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Patricia Osobase
Patricia Osobase (B.ED, MILR, MA.) is a highly proficient and supportive educationist. Her main goal is to ensure that every child and individual she comes in contact with is able to achieve their maximum potential. Patricia has a first degree in English Education from the University of Benin, Nigeria and master's in special and Inclusive Education from Roehampton University, London. In addition, Patricia also has master's in industrial and Labour Relations from Delta State University, Nigeria. She holds an International Diploma in Early Childhood Studies from the Montessori Centre International, London and a Diploma in Psychology from DCA London.
Patricia was a directress at Rainbow Montessori School, London for over six years where she rose to become the deputy manager of the Sherriff road nursery and Special and Education Needs Co ordinator for the four schools. Presently, she is one of the pioneer parent trainers for the new government programme called CAN Parenting. She also lectures part time at the Rainbow Montessori Teachers College, London. Patricia has recently set up an educational organisation called Happy Achievers Limited which engages in training and working with children. Before joining the educational profession, Patricia worked in the banking industry in Nigeria in various managerial capacities. Patricia is blessed with a lovely daughter.
|More articles by Patricia Osobase
|Contact Author


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Victorian Hospital
Lavinia Mitton follows the changes in hospital treatment that took place during the Victorian era and explores the different types of hospitals that were available, from the celebrated specialist institutions served by famous surgeons to the appalling workhouse infirmaries where the patients were looked after by untrained pauper nurses. Illustrated with black and white drawings and photographs of the buildings, beds, waiting rooms and even ambulances that served the Victorian people, this book is a fascinating insight into the growth of hospitals and medical education, and the advances in surgery and nursing that closed the gap between the 1830s hospital and the establishments that we are familiar with today.
Voluntary Hospitals
Hospitals and Medical Science
The Revolution in Nursing
Specialist and Cottage Hospitals
Poor Law Infirmaries
Hospitals for Infectious Diseases
Convalescent Hospitals
Military and Naval Hospitals
Victorian Hospitals Today
Further Reading
Places to Visit

subset: commoncrawl


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Chanel designer Karl Lagerfeld is bringing his "Metiers d'Art" show to Dallas next month.
The collection showcasing the work of artisans, such as embroiders, will be held Dec. 10 at Fair Park, the city's historic exhibition venue.
Before the show, a film written and directed by Lagerfeld about the couture house's creator, Coco Chanel, will premiere. "The Return" stars Geraldine Chaplin and Rupert Everett. The film also will be shown on Chanel's website when it premieres in Dallas.
Since 2002, Lagerfeld has developed a "Metiers d'Art" collection to show each year in December. The show has previously been held in places such as Tokyo, London, Shanghai and Edinburgh.


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I met him on December 9, 1999...I loved him from the moment our eyes met.
In fact that very night as I was eating dinner with my mom, I told her "mom
today I met the man I am going to marry". She put it off as just a whim. I
had dated a Marine for almost 4 years at that point. He wasn't nice to me,
and I didn't love him anymore, so I broke our engagement. Then I met
He was a Marine, but he was a different kind. Everyone is Sir or Ma'am,
everyone is someone special to him. That is what I loved so dearly about
him. He was down on himself, because he was divorced and his wife had
cheated with another man while they were married, and so I was a bit
shocked at what I had to say. I looked him dead in the eye and said " Look,
you can either be the World's doormat, or you can pick yourself up, dust
yourself off and get on with the business of living". I couldn't believe my
ears. Christmas was coming up, so I invited him over for dinner as his
family was too far away to go home to. He came to my surprise, and even my
mom noticed the connection at that point. That night as I lie in bed, my
mom and I talked about him, she really like him and so did my dad and
brother. Our whole family loved him already. The next weekend, we went to a
wedding of our friend, and he caught the garter, and all the while swearing
he'd never marry again. Then something happened, something spectacular, we
had this long talk one night, and before I knew what was happening, he was
at my door, asking my dad for my hand in marriage...I couldn't believe my
ears. Then he was down on one knee, asking ME to be his wife. Needless to
say my answer was yes, and now in a week and a half, on March 18, 2000 I
will become a Marine Wife, and I hear its the hardest job in the Corps.


text:
Science Literacy I and II • 2019-20 Edition
Paperback, 110 Pages
Price: $19.95
Prints in 3-5 business days
Included in this booklet: Science Literacy I (SL1-B) Science Literacy II (SL2-B) 18-week course plans for the courses listed above. Notes about the required texts and materials. Gradebooks to track student progress and grades. • • • • • • Books and materials studied in these course plans can be purchased from the suppliers suggested by St. Thomas Aquinas Academy (see the notes in this book) or from your favorite suppliers. Forms mentioned in this guide and in the "High School Orientation" booklet can be printed from the STAA Student Zone: www.staahomeschool.com/StudentZone
Product Details
- Copyright
- St. Thomas Aquinas Academy (Standard Copyright License)
- Edition
- 2019-20 Edition
- Publisher
- St. Thomas Aquinas Academy
- Published
- May 23, 2019
- Language
- English
- Pages
- 110
- Binding
- Perfect-bound Paperback
- Interior Ink
- Black & white
- Weight
- 0.84 lbs.
- Dimensions (inches)
- 8.5 wide x 11 tall
- Product ID
- 24112805
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text:
Natura Bissé
Diamond Drops Serum, 25ml
- Instructions for use:
- - A little goes a long way - apply a thin layer morning and night over your daily moisturizer
- - Gently massage on to the face, neck and décolletage until completely absorbed
- - 25ml/0.8 fl.oz.
- Ingredients: Water, Propylene Glycol, Vitis Vinifera(Grape) Seed Extract, Phenoxyethanol, Sodium Carboxymethyl Beta-Glucan, Sodium DNA, PEG-40 Hydrogenated Castor Oil, Chlorphenesin, Styrene/VP Copolymer, Fragrance (Parfum), Disodium EDTA, Sclerotium Gum,Xanthan Gum, Methylparaben, Linalool, Coumarin, Amyl Cinnamal, CI 14700 (Red 4), Propylparaben, Butylparaben, Isobutylparaben, Ethylparaben
Formulated with an exclusive CPH-4 Complex and skin-protecting Grape Seed Extract, Natura Bissé's unrivaled serum will shield and hydrate your skin. Apply a pre-moisturizer to help maximize its effectiveness. This silky smooth daily treatment also tones facial contours, minimizing fine lines, wrinkles and signs of tiredness and stress.
- Makes the perfect makeup base – leaves skin soft and silky - Essential Lavender Oil brings a light, refreshing and soothing scent - Key Marine DNA ingredient retains 10,000 times its weight in water, offering unbeatable hydration
As seen in The EDIT magazine
Find out the shipping options available for your destination
Arrange your return for an exchange or refund within 28 days using our free collection service


text:
During emergencies, the importance of our country's communications systems becomes clear. These communications systems include the wireline and wireless telephone networks, broadcast and cable television, radio, Public Safety Land Mobile Radio, satellite systems and increasingly the Internet. For example, in an emergency, we may dial 911, call our family members to make sure they are safe, and turn on our televisions and radios to get breaking news and important updates.
Since September 11, 2001, and Hurricane Katrina, the Federal Communications Commission has taken important steps to ensure that 911 services and other critical communications remain operational when disasters strike. For example, in response to recommendations of an independent panel reviewing the impact of Hurricane Katrina, the FCC's Public Safety and Homeland Security Bureau worked on several fronts to improve communications during emergencies, including streamlining collection of outage information during times of crisis through the Disaster Information Reporting System, helping ensure that communications workers receive "essential personnel" credentials during emergencies, working with other federal agencies to improve interoperability among first responders, and promoting use of enhanced 911 best practices.
The following information will help you better understand what happens to our communications systems during an emergency and how best to use our communications systems during a crisis or disaster.
Emergency communications components
There are three main components to emergency communications:
- 911 call processing and delivery through Public Safety Answering Points (PSAP) and call dispatch.
- The Emergency Alert System.
- Radio and/or broadcast or cable television station news and updates.
All of these components must operate effectively in order to achieve a successful response to an emergency.
Wireline - or landline - 911 calls
Emergency personnel and others often learn about emergencies through 911 calls. The 911 network is a vital part of our nation's emergency response and disaster preparedness system. This network is constantly being upgraded to provide emergency help more quickly and effectively. Dialing 911 quickly connects you to a PSAP dispatcher trained to route your call to local emergency medical, fire and law enforcement agencies. At the PSAP, the dispatcher verifies the caller's location, determines the nature of the emergency and decides which emergency response teams should be notified.
Most traditional wireline 911 systems automatically report to the PSAP the telephone number and location of calls, a capability called "Enhanced 911" or "E911." With this information, PSAP staff is able to call back if the 911 call is disconnected, and also know where to send emergency services personnel. E911 service from wireline phones is available in most parts of the country.
Wireless 911 calls
The mobility of wireless telephone service makes determining a wireless 911 caller's location more complicated than determining a traditional wireline 911 caller's location, where numbers are associated with a fixed address. In order to enhance the ability of emergency personnel to respond efficiently and effectively to callers placing wireless 911 calls, the FCC has taken a number of steps to ensure that wireless service providers make location information automatically available to PSAPs.
The FCC's basic 911 rules require wireless service providers to transmit all 911 calls to a PSAP, regardless of whether the caller subscribes to the provider's service or not.
Phase I Enhanced 911 (E911) rules require wireless service providers to provide the PSAP with the telephone number of the originator of a wireless 911 call and the location of the cell site or base station transmitting the call.
Phase II E911 rules require wireless service providers to provide more precise location information to PSAPs; specifically, the latitude and longitude of the caller. This information must be accurate to within 50 to 300 meters depending upon the type of location technology used.
Wireless carriers are required to comply with the FCC's location accuracy rules at either a county-based or PSAP-based geographic level. These standards apply to outdoor measurements only, as indoor use poses unique obstacles.
For more information about wireless 911 services, see the FCC Wireless 911 Services consumer guide.
VoIP and 911
Some VoIP services allow you to make and receive calls to and from regular phone numbers, usually using an Internet connection. This type of VoIP service is called an "interconnected VoIP" service, whether the service is one that can only be used at a fixed location, such as a residence, or one that can be used wherever the user travels as long as a broadband Internet connection is available.
Since 2005, the FCC has required interconnected VoIP providers automatically to provide 911 service to all customers as a standard, mandatory feature without customers having specifically to request this service. VoIP providers may not allow their customers to "opt-out" of 911 service.
Before an interconnected VoIP service provider may activate a new customer's service, the provider must obtain from the customer the physical location where the service will first be used so that emergency services personnel will be able to locate VoIP callers who dial 911. Interconnected VoIP providers must also provide ways for all customers to update the physical location they have registered with the provider, if it changes.
- Interconnected VoIP providers must transmit all 911 calls, as well as a callback number and the caller's registered physical location, to the PSAP over the 911 network.
- All providers must specifically advise new and existing customers of the circumstances under which 911 service may not be available through the interconnected VoIP service or may in some way be limited in comparison to traditional 911 service. They must distribute labels to all customers warning them if 911 service may be limited or not available and instructing them to place the labels on and/or near the equipment used in conjunction with the interconnected VoIP service.
- Interconnected VoIP providers must obtain affirmative acknowledgement from all existing customers that they are aware of and understand any limitations of their 911 service.
For more information about VoIP and 911, see our VoIP and 911 consumer guide.
911 calling for persons with speech or hearing disabilities
Text telephone devices (TTYs or TDDs) are used by people with hearing or speech disabilities to send and receive text messages over telephone networks. In the past, wireline telephone and analog cellular networks generally were compatible with TTYs, but digital wireless networks were not. As a result of FCC rules to ensure that TTY users can complete emergency 911 calls, wireless service providers have upgraded their digital networks to be compatible with TTYs. Consumers are now generally able to use TTYs to complete calls with their digital wireless phones, including 911 calls, if the phone itself is TTY-compatible. To find a TTY-compatible digital wireless phone, contact your wireless service provider or handset retailer.
To further improve emergency call handling for persons with speech or hearing disabilities, the FCC now requires Video Relay Service (VRS) and Internet Protocol (IP) Relay service providers to provide regular ten-digit telephone numbers to their subscribers so that subscribers' emergency calls, along with the ten-digit number and location information, automatically route to the appropriate PSAP. VRS and IP Relay providers must inform their subscribers of these procedures and the need to keep location information updated.
For more information about emergency call handling for VRS and IP Relay, see our consumer guide.
Emergency Alert System
In the event of an emergency, many people rely on radio and television to receive updates on what is happening and what to do.
The Emergency Alert System (EAS) is a national public warning system that requires TV and radio broadcasters, cable television systems, wireless cable systems, satellite digital audio radio service providers, direct broadcast satellite service providers, and wireline video service providers to offer to the President the communications capability to address the American public during a national emergency. The system also may be used by state and local authorities to deliver important emergency information such as AMBER alerts about missing children and emergency weather information targeted to a specific area.
The FCC, in conjunction with the Federal Emergency Management Agency and the National Oceanic and Atmospheric Administration's National Weather Service, implement the EAS at the national level. Only the President determines when the EAS will be activated at the national level, and has delegated the administration of this function to FEMA.
If your local television, radio tower or studio is damaged during a natural disaster, like a tornado, you might not receive emergency alerts. EAS was designed, however, so that if one link in the dissemination of alert information is broken, the public has multiple alternate sources of warning.
For more information about the EAS, see our EAS consumer guide or visit the Emergency Alert System page.
Wireless Emergency Alerts
The FCC, in conjunction with FEMA and the wireless industry, established a public safety system that allows customers who own certain wireless phone models and other enabled mobile devices to receive geographically-targeted, text-like messages alerting them of imminent threats to safety in their area. WEA uses technology that ensures that emergency alerts will not get stuck in highly congested areas, which can happen with standard mobile voice and texting services.
WEA complements the existing Emergency Alert System which is implemented by the FCC and FEMA at the federal level through broadcasters and other media service providers. WEA and the EAS are part of FEMA's Integrated Public Alert and Warning System.
For more information about WEA, see our WEA consumer guide.
Accessibility of emergency information for persons with visual or hearing disabilities
The FCC requires broadcasters, cable operators and satellite TV providers to make local emergency information accessible to persons who are deaf or hard of hearing, and to persons who are blind or have visual disabilities. Thus, emergency information must be provided both aurally and in a visual format.
In the case of persons who are deaf or hard of hearing, emergency information that is provided in the audio portion of programming must be provided either using closed captioning or other methods of visual presentation, such as open captioning, crawls or scrolls that appear on the screen. In the case of persons with vision difficulties, emergency information that is provided in the video portion of a regularly scheduled newscast or a newscast that interrupts regular programming must be made accessible. This requires the aural description of emergency information in the main audio.
If the programmer provides the emergency information through "crawling" or "scrolling" during regular programming, this information must be accompanied by an aural tone.
If an emergency affects the broadcast station or non-broadcast network or distributor, it may be impossible for that broadcaster, network or distributor to provide accessible emergency information.
For more information about accessibility of emergency information, see our consumer guide.
Network and power outages
The FCC has established the Disaster Information Reporting System (DIRS) to allow wireless, wireline, broadcast and cable providers voluntarily to report on the status of their infrastructure and operations during times of crisis. This information is not made public, but allows the FCC to monitor and evaluate communications services during a crisis. DIRS supplements the Network Outage Reporting System (NORS). Through NORS, the FCC requires wireless, wireline, cable and satellite companies providing voice and paging services to report significant disruptions or outages to their networks, and disruptions affecting 911 facilities or airports. Again the data is not made public, but allows the FCC to monitor and evaluate disruptions and outages.
If there is a power outage during an emergency, your wireline phone, wireless device or VoIP service may not work unless you have a back-up power supply. If you suffer only an electrical power outage, you should still be able to use a traditional wireline (but not cordless) telephone, because electrical and telephone transmissions use different circuits or wires and telephone company facilities have back-up power available. If you keep the battery on your wireless phone or other device fully charged, these devices should also continue working during a power outage.
Note that because wireless networks may be congested during an emergency, sending a text message may work better than placing a voice call. Finally, unless you have a battery-operated TV or radio, these devices will not work during a power outage.
911 call centers or PSAPs currently lack the technical capability to receive texts, photos and video.
Emergency preparedness and crisis information
For additional information on communicating during emergencies and helpful tips on emergency preparedness, visit the website of the FCC's Public Safety and Homeland Security Bureau. You may also want to visit the websites of these other federal government emergency organizations:
The Federal Emergency Management Agency , is responsible for responding to national disasters and helping state and local governments and individuals prepare for emergencies.
The Department of Homeland Security , is responsible for preventing terrorist attacks within the United States and reducing America's vulnerability to terrorism. DHS's National Terrorism Advisory System communicates information about terrorist threats by providing timely, detailed information to the public, government agencies, first responders, airports and other transportation hubs, and the private sector.
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Emergency Communications Guide (pdf)


text:
Category : Project Management.
Topic : Project management schools in atlanta ga.
Author : Marlowe Rousseau.
Published : Sat, Nov 02nd 2019 12:09 PM.
Format : jpg/jpeg.
If the project has no official beginning or specific date to end, by definition it is a process. It is important to differentiate between the two. A project is undertaken to meet a specific goal or requirement, within a specified time frame. For example, if you are planning a wedding you would want to use a project management methodology.


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Hull pottery was made in Crooksville, Ohio, from 1905. Addis E. Hull bought the Acme Pottery Company and started making ceramic wares. In 1917, A. E. Hull Pottery began making art pottery as well as the commercial wares. For a short time, 1921 to 1929, the firm also sold pottery imported from Europe. The dinnerwares of the 1940s (including the Little Red Riding Hood line), the high gloss artwares of the 1950s, and the matte wares of the 1940s, are all popular with collectors. Hull Pottery produced cookie jars in several styles, including a bean pot, a baby, and an apple. The firm officially closed in March 1986.
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text:
Carroll Wins Sixth National Championship With 10-7 Victory Against Sioux Falls
ROME, Ga. – (Game Stats) As a potential game-tying field goal sailed wide left, Carroll (Mont.) started to celebrate for the sixth time in school history. The No. 2-ranked Fighting Saints brought home the 2010 Russell Athletic-NAIA Football National Championship after a 10-7 victory against No. 1 Sioux Falls (S.D.) from Barron Stadium. In a game that was not decided until the final moments, Sioux Falls drove into field-goal range with less than 10 seconds remaining. The 46-yard attempt by USF's Braden Wieking missed to tie the score.
Since 2002, Carroll earns its sixth National Championship all under the direction of coach Mike Van Diest. The Fighting Saints improve to 4-1 all-time in the series with Sioux Falls. USF had its 42-game winning streak halted, which had tied an all-time NAIA record. Before today's loss, the last program to defeat Sioux Falls was Carroll in the 2007 National Championship.
"The score tells it all – it was a great battle," said Van Diest, whose Fighting Saints are now 6-1 in the National Championship game. "I felt our offensive line really controlled the line of scrimmage and Gary (Wagner) kept the plays alive. We are very excited. We talked about climbing the mountain a long time ago during two-a-day (practices). It was one step at a time and we never wanted to look back. It was a terrific ball game and my hats off to Sioux Falls for their tremendous run."
With both teams so evenly matched on paper, the game was destined to be a nail-biter.
Carroll, which ranked in the top-10 in rushing offense, was going up against a Sioux Falls defense to yield just 87 yards on the ground per contest. Behind the running tandem of seniors John Camino and Gary Wagner, Carroll rolled up 174 rushing yards. Camino finished with 81 yards on 24 carries, while the legs of quarterback Wagner netted 75 with one score.
In the game's opening drive, Carroll marched down to the 41-yard line of Sioux Falls and looked like they would score the first points. But, sophomore Eric Anderson sacked Wagner and forced the Fighting Saints to punt. Carroll would get more first-half scoring opportunities, though.
After the Carroll defense forced a three-and-out, the Fighting Saints again drove the ball into USF territory. Carroll converted a fourth-down play during the drive and ended up with a short field goal attempt. But, sophomore Tom Yaremko hit the right upright from 21 yards out and the game was still scoreless.
Sioux Falls threatened on its next possession as the passing game heated up. Senior quarterback Jon Eastman found junior Alex Anderson and senior Jon Ryan on a couple of pass plays to move the ball near midfield. A holding penalty on Sioux Falls stalled the drive and the Cougars were forced to punt.
As the game remained scoreless in the second quarter, the game was becoming more of a defensive battle. That was until Wagner found a hole in the middle of the USF defense. From his 17-yard line, the Outstanding Offensive Player of the Game broke a tackle and scampered 83 yards for a career-long rushing touchdown. After the PAT, Carroll held a 7-0 lead with 8:47 remaining in the second quarter.
"We had Bubba (Bartlett) and John (Camino) in there and they both did a tremendous job blocking," said Wagner on his 83-yard score. "Corey Peterson stuck his block and those are the only reasons I ended up scoring. I just tried to run as fast as I could – I'm sure it wasn't the prettiest form, but I don't care. I am so excited to be a part of this opportunity. I was in the right place at the right time and the right play was called and we scored a touchdown."
On the ensuing possession, Sioux Falls went to work offensively. In their best drive of the first half, the Cougars mixed in run and pass and drove 63 yards in 11 plays for the touchdown. Sophomore Jordan Taylor found the end zone from one yard out on a third-down play. With 3:02 showing on the clock, the score was tied at 7-7.
Carroll looked to take a lead heading into the locker room and had a chance to do so. The Fighting Saints drove to the USF 21-yard line, but a Yaremko attempt hit the left upright this time.
The second half was much of the same story, with both defenses making plays when they had to. Carroll moved the ball enough offensively that they won the field-position battle. The Fighting Saints pinned USF deep in its own territory twice in the third quarter. Because of that, the game stayed tied at 7-7 into the fourth frame.
After a third-quarter that saw Carroll move the ball twice into USF territory, the rushing game of the Fighting Saints took over. Starting at its own 41-yard line, Carroll rushed the ball 12 times on a 15-play drive. Camino ate up 25 hard-earned yards on the ground. The result of the lengthy seven-minute drive was a 22-yard field goal from Yaremko, his first in three attempts.
With 7:47 left in the fourth quarter, Carroll held the slimmest of leads at 10-7.
Playing with a sense of urgency, the Sioux Falls' offense clicked after the Carroll score. Eastman and company drove to the Carroll 31-yard line, before stalling. After three incompletions and a sack, Sioux Falls turned the ball over on downs.
But, Sioux Falls still got another chance after holding Carroll to a three-and-out. After a Carroll punt, Sioux Falls started its drive at its own 37-yard line with :26 left and no timeouts. Eastman found Ryan on two, 10-plus yard passes and Sioux Falls was in business. After a completion to junior Mike Hicks, the Cougars moved to the Carroll 29-yard line. That set up a chance for Wieking to be the hero and send the game to overtime.
Wieking's kick had plenty of distance from 46-yards out but was a few yards wide left.
Ryan, who was recognized as the 2010 Rawlings-NAIA National Football Player of the Year last night, ended his career with 90 receiving yards on seven catches. Eastman was 18-for-32 for 172 passing yards.
For Carroll, Wagner went 12-for-21 through the air for 107 yards. But, it was his feet that were difference. Bartlett hauled in five catches for 45 yards and junior Matt Ritter posted five receptions for 39 yards. The defensive hero for Carroll was AFCA All-American Thomas Dolan with six total tackles, including 2.0 tackles-for-loss.
With 17 total tackles, Sioux Falls' Anderson was named the Outstanding Defensive Player of the Game.
Championship Outstanding Offensive Player of the Game: Gary Wagner, Carroll
Championship Outstanding Defensive Player of the Game: Eric Anderson, Sioux Falls
Carroll comes to within one National Championship title of the all-time mark of seven, which is held by Texas A&I… The Fighting Saints win their 36th postseason game, which ties Sioux Falls for the most in NAIA history… The 42-game winning streak for Sioux Falls was the third-longest in any division of collegiate football – Mount Union (Ohio) out of the NCAA Division III posted a 55-game streak during the 2000-03 seasons… Since 2000, the No. 2-ranked team improves to 5-2 in the National Championship game… The No. 1-ranked team falls to 2-4 when playing the No. 2-ranked team, since 2000.


text:
An actor (alternatively actress for a female; see terminology) is a person portraying a character in a dramatic or comic production; he or she performs in film, television, theatre, or radio.[1] Actor, ὑποκριτής (hypokrites), literally means "one who interprets";[2] an actor, then, is one who interprets a dramatic character.[3]Method acting is an approach in which the actor identifies with the portrayed character by recalling emotions or reactions from his or her own life. Presentational acting refers to a relationship between actor and audience, whether by direct address or indirectly by specific use of language, looks, gestures or other signs indicating that the character or actor is aware of the audience's presence. In representational acting, "actors want to make us 'believe' they are the character; they pretend."[4] Formerly, in some societies, only men could become actors, and women's roles were generally played by men or boys.[5]In modern times, women occasionally played the roles of prepubescent boys.
- Terminology 1
- History 2
Techniques 3
- Method acting 3.1
- Presentational and representational acting 3.2
- As opposite sex 4
Types 5
- In theatre 5.1
- In film 5.2
- In television 5.3
- In radio 5.4
- See also 6
References 7
- Sources 7.1
- Further reading 8
- External links 9
After 1660 in England, when women first started to appear on stage, the terms actor or actress were initially used interchangeably for female performers, but later, influenced by the French actrice, actress became the commonly used term for women in theatre and film. The etymology is a simple derivation from actor with ess added.[6][6] Within the profession, the re-adoption of the neutral term dates to the 1950s–60s, the post-war period when women's contribution to cultural life in general was being re-evaluated.[7] Actress remains the common term used in major acting awards given to female recipients.[8]
With regards to the cinema of the United States, the gender-neutral term "player" was common in film in the early days of the Motion Picture Production Code, but it is now generally deemed archaic. However, "player" remains in use in the theatre, often incorporated into the name of a theatre group, or company (such as the East West Players). Also, actors in improvisational theatre may be referred to as "players."[9]
The first recorded case of a performing actor occurred in 534 BC (though the changes in calendar over the years make it hard to determine exactly) when the Greek performer Thespis stepped on to the stage at the Theatre Dionysus to become the first known person to speak words as a character in a play or story. Prior to Thespis' act, stories were only expressed in song, dance, and in third person narrative. In honor of Thespis, actors are commonly called Thespians. To this day, theatrical legend maintains Thespis is a mischievous spirit; disasters in the theatre are sometimes blamed on his ghostly intervention.
Traditionally, actors were not of high status; therefore, in the Early Middle Ages traveling acting troupes were often viewed with distrust. In many parts of Europe, traditional beliefs of the region and time period meant actors could not receive a Christian burial, which left an actor forever condemned. In the 19th and 20th centuries, this negative perception was largely reversed as acting became an honored, popular profession, and art.[10]
Method acting
Method acting is a term created by Lee Strasberg after leaving the Group Theatre to create his own Actors Studio. The Group Theatre first became known in the 1930s; its practices were subsequently advanced and developed in new directions by Stella Adler, Sanford Meisner, Uta Hagen, Lee Strasberg (at the Actors Studio in the 1940s and 50s), and others.[11] The techniques developed in the work of the Group Theatre were based on the acting theory of Constantin Stanislavski. In the early 20th century, he created his work at the Moscow Art Theatre and its studios. In Stanislavski's system, an actor analyzes the character to play him or her with psychological realism and emotional authenticity. Using this Method to identify with the portrayed character an actor may recall emotions or reactions from his or her own life.
Method actors sometimes immerse themselves so completely in a character such that she or he continues to portray a character off-stage or off-camera for the duration of the project. Although some actors employ this approach, it is generally not taught as part of the Method. Stella Adler, who, along with Strasberg, was a member of the Group Theatre, emphasized a different approach to using creative imagination.[12]
In short, method acting is a system to train and develop an actor's sensory, psychological, and emotional abilities; it revolutionized theatre in the United States.
Presentational and representational acting
Presentational acting refers to a relationship between actor and audience, whether by direct address or indirectly by specific use of language, looks, gestures or other signs indicating that the character or actor is aware of the audience's presence.[4] (Shakespeare's use of punning and wordplay, for example, often has this function of indirect contact.)
In representational acting, "actors want to make us 'believe' they are the character; they pretend."[4] The illusion of the fourth wall with the audience as voyeurs is striven for.[13]
As opposite sex
Formerly, in some societies, only men could become actors. In ancient Greece and Rome[14] and the medieval world, it was considered disgraceful for a woman to go on stage; this belief persisted until the 17th century, in Venice. In the time of William Shakespeare, women's roles were generally played by men or boys.[15]
When an eighteen-year Puritan prohibition of drama was lifted after the English Restoration of 1660, women began to appear on stage in England. Margaret Hughes is oft credited as the first professional actress on the English stage.[16] This prohibition ended during the reign of Charles II in part due to the fact that he enjoyed watching actresses on stage.[17] The first occurrence of the term actress was in 1700 according to the OED and is ascribed to Dryden.[8]
In Japan, men (onnagata) took over the female roles in kabuki theatre when women were banned from performing on stage during the Edo period. This convention continues. However, some forms of Chinese drama involve women playing all roles.
In modern times, women occasionally played the roles of prepubescent boys. For example, the stage role of Peter Pan, is traditionally played by a woman, as are most principal boys in British pantomime. Opera has several "breeches roles" traditionally sung by women, usually mezzo-sopranos. Examples are Hansel in Hänsel und Gretel, Cherubino in The Marriage of Figaro and Octavian in Der Rosenkavalier.
Women playing male roles are uncommon in film, with notable exceptions. In 1982, Stina Ekblad played the mysterious Ismael Retzinsky in Fanny and Alexander, and Linda Hunt received the Academy Award for Best Supporting Actress for playing Billy Kwan in The Year of Living Dangerously. In 2007, Cate Blanchett was nominated for the Academy Award for Best Supporting Actress for playing Jude Quinn, a 1960s representation of Bob Dylan, in I'm Not There.
In modern times, women playing men in live theatre is particularly common in presentations of older plays, such as Shakespearean works with large numbers of male characters in roles where gender is inconsequential.
Having an actor dress as the opposite sex for comic effect is also a long-standing tradition in comic theatre and film. Most of Shakespeare's comedies include instances of overt cross-dressing, such as Francis Flute in A Midsummer Night's Dream. The movie A Funny Thing Happened on the Way to the Forum stars Jack Gilford dressing as a young bride. Tony Curtis and Jack Lemmon famously posed as women to escape gangsters in the Billy Wilder film Some Like It Hot. Cross-dressing for comic effect was a frequently used device in most of the thirty Carry On films. Dustin Hoffman and Robin Williams have each appeared in a hit comedy film (Tootsie and Mrs. Doubtfire, respectively) in which they played most scenes dressed as a woman.
Occasionally, the issue is further complicated, for example, by a woman playing a woman acting as a man—who then pretends to be a woman, such as Julie Andrews in Victor/Victoria, or Gwyneth Paltrow in Shakespeare in Love. In It's Pat: The Movie, filmwatchers never learn the gender of the androgynous main characters Pat and Chris (played by Julia Sweeney and Dave Foley). Similarly, in the aforementioned example of The Marriage of Figaro, there is a scene in which Cherubino (a male character portrayed by a woman) dresses up and acts as a woman; the other characters in the scene are aware of a single level of gender role obfuscation, while the audience is aware of two levels.
A few modern roles are played by a member of the opposite sex in order to emphasize the gender fluidity of the role. Edna Turnblad in Hairspray was played by Divine in the 1988 original film, Harvey Fierstein in the Broadway musical, and John Travolta in the 2007 movie musical. Felicity Huffman was nominated for an Academy Award for Best Actress for playing Bree Osbourne (a male-to-female transsexual) in 2005's Transamerica.
Actors working in theatre, film, television and radio have to learn specific skills. Techniques that work well in one type of acting may not work well in another type of acting.
In theatre
To act on stage, actors need to learn the stage directions that appear in the script, such as "Stage Left" and "Stage Right". These directions are based on the actor's point of view as he or she stands on the stage facing the audience. Actors also have to learn the meaning of the stage directions "Upstage" (away from the audience) and "Downstage" (towards the audience)[18]
Theatre actors need to learn blocking, which is "...where and how an actor moves on the stage during a play." Most scripts specify some blocking. The Director will also give instructions on blocking, such as crossing the stage or picking up and using a prop. [18]
Theatre actors need to learn stage combat, which is simulated fighting on stage. Actors may have to simulate "hand-to-hand [fighting] or with sword[-fighting]." Actors are coached by fight directors, who help them to learn the choreographed sequence of fight actions. [18]
In film
D. W. Griffith first developed of acting that would "suit the cinema rather than the theater." He realized that theatrical acting did not look good on film. Griffith required his actors and actresses to go through weeks of film acting training.[19]
Film actors have to learn to get used to and be comfortable with a camera being in front of them.[20] Film actors need to learn to find and stay on their "mark." This is a position on the floor marked with tape. This position is where the lights and camera focus are optimized. Film actors also need to learn how to prepare well and perform well on screen tests. Screen tests are a filmed audition of part of the script.
"Unlike the theater actor, who gets to develop a character during...a two- or three-hour performance, the film actor lacks continuity, forcing him or her to come to all the scenes (often shot in reverse order in which they'll ultimately appear) with a character already fully developed."[19]
"Since film captures even the smallest gesture and magnifies it..., cinema demands a less flamboyant and stylized bodily performance from the actor than does the theater." "The performance of emotion is the most difficult aspect of film acting to master: ...the film actor must rely on subtle facial ticks, quivers, and tiny lifts of the eyebrow to create a believable character."[19] Some theatre stars "...have made the theater-to-cinema transition quite successfully (Olivier, Glenn Close, and Julie Andrews, for instance), others have not..."[19]
In television
"On a television set, there are typically several cameras angled at the set. Actors who are new to on-screen acting can get confused about which camera to look into." [21] TV actors need to learn to use lav mics (Lavaliere microphones).[21] TV actors need to understand the concept of "frame." "The term frame refers to the area that the camera's lens is capturing." [21]
In radio
Radio drama is a dramatized, purely acoustic performance, broadcast on radio or published on audio media, such as tape or CD. With no visual component, radio drama depends on dialogue, music and sound effects to help the listener imagine the characters and story: "It is auditory in the physical dimension but equally powerful as a visual force in the psychological dimension."[22]
Radio drama achieved widespread popularity within a decade of its initial development in the 1920s. By the 1940s, it was a leading international popular entertainment. With the advent of television in the 1950s, however, radio drama lost some of its popularity, and in some countries has never regained large audiences. However, recordings of OTR (old-time radio) survive today in the audio archives of collectors and museums, as well as several online sites such as Internet Archive.
As of 2011, radio drama has a minimal presence on terrestrial radio in the United States. Much of American radio drama is restricted to rebroadcasts or podcasts of programs from previous decades. However, other nations still have thriving traditions of radio drama. In the United Kingdom, for example, the BBC produces and broadcasts hundreds of new radio plays each year on Radio 3, Radio 4, and Radio 4 Extra. Podcasting has also offered the means of creating new radio dramas, in addition to the distribution of vintage programs.
The terms "audio drama"[23] or "audio theatre" are sometimes used synonymously with "radio drama" with one possible distinction: audio drama or audio theatre may not necessarily be intended specifically for broadcast on radio. Audio drama, whether newly produced or OTR classics, can be found on CDs, cassette tapes, podcasts, webcasts and conventional broadcast radio.
Thanks to advances in digital recording and Internet distribution, radio drama is experiencing a revival.[24]
See also
- Bit part
- Body double
- Cameo appearance
- Cast member
- Celebrity
- Character actor
- Child actor
- Dramatis personæ
- Extra (actor)
- Improvisational theatre
- Leading actor
- Lists of actors
- Matinee idol
- Meisner technique
- Mime
- Movie star
- Pornographic actor
- Practical Aesthetics
- Supporting actor
- Understudy
- Vaudeville
- Voice actor
- ^ "Definition of actor".
- ^ Hypokrites (related to our word for hypocrite) also means, less often, "to answer" the tragic chorus. See Weimann (1978, 2); see also Csapo and Slater, who offer translations of classical source material using the term hypocrisis (acting) (1994, 257, 265–267).
- ^ Interpretation pertains to the role played, whether based on a real person or fictional character. Interpretation occurs even when the actor is "playing themselves", as in some forms of experimental performance art, or, more commonly, as in John Malkovich's performance in the film Being John Malkovich; to act, is to create, a character in performance: "The dramatic world can be extended to include the 'author', the 'audience' and even the 'theatre'; but these remain 'possible' surrogates, not the 'actual' referents as such" (Elam 1980, 110).
- ^ a b c Trumbull, Dr. Eric W. "Introduction to Theatre -- The Actor". www.nvcc.edu/home/etrumbull/CST130-ELI/acting.htm. Retrieved 2009-03-28.
^ Neziroski, Lirim (2003). "narrative, lyric, drama". Theories of Media :: Keywords Glossary :: multimedia. University of Chicago. Retrieved 2009-03-14.
For example, until the late 1600s, audiences were opposed to seeing women on stage, because of the belief stage performance reduced them to the status of showgirls and prostitutes. Even Shakespeare's plays were performed by boys dressed in drag.
- ^ a b "actress, n.".
- ^
^ a b Linden, Sheri (18 January 2009). "From actor to actress and back again". Entertainment. Los Angeles Times. Retrieved 2009-03-14.
It would be several decades before the word "actress" appeared -- 1700, according to the Oxford English Dictionary, more than a century after the word "actor" was first used to denote a theatrical performer, supplanting the less professional-sounding "player."
- ^ Spolin, Viola (1999). Improvisation for the Theater: A Handbook of Teaching and Directing Techniques (3rd Edition ed.). Evanston, Ill: Northwestern Univ Press. pp. Introduction to the 3rd Edition.
- ^ Wilmeth, Don B.; Bigsby, C.W.E. (1998). The Cambridge history of American theatre. Cambridge, U.K.: Cambridge University Press. pp. 449–450.
- ^ Hornby, Richard (4 May 1987). "Where the Gurus of Method Acting Part". The New York Times. Archived from the original on 15 April 2009. Retrieved 2009-03-28.
- ^ Flint, Peter B. (22 December 1992). "Stella Adler, 91, an Actress And Teacher of the Method". The New York Times. Archived from the original on 15 April 2009. Retrieved 2009-03-28.
- ^ Field, Mary. "What is the Theatre?" (rtf). Shared Learning Objects. Mid South Community College. Retrieved 2009-03-28.
- ^ Women Actors in Ancient Rome 27 December 2002, BBC
^ Neziroski, Lirim (2003). "narrative, lyric, drama". Theories of Media :: Keywords Glossary :: multimedia. University of Chicago. Retrieved 2009-03-14.
For example, until the late 1600s, audiences were opposed to seeing women on stage, because of the belief stage performance reduced them to the status of showgirls and prostitutes. Even Shakespeare's plays were performed by boys dressed in drag.
^ Smallweed (23 July 2005). "Smallweed". The Guardian. Archived from the original on 22 April 2009. Retrieved 2009-03-14.
"Whereas women's parts in plays have hitherto been acted by men in the habits of women ... we do permit and give leave for the time to come that all women's parts be acted by women," Charles II ordained in 1662. According to Brewer's Dictionary of Phrase and Fable, the first actress to exploit this new freedom was Margaret Hughes, as Desdemona in Othello on December 8, 1660.
^ "Women as actresses" (PDF). Notes and Queries. The New York Times. 18 October 1885. Archived from the original on 27 April 2009. Retrieved 2009-03-14.
There seems no doubt that actresses did not perform on the stage till the Restoration, in the earliest years of which Pepys says for the first time he saw an actress upon the stage. Charles II, must have brought the usage from the Continent, where women had long been employed instead of boys or youths in the representation of female characters.
- ^ a b c http://www.sft.edu/tips/stage-acting.html Retrieved on April 3, 2014
- ^ a b c d http://www.infoplease.com/cig/movies-flicks-film/film-acting-vs-theater-acting.html
- ^ http://www.ace-your-audition.com/auditions-for-film.html Retrieved on April 3, 2014.
- ^ a b c http://www.sft.edu/tips/television-acting.html Retrieved on April 3, 2014
- ^ Tim Crook: Radio drama. Theory and practice. London; New York: Routledge, 1999, p. 8.
- ^ Compare the entry to Hörspiel e.g. in: dict.cc – Deutsch-Englisch-Wörterbuch
- ^ Newman, Barry (2010-02-25). "Return With Us to the Thrilling Days Of Yesteryear — Via the Internet". Wall Street Journal.
- Csapo, Eric, and William J. Slater. 1994. The Context of Ancient Drama. Ann Arbor: The U of Michigan P. ISBN 0-472-08275-2.
- Elam, Keir. 1980. The Semiotics of Theatre and Drama. New Accents Ser. London and New York: Methuen. ISBN 0-416-72060-9.
- Weimann, Robert. 1978. Shakespeare and the Popular Tradition in the Theater: Studies in the Social Dimension of Dramatic Form and Function. Ed. Robert Schwartz. Baltimore and London: The Johns Hopkins University Press. ISBN 0-8018-3506-2.
Further reading
- An Actor's Work by Constantin Stanislavski
- A Dream of Passion: The Development of the Method by Lee Strasberg (Plume Books, ISBN 0-452-26198-8, 1990)
- Sanford Meisner on Acting by Sanford Meisner (Vintage, ISBN 0-394-75059-4, 1987)
- Letters to a Young Actor by Robert Brustein (Basic Books, ISBN 0-465-00806-2, 2005).
- The Empty Space by Peter Brook
- The Technique of Acting by Stella Adler
External links
- Actors' Equity Association (AEA): a union representing U. S. theatre actors and stage managers.
- American Federation of Television and Radio Artists (AFTRA): a union representing U. S. television and radio actors and broadcasters (on-air journalists, etc.).
- British Actors' Equity: a trade union representing UK artists, including actors, singers, dancers, choreographers, stage managers, theatre directors and designers, variety and circus artists, television and radio presenters, walk-on and supporting artists, stunt performers and directors and theatre fight directors.
- Media Entertainment & Arts Alliance: an Australian/New Zealand trade union representing everyone in the media, entertainment, sports, and arts industries.
- Screen Actors Guild (SAG): a union representing U. S. film and TV actors.


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Pakistan's media, particularly broadcast, are often praised and condemned, sometimes in the same sentence. The number of television broadcasters exploded under the Musharraf government, growing to around 90 private cable and satellite channels. And while the growth has been swift and competitive, very often the end product leaves a lot to be desired--as many in the industry admit.
Mazhar Abbas wrote passionately in June about the need to clean up the entire industry-- broadcast and print--in a CPJ blog, "Can Pakistan's corrupt media be checked?"
With ratings driving the profits of media channels, journalists and political talk show hosts are being motivated to stir up controversy at any cost. Meanwhile, the professionals who believe in credibility, objectivity, and honesty as essential parts of ethical journalism are becoming sidelined.
This corruption within the media is spreading like a cancer, and there seems to be no antidote. If it is not checked, it could prove fatal for the media industry. We must take steps to address this problem ourselves. If not, Pakistan's journalists could lose the credibility they have earned from years of struggle.
It turns out Abbas's brother Azhar, managing director of Geo News, has been leading the charge to address those problems. Geo TV has been deeply involved in news and controversy since it was launched in 2002--search cpj.org for "Geo TV" and you get more than 10 pages of results.
About two weeks ago he sent a draft copy of Geo Asool, what the broadcaster calls its "social contract with our viewers" to a wide email list, asking for comments and input. (I was one of the recipients.) "Asool" translates as "principles." It is still a work in progress. Even though it's available online, "We are still getting feedback and meeting different stake holders. We are trying to incorporate the feedback received," Abbas told me in an email message. He said Geo is working toward an August 14 finished product--Geo's 10th anniversary--but he is not sure he will make the deadline.
The draft has four sections:
- GEO's manifesto of values, goals, and declared biases
- Best practice guidelines on how that will translate into day-to-day operations
- An ethical journalism handbook for internal use
- A plan for monitoring and implementing those ideals
The sections were drawn up by a committee of reporters, hosts, and members of Geo's editorial and management team. They also looked at seven different codes of conduct from international media and regulatory bodies. "We believe that the draft documents contain many blind spots, and some parts may even be too idealistic in our context," Abbas says.
A closing note: To get a good sense of Pakistan's media industry, Sherry Ricchiardi just finished a valuable report, "Challenges for Independent News Media in Pakistan," for the Center for International Media Assistance. She relied on a lot of CPJ's research and reporting, something it was a pleasure to help with.


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There's Nothing Sedate About This Canary Yellow Mopar
Bravo! A lot of credit must go to Keith Gambaro. Not only does he have a potent street/strip machine in his 68 Dart, but he also had the huevos to paint it an eye-seering hue and install a cowl-induction hood that features an ominous four-inch scoop. That makes the yellow Dart a conspicuous target, and thats just fine with Keith.
While it can be a lot of fun to humiliate the naive with a sleeper of the Mopar variety, to go the opposite route, as Keith has done, also has its advantages. Keith notes, I built this car to show, race, and have fun with.
Certainly the fun factor came with consistent 11.70 e.t.s, but that was prior to the combination in its current configuration which includes an upgrade with a solid lifter cam and a healthy set of drag gears.
The Oldsmar, Florida, engineer/machine operator has owned the Dart for the past eight years and, with help from his brothers, came up with the Darts current 366ci small block. The stock block features 4.03×3.58-inch bore and stroke dimensions with a set of 69-vintage 340 X-heads fitted with 2.02/1.60 Milodon valves. To produce a healthy 11:1 compression ratio, Keith used a set of KB hypereutectic pistons. To limit bleeding off cylinder pressure, Keith and his bros chose a solid lifter Crane grind which features healthy .560/.580 lift specifications. On top, a Holley 750 cfm double pumper feeds the MP M-1 single-plane manifold. To release spent gases from the 340 heads, Keith employed a set of Hooker Super Competition headers featuring 1-¾-inch primaries and 3-inch collectors. The Hookers exit into a full 3-inch exhaust system which includes 3-inch inlet/outlet two-chamber Flowmasters. Igniting the system is a full MSD ignition system including an MSD 6AL, multi-step retard, a two-step and RPM- activated switch, and MSDs billet distributor.
Keith estimates the combination to be worth approximately 425hp at the flywheel. To get the power found in the 3,250-pound A-Body to the rear wheels, Keith modified the 727 TorqueFlite with a reverse, manual valvebody shifted by a B&M QuickSilver shifter. To keep the revs up, a Dayco 10-inch 3,800 rpm stall speed converter multiplies torque to the big-bolt 8¾ rearend fitted with 4.88:1 gears and 10-inch drum brakes. A set of Cragar Draglites front and rear are mated to BFGoodrich rubber. In fact, a set of 245/60R15s challenge the wheelwell space in the rear quarters.
Inside, Keith has kept the car basically street-oriented, but lightweight seats are planned. To monitor the vitals underhood, Keith chose a full complement of AutoMeter Sport Comp gauges including a 3½-inch tach and shift light. To complete the Darts quarter-mile character, Keith employs the use of Competition Engineering three-way front shocks and MP extended length drag shocks out back.
So how fast does it run? Keith continues to work out some of the new combination bugs, but he does recognize that the Dart will need mini-tubs and a full rollcage to meet its track potential as well as keep it legal at NHRA-sanctioned tracks. But thats just fine with Keith, because no matter how good something is, it always needs upgrades to stay ahead of the competition.


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The Great Kanduski: Best Practices in Industrial Networking
Ian Verhappen, a.k.a "The Great Kanduski," has 25+ years experience in instrumentation, controls and automation. He joins the editors of Control, Control Design and Industrial Networking to offer his perspectives and experiences on networks (including IP based ones), fieldbuses, wireless, and anything that has to do with field level devices (including process analysers).
Much like our Industrial Networking magazine, the Great Kanduski serves the readers of Control and Control Design who are especially interested in fieldbuses, Ethernet, wireless, networking strategies and standards, and the cables, connectors, sniffers and other components that support them.


text:
- Whisk together the egg and sugar until frothy and no grainy bits are left.
- Sift in the flour and add the butter, combine well then turn out on to a floured surface and knead well until you have a smooth dough.
- Wrap with clingfilm and leave in the fridge for about an hour.
- Once the dough is chilled, roll out on a floured surface (about the thickness of a pound coin) and cut out your shapes.
- Place cookies on a greased baking sheet and bake for about 15 minutes at 170 degrees Celsius, until lightly golden.
- Allow to cool for about 5 minutes on the baking sheet before transferring to a cooling rack (if you move them sooner, they'll be too soft and you'll break them).
Thursday, 19 January 2012
Lavender Sugar Cookies
Growing up, I spent many happy summers on my Grandparents' farm in Norfolk. There are many smells that can instantly whisk me 20 years back in time to those carefree days: ripe tomatoes, buddleja, and lavender flowers. Norfolk and lavender are synonymous in my book, and (possibly due to the many day trips to the lavender farm in King's Lynn) their sweet fragrance pervades every memory of my holidays there.
On a whim late last year, I decided to make lavender sugar. Perhaps it was a fit of nostalgia, maybe just a subconscious attempt to remember my Grandparents at a time of year when I miss their presence most. Whatever it was, I added a heaped teaspoon of dried lavender flowers and a recently deseeded vanilla pod into 500g (ish) of caster sugar, put the whole thing into a container, sealed it and left it in the cupboard for later. Apart from the occasional shake, I haven't given it much thought since. Until this week, when I was researching sugar cookie recipes and a spark of inspiration suggested that this might be a good use for the lavender sugar.
Well done to that spark! As the name suggests, sugar plays a significant role in a sugar cookie, so it was a brilliant way to showcase the deliciously scented sugar. In a nod to my Grandpa's prized buddleja (sometimes called a butterfly bush), I decided to dig out my prettiest cookie cutter.
Lavender Sugar Cookies
150g lavender sugar, sieved to remove the flowers (see above)
150g butter, softened
1 egg
150g white rice flour, plus a little extra for dusting
100g brown rice flour
I iced my cookies with plain water icing. Sift icing sugar into a bowl and add a couple of drops of food colouring. Mix in hot water, a teaspoon at a time to make a thick paste. Put a couple of spoonfuls into a piping bag with a thin nozzle and pipe the outline around your cookie. Thin the remaining icing with a little more water and spoon it in to fill the rest of the cookie. Use a cocktail stick to push the icing to the edges. Then decorate with edible glitter, chocolate beans, or whatever you fancy!
Posted by gluten-free[k] at 6:00 pm
Labels: cookies, gluten free, recipes, summer
3 comments:
Beautiful! Lavender sugar is going onto my to-do list of baking projects immediately. :)ReplyDelete
These look great - but was surprised to see that they were made with rice flour... and could be so thin without breaking. Imagine that the solid icing helps with that? They are very pretty!ReplyDelete
Gluten Free Gift: The cookies are delicate, but as long as you leave them to cool for 5 minutes on the baking sheet before you put them on a cooling rack, they don't break easily. Out of 25 cookies, I broke two - one when I tried to lift it straight from the oven and the other when I dropped it on the floor!ReplyDelete
That said, the icing - once dry - does give added support to the whole thing!
Jonanthan: Thanks, I'm already dreaming up other uses for this delicious sugar!
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text:
2019 F-150 SuperCrew Cab 4x4, Pickup (Stock #92670)
More PhotosPhotos may be library images.
Vehicle Notes
Ruby Red Metallic Tinted Clearcoat 2019 Ford F-150 XLT 302A 4WD 10-Speed Automatic EcoBoost 3.5L V6 GTDi DOHC 24V Twin Turbocharged 4WD, 10-Way Power … Driver & Passenger Seats, 2-Bar Style Grille w/2 Minor Bars Painted Dark, 2-Bar Style Grille w/Chrome 2 Minor Bars, 4.2" Productivity Screen in Instrument Cluster, 4x4 FX4 Off-Road Bodyside Decal, Accent-Color Step Bars, Auto-Dimming Rear-View Mirror, Body-Color Door & Tailgate Handles, Body-Color Front & Rear Bumpers, Box Side Decals, Chrome Door & Tailgate Handles w/Body-Color Bezel, Chrome Step Bars, Class IV Trailer Hitch Receiver, Cloth 40/20/40 Front Seat, Electronic Locking w/3.55 Axle Ratio, Equipment Group 302A Luxury, Fixed Backlight w/Privacy Glass, FX4 Off-Road Package, Heated Front Seats, Hill Descent Control, Leather-Wrapped Steering Wheel, LED Box Lighting, Off-Road Tuned Front Shock Absorbers, Power Glass Heated Sideview Mirrors, Power-Adjustable Pedals, Power-Sliding Rear Window, Pro Trailer Backup Assist, Rear Under-Seat Storage, Rear Window Defroster, Remote Start System, Single-Tip Chrome Exhaust, SiriusXM Radio, Trailer Tow Package, Tray Style Floor Liner, Twin Panel Moonroof, Upgraded Front Stabilizer Bar, Wheels: 20" 6-Spoke Premium Painted Aluminum, XLT Chrome Appearance Package, XLT Power Equipment Group, XLT Sport Appearance Package.Recent Arrival! Not all customers may qualify for all rebates listed, see dealer for details. Price includes: $1,500 - Bonus Customer Cash, $3,250 - F-Series Retail Customer Cash, $750 - Ford Credit Retail Bonus Customer Cash, $1,250 - Holiday Retail Bonus Customer Cash, $750 - Retail Bonus Customer Cash
Chassis Details
Stock Number
Stock Type
Drive Train
Cab Type
Vehicle Trim
Vehicle Body
4D SuperCrew
Interior Color
Exterior Color Description
Engine Cylinder Count
Transmission Type
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Fuel Type
Vehicle Options
- Equipment Group 302A Luxury
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- XLT Chrome Appearance Package
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- 6 Speakers
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- Class IV Trailer Hitch Receiver
- Integrated Trailer Brake Controller
- Wheels: 20" 6-Spoke Premium Painted Aluminum
- Fixed Backlight w/Privacy Glass
- Power-Sliding Rear Window
- Variably intermittent wipers
- Electronic Locking w/3.55 Axle Ratio
- View All
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Pricing Details
|Dealer Discount
|- $14,050
|Total Savings
|Additional Upfit Cost
Contact Bull Valley Ford for more info.(630) 345-4274
Vehicle available NOW in Woodstock, IL


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Vine Floral Boutis Table Runner
A delicate, intricately stitched flowering vine winds across our runner, which is quilted in the French style of boutis, an artistic form of needlework dating back several centuries.
- 100% easy-care solid cotton.
- Machine-wash.
Dimensions & More Info
- 108" x 16".
- Made in India.
Use & Care
- Machine-wash with like colors.
- Only non-chlorine bleach as needed.
- Tumble dry.
- Warm iron as needed.
Colors Available
- Rust
- Bijou Blue
- Chili Pepper
- Jojoba
- White
- Sage Green
- Navy
- Milky Blue
Shipping Information
UPS can deliver most in-stock items within 3–5 business days. UPS is unable to deliver to P.O. boxes.
Shipping Rates
The shipping rate varies depending on your order total and shipping destination. View Shipping Options and Charges.
Next Day Delivery
For an additional charge of $26 per address, we can expedite delivery to most destinations. This service is not available for some oversize items, items shipped directly from the supplier (including perishable and custom-manufactured items), out-of-stock items and items to be shipped outside the contiguous 48 states.
Orders received by 9:00 p.m. ET Monday through Thursday will arrive the next business day; orders placed Friday through Sunday will arrive on the following Tuesday.
Return Policy
At Williams Sonoma, we take great pride in the quality and craftsmanship of our products. Attention to design, materials, safety and construction are our priority. Upon receipt, please inspect your purchase and notify us of any damage; we will arrange for a prompt replacement.
If within 30 days, you are dissatisfied for any reason, you may return your purchase for a refund of the merchandise value. An original receipt or gift receipt is required for all returns and exchanges. Returns with a gift receipt will be refunded in the form of a Merchandise Credit for the amount indicated on the gift receipt. Returns with original receipt will be refunded in the original form of payment, cash and check refunds over $100 will be issued as a company check (may take 14 business days from time of request).
For all cutlery returns (knife sets, single knives, cutting boards, knife sharpeners and knife storage), please contact us at 888.922.4108 to initiate the return.
We cannot accept returns on monogrammed, personalized, special-order items, custom upholstery, food, items shipped direct from the vendor or on items damaged through normal wear and tear. Final sale items ending in .97 or .99 cannot be returned.
Made to Order and Final Sale Furniture items are non-returnable and cannot be cancelled once the order is placed.
For returns of items purchased from your Williams Sonoma Gift Registry, we will gladly provide a refund or exchange for the merchandise within 90 days of your event or within 90 days of purchase, whichever date is later. View Full Returns Policy.
Vine Floral Boutis Table Runner
|Delivery Surcharge
|Vine Floral Boutis Table Runner, Rust
|No Longer Available
|No Longer Available
|Vine Floral Boutis Table Runner, Bijou Blue
|Vine Floral Boutis Table Runner, Chili Pepper
|Vine Floral Boutis Table Runner, Jojoba Yellow
|Vine Floral Boutis Table Runner, White
|Vine Floral Boutis Table Runner, Sage Green Green
|Vine Floral Boutis Runner, Navy
|Vine Floral Boutis Table Runner, Milky Blue
|Sugg. Price $69.95 Sale $34.99


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"Hell Bent Glory Bound" iPad Mini Case
Customize your iPad mini with this sleek and lightweight flip case. This form-fitting case protects your iPad Mini from both sides while still providing access to all ports and buttons. Show you're a fan of "Gold Rush" and protect your iPad mini from the occasional case of butterfingers.
Prices incl. VAT plus shipping costs
Delivery time 3-5 Workdays


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If you are looking for some great outdoors, Cannon Beach, Oregon, has that and more. Located on the northernmost western tip of the state, Cannon Beach offers untamed beauty of the Pacific Northwest. And we can help you make your stay here even closer to paradise with one of our affordable holiday rentals. We can set you up with a quaint and charming cottage, a bigger cabin and even a large house. Not only can we meet your lodging needs, we can meet diverse budget demands, too. But you don't have to take out word for it. We can provide reviews directly from our customers, so you get the truth about our holiday rentals straight from those who have stayed with us.
This scenic wonder offers a range of recreational, dining and other activities. On Tuesdays from June to September, don't miss the Cannon Beach Farmer's Market. You'll also find plenty of opportunities to learn about this spectacular area, at places such as the Cannon Beach History Centre & Museum, Columbia River Maritime Museum-Astoria, Garibaldi Museum, and Lewis & Clark National Historical Park. Whale watching, bird watching, helicopter rides and more await visitors. The Coaster Theatre features a variety of plays and musicals, and you can take your pick from one of the handful of spas here.
Kids love the beach. And you will want to pack an assortment of kid items to make your stay the best – beach toys, stroller, kites, even bicycles can add to the magic of Cannon Beach. You don't want to end up cramped in a hotel room. So let us provide a spacious holiday rental that gives you the freedom to bring these amenities from home, enjoy more privacy with separate rooms, and even save money on eating out by taking advantage of your own kitchen.
There's nothing quite like a walk on the sand at Cannon Beach at sunset or sunrise and the majestic site of Haystack Rock in the distance. Enjoy one of the great, local seafood eateries, one of Cannon Beach's spas and maybe even a show at Coaster Theatre. And to make your stay as memorable as possible, we can provide an affordable cottage or cabin, no matter what your budget. Let us make your stay in Cannon Beach an amazing adventure, whether you're on a couple's retreat or s family holiday.
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The ships arrived on a Monday night -- most of them sailing barks or brigs -- and they quickly fell in line with the other federal ships attempting to block traffic into and out of Charleston Harbor.
It was an ominous sight, a line of towering masts on the horizon standing between Charleston and the rest of the world.
By the following morning -- Jan. 21, 1862 -- Charleston residents still picking through the ruins of the December fire took time to spread the word that the Yankees were stepping up attempts to cut off the city's supply lines.
These ships were not simple blockaders, however; many did not appear to even be warships. The
Mercury reported that "some of them seem to be old craft, and do not resemble armed vessels in any respect."
That led most people to assume the North had sent in another Stone Fleet.
In December, the United States Navy had sunk 16 ships in the channels leading into Charleston Harbor. They were mostly old whalers, junk that the Union had bought at reduced rates.
The ships were filled with New England granite, then scuttled to serve as barricades. The wrecks would either stop traffic or tear the keel out of any ship that didn't yield.
All of this went along with the Union's Anaconda Plan. The strategy was to blockade every southern port from the Mississippi River up the East Coast, forcing coastal cities to live without supplies -- much as Maj. Robert Anderson's men had at Fort Sumter.
The plan had not been executed very well; there weren't enough ships to blockade the Mississippi, and efforts on the East coast had thus far produced mixed results.
The problem for the U.S. Navy at Charleston was that there were several routes into the harbor. Blockade runners and privateers were still finding their way into port and selling their goods at much higher prices to reflect the risk they had taken.
The city kept close tabs on the blockaders, and every week The Mercury reported their numbers -- there were rarely more than five ships or fewer than three. But it seemed the New Year had brought a new resolve from the North to clog up the most important southern ports. And Charleston was undoubtedly one of them.
That Thursday, lookouts for the city spotted the crews of this new batch of blockaders stripping the ships of rigging and spars. One ship, it was reported, already had been scuttled between Beach Channel and Rattlesnake Shoal, just a few miles off Sullivan's Island.
"This no longer left any room for doubt that this was really another detachment of the famous Stone fleet, by which the wicked City of Charleston is to be 'hermetically sealed,' " The Mercury reported.
Editor Robert Barnwell Rhett Jr. speculated that most of the remaining ships would be sunk during the night. But a Nor'easter soon blew up, giving the Yankee sailors fits and slowing their work considerably, a fact that Rhett seemed to take great joy in reporting.
But the fact remained that Charleston Harbor was being bottled up. The only good news was that, as a result of the storm, the city's wells were finally filling up again.
A glaring weakness
Most of the second "stone fleet" was sunk during the last week of January. Union soldiers took advantage of a break in the weather on Sunday, Jan. 26, to send most of the old ships to the Atlantic floor.
By The Mercury's tally, the blockade fleet had sunk 10 wrecks, which brought the total number of channel obstructions to 26. Slowly, the Yankees were proceeding with their plans to ensure that Charleston was closed for business.
In the first days of February, refuse from the second stone fleet -- spars and blocks, mainly -- were found floating in the harbor. Local sailors, who claimed that winter storms were breaking up the wrecks, began collecting the trash and hauling it ashore.
"Many of the smaller specimens are being distributed over the city, and will, in time, be among the curiosities of the Lincoln War," The Mercury reported. "Others, that are more valuable, are being sold by the wreckers."
While Charleston residents were reduced to selling junk dumped in their water by the Union Navy, northern newspapers were crowing about the progress made by the blockade. On Feb. 4, The Mercury reprinted an article from the New York Tribune that called Maffitt's Channel "one of the rat holes to Charleston, and a more important one than we were led to suppose."
"This will relieve us of a troublesome channel to guard," the Tribune noted.
For much of the month, Charleston was consumed by news of the blockade, which the Tribune had reported would remain outside of Charleston for the foreseeable future. Soon, the city heard rumors that Union ships were advancing on Savannah and parts of the North Carolina coast.
There was also speculation that Bull's Bay had been targeted, and, by the middle of the month, it appeared that was one story with a bit of truth to it.
Early on the morning of Feb. 14, Union ships captured the schooner Theodore Stoney as it crossed the bay about 20 miles north of Charleston. A single Navy vessel had stopped the Stoney and commandeered it.
According to the Stoney's captain, the Yankees planned to sail the ship to Port Royal. But the Navy officers proved ignorant of the notoriously shallow bay and quick ran the Stoney aground.
When the captain refused to help the frustrated Yankees free the ship, they set it afire.
Crews on the schooners Elizabeth and Wando, as well as the sloop Edisto, witnessed the burning of the Stoney and panicked. Fearing their ships would be next, the crews sank all three ships and escaped to the mainland.
The incident only highlighted Charleston's -- and the Confederacy's -- greatest weakness, one The Mercury had noted a month earlier when it posed the question: "Shall We Build a Navy?"
"It has ceased to be a matter either of doubt, or concealment, that the ease with which the enemy has mastered our bays and inlets, is due less to the peculiar topography of our sea islands, than to our utter want of strength on the water," The Mercury had astutely opined.
"We have been taught, by bitter experience, the impossibility of providing adequate land defences for the numerous bays and inlets of our coast. For the security of our seaboard, a navy is absolutely essential, and any attempt to avoid the outlay, necessary to maintain an extensive armed marine, would indeed be poor economy."
For nearly a year, most of the South had concentrated on the ground war and ignored that glaring weakness. The North had recognized it and exploited it, especially at Port Royal. But the escalating blockade and the growing number of attacks on Southern ships would soon bring the rest of the Confederacy around to The Mercury's way of thinking.
The events off Hampton Roads cinched it.
Era of the ironclad
On Saturday, March 8, the South debuted the CSS Virginia as it launched an assault on the blockade squadron off Hampton Roads, Virginia.
The ship was the former Merrimac, a simple steam frigate, but it looked nothing like its former self. Salvaged by southerners, the ship had been re-fit as a ram with a deck made of iron nearly four inches thick.
It was an imposing warship. That day, the Virginia sank two ships and chased a third, the Minnesota, until it ran aground. The next day, after returning to port for repairs, the Virginia came back to finish the job.
And there, the former Merrimac met the Monitor, standing between it and the crippled Minnesota.
The Union Navy's own ironclad had been designed by John Ericcson, a Swedish engineer, and built in response to the Confederate re-fit of the Merrimac. The Monitor was a curious sight -- its hull sat low in the water, protected by iron, and featured a rotating gun turret, a development almost unheard of at the time.
For three hours the two warships fired at one another, neither able to do the other much harm. The Virginia finally damaged the Monitor's pilothouse, but could not get around the ship to finish off the Minnesota. The battle was a draw, but it held much more significance than a single engagement.
The era of the ironclad had arrived.
Over the next week The Charleston Mercury devoted several pages to the battle, calling it the South's first naval victory of the war. The appearance of the Monitor only solidified the newspaper's opinion that the South had to build its own Navy.
Within a week the newspaper would suggest that Charleston follow the lead of Virginia and re-fit the Mackinaw and John Ravenel with gun decks and a roof made of railroad iron.
"Nothing ought to be left undone to break up the blockade," the paper wrote, "and patriotic men, instead of buying up vessels in port for speculative purposes, ought rather to afford every facility in their power to make the most of the material at hand for war purposes."
It was a sly condemnation of war profiteering disguised as patriotism. And it was quickly answered.
Inspired by a similar campaign in Mobile, local women began donating money to build a ship that would be called the "Ladies' Gunboat." To the chagrin of Rhett, the first $2,000 raised was sent to The Charleston Courier. The Mercury was left to promise that it too would forward any donations sent to its offices.
Soon the money was rolling in -- cheered on by The Mercury's call to "build Merrimacs for every Southern harbor, and build them at once."
The fundraiser quickly took on a life of its own, and offered Charleston residents a chance to get involved with the war effort. The newspaper even came up with a contest so that readers could vote on names for Charleston's own ironclad gunboat, which was already under construction.
Readers who wrote in to express support for the idea soon agreed on a name. They decided that Charleston's first ironclad should be christened the "Palmetto State."
Next: Robert Smalls and the Planter


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Pillivuyt Shallow Coupe Porcelain Serving Bowl
- Only at Williams Sonoma
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- Summary
From France, this white porcelain dinnerware is as sturdy as it is stylish. Thanks to an innovative formulation of various clays, the porcelain's delicate appearance belies its strength. This serving bowl allows you to expand your collection of Pillivuyt Coupe porcelain dinnerware. Most pieces are available as sets of four, while serving pieces are sold individually. They're made in France by Pillivuyt, a company respected for fine porcelain tableware since 1818.
- Made of high-fired porcelain.
- Microwavable, oven and dishwasher safe.
- Sold individually.
- Made in France.
- Dimensions & More Info
- 14" diam., 3 1/4" diam., 6" high
- 4 1/2-qt. cap.
- Made in France.
- Use & Care
- Oven safe and microwavable.
- Dishwasher safe.
- Shipping
Shipping Information
UPS can deliver most in-stock items within 3–5 business days. UPS is unable to deliver to P.O. boxes.
Shipping Rates
The shipping rate varies depending on your order total and shipping destination. View Shipping Options and Charges.
Next Day Delivery
For an additional charge of $26 per address, we can expedite delivery to most destinations. This service is not available for some oversize items, items shipped directly from the supplier (including perishable and custom-manufactured items), out-of-stock items and items to be shipped outside the contiguous 48 states.
Orders received by 9:00 p.m. ET Monday through Thursday will arrive the next business day; orders placed Friday through Sunday will arrive on the following Tuesday.
Return Policy
At Williams Sonoma, we take great pride in the quality and craftsmanship of our products. Attention to design, materials, safety and construction are our priority. Upon receipt, please inspect your purchase and notify us of any damage; we will arrange for a prompt replacement.
If within 30 days, you are dissatisfied for any reason, you may return your purchase for a refund of the merchandise value. An original receipt or gift receipt is required for all returns and exchanges. Returns with a gift receipt will be refunded in the form of a Merchandise Credit for the amount indicated on the gift receipt. Returns with original receipt will be refunded in the original form of payment, cash and check refunds over $100 will be issued as a company check (may take 14 business days from time of request).
For all cutlery returns (knife sets, single knives, cutting boards, knife sharpeners and knife storage), please contact us at 888.922.4108 to initiate the return.
We cannot accept returns on monogrammed, personalized, special-order items, custom upholstery, food, items shipped direct from the vendor or on items damaged through normal wear and tear. Final sale items ending in .97 or .99 cannot be returned.
Made to Order and Final Sale Furniture items are non-returnable and cannot be cancelled once the order is placed.
For returns of items purchased from your Williams Sonoma Gift Registry, we will gladly provide a refund or exchange for the merchandise within 90 days of your event or within 90 days of purchase, whichever date is later. View Full Returns Policy.
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Customers Who Bought This Item Also Bought
Rated 5 out of 5 by nadiaCA from Love! Love! this bowl Simply gorgeous bowl. Perfect for dinner parties. Ended up purchasing two of them. I use them for serving salads, pasta, main and side dishes. Showcases the food beautifully. Highly recommend.Date published: 2019-02-20Rated 5 out of 5 by Molly0812 from Beautiful Bowl I received this bowl from my wedding registry three years ago and it is one of my favorite serving pieces. We use it regularly. Great for large salads, muscles, pasta dishes, etc.. All of our dishes and servers are pillivuyt and you can't go wrong with the quality or craftsmanship. Our dishes are the basketweave pattern, but so many of the other pieces go seamlessly with them. Highly recommend.Date published: 2017-06-07Rated 5 out of 5 by Ljmomof3 from Side-by-side of Pillivuyt to WS Tabletop I ordered the Pillivuyt Serving bowl, and was surprised and delighted at the size and quality. I did feel guilty about the price, so I decided to order the Williams-Sonoma tabletop version to compare the two side by side. Actually, I bought the pillyvuit on sale...The WS bowl was lovely, but the color was not as white and pure. The quality of the pillivuit was immediately apparent, it even seemed more balanced. If I didn't have them side-by-side, I would have been thrilled with the Willliams-Sonoma bowl. Both bowls would be beautiful on your table, but the elegance of Pillivuit beat the other bowl out. I gave the WS bowl to my daughter for her birthday. She didn't see my more expensive bowl, so she was pleased as punch! Happy girls all round.Date published: 2016-12-08Rated 5 out of 5 by Plainenglish from Versitile and Lovely This is my favorite wedding gift to give. I've had mine for years and use it all the time. It's the perfect size and scale for both family dinners and entertaining. The wonderful thing about Pillivuyt is that they don't discontinue an item. All are classic and the quality is superb. You can't go wrong with this addition.Date published: 2015-09-15Rated 5 out of 5 by mckennarae from Beautiful, versatile bowl I received this item at my bridal shower and absolutely love it. It is so versatile because of the shape (large bowl with low sides). We use it for salads, pasta dishes, main dishes with sides, anything you could imagine. The presentation is absolutely stunning. When we aren't using it for serving, we use it as a fruit bowl (it is too beautiful to hide away!). Very easy to clean & I know it will last a lifetime. Can't wait to grow our Pillivuyt collection.Date published: 2013-10-17


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Conference Unites American and Italian Experts to Examine Cultural Heritage
The National Endowment for the Humanities (NEH) and the Consiglio Nazionale delle Ricerche (National Research Council, or "CNR") of Italy held the first of two conferences encouraging the exchange of information and scholarly research in the humanities between Italy and the United States. The conference, "Using New Technologies to Explore Cultural Heritage," hosted Oct. 5 at NEH headquarters, brought together American and Italian scholars and technology experts to discuss the use of digital tools to preserve and study cultural heritage.
The conference is the result of a June 2007 memorandum of understanding signed by NEH Chairman Dr. Bruce Cole and CNR Member of the Board of Directors, Prof. Roberto de Mattei. The memorandum aims to encourage scholarly collaboration in the humanities and provides for a second conference next spring in Rome.
A series of panel sessions at the conference highlighted the expertise of top U.S. and Italian scholars and experts who are using new digital tools to research, recover, and reconstruct cultural achievements in human history. These experts spoke on how digital technologies can, for example, construct a 3-D modeling of a lost ancient city, transcribe ancient texts, or develop interactive digital materials that aid our understanding of historic events and ideas.
"Digital technology is transforming the way that scholars research, archive, and present the humanities," said NEH Chairman Bruce Cole. "Today's conference participants are doing some of the best and most exciting work in the area of the digital humanities." Chairman Cole lauded the efforts of these scholars to shed new light on a vital topic today in the scholarly community and in the broader culture—how we can use digital tools to better understand ourselves, our history, and our cultural heritage.
The panels also focused on the concepts and motives behind using these new technologies. Prof. Roberto de Mattei of CNR remarked on the possibilities new technologies afford to create a new, virtual space of cultural heritage. "One can imagine a virtual route which links monuments, archaeological finds, castles, abbeys, and even museums and libraries of the same area, not according to geographical itineraries, but rather following a conceptual system of relations and symbols," stated Prof. de Mattei.
"I am confident that this is just the beginning of what will be a long and productive collaboration between our two agencies" stated Chairman Cole at an evening reception on Thursday, Oct. 4, hosted by Ambassador Giovanni Castellaneta and the Embassy of Italy. Prof. de Mattei emphasized "the importance of international collaboration, not merely for economic purposes but for purposes of culture."
The reception honoring the collaboration of these Italian and American cultural agencies featured a keynote address from Steven Johnson. A best-selling author on the intersection of technology and personal experiences, Johnson spoke to guests on the nature of books and text in the digital age. "New technologies give the book great opportunities and avenues it can channel into," said Johnson. "Let us keep the book at the center of learning, but open the book and make it connect to other forms of media," which he said encourage collaboration, expansion, and the possibility for discovery.
The papers on the findings of the participating academics will be published in follow-up to the conference. All of the American scholars participating in the first conference have received Endowment funding for their scholarship.
This conference is part of the NEH's participation in the President's Global Cultural Initiative, a major public-private initiative launched in 2006 to coordinate, enhance, and expand America's cultural diplomacy efforts worldwide. The Endowment places special emphasis on the impact of digital technology on the humanities through its Digital Humanities Initiative (DHI). Further information about DHI, as well as a detailed conference agenda and list of speakers, is available on the NEH Web site.
The NEH and CNR gratefully acknowledge the President's Committee on the Arts and the Humanities for its generous support.
Italy's National Research Council (CNR) is a public organization; its duty is to carry out, promote, spread, transfer and improve research activities in the main sectors of knowledge growth and of its applications for the scientific, technological, economic, and social development of Italy. To this end, the activities of the organization are divided into macro areas of interdisciplinary scientific and technological research, concerning several sectors: biotechnology, medicine, materials, environment and land, information and communications, advanced systems of production, judicial and socio-economic sciences, classical studies, and arts. CNR is distributed all over Italy through a network of institutes aiming at promoting a wide diffusion of its competences throughout the national territory and at facilitating contacts and cooperation with local firms and organizations. For more information about the CNR of Italy, visit: www.cnr.it/sitocnr/Englishversion/Englishversion.html.