large number of case studies about environmental mistakes and disasters in engineering. Each case includes a scientific explanation of what went wrong, and how similar problems could be avoided in the future. The volume discusses issues such as ethics, risks, and reliability, how pollutants move through the environment, and best practices in dealing with environmental issues in engineering.
Van Deveer, Donald and Christine Pierce. 1997. The environmental ethics and policy book : Philosophy, ecology, economics. Wadsworth Publishing.
Environmental ethics, ethics and economics, ecological risk, sustainable development.
Wilcox, John R. and Louis Theodore. 1998. Engineering and environmental ethics: A case study approach. New York: Wiley Publishing.
This is a collection of over 100 case studies looking at engineering ethics in the environment. Each case is accompanied by expert case studies that examine underlying philosophical aspects and discuss how the problems in the case could have been addressed better or differently. The cases are organized by engineering discipline, and environmental issue (waste disposal, public safety, etc.).
Duffell, R. 1998. Toward the environment and sustainability ethics in engineering education and practice. Journal of Professional Issues in Engineering Education & Practice. 124(3): 78-90.
Minteer, Ben and James Collins. 2008. From environmental to ecological ethics toward a practical ethics for ecologists and conservationists. Science and Engineering Ethics. 14(4): 483-501.
The authors discuss how the emerging field of ecological ethics offers a practical or scientific ethics that offers a superior approach to the ethical dilemmas often faced by ecological researchers and managers in the lab, field, and conservation facility.
Nelson, Michael P. and John A. Vucetich. On advocacy by environmental scientists: What, whether, why, and how. Conservation Biology. 23(5): 1090-1101.
This article discusses the nature and appropriateness of advocacy by environmental scientists, and reports the results of a literature review during which the authors catalogued, categorized, and critiqued the arguments used for and against the appropriateness of advocacy by environmental scientists. Most arguments, whether for or against advocacy, are characterized by some significant deficiency. From their analysis of the literature, they argue that advocacy is nearly unavoidable, and that scientists, by virtue of being citizens first and scientists second, have a responsibility to advocate to the best of their abilities, to improve their advocacy abilities, and to advocate in a justified and transparent manner.
Peet, John and Hartmut Bossel. 2000. An ethics-based systems approach to indicators of sustainable development. International journal of sustainable development. 3(3): 221-238.
Discusses the need and a method to identify criteria that will allow society to judge if policies promoting sustainable development are a success.
Perdan, Slobodan, Adisa Azapagic, and Roland Clift. 2000. Teaching sustainable development to engineering students. International Journal of Sustainability in Higher Education. 1(3): 267-279.
This paper outlines the way in which a multidisciplinary approach to teaching sustainability has been embodied in learning programs and activities in engineering at the University of Surrey, UK. More specifically, it describes a project to develop a comprehensive IT-based learning resource comprising a set of multidisciplinary case studies and support material in order to aid engineering students in understanding the concepts inherent in sustainability and how solutions can be developed.
Prendergast, J. 1993. Engineering sustainable development. Civil Engineering. 63(10): 39-42.
Sustainable development, civil/structural engineering, professional responsibility, environmental impact.
Rowden, K. and B. Streibig. 2004. Incorporating environmental ethics into the undergraduate engineering curriculum. Science and Engineering Ethics. 10(2): 417-422.
The article describes a three-hour unit on the economic and environmental impacts of the product desig developed at Gonzaga University that focuses on the design of personal computers. Historically, products have not been designed to be recycled easily. By incorporating environmental ethics into our classrooms and industries, valuable materials can be recovered and harmful materials can be eliminated from our waste stream. Future engineers must consider the economic cost-benefit analysis of designing a product for easy material recovery and recycling versus the true cost of the disposal and continued use of virgin materials.
Rusinko, C.A. 2007. Green manufacturing: An evolution of environmentally sustainable manufacturing practices and their impact on competitive outcomes. IEEE Transactions on Engineering Management. 54(3): 445-454.
This paper presents an exploratory study of the relationships between specific environmentally sustainable manufacturing practices, and specific outcomes in the U.S. carpet industry to discover if these environmentally sustainable practices are associated with positive competitive outcomes.
Sau., R. 2000. Creating sustainable global advantage for America's technology industries. IEEE Transactions on Engineering Management. 47(2): 283-284.
Sustainable development, technology development, business, ethics and economics.
Seglas, J. D. Ferrer-Balas, and K.F. Mulder. 2010. What do engineering students learn in sustainability courses?: The effects of the pedagogical approach. Journal of Cleaner Production. 18(3): 275-284.
Paper presents the results of a five year research project that analyzed how sustainable development competences were introduced into technical universities, and to evaluate which pedagogical approach facilitates student learning in this area.
Shen, Li-Yin, Vivian W.Y. Tam, Leona Tam, and Ying-Bo Ji. 2010. Project feasibility study: The key to successful implementation of sustainable and socially responsible construction. Journal of Cleaner Production. 18(3): 254-59.
This paper introduces a new approach to conducting project feasibility studies by embracing the principles of sustainable development, and including economic performance attributes, social performance attributes, and environmental attributes.
Van Dyke, Fred. 2005. Teaching ethical analysis in environmental management decisions: A process-oriented approach. Science and Engineering Ethics. 11(4) 659-669.


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Government Orders You Tube To Censor Protest Videos• http://www.prisonplanet.com/
In a frightening example of how the state is tightening its grip around the free Internet, it has emerged that You Tube is complying with thousands of requests from governments to censor and remove videos that show protests and other examples of citizens simply asserting their rights, while also deleting search terms by government mandate.
The latest example is You Tube's compliance with a request from the British government to censor footage of the British Constitution Group's Lawful Rebellion protest, during which they attempted to civilly arrest Judge Michael Peake at Birkenhead county court.
Peake was ruling on a case involving Roger Hayes, former member of UKIP, who has refused to pay council tax, both as a protest against the government's treasonous activities in sacrificing Britain to globalist interests and as a result of Hayes clearly proving that council tax is illegal.
1 Comments in Response to Government Orders You Tube To Censor Protest Videos
Well, that settles it.
Google is evil.


text: I don't have an Ipad and I would like to know if you can search for a specific book from Istore without having an Ipad? For example, it's very easy to know if there is a specific book for the Kindle and the Nook by going to their web sites, but i can't find a similar site for Ipad. Link/s appreciated.


text:
Images like this make me smile. They're obviously going for a relaxing domme with service slave type vibe. The lady has a comfy chair, a book to read and a snack to enjoy. There's a handy slave with a tray for nibbles attached to his nipples and an open mouth for any odds and ends she needs to dispose of. There's even a log fire to light should she get chilly. And then we get to the enormous clear heel stripper shoes. How do they fit into this picture? Who settles down in their living room for a relaxing read with those on?
Some people even make the idea of playing in fuzzy slippers a tagline for their blog. I can't say I'm much of a slipper fan, but I think they would actually make this image hotter. Forget improving the plot lines or sexual chemistry in porn shoots – lets start with just some costuming logic.


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Featured Tutorial
Unlocking the Power of 3D Text Animation in FCPX by Robert Scheid
If you are at all like me, Apple's recent announcement of Final Cut Pro 10.2 had you scrambling to explore the new additions, fixes and features. The Import window has become more streamlined, eliminating an unnecessary popup menu, the Color Board has now become its own movable effect, so we can finally place it before the once again useful Broadcast Safe effect, and several Motion-esque features have been added. From the world of Motion, we can now draw Linear, Bezier, and B-spline masks on our video elements through the new Draw Mask effect.
Also making an appearance are Motion's 3D manipulation capabilities through the addition of 3D text, a great addition to both programs. However, as anyone who has starting playing with this 3D text feature will eventually notice, FCPX has not given us the ability to animate this newly created and oh-so-beautiful text in the 3D space. Despite being able to manipulate text in a three dimensional space using on screen arrows and hoops in the Viewer, something Motion users will be very comfortable using, the Inspector provides no access to the actual position and rotation parameters that you are actually changing. The changed values can be seen at the top of the Viewer as they are being made, just not in the Inspector. And while some might simply shrug and say "Just use Motion to animate it." I would argue that we need access to these parameters, if not simply to reset the 3D manipulation you have just done in the Viewer!
That's right. Once you manipulate the text in a 3D way, you have to hit Undo to get it back to "normal." So, I came up with a simple workaround. It basically involves publishing the parameters from Motion to FCPX that would have been great to have in the beginning:
1. Pick a 3D text of your choice in the Text Browser.
2. Control Click the choice and choose "Open in Motion."
3. With the Title layer still selected in Motion, navigate to the Inspector -> Properties tab.
4. Hover your cursor over the Position parameter and click on the downward pointing arrow that appears on the right side of the panel.
5. Choose "Publish."
6. Do the same thing for the Rotation parameter.
7. Save.
8. Close Motion and add the new custom 3-D to your project, now with 100% more animation abilities.
You can now keyframe any of the rotation or position parameters in the Inspector, animating your new 3D text without having to send it into Motion to do the job.
9. You might want to navigate to the Motion Templates folder and rename the .moti file to say something you prefer if you didn't name it first through a Save as…
Until these parameters are written into FCPX, I hope this workaround gives you the much needed control of this incredible new feature that I have come to rely on.


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Hey guys, kinda new here, hopefully I'm posting this in the right forum section.
I'm not that super oriented with computers, I'll give it my best shot to explain what's going on here.
In short my PC just won't start. The light turns on, it boots up, and then I get a black screen with text referring to either "Start Up Repair (recommended)"
"Start windows normally"
If I choose start windows normally, it brings me to the black booting screen with the windows flag, then it proceeds to go back and restart the system, going back to the black screen. OR More likely it just stays stuck on the glowing windows flag.
This also occurs if I press F8 and go into safe mode. After listing all the components before going into safe mode, it simply restarts itself and goes right back to the black screen of the two choices.
If I select Start up repair, a grey loading bar appears below that on occasion freezes. If I manually reset the computer try it again, I get to a blue windows default background screen and the message
"Startup Repair
Your computer was unable to start
Startup repair is checking your system for problems...
If problems are found, Startup Repair will fix them automatically. Your computer might restart several times during this process.
No changes will be made to your personal files or information. This might take several minutes.
Searching for problems.. (this is beneath a blue bar that has been going on for at least an hour)
There's also a Dos window that reads
Anyone have any idea of what I have to do? A friend of mine thinks I may have to reinstall the operating system, or get a new hard drive entirely.
My friend did in fact advise me of burning UBUNTU onto a disc, booting my PC on that, and then try to copy all of my data onto a portable hard drive. This worked briefly and it would take forever. It said it would require 2 hours just to transfer four jpg images to my External hard drive.
After getting as much as I could, UBUNTU froze, I restarted it, and now while in UBUNTU it won't detect my hard drive at all.
I have also attempted to make my defunct hard drive a slave, to no avail, which mostly just fails to boot the master hard drive.
My issue though is how would I take all of my things out of the hard drive, before installing a new OS/adding a new Hard drive.
thanks for the help
I have a custom built PC, with windows 7 Operating system. I believe it has a one terabyte hard drive, 6-8 gigs of ram. I can't get the specs on it because I can't get it working to find that information out
Windows 7 won't boot past starting screen, possible hard drive fai
Posted 26 November 2014 - 01:23 AM
Hey guys, kinda new here, hopefully I'm posting this in the right forum section.
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Posted 26 November 2014 - 02:45 AM
You are unsure of the storage capacity of the HDD and so may not know the answer to this question but can I ask how much free storage space was available on the drive, if it was almost full it may explain the type of behaviour that you describe.
First check that I would suggest you do is to see if the HDD is detected in the BIOS, if it is we can suggest an alternative means of attempting to back up your data;
You have a custom build so we cannot say for sure which key you need to access the BIOS, if you are unsure try tapping the Del key when you restart the computer, once in the BIOS look to see if the HDD is actually identified by the BIOS, Seagate drives will be shown as something like ST1000DM003 and Western Digital WD1002FAEX as two examples, if the HDD is not identified there it suggests one of two things, 1: the drive has failed. 2: a connection to the drive is loose or has a damaged data or power cable.
Post back once you have checked the BIOS.
NB: So that I can confirm that you have received notification of my reply to your topic please click on the Follow this topic tab at the upper right corner of the page.
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Posted 26 November 2014 - 05:03 AM
Hey phillpower2 (love the Arnold Avatar)
As for the space, I last recall I had at least 50% of free storage left.
I have 1TB on the Hard drive acting up
I have a 1TB external hard drive I've been trying to put this data back on
And I just got an extra internal desktop hard drive to put an OS and then my data on it.
Luckily most of my data (on the faulty hard drive) is photos/video, saved games
The Hard drive is in fact detected in the bios, when I check the boot options. To get to the BIOS it's the delete key. It's an MSI board(?)
However if I do boot it up via UBUNTU, Ubuntu doesn't seem to show the drive when I view check the available drives in desktop.
Well SOME Good news and a minor update, I FINALLY Got the drive to work as a secondary drive to an older hard drive of mine.
However transferring data out of this hard drive takes forever. It can take hours to transfer 3 gigs of items onto my external hard drive.
A Windows message has been popping up roughly saying "Detected a malfunctioning Hard drive, please back up your data/files"
With the possible choices of
"Remind me later
Do not remind me later (not recommended)
More info"
I'm trying my best to get all of this data out safely onto my external drive
My friend (Who's a bit more skilled at computers than I am) suggests once I get all the info out, to try re-install Windows 7 on it, try to wipe it all out and start from scratch.. Though if the hard drive is breaking, I don't know if it's capable of this or not.
Edited by Xeiconfinsha, 26 November 2014 - 05:11 AM.
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Posted 26 November 2014 - 05:17 AM
Good news that the HDD is detected by the BIOS
As for the space, I last recall I had at least 50% of free storage left.I have 1TB on the Hard drive acting up
So you had 500GB available on a 1TB HDD, if yes that is also good news as it makes data corruption less likely.
For now concentrate on recovering your data, once done we can help you with testing the HDD to see if it can be trusted or not.
Polite reminder;
NB: So that I can confirm that you have received notification of my reply to your topic please click on the Follow this topic tab at the upper right corner of the page.
Puppy Linux is what I would suggest using to recover your data as it is normally fast and has a high success rate, details below;
***Required Hardware***
CD Burner (CDRW) Drive,
Blank CD,
Extra Storage Device (USB Flash Drive, External Hard Drive)
1. Save these files to your Desktop/Burn Your Live CD:
- Download Latest Puppy Linux ISO (i.e.: lupu-528.iso)
Download BurnCDCC ISO Burning Software
There are instructions on how to boot from flash drive with puppy here; http://www.pendrivel...e-from-windows/
- Open BurnCDCC with Windows Explorer
- Extract All files to a location you can remember
- Double Click BurnCDCC
- Click Browse and navigate to the Puppy Linux ISO file you just downloaded
- Open/Double Click that file
IMPORTANT: Adjust the speed bar to CD: 4x DVD: 1x
- Click Start
- Your CD Burner Tray will open automatically
- Insert a blank CD and close the tray
- Click OK
Puppy Linux Live CD will now be created
2. Set your boot priority in the BIOS to CD-ROM first, Hard Drive Second
- Start the computer/press the power button
- Immediately start tapping the appropriate key to enter the BIOS, aka "Setup"
(Usually shown during the "Dell" screen, or "Gateway" Screen)
- Once in the BIOS, under Advanced BIOS Options change boot priority to:
CD-ROM 1st, Hard Drive 2nd
- Open your ROM drive and insert the disk
- Press F10 to save and exit
- Agree with "Y" to continue
- Your computer will restart and boot from the Puppy Linux Live CD
3. Recover Your Data
- Once Puppy Linux has loaded, it is actually running in your computer's Memory (RAM). You will see a fully functioning Graphical User Interface similar to what you normally call "your computer". Internet access may or may not be available depending on your machine, so it is recommended you print these instructions before beginning. Also, double clicking is not needed in Puppy. To expand, or open folders/icons, just click once. Puppy is very light on resources, so you will quickly notice it is much speedier than you are used to. This is normal. Ready? Let's get started.
3a. Mount Drives
- Click the Mount Icon located at the top left of your desktop.
- A Window will open. By default, the "drive" tab will be forward/highlighted. Click on Mount for your hard drive.
- Assuming you only have one hard drive and/or partition, there may be only one selection to mount.
- USB Flash Drives usually automatically mount upon boot, but click the "usbdrv" tab and make sure it is mounted.
- If using an external hard drive for the data recovery, do this under the "drive" tab. Mount it now.
3b. Transfer Files.
- At the bottom left of your desktop a list of all hard drives/partitions, USB Drives, and Optical Drives are listed with a familiar looking hard drive icon.
- Open your old hard drive i.e. sda1
- Next, open your USB Flash Drive or External Drive. i.e. sdc or sdb1
- If you open the wrong drive, simply X out at the top right corner of the window that opens. (Just like in Windows)
- From your old hard drive, drag and drop whatever files/folders you wish to transfer to your USB Drive's Window.
For The Novice: The common path to your pictures, music, video, and documents folders is: Documents and Settings >> All Users (or each idividual name of each user. CHECK All Names!) >> Documents >> You will now see My Music, My Pictures, and My Videos.
Remember to only click once! No double clicking! Once you drag and drop your first folder, you will notice a small menu will appear giving you the option to move or copy. Choose COPY each time you drag and drop.
YOU ARE DONE!!! Simply click Menu >> Mouse Over Shutdown >> Reboot/Turn Off Computer. Be sure to plug your USB Drive into another working windows machine to verify all data is there and transferred without corruption. Congratulations!
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Posted 26 November 2014 - 06:07 AM
Lot of stuff! I'll get to it soon as I get off work!
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Posted 26 November 2014 - 07:05 AM
No problem, when you are ready
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Posted 27 November 2014 - 12:09 AM
Okay I just got to it, some files are normal speed to transfer onto my external hard drive, others aren't
One set of files (3 gigs) took nearly 6 hours!
Others take 10-30 minutes. Even something as small as a few JPGs
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Posted 27 November 2014 - 04:43 AM
As painful as it may be you will need to persevere until all of your data is backed up I`m afraid, slower is possibly better btw as it is less stressful on the drive and you have a better chance of full data recovery if the drive itself is flaky.
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Posted 27 November 2014 - 04:18 PM
Well I'm almost half way there, at least I got my photos out of the way.
Is it moving slow because the hard drive i'm taking data off of, is broken/dying?
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Posted 28 November 2014 - 06:15 AM
It is entirely possible but so is it being something else such as a bad power or data cable, a diagnostic test will help but it can only be done once all data is backed up.
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Posted 28 November 2014 - 03:12 PM
Alright, ran into a brand new problem. During file transferring the PC will not boot AS LONG as the busted hard drive is in.
it will boot up and start a disk check, which freezes, whether I choose to skip it or not
So using puppy Linux I also am unable to boot to it
The last thing I recall seeing is text saying "Checking drives"
Followed by a green text at the top right corner saying "done"
after that the screen goes black.. My monitor is still active , but the screen is pitch black.
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Posted 28 November 2014 - 03:27 PM
Hi, can you disconnect the internal drive, ( Power off altogether then just pull both plugs off the drive)
Will it boot to the puppy Linux then?
Or is that exactly what you mean when you say it won't boot with the drive in?
Edit to add, please double check that the CD/DVD drive is still selected as first boot device and hasn't defaulted back to looking for the hard drive first.
Edited by Plastic Nev, 28 November 2014 - 03:31 PM.
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Posted 28 November 2014 - 03:52 PM
Yes, as LONG as the malfunctioning drive is either disconnected, or choosing DISABLED in BIOS, My spare hard drive, or puppy linux will boot. Of course, without the defunct hard drive in, I can't really get the remaining data on it
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Posted 29 November 2014 - 06:44 AM
The problem that you are having is caused by Windows being on the drive, this because by default when Windows is detected (bootable or not) it is automatically assigned the drive letter C: and set as the boot device, there is sometimes a way around this but only if a certain SATA port on the MB cannot be used to connect a boot device to, from memory I once used this method on a Gigabyte board and it was SATA port 3 that could not be booted from, other than this an external USB HDD enclosure or adapter could be used or fitting a replacement HDD with a fully up to date Windows 7 on it should allow access to the problem drive if recognised as a storage only device by the BIOS.
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Posted 29 November 2014 - 01:52 PM
wait, what should I do now?
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text:
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text:
On this page, you can find out about:
- the limitations of relaxation for overcoming dental fears, and examples of specific techniques which may be helpful, including:
- square breathing
- belly breathing (deep breathing)
- progressive muscle relaxation and
- self-hypnosis and visualisation.
Relaxation – Benefits and Limitations
Relaxation techniques can be very useful when used alongside other techniques mentioned in the Help section. This is especially true if you experience panic attacks, and you may want to learn to use relaxation techniques and practice them on a regular basis. They're not so good when you try to use them on their own – as a sole means of trying to deal with your fears. Here's why:
"I find that deep-breathing exercises and "self-hypnosis" types of relaxation exercises can and do work. The trouble with them is that they usually work only if you practice them pretty much daily. Add to this the possibility of hyperventilating if the breathing exercises are done incorrectly and the practicality of this approach seems limited. I won't say don't try meditating in the examining room, but it may not be the best place to start practising. The exception to this would be a course of relaxation training that was actually undertaken in a dental suite under the direction of a behaviour therapist probably when no examination, cleaning or intervention was scheduled. That said, systematic desensitization with "imagined" stimuli (memories of trips to the dentist) never really helped me. It has been informative, kind and competent dentists who have helped me re-learn (literally) how to be a dental patient – through repeated exposure to good, collaborative care." (John Harvey, "A Psychologist and Dental Phobic Speaks…", Journal of the Canadian Dental Association, January 2005)
Having said that, relaxation exercises can and do help. There are lots of different techniques – some more formal, some more informal, some focusing on breathing, some focusing on relaxing your muscles. Here are some common examples:
Square Breathing
"Imagine in your mind travelling round a square.
Side 1 Breathe in slowly over a count of 3
Side 2 pause for a slow count of 3
Side 3 breathe out slowly over a count of 3
Side 4 pause for a count of 3
And repeat.
By deliberately slowing the breathing down you make it much harder for the body to go in to 'panic mode' and therefore much mess likely to tip over the edge of the rollercoaster."
The above tip comes from Craigentinny's free Beat Your Dental Fear eCourse. Although Craigentinny Dental Practice is based in Edinburgh, you can subscribe to the e-course regardless of where in the world you are!
Belly Breathing
The following technique comes from Dave Carbonell's excellent "Panic Attacks Workbook".
When we panic, we often experience shortness of breath. Our first instinct is to inhale, to get our breath back. But this doesn't work, because in order to take a deep breath in, you have to first exhale all the air in your lungs. Otherwise, all you get is just another laboured, shallow breath from the chest. Belly breathing helps you with getting good deep breaths, and helps to relax and calm yourself.
Here's how to learn to belly breathe:
- Place one hand so it straddles your belt line and the other on your chest, right over the breastbone. You can use your hands as a simple biofeedback device. They will tell you what part of your body, and what muscles, you are using to breathe.
- Open your mouth and sigh as if someone had just told you something really annoying. As you do, let your shoulders and the muscles of your upper body relax downward with the exhalation. The point of the sigh is not to completely empty your lungs – but to relax the muscles of your upper body.
- Pause for a few seconds.
- Close your mouth. Inhale slowly through your nose by pushing your stomach out. That's right, push your belly out, just like newborn infants do. This isn't a beauty contest… When you've inhaled as air as you comfortably can, just stop. You're finished with that inhale.
- Pause briefly. How long? You decide. Everybody has different size lungs and counts at a different rate. Pause for whatever time feels comfortable, and be aware that when you breathe this way, you are taking larger breaths than you are used to. For this reason, you should breathe more slowly than you are used to… If you breathe at the same rate you use with small, shallow breaths, you will probably get a little lightheadedness from overbreathing. It's not harmful. Lightheadedness and yawning are simply signals to slow down. Follow them.
- Open your mouth. Exhale through your mouth by pulling your stomach in.
- Pause
- Close your mouth and go back to the inhale.
- Continue for a few minutes until you feel satisfied.
Once you can belly breathe comfortably, you should practice this technique every hour on the hour for a minute or so (you do not need to interrupt what you are doing). And obviously, only during waking hours! E. g. at 1pm, 2pm, 3pm and so on. Over time (a week's practice or thereabouts), it will become much easier to switch to belly breathing when you feel panic coming on.
You can find more tips and a troubleshooting guide in "The Panic Attacks Workbook", and on Dave Carbonell's website:
A Breathing Exercise to Calm Panic Attacks
Deep Breathing – Part 2
And here's a video demonstration:
Progressive Muscle Relaxation
This is another popular relaxation technique. It works by isolating one muscle group, making the muscles go tense for 8-10 seconds, and then letting the muscle relax and the tension go. This technique doesn't work so well in the dental context, because it takes quite a long time until you've gone through all the different muscle groups!
However, it really does help to relax your muscles. When we are anxious or when we anticipate pain, we tense our muscles (with many people literally "gripping the chair"!).
You may find that making an active effort to relax your muscles can really help. Concentrate on finding areas of tension in your body and relaxing them, one after the other.
Common areas of tension include your hands (you may want to place them loosely on your belly – that way, you can check that you're breathing through your belly at the same time), the shoulders, the back, or indeed your whole body.
Self-Hypnosis and Visualisation
All joking aside, self-hypnosis and visualisation can be useful both during dental visits and in the run-up to your visit. Unless you're very serious about learning self-hypnosis, the easiest way is to use a hypnosis CD or mp3. These come in many flavours, such as relax, boost your self-esteem, go to sleep, etc. Hypnosis mp3s which are aimed at "curing dental phobia" are best avoided. We have listened to quite a few samples of these, and without exception, they may actually reinforce your fears or, at best, do nothing to deal with your specific fears. A general relaxation track is much more useful. Most of them incorporate visualisation, for example imagining yourself in a place you enjoy, where you feel safe and secure.
Hypnosis CDs are a very personal thing as their effectiveness is very much dependent on things such as whether you like the speaker's voice. It is best to "try before you buy" if possible.
Here is a sample mp3 download called "Stressbuster" (for use with stereo headphones) – brought to you by Adam Sargant, who originally created this rapid relaxation session because it annoys him that smokers can go and get a five minute chill out break when things get stressy. So he wrote an exactly 5 minute long relaxation session:
To download this file to your computer:
Windows: right-click the mouse cursor over the link. On the menu that opens, select "Save target as…" and select where you want to save the MP3.
Mac: hold the option or alt key, click on link, then save to your computer.


text:
American taxpayers who spent $50 billion bailing out General Motors may see some returns, if the Obama administration allows it.
There appears to be a "new" GM emerging – one that is seeing improved sales after the firm's massive restructuring and new car offerings, and one that's becoming a dominant force overseas, particularly in countries like China and Russia.
So now, it's time for the government to show taxpayers if "new" GM is really strong and not just rhetoric, by planning for the automaker's IPO proceeds to go to the people who allowed this American icon to exist. This could be done in a few ways.


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|[simpleviewer id="1″ width="400″ height="500″ align=right]
Every year in the month before Christmas Djurby Farm arranges "Julbord", the traditional Swedish Christmas smorgasbord. The julbord consists of a large variety of dishes. Whenever possible the food is produces locally or on Djurby Farm itself, such as lamb, venison, mushrooms and berries.
The traditional starters are egg halves, pickled herring as well as other cold cuts. Move on to the ham, smoked lamb and venison, Swedish meatballs, the small "Prince" sausage, smoked salmon, pie, fresh and hard bread with cheese. Don't take too many of the potatoes or you won't have room for the desserts! Among them you will find chocolate cake, almond cake, an assortment of cookies and maybe some sort of panna cotta. Of course you need one of the traditional Swedish aquavits to accompany the food!
If you want to experience the Julbord at Djurby Farm, do not hesitate to make reservations, as the more popular sittings are often full well in advance.


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Roadburn Festival is pleased to announce new additions to the 20th edition of the festival. The festival will take place April 9th-12th in Tilburg, The Netherlands. Both day tickets and weekend tickets are currently on sale
More details confirmed for curated event
Roadburn 2015's curators Wardruna's Einar "Kvitrafn" Selvik and Enslaved's Ivar Bjørnson have almost completed the line up for their event on Friday April 10. Loop main man, Robert Hampson and Swedish psych heroes, Agusa will both perform alongside Focus, Death Hawks, Sólstafir and others. BardSpec - the Ambient project/band from Enslaved composer/guitarist Ivar - will also perform at the event. Einar will present a workshop which will delve into his approach to music and the extensive creative concept behind Wardruna´s ongoing 'Runaljod' trilogy as well as his approach and study of the runes and other Norse esoteric arts. He will demonstrate a selection of the oldest Nordic instruments, play fully accoustic Wardruna music and there will also be time for questions from the audience.
For information on Robert Hampson, CLICK HERE
For information on Agusa, CLICK HERE
For information on BardSpec, CLICK HERE
For information on Einar Selvik, CLICK HERE
'Roadburn Festival Introduces' & Belgium focus
This year, 'Roadburn Festival Introduces' will focus on Belgium. Over the years, Belgium has become a hotbed of musical creativity, ranging from indie to garage rock, and virtually everything in between. Whether it's a dark, psychedelic slant, an insatiable need to worship thee riff, or even developing a cult of their own, only to lure us into their spiraling-netherworld… there's something about these bands that embodies the spirit of Roadburn.
The mysterious and yet bizarre Belgian band, Briqueville, will connect with the Roadburn community at the 013 on Saturday, April 11th.
In keeping with the Belgian theme, Brussels-based Moaning Cities, will bring their fuzzed-out, and sitar-driven psychedelia to Stage01 on Thursday, April 9th.
In collaboration with one of Belgium's foremost bookings agencies, RuffStuffMusic, we offer Your Highness, King Hiss, Tangled Horns, Ashtoreth, and Miava an outlet in front of the receptive and open-minded Roadburn crowd on Saturday, April 11th at Cul de Sac. These up and coming talents richly deserve their place in the Roadburn line up and we're thrilled to host such exciting, cutting edge bands as these alongside Roadburn's established acts.
For more information on Briqueville, CLICK HERE
For more information on Moaning Cities, CLICK HERE
For more information on RuffStuffMusic: Your Highness, King Hiss, Tangled Horns, Ashtoreth, and Miava, CLICK HERE
New Additions to Line Up
The lineup for for Cul de Sac, the intimate music cafe, and Roadburn's official fifth stage, located across from the 013 venue, is shaping up very nicely. We're aiming to present four to five bands on each of the four days, Thursday through Sunday.
It is with enormous pride that Roadburn gets to announce a truly unique performance as Gnaw Their Tongues will bring their groundbreaking noise/doom/black metal assault to the festival on Sunday April 12th. Joining them will be torchbearers of French heavy rock, Paris-based Abrahma, Tilburg's very own IZAH, and high octane Swedish rockers, Hypnos.
Today, we're also excited to report that Verbum Verus, the Dutch black metal band, known for their intense live performances, will shroud Roadburn Festival in darkness with their hymns of praise on Thursday, April 9. We're very pleased to announce that Big Naturals, Salope, City of Ships and Admiral Sir Cloudesley Shovell will complete the Friday lineup at Cul de Sac. And, given how fond we are of Admiral Sir Cloudesley Shovell, we've invited them to do two performances; they will also play the Green Room on Sunday, April 12.
Back over at the 013, we will have the riff-heavy Death Penalty playing on Saturday, April 11th - featuring ex-members of Cathedral and Serpentcult, this is going to be one show you don't want to miss.
For more information on Gnaw Their Tongues, CLICK HERE
For more information on Abrahma, IZAH & Hypnos, CLICK HERE
For more information on Verbum Verus, CLICK HERE
For more information on City of Ships, Big Naturals etc, CLICK HERE
For more information on Admiral Sir Cloudesley Shovell, CLICK HERE
For more information on Death Penalty, CLICK HERE
Full line up poster and other media assets are available to access HERE.
Tickets are still available HERE.
Curated by Ivar Bjørnson (Enslaved) and Wardruna's Einar "Kvitrafn" Selvik, Roadburn Festival 2015 (including Fields of the Nephilim, Anathema, Skuggsjá, Enslaved, Wardruna, Claudio Simonetti's Goblin performing Dawn of The Dead and Susperia in its entirety, Zombi, Sólstafir, White Hills, Bongipper, Floor, Eyehategod and The Heads as Artist In Residence among others) will run from Thursday, April 9 to Sunday, April 12 at the 013 venue in Tilburg, The Netherlands.


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Grace Scheibner of Watertown is honored for her 24 years of service to Harvard University.
WATERTOWN -- Congratulations go out from many quarters today to Grace Scheibner, who was honored Thursday night by the Harvard Alumni Association for her many years of service to the university.
The presentation was made at the alumni banquet at The Charles Hotel in Cambridge with more than 300 people in attendance.
Grace, who lived formerly in Quincy, was the commencement director at Harvard for 24 years from 1992-2016. She was thanked for her years of exceptional and gracious service to Harvard.
The annual commencements are major events, touching more than 32,000 people in one way or another, including degree candidates, families, alumni, honorees, faculty, dignitaries and members of the administration.
Grace trained to be an event manager and ran international events in Florence, Amsterdam and other European cities before joining Harvard.
"I've had quite a colorful career," she said.
She grew up in New York City and is bilingual. She earned a Master of Liberal Arts in Extension Studies from Harvard in 1990.
The intensity of the commencement events was captured by Anne Stuart in a 2004 article in Harvard Magazine:"We plan for as much as we humanly can," says Grace Scheibner, A.L.M. '90, who directs the Commencement morning exercises with a level of precision that any air-traffic controller might envy. "This is an auspicious occasion for many people and you want them to come away with good memories. You can't just wing it."
You can read more of the article here.


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An opportunity to learn about the songbirds in our area comes to the Jones Library in a presentation about the songbirds of the northeast by local naturalist John Root. Please join us in the Woodbury Room of the Jones Library at 7 pm on Thursday, May 8, 2014.
This presentation features photographs and recordings of our region's songbirds. Audiences learn how to recognize these enchanting birds by their songs and calls as well as by sight. Diet, migration, habitat, life cycles, social behavior, and other adaptations for survival are discussed, and participants learn how to provide attractive habitat for songbirds. Questions and comments are welcome throughout the presentation. Handouts with information about bird clubs, conservation organizations, books, and websites are made available at the conclusion of the program.
This program is sponsored in part by a grant from the Amherst Cultural Council, a local agency which is supported by the Massachusetts Cultural Council, a state agency.Free and open to the public. For more information, please contact Janet Ryan at 413/259-3223 or via email.
Janet Ryan
Head of Programming & Outreach
Jones Library
Amherst, MA


text: JOSEPH Papp was the foremost American theatrical impresario of our time - a major figure in the world of the performing arts. Operating from an institutional base - his New York Shakespeare Festival Public Theater - Papp brought live performances to a generation of playgoers, many of whom could thank him for initiation into its pleasures.Papp's seasons of free Shakespeare in Central Park would alone have been enough to reserve the Brooklyn-born producer a place in the pantheon of great promoters and presenters. As a nurturer of talent, he advanced the careers of numerous writers and performers who themselves have come to play significant roles in American theater. The list of writers would include David Rabe, Ed Bullins, David Henry Hwang, Ntozake Shange, David Mamet, Tina Howe, and John Guare, to name a few. Kevin Kline, Meryl Streep, M andy Patinkin, Martin Sheen, and Raul Julia - all of whom paid affectionate tributes at Papp's funeral Nov. 1 - typified the debt of the acting profession to the Public Theater and its founder. What became the six-theater complex on Lafayette Street in 1966 began modestly but boldly - with Shakespeare in 1954. Theater-within-a-church, theater in a small city park, theater on a flatbed truck marked the earliest stages of Papp playmaking. Later on, he would lock horns with another epic dreamer, Parks Commissioner Robert Moses. This was in 1959, when the festival was bent on ensuring its place as a permanent part of the Central Park scene. Moses insisted that admission should be charged, if for no other reason than to offset the expense of preserving the condition of the park site. Losing the first round, Papp won in the New York Appellate Court. Free summer Shakespeare has continued ever since, in addition to revivals on Lafayette Street. There the Public Theater is in the midst of Papp's bold undertaking - a Shakespeare Marathon of all 36 of the Bard's plays. The current production, No. 19, is "Pericles, Prince of Tyre." Papp's career was not a history of uninterrupted triumph. In 1973, he added the Lincoln Center Theater to his responsibilities. Notwithstanding several successes, audience response was disappointing. The association ended with Papp's resignation in 1977, partly because of his impatience with institutional restrictions. For the remainder of a career that ended with his recent retirement, Papp headquartered at the Public Theater. But the assorted spaces on Lafayette Street were insufficient to contain all the playmaking of the Papp vision. "A Chorus Line," which opened at the Public in 1975, subsequently moved uptown and became the longest-running show in Broadway history. The Public also had commercial successes with "Hair,The Pirates of Penzance," the Tony Award-winning "Mystery of Edwin Drood," David Hare's "Plenty," and Reinaldo Povod's "Cuba and His Teddy Bear." Pulitzer prizes were awarded to Charles Gordone's "No Place to Be Somebody," Jason Miller's "That Championship Season," and "A Chorus Line." There were also more than 20 Tony Awards. In 1972, the Public Theater won Tonys for both Best Play (David Rabe's "Sticks and Bones") and Best Musical (John Guare, Mel Shapiro, and Galt MacDermot's version of "Two Gentlemen of Verona"). Under Papp's leadership, and with a sometimes changing team of excellent professionals, the New York Shakespeare Festival has pressed forward in its role as its country's premier institutional theater. It has more than fulfilled Emerson's definition of an institution as "the lengthened shadow of a man." It continues as a monument to Joseph Papp.


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Ace of Wands/Rods Tarot Card Meaning & Interpretations
The Ace of Wands, Ace of Rods or Ace of Batons is traditionally represented as a single stick, or branch, standing, or being held, upright. It's symbology is simple, it has the element of fire and a numerological value of 1. As a 1 it represents a new beginning and, with fire as the element, this beginning has to do with the home, community or work. Surrounding cards should help in narrowing down which aspect of the home or work this beginning will occur. For example it could be a new job (responsibility, chore, project) or new home, sometimes it can mean a new addition to a home, a new family member. The element of fire and this suite of the minor arcana has an creative aspect. In this case the card could point to a new venture or enterprise or even simply the planting of a garden at home.
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Calle 13 leads noms for Latin Grammys
Puerto Rican group up for album of the yearMIAMI -- With five nods to their name, Latin Grammy darlings Calle 13 led the list of esoteric nominees for the 10th annual Latin Grammy Awards.
The eclectic Puerto Rican urban group, which has already won several Latin Grammys in the past, is up for awards in the album of the year and best urban album of the year categories (for "Los de Atras Vienen Conmigo"), and record of the year and best alternative song (for "No Hay Nadie Como Tu") as well as best shortform music video for "La Perla," featuring Ruben Blades.
Following in number of nominations, with three each, were Ivan Lins & the Metropole Orchestra, Jose Lugo, Jorge Luis Piloto, Ivete Sangalo, Gilberto Santa Rosa, Caetano Veloso, and Wisin y Yandel.
Receiving two nominations each were Ricardo Arjona, Babasonicos, Bebe, Cafe Tacvba, Andres Cepeda, Daddy Yankee, Don Omar, Luis Enrique, Luis Fonsi, Sergio George, Saul Hernandez (Jaguares), Laura Pausini, Luz Rios, Marco Antonio Solis, Mercedes Sosa and Tito "El Bambino."
There were some expected nods, like Fonsi's wonderful mega-hit "Aqui Estoy Yo," nominated for Record and Song of the year.
But overall, the major nominees very scantily reflected the U.S. Latin market. Rather, they were an eclectic representation from the U.S., Spain and Latin America that was often eyebrow raising. Competing for the album of the year category alongside Calle 13, for example, are Colombian pop singer Andres Cepeda's "Dia a Dia," Luis Enrique's "Ciclos," "Regencia: Vince Mendoza," by Ivan Lins & The Metropole Orchestra (Lins is also up in the record of the year category) and Mercedes Sosa's "La Cantora 1."
Several of those albums have not been released in the U.S., underscoring the Latin Grammys mission of honoring albums released in all Spanish and Portuguese speaking territories.
While the major nominee was Calle 13, the comeback story of the year may well be Luis Enrique, whose album "Ciclos," his first hit in nearly a decade, is up for album of the year, while the song "Yo No Se Manana," penned by Jorge Villamizar and Jorge Luis Piloto is up in song of the year.
As with the mainstream Grammys, many nominees to the Latin Grammys are determined by votes from members of the Latin Academy of Recording Arts and Sciences, but several fields -- including all the major fields -- are sent to specific nomination committees for final review and they determine final nominees.
The Latin Grammys will air live Nov. 5 on the Univision network from the Mandalay Bay Events Center in Las Vegas.


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If We Are Marked To Die Analysis Essay
And tell the pleasant Prince this mock of his
Hath turned his balls to gunstones, and his soul
Shall stand sore chargèd for the wasteful vengeance
That shall fly from them—for many a thousand widows
Shall this his mock mock out of their dear husbands,
Mock mothers from their sons, mock castles down;
. . .
But this lies all within the will of God,
To whom I do appeal, and in whose name
Tell you the Dauphin I am coming on
To venge me as I may, and to put forth
My rightful hand in a well-hallowed cause.
This passage is part of Henry's response to the messenger who delivers the crate of tennis balls that the Dauphin offers as a mocking reminder of Henry's irresponsible and wayward youth. With an icy, menacing wrath, Henry turns the Dauphin's jest on its head, threatening the messenger with a promise to treat the fields of France like a tennis court and play a game for the Dauphin's father's crown.
In his repeated insistence that the Dauphin's jest will be responsible for the terrible carnage that he will bring to France (the Dauphin will "[m]ock mothers from their sons"), Henry indulges in an early instance of casting responsibility for his actions away from himself and onto his enemies. By claiming to come to France in the name of God and by telling the Dauphin that he, the Dauphin, is responsible for the consequences, Henry presents himself as an unappeasable, unstoppable force his enemies must submit to rather than struggle against. Henry may seem arrogant, but he makes himself appear humble by appealing to God rather than to his own power. This speech thus becomes an early blueprint for almost all of Henry's future self-characterizations: he claims that his enemies' wickedness is to blame for the violence brought by his own army, then depicts himself as an instrument of God whose desire to further God's will leaves him no choice as to how to behave.
Then imitate the action of the tiger.
Stiffen the sinews, summon up the blood,
Disguise fair nature with hard-favoured rage.
Then lend the eye a terrible aspect,
. . .
Now set the teeth and stretch the nostril wide,
Hold hard the breath, and bend up every spirit
To his full height. On, on, you noblest English,
Whose blood is fet from fathers of war-proof,
Fathers that like so many Alexanders
Have in these parts from morn till even fought,
And sheathed their swords for lack of argument.
Dishonour not your mothers; now attest
That those whom you called fathers did beget you.
Be copy now to men of grosser blood,
And teach them how to war. And you, good yeomen,
Whose limbs were made in England, show us here
The mettle of your pasture. . . .
This passage is from Henry's famous "Once more unto the breach, dear friends" speech, which ends with the battle cry, "God for Harry! England, and St. George!" Rallying his men to charge once more into the fray at the Battle of Harfleur (the "breach" refers to the hole in the town wall created by the bombardment of Henry's cannons), Henry employs two separate strategies for psychological motivation, each of which uses its own language and rhetoric. First, Henry attempts to tap into a primal instinct toward violence within his men, hoping to rouse them into a killing frenzy. To this end, he compares the expressions he desires his men to wear to the features of an angry tiger. He describes in great detail the savage features of tigers, urging his men toward a mindless fury represented by snarling teeth and flared nostrils. The vivid imagery of Henry's speech indicates his own experience with the savage passion of battle, as he commands his men to "[b]e copy now to men of grosser blood"—that is, to act as barbarians.
At the same time, however, Henry employs a second strategy whereby he inspires his men with a nationalistic patriotism, urging them to do honor to their country and prove that they are worthy of being called English. This sense of a shared national creed is somewhat more sophisticated than the urging to primal violence, and Henry turns away from the blunt physical description in the early part of his speech to a more complex rhetoric that combines historical reference ("so many Alexanders"), a sentimental appeal to family pride ("[d]ishonour not your mothers"), and reminders of birthplace ("you, good yeomen, / Whose limbs were made in England"). At the end of his speech, Henry attaches St. George, the patron saint of England, to his legendary battle cry, providing his men with a treasured and familiar symbol of the patriotic ideals he espouses in his rally cry.
'Tis not the balm, the sceptre, and the ball,
The sword, the mace, the crown imperial,
The intertissued robe of gold and pearl,
The farcèd title running fore the king,
The throne he sits on, nor the tide of pomp
That beats upon the high shore of this world—
No, not all these, thrice-gorgeous ceremony,
Not all these, laid in bed majestical,
Can sleep so soundly as the wretched slave
Who with a body filled and vacant mind
Gets him to rest, crammed with distressful bread;
. . .
And but for ceremony such a wretch,
Winding up days with toil and nights with sleep,
Had the forehand and vantage of a king.
The slave, a member of the country's peace,
Enjoys it, but in gross brain little wots
What watch the King keeps to maintain the peace,
Whose hours the peasant best advantages.
This soliloquy by Henry is extremely important to the play because it gives us our only glimpse into Henry's psyche that is not compromised by his need to appear kingly in front of others. Sitting alone in his camp, disguised as a commoner, Henry reveals the crushing responsibilities he feels on his shoulders, with every man of England laying his soul, debts, wives, children, and sin on the king's head. Henry describes the lonely isolation of power, which is combined with the need to be eternally vigilant ("What infinite heartsease / Must kings neglect that private men enjoy?" [IV.i.218–219]). The only consolation Henry can see in being king lies in pomp and "ceremony"—Henry's word for the opulent show of royalty, with its rich clothes, parades, traditions, and self-aggrandizement. To Henry, ceremony is essentially empty, no more than a "tide of pomp" beating on a shore. Henry says that he would trade all that ceremony for the peaceful sleep of the slave, who has no greater concerns in his head than his stomach and who has no idea "[w]hat watch the King keeps to maintain the peace."
Henry's speech is somewhat self-pitying; after all, it is doubtful that a slave would find his life as easy as Henry seems to think. But Henry's willingness to envy a slave at all is rare for a monarch. Most kings are completely devoted to maintaining, solidifying, and increasing their power; for a king to abandon all his power would represent a complete failure of his intentions and desires. Even other kings who are conscious of the weight of responsibility they carry would shy away from such a statement. Henry V's father, Henry IV, for instance, complains at length in 2 Henry IV about the pressures besetting "the head that wears a crown," but it never occurs to him that his lot is less desirable than that of a slave (2 Henry IV, III.i.31).
Henry V's statements show his remarkable ability to look beyond the ingrained and commonplace value judgments of his society, entertain an independent perspective, and place himself imaginatively in the shoes of his subjects. Henry also shows how little pleasure he takes in his own power. He is motivated by a sense of responsibility to his subjects, a responsibility that he takes very seriously and that requires him to place his own personal feelings a distant second. He is unable even to express his sorrow at his condition to anyone else; only when he is alone can he relax enough to allow himself to feel his own regret. If Henry is self-pitying in this speech, it is in part because there is no one else to pity him.
If we are marked to die, we are enough
To do our country loss; and if to live,
The fewer men, the greater share of honour.
God's will, I pray thee wish not one man more.
By Jove, I am not covetous for gold,
. . .
But if it be a sin to covet honour
I am the most offending soul alive.
No, faith, my coz, wish not a man from England.
God's peace, I would not lose so great an honour
As one man more methinks would share from me
For the best hope I have. O do not wish one more.
Rather proclaim it presently through my host
That he which hath no stomach to this fight,
Let him depart. His passport shall be made
And crowns for convoy put into his purse.
We would not die in that man's company
That fears his fellowship to die with us.
This quotation is from Henry's St. Crispin's Day speech, the rallying oratory he delivers to the English army just before the Battle of Agincourt. Presumably, the power of this speech assists his soldiers in routing a French force that outnumbers them five to one. Henry's opening lines, in which he explains why he does not wish for more men to fight with him, indicate his ability to give abstract moral concepts such as honor a tangibility and urgency that motivate his men far more powerfully than the repetition of platitudes about the glory of war would. Henry portrays the amount of honor to be won in the battle as a fixed amount that will be divided equally among all the victors; if there were more men present, then there would be less honor for each man to gain in victory. Henry's claim to favor a small army is centered on his stated desire for himself and his men to win as much honor as possible in the battle.
Henry's startling reversal of the normal conventions of battle make this idea effective. In most battles, the leader wishes for as large an army as possible in order to achieve an easier victory, but Henry claims to desire a small, outnumbered army to win a larger share of honor. In most battles, soldiers are compelled to fight and deserters are killed, but Henry backs up his claim to desire a small army by offering to let any man who does not desire to fight with him leave. Henry thus gives each of his soldiers the freedom to make the choice to fight with him; in doing so, he wins a measure of loyalty and devotion that he could not have commanded through force.
This speech is an example of Henry using his rhetorical skill to achieve the effect he needs—he does not really desire a small and outnumbered army, but he has a small and outnumbered army, and it is more effective to make his soldiers think that he is in the position he desires than to show them how difficult his position really is. Henry uses his ability to see things from unique perspectives to arrive at a surprising logic regarding honor and glory, then he uses his skill with words to make that logic stir his men to great deeds.
I think it is e'en Macedon where Alexander is porn. I tell you, captain, if you look in the maps of the world I warrant you sall find, in the comparisons between Macedon and Monmouth, that the situations, look you, is both alike. There is a river in Macedon, and there is also moreover a river at Monmouth. . . . If you mark Alexander's life well, Harry of Monmouth's life is come after it indifferent well. For there is figures in all things. Alexander, God knows, and you know, in his rages and his furies and his wraths and his cholers and his moods and his displeasures and his indignations, and also being a little intoxicates in his prains, did in his ales and his angers, look you, kill his best friend Cleitus —
Fluellen delivers this speech to Gower after Henry commands in the previous scene that the English soldiers kill all their French prisoners. Fluellen compares Henry to Alexander the Great, whom he initially calls "Alexander the Pig," meaning "Alexander the Big" (IV.vii.10). Fluellen bases his comparison upon the ridiculous fact that there is a river in the town where Henry was born and a river in the town where Alexander was born.
In addition to being amusing, the speech is important because of its somewhat ominous ending. Fluellen notes that Alexander killed his best friend, a crime of which the audience might also accuse Henry, who indirectly or directly causes the deaths of Falstaff, Scrope, and Bardolph. Shakespeare thus uses Fluellen's humor, in a moment of comic relief, to probe some of the moral anxiety lurking beneath his heroic portrait of Henry. Fluellen's comparison of Henry to Alexander is both amusing and highly flattering to Henry. But, by unintentionally making the darker connection that both men killed friends, Fluellen emphasizes one of the play's problem areas—namely, that running parallel to the qualities of leadership and justice in the minds of great kings is often a troubling capacity for violence and rage.
Essay on If We Must Die by Claude McKay
725 Words3 Pages
If We Must Die by Claude McKay
Clearly provocative and even chilling, "If We Must Die" by Claude McKay stirs deep and powerful emotions in any who reads it. A poem inspired by violent race riots, it serves as a motivating anthem representative of an entire culture. Graphic and full of vengeance this poem is demanding action, not telling a story. McKay utilizes imagery to its fullest extent creating an end result which any man or woman, black or white, who has ever felt the hard and hateful hand of oppression can relate to. Written in the form of a Shakespearean sonnet, one could hardly mistake it for anything so pleasant. Sonnets being traditionally used for beautiful, appealing topics, already there is contradiction between…show more content…
Dogs rarely die a shameful death, but instead fight to the finish. Using this dichotomy he further illustrates the severance of and between the hunter and the hunted. McKay emphasizes within the first three lines that the conflict at hand is not merely a struggle then, but a fierce hunt in which there is no mercy and only one survivor.
Again in the fifth line he requests that "If we must die, O let us nobly die,/ So that our precious blood may not be shed/ In vain" (5-7). He reasons that if there is to be bloodshed regardless, then the blood ought not to be shed without a fight. They should not lose their "precious blood" without any significance or effect, and not in an irreverent manner. If they succeed in avoidance of such vain, then McKay claims that "even the monsters we defy/ Shall be constrained to honor us through dead!" (7-8) McKay knows that upon a proud death, even those they fought will be compelled to acknowledge their bravery and pride. By referring to the enemy as "monsters," McKay makes it increasingly difficult to not follow him. There is no pity or compromising with monsters and every man, woman, and child has his or her own image of a monster. Given this open description they are then free to envision the monster as they see and feel it. They can construct it based on their own fears. In line nine McKay recognizes the root of their problem as lack of unity. He is aware of the constant struggles
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WASHINGTON -- Administrator James Fletcher said Monday the Challenger disaster was NASA`s fault and the space agency is studying how to implement the recommendations of the Rogers Commission to ``regain our honor.``
``We have been pressing on despite the pain, seeking answers to difficult questions, beginning carefully to make changes where they are needed,`` he said at a news conference. ``Yet like all Americans, we have awaited the Rogers Commission report.``
The 256-page report, formally turned over to President Reagan Monday to wrap up a four-month investigation, was harshly critical of NASA`s management structure and slipshod communications that the panel said contributed in large part to the rocket booster failure that doomed Challenger Jan. 28.
``I think the whole agency needs a major re-examination,`` Fletcher said.
As for fixing the blame for Challenger, Fletcher said: ``I think there`s enough blame to go around. The fault was not with any single person or group, but it was NASA`s fault.``
He said he had not had time to review the report in detail, but that the major recommendations of the commission would be closely studied.
He said independent panels have been set up to oversee the agency`s redesign of the shuttle`s faulty booster rockets and to review NASA`s management practices. In addition, engineers are studying crew escape systems and how to improve communications to make sure key information about safety concerns makes its way to top managers.
He also said the agency`s target of July 1987 for resuming shuttle launches is only a ``best guess`` and depends on how work progresses to design and test redesigned booster rockets.
It also depends on congressional support. In May, NASA asked Congress for $626 million in supplemental appropriations to recover from the Challenger accident.