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Informações principais
Sobre o conteúdo
In this project-centered course, you will learn everything you need to research and present an effective and persuasive position paper or policy advice. We recommend you sign up for a certificate as this course is on premium grading and you will only enjoy the full benefit of the project if you can join in with the assignments. In addition this course contains the exciting opportunity to research and analyze historical decisionmaking, international relations, business cases and battles in an effort to truly understand constructing a convincing argument. Most important decisions in life, and many unimportant ones, are taken after some degree of reflection. If those decisions affect other people, we may take some advice and we might even follow it. The larger the issue and the greater number of people involved, the more likely that advice process will be institutionalised. Most of us tend to think of policy advice in the context of things as counsel to politicians in matters of national security or policy-making by governments. Of course, we also know that it takes place on a regular basis within businesses and other organisations. But it also happens in local politics and in local campaigns and in everyday life. Every time you try to influence someone's decision, you are offering policy advice. Even if you are not planning to be an active advisor, the discipline of collecting and arranging the necessary materials is useful in all kinds of research and writing exercises. Writing a policy advice is what we call a 'transferrable skill'. The course requires an academic approach, but no previous experience. The projects can be completed by both novices and advanced learners. One thing is certain. Both groups will learn a lot from the experience. What is a policy advice? In its simplest form, a policy advice is a short paper that argues your position on a particular issue and the course of action you propose. It also tries to convince the audience to adopt your position and to take action on your advice. What advice can I give? You may well have a topic already, based on your work or your social situation. This could be a piece of equipment your firm might want to buy or a new market it might wish to enter. It could be a campaign for a local play area or against pollution in local ground-water. In this case it is a question of arranging and presenting your position, and discussing it with others in a similar position. On the other hand, you might be open for suggestions. In this case, we have prepared some topics covering business case studies, issues of current affairs, and historical examples. For example, you could look into the archives advise Harry Truman to adopt a different policy towards the Soviet Union at the start of the Cold War. Alternatively you could suggest advise the Incas in 1532 not to be so trusting in their dealings with the Spanish. After all, you will know the outcome. So the course should appeal to everyone interested in practical policy-making as well as amateur historians, strategy gamers. Everyone can have fun applying these techniques to their favourite topics. What will I learn? The project-based course is designed so that you learn by doing rather than by listening. The assignments that you complete, the feedback that you receive and the assignments of others that you read and upon which you comment are all intrinsic parts of the course. The lectures are designed to act as signposts along the way and the readings allow you to explore some of the issues in greater depth. During the whole course experience you will learn to: • Frame a starting position for your own research • Use search engines to locate materials required for your advice • Explore 'academic' data-bases • Annotate your sources correctly • Target your research for statistical data • Choose a visualisation for your statistical data • Construct an argument in a logical manner • Build up the logic in each paragraph • Conduct a SWOT analysis • Conduct a Risk Analysis • Present the materials in a position paper • Convert the position paper to a policy advice • Recognise the policy-making hierarchy and shaping the advice accordingly • Write a powerful and effective PowerPoint presentation • Place your project in the 'real world' context of the policy-cycle • And ... Discover a great, great deal about your chosen topic. How much time will the course take? The lecture materials in each module will themselves take no more than 30 minutes to view and review. Each module is accompanied by selected reading materials, but these are not compulsory. There is also a Skills Lab with extra literature and videos to assist you to improve your writing, computer and presentation skills. Combining these parts of the course, and assuming that you make some use of all the facilities offered, the 'on-platform' time should take no more than an one hour for each module. The project-time depends on the degree of advancement in the project choice. If you come with a ready prepared idea and knowledge of the area, then the project-time should in total be approximately four to five hours. If you decide to use the suggestions in our collections, then you should add another three to four hours to familiarise yourself with the subject and the necessary materials. If you should decide to start a completely new project from scratch, the you would need to add another three hours or so to orient yourself in the problem and then locating the required materials. About Project-Centered Courses: Project-centered courses are designed to help you complete a personally meaningful real-world project, with your instructor and a community of learners with similar goals providing guidance and suggestions along the way. By actively applying new concepts as you learn, you'll master the course content more efficiently; you'll also get a head start on using the skills you gain to make positive changes in your life and career. When you complete the course, you'll have a finished project that you'll be proud to use and share
Programa de estudos
- Week 1 - Getting Started
In this module, after a brief introduction, we will start our policy advice by defining the issue and finding sources. Check out our Resource section if you have not yet decided on an issue for your project. Perhaps you would like to use one of our cases and e...
- Week 2 - Writing the Position Paper
In this module we will learn how to construct an argument, which will form the backbone of your position paper or policy advice, and think about how to visualise the data supporting the argument. This is the second stage towards your policy advice.
- Week 3 - Writing the Policy Advice
In this module you will turn your position paper into a policy advice, but first, we will teach you to apply a SWOT Analysis and Risk Assessment. Do not forget to use the Skills Lab from module 2.
- Week 4 - Presentation and Reflection
In this module you will create a presentation to present your policy advice to your target audience, and we will reflect on the course.
Richard Thomas Griffiths
Prof. dr.
Faculty of Humanities
Criador do conteúdo
A Coursera é uma empresa digital que oferece um curso on-line massivo e aberto, fundado pelos professores de computação Andrew Ng e Daphne Koller Stanford University, localizado em Mountain View, Califórnia.
O Coursera trabalha com as melhores universidades e organizações para disponibilizar alguns dos seus cursos on-line e oferece cursos em várias disciplinas, incluindo: física, engenharia, humanidades, medicina, biologia, ciências sociais, matemática, negócios, ciência da computação, marketing digital, ciência de dados. e outros assuntos.Cours


text:
|Traffic & Parking
|Lost & Found
|Security Report
|Emergency Procedures Manual
|Rave Alert System
|Clery Act
We encourage citizens to provide our department input regarding the services we provide. More importantly, we want them to feel confident that they will receive professional customer service from each department member.
The Security Department maintains monthly and annual crime statistics as mandated by The Clery Act. All rules and regulations are clearly discussed and presented in written form to the students. Disciplinary issues are handled with fairness, enhancing the personal guidance and social growth function of the institutional mission. We are pleased to boast an admirable record of peace and safety for our campus environment.
The OPE Campus Security Statistics Website is brought to you by the Office of Postsecondary Education of the U.S. Department of Education. It was authorized by Congress with the 1998 amendment to the Higher Education Act of 1965 (HEA) to help potential college students and their parents research criminal offenses on college campuses. The Department of Education is committed to assisting schools in providing students with a safe environment in which to learn and to keeping parents and students well-informed about campus security.
We pledge our commitment to providing the highest level of security services that all citizens deserve.
Crime(s) in progress should be reported immediately to the appropriate Law Enforcement Agency.
ON-CAMPUS EMERGENCIES - Students, faculty, staff, and visitors should DIAL 911 from any campus phone to notify the Snyder Police Department. Non-emergency calls on campus should be placed to the Western Texas Security Department at 325-574-7906. Residence Hall students are also encouraged to report crimes to their RA.
OFF-CAMPUS EMERGENCIES - Students, faculty, and staff should DIAL 911 to notify the Snyder Police Department.
In the event that you are not near a campus phone, you may DIAL 911 from your cell phone. Your call will be answered by the Snyder Police Department. You will need to provide them with your name, cell phone number, and location.
Security Department Offices
Jamie Redwine - Director of Safety and Security
Bldg. 2 Rm. 113
6200 College Avenue
Snyder, TX 79549
Ralph Ramon
Vice President and Dean of Student Services
(E-mail addresses should not be used to report emergencies or crimes in progress as it is not monitored 24 hours a day.)
You may utilize the following information to contact the appropriate Law Enforcement Agency in Snyder:
- Snyder Police Department
400 37th Street
Snyder, Texas 79549
Snyder Police Department
- Scurry County Sheriff's Office
400 37th Street
Snyder, Texas 79549
Scurry County Sheriff's Office
- Department of Public Safety-Snyder
501 E 37th Street
Snyder, Texas 79549
Texas Department of Public Safety
- Texas Alcoholic Beverage Commission
- Texas Parks & Wildlife-Snyder
Texas Parks and Wildlife
The mission of The Western Texas College Security Department is to promote and maintain
a safe and secure environment for our students, faculty, staff, and visitors.

subset: commoncrawl


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You should have hopped here from Mary Johnson's blog. If you're just joining us and would like to start the hop at the beginning, then pop back to the start over at ELAINE HUGHES' BLOG.
A complete hop list can be found over on the SCACD Store Blog.
I got a beautiful stamped called Hope to play with. And play I did - it was my first time to attempt pencil layering on hot-pressed white watercolour paper.
Suzanne Dean's blog. Thank you for stopping by, and I hope you enjoy hopping with us today!
C.R.A.F.T. - Children
Crafts and Me - #51 buttons and bows
Flutterby Wednesdays - anything goes (all month)
Kelley Kid's - 1E, SIO - girly girl
Little Red Wagon - #97 diecut
Paper Creations Ink - Vintage or Distressed Look
The Hybrid Chick Card Caravan - 2W - Use Twine
2 Sisters - #55 Friends
ECP Challenges - Yellow
Happy hugs!


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Joshua Curtiss
Member since Dec 15, 2008
- Profile: /members/2674-joshua-curtiss.htm
- URL: http://blog.crankybit.com
- Comments: 14
Recent Blog Comments By Joshua Curtiss
My First Year As A Mac User On The Apple MacBook Pro
Posted on Jun 10, 2011 at 9:34 AM
@Ben Oh my gosh dude, that video literally scared me.... read more »
Using SetTimeout() To Delay The Closing Of A Related UI Element Based On User Interactions
Posted on Oct 7, 2010 at 3:07 PM
I have used setTimeout() many a time, and never knew it returned a token or that you could use that to clear it! Awesome! All this time, I would have a global variable that I would set that would flag the scheduled function whether it should proceed or abort (wrap it's actions on a big if block). ... read more »
Post-Instantiation CFC Method References Don't Show Up In CFDump In ColdFusion 9
Posted on Jul 20, 2010 at 3:40 PM
I also discovered this when I was writing a nifty service object for ORM, and then using a factory that injects the methods into a CFC upon creation. Except I didn't notice that it used to work in CF8. I thought it was just old news. Thanks!... read more »
ColdFusion vs. XYZ - It Finally Got Physical
Posted on Sep 1, 2009 at 8:40 PM
Lol, fun stuff. Also had me til the end.... read more »
Adobe Announces That HomeSite Is Officially Dead
Posted on Jul 5, 2009 at 4:00 PM
Ben: Do you find Eclipse's find/replace functionality lacking? It also supports RegEx find/replace, and as of Ganymede also has improved search results output. Just a thought that I noted since you specifically mentioned find/replace. Josh... read more »
ColdFusion Tag Parameters Can Be Included In Separate Files (Thanks Mark Drew!)
Posted on Jun 17, 2009 at 1:00 PM
Whoah. Weird. It shows how literal cfinclude is.... read more »
SQL LIKE Clause Case Sensitive in ColdFusion MX Query-of-Query
Posted on Jun 3, 2009 at 3:21 AM
I just finished modifying an object factory to fail over to a WDDX file of cached serialized queries when the database is unavailable (fun stuff, maybe worth a blog post!) and encountered this, since the non-DB mode was doing all the queries in QoQ mode. What a pain. I wouldn't mind the case sensiti... read more »
Using ColdFusion Query's Underlying Java Methods For Query Manipulation And Logic
Posted on May 28, 2009 at 5:30 PM
Haha, I completely wrote it the long and ugly way, THEN thought to do a Google search and found your recommended faster way. Oh well, in the end, the code is better. :-) Thanks as always dude.... read more »
Ask Ben: Accessing Cached CFCs With AJAX via Remote Proxies
Posted on Apr 16, 2009 at 12:12 AM
Sweet. Creating the alias in the pseudo-constructor of the remote proxy is a great idea. Like you said, it makes the "evil" of referring to the application scope cleaner and more maintainable. Kudos.... read more »
What Is The Best Time Of Day To Workout?
Posted on Apr 13, 2009 at 3:50 PM
Yes! Now I have a legit excuse for not being able to wake up early for a morning workout! :-) Thanks for the interesting info.... read more »
ColdFusion Session Management And Asynchronous Page Requests
Posted on Mar 31, 2009 at 2:42 PM
So.. am I right that the bottom line resolution is that an empty cflock on the session scope in onRequestStart() will address the issue as long as the cause isn't an error in onSessionStart()? I followed the whole comment thread on both posts and I *think* that thought has held true throughout. :-... read more »


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draw.io desktop
You are about to open
Do you wish to proceed?
Snaps are applications packaged with all their dependencies to run on all popular Linux distributions from a single build. They update automatically and roll back gracefully.
Snaps are discoverable and installable from the Snap Store, an app store with an audience of millions.
Snap is available for CentOS 7.6+, and Red Hat Enterprise Linux 7.6+, from the Extra Packages for Enterprise Linux (EPEL) repository. The EPEL repository can be added to your system with the following command:
sudo yum install epel-release
Snap can now be installed as follows:
sudo yum install snapd
Once installed, the systemd unit that manages the main snap communication socket needs to be enabled:
sudo systemctl enable --now snapd.socket
To enable classic snap support, enter the following to create a symbolic link between /var/lib/snapd/snap and /snap:
sudo ln -s /var/lib/snapd/snap /snap
Either log out and back in again, or restart your system, to ensure snap's paths are updated correctly.
To install draw.io, simply use the following command:
sudo snap install drawio
Publisher: Brave Software
Verified account
Browse faster and safer with Brave.
Publisher: OpenJS Foundation
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Publisher: Blender Foundation
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Blender is the free and open source 3D creation suite.
Publisher: Nextcloud
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Nextcloud Server - A safe home for all your data
Publisher: Snapcrafters
Star developer
The IDE for Android
A sophisticated text editor for code, markup and prose.
Publisher: Visual Studio Code
Verified account
Code editing. Redefined.
Publisher: Canonical
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The Go programming language
Publisher: KDE
Verified account
A game of action and puzzle-solving
Video Editor
Publisher: TradingView
TradingView for Linux desktop
Publisher: fourgray
Browse and find snaps from the convenience of your desktop using the snap store snap.
Interested to find out more about snaps? Want to publish your own application? Visit snapcraft.io now.


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Make your robot or CNC move on our 15mm Supported Slide Rail with this sliding ball-bearing platform. The slider is a bit larger than the other slider we carry for the 15mm wide supported slide rail. This slider platform is 60mm x 47mm and has four holes on the outside tapped for M4 machine screws so you can attach pretty much anything you want. This slider has a plastic interior with circulating ball bearings to make it slide smoothly along the railing.
The platform won't come off the railing once attached. It's also fairly well supported due to the T-shaped rail, so for ~5 lb loads you can probably get away with just one rail. Often times, CNC projects will have two of these on opposite sides of the machine body to support a larger platform. You can also have some other support mechanism of your own devising.
Comes as a single bearing platform. You'll want to pick up at least one 15mm railing as well. We have a bunch of bearings, supports and platforms that you may want to use so check out our CNC category
Do not try to attach onto the railing without the plastic insert! The insert keeps the ball bearings in while you fit the slider on. See the photos for more details on how to do this! If you lose a ball bearing or two, it'll still work but its best to keep them all in!
- 60mm x 47mm / 2.3" x 1.9"
- Inner Diameter: 15mm / 0.6"
- Weight: 194g
- Screw holes are 34mm x 26mm apart / 1.3" x 1"
|Part. No. :
Questions on 15mm Slide Railing Platform - Larger Size
No questions asked yetFai una domanda (Registrati oppure Esegui il Login ).
Prodotti correlati
807765 Supported Slide Rail - 15mm wide - 500mm longThis is a 'supported style' 15mm wide slide rail makes adding linear motion control easy. Made of a precision stainless-steefalseTasse escluse:€ 33,60IVA inclusa:€ 40,99
Prezzo IVA incl.Confronta
807766 15mm Slide Railing Platform - Smaller SizeThis slider has a plastic interior with circulating ball bearings to make it slide smoothly along the railing.Tasse escluse:€ 25,00IVA inclusa:€ 30,50
Prezzo IVA incl.Confronta


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Printing Wikipedia Would Take 1 Million Pages, But That's Sort Of The Point
Printing Wikipedia Would Take 1 Million Pages, But That's Sort Of The Point
A German-based group called PediaPress is trying to raise enough money to make a print copy of all of Wikipedia. That's right, Wikipedia, the ever-evolving, always-changing, inherently digital encyclopedia of information gathered by contributors all over the world. To say this would be a massive project is an understatement.
One thousand volumes, 1,200 pages each — more than one million pages in all — about 80 meters of shelf space. That's what it would take to make a printed version of Wikipedia. The idea is to let people see just how much information is in the online encyclopedia, says Christoph Kepper and his partners at Pediapress.
"Nowadays you just use Wikipedia every day without even thinking how large that might be ... the English Wikipedia has 4.5 million articles," Kepper says. "Nobody can imagine this number. It's only when you see this in print or in a physical form that you realize how large it really is."
Kepper and his partners are trying raise $50,000 through an Indiegogo campaign. Their plan is to exhibit the book at a Wikimania conference in London in August. "We basically thought, OK, let's put up a big bookshelf and put the books into it and let as many people as possible access this shelf and interact with it and get a feeling of about how large it is for themselves," Kepper explains.
"This is not an idea I think is good," says Lee Matthew, a blogger for geek.com. He thinks a printed Wikipedia is unnecessary — a waste of paper and other valuable resources.
"I understand from an artistic standpoint what they are trying to show," Matthew says. "I think, though, that the beauty of what Wikipedia is gets lost when you try and print it. ... Trying to put something like Wikipedia that is constantly evolving into a print form doesn't work for me."
Pediapress is sensitive to the criticism that a printed Wikipedia would use a lot of paper. In fact, they plan to plant trees to make up for the paper they use. That makes Jordyn Taylor, who writes for BetaBeat, feel a lot better about the project.
"I totally get it," Taylor says. "I totally get where they are coming from because you know, when we look back at media history we can look at old books, we can look at old newspapers, old magazines. But there's no way to go back and look at the history of the Internet. And I am imagining us teaching kids in the future about the history of the Internet and how are we going to go back and show them what it looked like in the 1990s and the 2000s?"
The partners at PediaPress say they do think of this as a period piece. After it is shown at next summer's conference they would love to find a more permanent home for it. Matthew Winner, a blogger and elementary school librarian, has some ideas.
"This is public knowledge, so putting it somewhere on display where the public can access it — New York public library or something like that — where everyone has access to it, the Library of Congress. ... I think that's a wonderful idea," Winner says. "We have the user data of how many people are accessing and interacting with Wikipedia online now. It'll be fun to see how many people are coming to see that print resource. And that is something we'll only know after it's printed."
More On Wikipedia
Winner says a lot of people — including many librarians — are skeptical of Wikipedia as a reliable research tool. But he thinks seeing the encyclopedia in print might change some of those attitudes. And Winner loves that at the exhibit next summer they plan to have printers — kind of like old news wire machines — that will constantly create updates.
"I think that might even be more interesting than the Wikipedia print-out itself — just for us to watch how quickly people are interacting with the document," he says.
But one thing they can't do, says blogger Jordyn Matthews, is edit the printed version itself.
"That's the inherent fun of Wikipedia," Matthews says. "You know, sometimes you stumble across a paragraph that definitely shouldn't be there, and it's a little alarming, but I think ... you have to love Wikipedia, warts and all."
PediaPress still has a lot of money to raise with its campaign which will come to end on April 11.


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Usually the hook on installing in-wall loudspeakers is that they are hardly noticeable, unobtrusive and interior design-friendly because of their ability to blend in so well with the surrounding wall.
In this case, the in-wall loudspeaker installation was done with a twist, rather somewhat calling attention to its design more than usual. It was a bit of a risky design move on the part of New York City-based custom electronics firm The Source Home Theater, but one that left both the homeowner and electronics pro very satisfied in the end.
It also illustrated the problem-solving and creativity that a pro can deliver to an intricate A/V installation.
For this home theater room, the project was actually a repair for a TriBeCa-neighborhood home whose lower level took a hit from Hurricane Sandy. Floorstanding loudspeakers, which served up the room's front-channel audio previously, were damaged and this time around the owner wanted to make sure the speakers weren't going to be placed on ground level.
"After the Sandy experience, everybody's now kind of planning ahead like it's going to happen again," says The Source principal Todd Anthony Puma, whose company has dealt with a range of post-Sandy electronics issues.
So in considering both performance and aesthetic attributes, as well as potential future-proofing, Puma and lead installer Jason Johnson worked up an in-wall speaker solution for the front left and right channels (an in-ceiling speaker was installed previously and maintained as the center channel, so it would not interfere with the A/V cabinet below the 144-inch Screen Innovations screen). But then the problem became the lack of space inside the wall to properly accommodate the in-wall Paradigm Signature series models.
"We only had a couple of inches in the wall, so if the speaker was all the way in it would touch concrete and cause unwanted vibrations … and it would get damaged anyway," Puma says.
The unique compromise was basically to pull the speaker out slightly, which The Source achieved in a savvy way by creating its own backboxes for the speakers as well as a bit of framing to fit into the extra space formed between the baffle and the wall. It was only a matter of inches, but it provided the solution and offered an interesting aesthetic element that the homeowner appreciated.
Johnson mocked up a couple of samples of the custom frame work, which led to the combination of making a backbox from bamboo to surround the loudspeaker inside the wall and mahogany frame for outside the wall. Puma says he went with bamboo because of its flexible and water-resilient attributes, and mahogany because of its looks and sonics. "I'm a guitar player and I think like one," he says. "I thought if guitar players like the sound resonances of all these companies that make guitars out of mahogany, why wouldn't we want to use that too?"
Now the uniquely placed in-wall speakers do not actually touch the wall, thereby reducing potential vibrations, but a visual byproduct was formed because The Source cut the wooden framing so it would be smoothly flush with the projection screen frame. The homeowner then painted the mahogany gray to match the wall.
"She was wary at first, and couldn't understand the theory behind what we were doing (she has in-wall speakers throughout her home), but she said it turned out better than what she expected," Puma says. "She went from not believing to turning into a huge fan."
System Design and Installation
The Source Home Theater
New York, NY
Loudspeakers: Paradigm
Subwoofer: SVS
Projector: JVC
Screen: Screen Innovations
A/V amplification and processing: Anthem
Blu-ray: Marantz
Control: Crestron
Related: See how The Source Home Theater decked out former New York Giants' star Amani Toomer's home theater.


text: Rockwood T11847 T47 Series Straight Tubular Single Bar Set 18" Pull CTC Specification Material: Brass, Bronze, or Stainless Steel Mountings: Metal and Wood: T3 Back to Back and Thru Bolt; Pull Free End = 1, Push Free End = 1, Common End = 5 Metal: T4 Back to Back and Concealed; Pull Free End = 6, Push Free End = 6, Common End = 5 Wood: T5 Back to Back and Concealed; Pull Free End = 8, Push Free End = 8, Common End = 5 Metal & Wood: T1 Back to Back and Decorative Bolt; Pull Free End = 12, Push Free End = 12, Common End = 5 Glass: T2 Back to Back and Thru Bolt; Pull Free End = 15, Push Free End = 15; Common End = 13 T3 is the standard mounting method for Metal and Wood Doors. (See our mounting selections on this site) Ordering: Specify product number, mounting, door type, push bar CTC, and finish (i.e., T11847 T3, wood door, 33" CTC, US32D) Options: Engraving "PUSH" or "PULL" (specify handing) Base plates available — use BP prefix (TBP11847) when ordering Part Number Material Size Pull CTC Pull Projection Pull Clearance Push Projection Push Clearance Weight ANSI 156.6 T11847 1" dia. 18" 3" 2" 2-3/4" 1-3/4" 4.6 lbs. J504 Close Downloads T11847-Push and Pull Bar Sets-Cut Sheet (.pdf) Close Finishes Description US ANSI/BHMA Polished Brass, Clear Coated US3 605 Satin Brass, Clear Coated US4 606 Satin Bronze, Clear Coated US10 612 Satin Oxidized Bronze, Oil Rubbed US10B 613 Dark Oxidized Satin Bronze, Equivalent US10BE 613E Black Suede Powder Coat BSP - White Suede Powder Coat WSP - Polished Stainless Steel US32 629 Satin Stainless Steel US32D 630 Close Line Drawings Close Request Information Our consultative experts are ready to help. Contact us here: loading Interested in this product? Contact us to order Related products Rockwood 36-PB Rockwood BF157A47-2 Rockwood BF15847-2


text: Only Microsoft knows how the next version of its Windows operating system will look and what it will be called, but big changes could be ahead for the OS observers refer to as "Windows 8."[ For complete coverage on Microsoft's new Windows 7 operating system -- including hands-on reviews, video tutorials and advice on enterprise rollouts-- see CIO.com's Windows 7 Bible. ]At this year's Consumer Electronics Show in Las Vegas, Microsoft announced that Windows 8 will support system-on-a-chip architectures using ARM processors. Unlike the x86 architecture that today's Windows laptops and desktops work with, ARM-based chips tend to run such low-power devices as tablets and smartphones.In his CES keynote speech, Microsoft CEO Steve Ball\u00admer said, "This announcement is really all about enabling a new class of hardware, and new silicon partners for Windows, to bring the widest possible range of form factors to the market."In other words, Windows won't be just for laptops and desktops anymore.Actual FactsMicrosoft's ARM announcement represents the firm's only officially released factual detail about Windows 8. Consistent with it, the company named Nvidia, Qualcomm, and Texas Instruments as silicon partners, so Windows devices built upon their three low-power platforms are likely.At an architectural summit in London last year, Microsoft en\u00ad\u00adcouraged the idea of virtualizing Windows more heavily, possibly storing apps, data, Windows settings, and parts of the OS itself in the cloud.RumorsNo rumor about Windows 8 is more precise than a series of leaked slides that supposedly provide a blueprint for Microsoft's next OS. The slides alone don't indicate final features of Windows 8, but they do show where Microsoft is headed, especially since other reports have corroborated them.One slide, for example, talks about an OS that follows users wherever they go; instead of being tethered to hardware, users may roam between desktops, laptops, and tablets in whatever way is most convenient.Another slide speaks of a reset button that preserves apps and settings while wiping out viruses and other hindrances. Some industry watchers suggest that storing apps and data in the cloud could make this feature possible.As for Microsoft's goal of "instant on" computing, blogger Manan Kakkar spotted a Microsoft patent for using a hypervisor-another virtualization method-to split the operating system into a general-purpose OS and a number of appliancelike applications, such as for TVs and tablets. Those uses, Kakkar says, could switch on instantly even if the core OS took 30 seconds to start up.How will Microsoft achieve these lightweight versions of its operating system? A ru\u00ad\u00admor circulated by Paul Thurrott posits that Windows 8 will introduce a tile-based interface called "Mosh" to serve as an alternative UI for tablets and other low-power touchscreen devices.We've also heard rumblings about a new application de\u00ad\u00advelopment framework code-named "Jupiter," whose goal is to help developers create dynamic, visually appealing, and immersive applications for a forthcoming Windows app store. It may also be an attempt by Microsoft to enable developers to create apps that work on both traditional x86-based CPUs and ARM-based processors without extensive recompiling and reprogramming.SpeculationIf you doubt whether Windows 8 will be a profoundly different operating system from its predecessors, consider this breathless bit of hype that briefly appeared on a Microsoft developer's blog in 2009:"The minimum that folks can take for granted is that the next version will be something completely different from what folks usually expect of Windows...The themes that have been floated truly reflect what people have been looking [for] for years and it will change the way people think about PCs and the way they use them. It is the future of PCs."Microsoft quickly removed the blog, as if to erase the evidence. So is the company really trying to shake things up with Windows 8?The Big PictureMicrosoft clearly wants to create an operating system that scales between devices. ARM support provides the foundation, and cloud services could be a major building block. The challenge for Microsoft will be to leave the core Windows experience and legacy compatibility intact while also pursuing its lofty ambitions.A final rumor: Reportedly, Microsoft is targeting a 2012 release for Windows 8. Think the company can get everything figured out by then?


text:
Right after I wrote about combining flexbox with responsive design—to switch the display of content and navigation based on browser size—I received an email from Raphaël Goetter. He pointed out a really elegant solution to the same use-case that makes use of
Let's take the same markup as before:

This is the main content.

This is the navigation.

foo

bar

baz

The source order reflects the order I want on small-screen devices (feature phones, smart phones, etc.). Once the viewport allows it, I'd like to put that navigation at the top. I can do this by wrapping some
display declarations in a media query:
@media screen and (min-width: 30em) {
body {
display: table;
caption-side: top;
[role="navigation"] {
display: table-caption;
That's it. It works much like
box-orient:vertical with
box-direction:reverse but because this is good ol' CSS 2.1, it's very well supported.
We can solve the other issue too: making those list items display horizontally on larger screens:
[role="navigation"] ol {
display: table-row;
[role="navigation"] ol li {
display: table-cell;
Once again, I've put a gist up on Github (get me! I'm like a proper computer nerd).
Update: And Remy has put it on JSbin so you can see it in action (resize the live preview pane).
So there you go: we've at least two different mechanisms in CSS to re-order the display of content and navigation in response to screen real-estate. The default is content first, navigation second—a pattern that Luke talked about in this interview with Jared:
Yeah, one of the design principles that I'll be talking on the tour about, for mobile, is content first, navigation second; which is just really putting something up right away that somebody can engage with, and saving the pivoting and the navigating for later.
There's, basically, UI patterns that you can use to make that happen. I'm still surprised at how many, both mobile websites and applications, the first thing they give you is a menu of choices, instead of content.
Don't get me wrong, the menu's important, and you can get to it, but it's actually the content that the immediacy of mobile, and the fact that you're probably on a slower network, and in some cases you're even paying for your data transfers, right? Giving you a list of choices as your first time experience tends not to work so well.


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our soverayne lorde ye kyng, yf he did any thyng agayne ye kynge's pease yat myght be proved apon hym lawfully in tyme comyng. And, over this, ye sayd Mayr and ye Counsell of ye sayd cite discharged ye said John Lyllyng of ye Counsell of the chambre, and of hys fredom of franchise of ye cite, and charged hym yat he suld noght occupy in bying nor in sellyng als a concitezin, bot als a straunger, nor yat he suld hald na shopp of his opyn within ye fraunchise of ye cite unto ye tyme yat ye Mayr and ye Counsell of ye chambre war in oyer maner avysed, and yat all hys fals osmundes in his house suld be broght in to ye chambre of counsell of ye sayd cite.
And wyth yis ye sayd John Lyllyng was accused and noysed amang mercers and other men, yat girdelers of ye citee had in thar houses fals tyn mengyd wyth other metaill yat was boght of hym, and so the Sercheours of ye Girdelers of yis cite, be commandement of ye Mayr, serched, be vertu of yair office, after ye custume of ye cite, and yai fand in yair crafte certayn peces in shappe and fourme of harowes, multen of tyn & lede and pewtre to gedir, yat was selled for clene tyn, agayne course of clene marchandise, whilk was boght of John Lyllyng, and yase peces yai broght to ye Mayr in to ye chambre, and yat was wele funden and proved yt John Lyllyng had salde mykell swylk deceyvable tyn to bellemakers in to ye cuntre and other men, whar' thurgh ye cite was gretely greved, sclandered, and yai harmed.
And her' apon ye sayd John Lyllyng was examynd befor❜ John Aldestanemore Mair', Richard Russell, William Bowes, John Moreton, Thomas Gar', Henry Preston, Thomas Bracebrygg, William Ormesheued, Piers Bukcy, aldermen, Guy Rouclif recordour, John Bromflet, William Grillyngton, shirrefs, John Hewik, Thomas Doncastre, Thomas More, Thomas Snawdon, Robert Yarom, Th. Davy, Thomas Aton, Thomas Kyrkham, William Bedale, William Gaytesheued, John Gascoigne, William Craven, Richard Louthe of ye xxiiijor, ye last day of Juyll, in ye yer' of ye kyng beforsayde, bathe of fals osmundes makyng and utteryng, & castyng of fals tyn menged with lede and pewer', and sellyng of yt deceyvabely for gude tyn to girdelers and to bellemakers and other persons, and to yis
poyntes John Lyllyng sayd yat he bad John Holgate mersshall make hym ploghstrakes of drosse and landyren yat he sent hym and na osmundes, and yat John Holgate, beyng thar' present befor ye sayd Mair' and Counsell in presence of John Lyllyng, swor' apon a buke and sayd yat John Lyllyng bad hym yat he suld make hym osmundes of ye drosse and landyren yat he sent hym and na plughstrakes, and delyvered hym a osmund to make yam aft', and the same John Holgate sayd yat ye same day he was arested John Lyllyng come unto hym and promped hym, and bad hym say yat he cutt hym bot a hundreth of landyren yat he sent hym, and bot yf he sayd so he myght na langer abyde in ye sayd citee, and yat this was trew ye sayd John Holgate proferd to prove yt wyth hys handes apon John Lyllyng, yf he wald agaynesay this. And so John Lyllyng, seand yat he myght na langer be ryght deny nor defend this mater na langer, he knawleged and graunted his trespas of forgeyng and utteryng of fals osmunds and castyng of fals tyn, in deceyvyng and harmyng of ye kynge's people, and singuler lucre to hym self, and ryght grete sclander to ye said cite, lyked als yt is reherced befor; and in hegh and lawe he submyt hym to ye grace and awarde of ye Mayr and Counsell of ye chambre how yai wald ordayne hym to do for all his trespas reherced abouen; And so ye Mayr and ye Counsell of ye chambre, consideryng ye law submission of ye sayd John Lyllyng, yat tha tuke hym to yair grace in all poyntes yat pertiend to yair power and auctoryte, and yarfor John Lyllyng prayed ye Mayr and ye Consell yat yai wald hafe hym fro open shame and velany, and restor hym to hys franchise of ye cite, and asked what yai wald aske hym yar for; and yt was answerd by yat yai wald aske hym no peny. And yan John Lyllyng tuke avysement, and of his free and propre will he prayed yam yat yai wald vouchesaufe to restor hym to hys fredom of ye cite, and take of hym yarfor c li. to ye oeps and profet of ye co'alte of ye cite, and, if yt lyket yam to take yat of hym, he wald hald hym ryght wele content, and yat yai wald be gude lordes, maisters, and frendes to hym; and whar yai myght be custum of ye cite hafe brynte his fals chafer openly in syght of ye people, to his overe mykell shame and reprove, yai takyng tendyr hede to ye lawly
submission and his besy prayers, yai restor hym agayne to his franches for c li. yat he proferd, wyth yis yat yf any girdeler, or any oyer man compleynd of hym for any fals osmundes, or fals tyn, or any oyer fals marchandise, yat he had sald yam, yat he suld accord wyth yam and make yam amendes; and ye Mayr hyght hym yat yf he wald lait yam wytt to helpe to trete wyth yam to make end, yf any compleyned of hym: and ye same John Lyllyng was charged to send all ye fals osmundes and fals tyn yat was in his house at yat tyme in to ye chambre, and so he sent in ij barels of fals osmundes, and sythen was funden half a duzan fals tyn of ye same John Lyllyng in handes of ye shirrefs whilk are brogh into ye chambre.
Forthermar', ye sayd John Lyllyng was noysed yat he suld hafe blended plaster or lyme amang his alom, and so seld yt furth deceyvabilly to lytsters, and, in especial, to John Kyrkby and Robert Dowfe, lytsters of York, and so yai war' sent for and examynyd of yis mater; and John Kyrkby sayd yat he boght of John Lyllyng a porcion of alom, and fand yar' in lyke als yt had beyn plaster and lyme, and if he had wrogh yt in yat kynd yt suld hafe brynt oute his lede bothom, of ye whilk plaster and lyme a sample ys redy in ye chambre to shew.
And Robert Dowfe lytster sais yat he boght of John Lyllyng a c alom, and he syfted oute of yt half a bushell of plaster and lyme and kest yt away for yt wald hafe brynt his lede and he had wroght yt.
And also yar ar in ye chambre xxxiij girdils harnassed as fals tyne, agains ye ordenance of ye Girdelers, ye whilk tyn was boght of John Lyllyng for clene tyn a gude als ys rehersid befor'; and when John Lyllyng was examynid and blamed for yat fals tyn, he answerd and sayd he boght yt of a man in London in ye same kynde, and yar' he was asked of what man of London he boght yt, he sayd he wist noght what his name was; and so he was counseld and biddyn noght to sclandyr in na maner bot say fully ye treuthe and let for na shame, and yan he submytt hym, als ys reherced abouen.
And after yt, ye xij day of August, ye yer abouen sayde, John Aldestanemor' Mayr, Ric' Russell, John Moreton, Thomas Esyngwald, Th. Bracebryg, Piers Bukey, John Bolton, aldermen,
John Hewyt, Thomas Doncastre, Th. More, Robert Yarum, Thomas Aton, William Bedall, William Craven, John Dodington, of xxiiij, John Bronnflete and William Stillyngton shirrefs, and John Pygott man of law wythalden of ye counsell of ye chambre, war gedird to ye chambre, and yar att yat tyme come Maistre John Selow chanon residencier of ye kyrk of Yorke, Maistre John Carleton, Th. Haselay clerk of ye crown, and Robert Manfeld marsshall in ye kynge's hostell, and yar made grete instance and prayers to ye Mair and gude men to doo ease and favor to ye sayd John Lyllyng, at ye reverence of our soverane lady ye quene, and of ye archibisshopp of York, wham ye quene had spoken to first, and sythen writen unto for yat same mater, and als at ye reverence of ye Lord Beaumont, whilk had writen to Maister John Selowe to pray in his name for ease of ye sayd John Lyllyng, and yar' ye Mairr and ye gudemen abouen sayd gaf yam to answer yat yis mater touched all ye gude men of ye consell of ye chambre, and ye coïalte of yis cite, and many of ye consell of ye chambre at yat tyme war absent, with oute wham yai myght gif yam nane answer at yt tyme, and yar for yai wald gedir to gedir mare fully ye Counsell of ye citee, and gif yam an answer, and yat yai suld send upon Monday next folowyng certen gude men of ye chambre to Cawod, to common with ye archibisshop for yis mater, and be his consell and ye consell of ye citee yai suld so doo yat our soverrayn lady ye quene, and ye archibisshopp, and ye Lord Beaumont, and Haseley suld well understand, and for yt yair praiers suld stand John Lyllyng to availl.
And yan, in ye Vigil of ye Assumpcion of our Lady, ye yer beforesayd, John Aldestonemor Mair, Richardus Russell, John Moreton, Thomas Gare, Thomas Esyngwalde, Thomas Bracebrig, Piers Bukey, John Bolton, aldermen, Guy Rouclyf recordour, John Bromflete, William Gril[ing]ton shirrefs, John Hewyk, Thomas Doncastre, Thomas More, Gefferay Sauvage, Thomas Snaudon, Robert Yarum, John Loftehouse, John Gascoigne, Thomas Aton, William Craven, Th. Kyrkeham, John Louthe, John Warde, William Bedale, William Gaytesheued, Ric' Louth of ye numbre of xxiiij, Thomas Gare ye yonger, Richard Russell, Nicholas Usflete, chambirlanes, and Thomas
Ward, war assembled her' in the chambre, and yar Thomas Haseley, clerke of the crown, and Robert Manfeld, be fore sayd, made grete instance and prayers eftesones for ease of the sayd John Lyllyng, and yat mater was putt in respite to that tyme.
And yan, apon ye morn of ye feste of ye Assumpcion of oure Ladye next efter, yar' was gedyrde in ye chambre, John Aldestanemore Mayre, Richard Russell, William Bowes, John of Moreton, Thomas Gare, Henry Preston, Thomas Esyngwald, Thomas Bracebryg, Piers Bukcy, John Bolton, aldermen, John Pygot man of lawe, John Brounflete, William Grillyngton, shirrefs, John Hewyk, Thomas Doncastre, Thomas More, Geffray Sauvage, Thomas Snaudon, Robert Yarum, John Gascoigne, William Craven, Thomas Aton, Thomas Kyrkeham, William Bedale, William Gaytesheued, John Warde, Richard Louth, of the numbre of xxiiij, and yar befor yam come ye beforsayd John Lyllyng, and in yar presence and Haseley's the clerke of the croun and Robert Manfeld, cosyn to ye same John Lyllyng, he knawleged and, witht oute distresse or fere done to hym in worde or in dede, he wilfully and openly confessed yat he was gylty and coulpabyll of all ye trespasse abouen sayd yat he was impeched of befor, and for yas trespasse he besoght ye Maire and ye gude men of ease of his paymentz, and yar [and] yan he was asked yf he couth or wald say or compleyne yat the Mair and ye Counsell of the chambre had done hym any wrong in yis matiers, and he sayd nay, nor yat he couth noght, nor wald noght say yat ye Mair and ye Consell of the chambre had done hym any manere of wrang in yis matiere, bot yt he is wele paied of all yat yai had done; and so ye sayd John Lyllyng was voided; and yan Thomas Haseley and Robert Manfeld made grete prayers for lessenyng of ye sumes of ye paymentz of ye sayd John Lyllyng. And her apon avyce taken, yt was gifen yam for answer at yat tyme yat ye Mair and ye gude men sulde send certeyn men of ye chambre to the archibisshopp vnto Cawod on Monday yan nexte commyng to commone with hym in yis mater, and take his consell and avys yar in; and, after yat, yai suld so doo yat the parties yat melled for John Lyllyng suld hald yam plesed. And her apon yai chesed Richard Russell, Thomas Bracebryg, aldermen, Gui Rouclyff, recordour, William


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© Oxford Dictionary of Rhymes 2007, originally published by Oxford University Press 2007.Oxford Dictionary of Rhymes Oxford University Press
Copyright The Columbia University PressThe Columbia Encyclopedia, 6th ed. The Columbia University Press
Sanford:1 City (1990 pop. 32,387), seat of Seminole co., central Fla., on Lake Monroe and the St. Johns River; inc. 1877. It is an agricultural center where citrus fruit and vegetables are processed. Electronic equipment, boats, and clothing are manufactured. Sanford was founded (1871) on the site of a trading post established (1837) near old Fort Mellon.
2 Industrial town (1990 pop. 20,463), York co., SW Maine, on the Mousam River; inc. 1768. Once a textile manufacturing center, Sanford now has diversified industries. The town includes the unincorporated village of Springvale. Nearby ocean beaches attract summer vacationers.
3 City (1990 pop. 14,475), seat of Lee co., central N.C.; inc. 1874. It is a processing center in a rich agricultural region (tobacco, cotton, grain, sweet potatoes, chickens, cattle, and hogs). The city has a large tobacco market and is also a major brick manufacturer.


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Sounds Good, Annapolis
Headed out for dinner and drinks in Annapolis? There's a good chance you'll find musical talent as well.
Trendy indie? Shake your groove to some soul and funk? Hip hop, pop, reggae, folk, jazz, blues, Celtic or some good old sea shanties? Start at Ego Alley in Annapolis on a Friday night and begin walking toward West Street, and you can pick your soundtrack.
Most buildings in this part of Annapolis are small. Yet many bar and restaurant owners happily sacrifice precious floor space for live music.
Bands take up space, but they also bring customers. Many have their own following, a potential new set of customers for restaurant or bar. In the symbiotic relationship, diners and drinkers are potential new fans for the bands.
"We feel that the environment created by live music performed by really talented musicians is upbeat and exciting," explains Stan Fletcher, co-owner of Stan and Joe's. "A variety of musicians contribute to this atmosphere, from solo guitarist and singers to six-piece bands."
Thanks to love, the Annapolis music scene is on an upswing.
"Ten or so years ago, there were more places to play," says Jimi Davies, aka Jimi Haha of Jimmy's Chicken Shack. Clubs he used to play have stopped featuring live music, but "now we have some new places like Metropolitan and Red Red Wine Bar."
Metropolitan, farther up West Street, and The Whiskey, on outer West Street where space is no issue, have second floors designed for music. Wild Willy's Rock House and Sports Saloon, out in Parole, has a stage and dance floor area as well.
Sharing the Groove
Just as each unique menu feeds your belly, so does the eclectic music menu feed your soul.
Annapolis is "a mixed-up, no-real-one-sound town," says Jordan Sokel of Pressing Strings. The rootsy rock band plays regular gigs at Red Red Wine Bar, as do local favorites like Jahworks and Skribe. "There are so many different fusions of sound now that you can't put your finger on exactly what it is because everybody does a whole handful of different styles," Sokel says.
What's true of the scene is also true of bands. Few fit into one category. The common thread is the connection to Annapolis — and often to each other.
Everyone knows everyone else, or so it seems. Camaraderie makes the Annapolis music scene distinctive, says Brandon Hardesty, lead singer for Bumpin Uglies. Playing for over three years, Bumpin Uglies likes performing at The Whiskey because, Hardesty says, "it's a great community. On any given night you might find musicians from 10 different bands just hanging out."
Kevin Basiliko feels that unity, too. He met Hardesty at The Whiskey while waiting for his own band to play. Basiliko plays saxophone for the 8 Ohms Band, a funk/soul group, but he also has played with groups such as Higher Hands, The Grilled Lincolns and Sweet Leda as well as recording on albums with several of them.
Viki Nova, a singer songwriter, also enjoys this linked community. One of her first Annapolis connections was Julie Cymek of Sweet Leda. Coming from D.C. and Northern Virginia, Nova was surprised at the number of musicians who joined each other on stage, sitting in on each other's set. The first time they met, Nova invited Cymek to join her on her acoustic set downstairs at Ram's Head Tavern.
"This circle in Annapolis is as welcoming as they get," says Nova. "There are no snobs, no cliques. Just people with a mutual love of music, respect for fellow musicians and a kind and helping attitude."
Cymek knows what support looks like. As she and Sweet Leda toured beyond Annapolis, she noticed that other bands were showing up and staying only for their own sets.
"That doesn't really happen here," Cymek says. "The musicians show up really early; they stay late. The fans come early and stay late. They want to see multiple bands, new bands, and they want to be part of that sharing, caring community."
Even out-of-town bands from Baltimore and D.C. can appreciate Annapolis. Ben Shugarman says when his Baltimore band Shook plays The Whiskey, the crowd is "really responsive to live music" and "filling up the dance floor."
Michael Shereikis of Chopteeth also notes Annapolis as "a different vibe. It's more relaxed. It's more open-spirited, a little more receptive." Coming from a member of a 12-piece Afro-'70's funk band out of D.C., that's quite a compliment.
"We're in the middle of two metropolitan areas that influence but don't determine the sound of the Annapolis music scene," says Mike Hearne, the owner of The Whiskey.
Hearne is always on the lookout — even in the crowd — for potential talent. His crowded Tuesday night open mike list helps him find new talent while often bringing crowds of friends into The Whiskey to support the musicians on stage.
"Playing open mike night at The Whiskey was chaotic but exciting," says Shady Sider Mark Behuncik of his band Flat Daddy. "There was little time for a sound check because we only had 20 minutes to set up and perform. You have to know your material."
Stan and Joe's has an open mike night, Fletcher says, to "help aspiring performers hone their skills, as well as a karaoke night to allow prospective singers to let it out."
Where is this flood of talent coming from? Hearne credits the Annapolis school system and its focus on music. Gavin Buckley, one of the owners of Metropolitan, gives a different explanation: "Annapolis is a beautiful town. I think it just naturally attracts artists," he says.
Tony Minetola, Metropolitan's talent buyer, has a simpler ideology: "This is a music town." Minetola's goal is to bring in national acts to pair with local names. He enjoys seeking new sounds and posts on Facebook so people can sample the upcoming music and meet new bands.
Metropolitan also serves up jazz on Thursday evenings, transforming the bar into a sophisticated hangout where tables fill the dance floor.
Over at 49 West, jazz is served nearly all week long.
Annapolis music caters to all kinds of tastes, even those a little off the beaten path. Celtic bands like the Rovers find themselves at home here, as do the "stomping-Mississippi-blues" of Swampcandy. Evening entertainment in Annapolis is a connoisseur's choice.


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New Orleans, LA – Arron Afflalo scored a game-high 26 points and provided the go-ahead bucket in the final minute, as the Orlando Magic pulled out a 105-102 comeback win over the New Orleans Hornets.
Jameer Nelson, who had missed the previous six games due to a knee injury, chipped in 15 points and seven assists, while Tobias Harris and Maurice Harkless added 15 and 13 points, respectively, in the win.
Orlando trailed by 17 in the third quarter and were down by nine late in the fourth before rallying to end a three-game skid.
Anthony Davis returned from a two-game absence and totaled 17 points, 15 rebounds and four blocks for the Hornets, who have lost three of four. Eric Gordon and Greivis Vasquez each netted 17 points, but Vasquez missed a potential tying 3-pointer at the buzzer.
"Defensively, that was about as poor as I've seen us all year long in the second half," said Hornets head coach Monty Williams, whose club gave up 69 points after the break.
Consecutive 3-pointers from Vasquez and Ryan Anderson had the Hornets on top by a 97-88 score with 3:30 remaining, but the Magic responded with an 11-1 run to go in front.
After a Vasquez bucket, Afflalo drained a turnaround and added two free throws for a 103-100 Orlando advantage with 18.8 seconds remaining. A Davis tip-in made it a one-point game, but two Magic free throws pushed the margin back to three.
Vasquez was hounded by Nelson at the top of the key with time winding down, and his try missed wildly to the left to seal the outcome.
"It was great to see the guys feel it and get rewarded for their effort of consistent play," Magic head coach Jacque Vaughn said. "We get down 17 and still plug away and play each possession. That was great to see from multiple people."
The Hornets held a 23-20 lead heading into the second quarter and went into halftime with a 46-36 cushion.
The difference reached its apex after Anderson and Gordon connected on back- to-back 3-pointers for a 61-44 lead four minutes into the third.
The Magic didn't go away, scoring 22 of the next 27 points to even things, though they still trailed 76-70 entering the fourth quarter.
Game Notes
Davis had been sidelined with a sprained left shoulder ... Anderson, acquired by the Hornets from the Magic via a sign-and-trade in the offseason, scored 13 points ... Orlando had 14 more points in the paint (54-40) and eight more fastbreak points (17-9) ... The Magic had lost their previous five games against the Hornets and earned their first win in the Big Easy since Nov. 19, 2007.


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02.02.2013. If there's a way to dilute the bitterness in relations between Russia and Georgia after a 2008 war, it may lie in a lush valley south of the Caucasus Mountain border between the feuding former Soviet republics.
Here flows Borjomi, a naturally carbonated mineral water of volcanic origin that had been popular in Russia since the 19th century until it was swept off the shelves when Moscow banned Georgian beverages and other products in 2006 as tensions built toward the five-day war.
Borjomi, a resort town with a mix of grand Soviet-era sanatoriums and drab apartment blocks, sent 60 percent of its production to Russia before the ban, and output plunged 43 percent to 63 million litres in 2006.
Though the town has since found other markets that more than make up for that loss, it and other producers of Georgian waters and wines would dearly love to get back into the Russian market, with its 142 million people.
They might soon get the chance.
A Georgian delegation is due in Moscow on Monday to discuss reviving trade links with Russia, and perhaps a glimmer of the warmth missing from relations since the war stoked by rising tension over Kremlin influence on two rebel regions and Georgian President Mikheil Saakashvili's drive to join NATO.
The talks follow other tentative steps to thaw the chill since Bidzina Ivanishvili, a tycoon who made billions in 1990s Russia, became Georgia's prime minister after leading an opposition coalition to victory over Saakashvili's party in an October parliamentary vote.
The nations held their first direct talks about bilateral relations in Geneva in December, and last month the Georgian Orthodox Church leader Ilia II, one of the most respected figures in Georgia, met with his Russian Orthodox counterpart and President Vladimir Putin.
Borjomi water is not just central to the town, but also to Georgia.
Murad Sultanov, the manager of a Georgian restaurant in central Moscow, says he wouldn't hesitate to stock it if the officials find agreement.
"It's a symbol of Georgia - Georgia and Borjomi are one and the same," he said.
Russians have also been central to Borjomi in their nearly 200-year domination of Georgia before the Soviet Union fell in 1991. In Europe it was called the "Russian Vichy" after the famous French spa town.
Roza Choladze, a 78-year-old who sells pinecone jam from a street stall in Borjomi to supplement her monthly pension of 120 lari ($73), said the valley used to draw visitors from across the former Soviet Union.
"But after our relations deteriorated a few years ago, we don't see tourists from Russia any more," she said. "I hope that will change soon."
Ivanishvili's ascent swiftly unlocked the door to improvements in ties, which had nowhere to go but up.
Putin and Saakashvili have traded pointed, physically graphic personal barbs, and the Kremlin will not talk to the Georgian president, a U.S. ally who was long a darling of the West but is portrayed in Russia as a bloodthirsty tyrant.
Ivanishvili, who fought off Saakashvili's attempts to brand him a Russian stooge during the parliamentary election, has walked the thin line between Georgians' resentment of the Kremlin and their hopes for better trade and interpersonal ties.
Diplomatic relations were severed over the war, and their restoration is not on the agenda.
Ivanishvili has assured the nation of 4.5 million that close ties with the United States and integration with Europe would remain the priority but that he would also try to rebuild relations with Russia.
That is a tall order for a country that straddles a Europe-bound energy pipeline route bypassing Russia and has been the subject of geopolitical jostling between Moscow and Washington, which fed into the tension leading to the war.
Russian forces repelled a Georgian offensive on South Ossetia and drove deep into the country before the European Union brokered a ceasefire whose terms the United States and EU accuse Russia of violating.
Russia's strong support for the breakaway Georgian regions of South Ossetia and Abkhazia, which Moscow recognised as independent nations after the war, is a major obstacle to a real reconciliation.
Moscow wants better ties "in those areas where that is realistic and possible", Russian Foreign Ministry spokesman Alexander Lukashevich said on Thursday.
Trade is one of those areas. When Russia banned Georgian wine and water, it cited concerns about quality, but few people believed that was the real reason.
Gennady Onishchenko, the acerbic Russian consumer protection agency chief who announced the ban back in 2006, has said the talks will go smoothly "if we have a businesslike conversation" - one devoid of politics, that is.
"Georgian products are in conformity with standards and deserve to be back (on the Russian market)," said Levan Davitashvili, the head of the National Wine Agency, who will lead the Georgian delegation.
Russian billionaire Mikhail Fridman's Alfa Group has bought a controlling stake in mineral water producer IDS Borjomi, according to the previous owners of the stake, a deal that could help the water flow back into Russia.
But Lukashevich said South Ossetia and Abkhazia "are not disputed territories but independent states, and the sooner Georgia's leadership understands this is the new geopolitical reality ... the easier the settlement process will be".
No leader of Georgia, where refugees from both regions dream of returning to their lost homes, can accept that claim.
"I do not see the new Georgian government making any concessions on the issue of the sovereignty of those two territories," said Thomas de Waal, a Caucasus expert at the Carnegie Endowment for International Peace in Washington.
"When it comes to Abkhazia and South Ossetia, Tbilisi and Moscow still hold fundamentally incompatible positions." (Additional reporting by Sonia Elks in Moscow; Editing by Steve Gutterman and Will Waterman)


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Glee star Amber Riley turned heads when she stepped out in a blue Theia sequin gown – and showed off a slimmer silhouette! – at the NAACP Image Awards on Feb. 17.
The actress tells PEOPLE she decided to revamp her eating habits last July after chronic stomach pains drove her to the doctor.
"I decided I was going to make a change and eat healthier," says Riley, 26, who cut out the fast food and burgers that she says "were attacking my stomach."
After seven months of sticking to a new diet and exercise plan, she has hit a weight loss milestone: "I dropped two dress sizes!"
The red carpet darling also says that getting dolled up for events is a little easier now. "I'm a lot more comfortable in dresses, especially gowns," she says.
On set, Riley's trimmer figure has been causing quite a stir in the costume department. "We had to revamp the wardrobe," she says. "They bought a lot of new clothes for me and we have to take in a lot of my pants and dresses."
But no matter what size she's wearing, the actress has always been a body confident role model. "I've always been comfortable with my size," says Riley. "I just decided it was time to get healthy."


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Street sweeping in Elgin each year prevents pollutants and nearly 2,000 tons of solids from washing into the city's storm drains and local waterways.
No. Unless otherwise specified, such as during the city's Fall Leaf Collection Program, City Ordinance strictly prohibits raking or placing debris in the street. Violators could be subject to fines and other related costs.
The City makes every attempt to sweep residential streets at least twice per month. However, street sweeping operations are severely hindered in areas with heavy on-street parking and other obstacles located in the public right-of-way. The city does not sweep private streets or unimproved streets (i.e., streets without curbs and gutters).


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School of Design
The School of Design as the focus of creative thought stands out for its highly open approach. The extensive range of classes on design practice and theory leave much scope for personal development. Experimentation, questioning, and research are becoming ever more important in an interdisciplinary world of information and dynamic knowledge. As the core and interface discipline, design in this regard dedicates itself to the wide variety of design and research tasks from all areas of society, culture and science, business, nature, technology and industry, and concentrates on a holistic outlook.
Today, studying design means more than ever being interested in countless fields of knowledge, being inquisitive, exploring what is feasible, and independently questioning the givens. The faculty responds to this by functioning as the place where students can try things out and acquire the requisite communications tools for interdisciplinary dialog.
Major fields of study
The educational program offers creative, theoretical and technological guidance by providing programs led by twelve professors (of which five are design professorships, two theory professorships, two honorary professorships, one technology professorship, one endowment professorship and one visiting professorship). In addition to this, two teachers for special purposes supplement the educational program, supported by five specialists and heads of workshops in the department's labs.
The fields of activity for product design are comprehensive and concern all social, technological and economic spheres of our modern, engineered civilization.
In essence, product design is concerned with designing for prudent use (user experience, interaction design, researching needs, ergonomics, etc.). Yet this relates to more than just use itself: looking at production processes (material, construction, ecology and so on), the marketing process (branding, market analysis, target audiences, visual language, formal styles, etc.) and the consumption process (recycling, social usage types, etc.) is now more important than ever. This is why the profession is subject to constant modification and adjustment and requires designers to possess a continuous readiness to learn – both in practice and theory. Digital technologies and techniques in particular have changed the design process. In essence however, design remains about the same thing: the skilled formal-aesthetic construction of an object or process that appropriately implements the communicative demands and qualities of a product, while aiming to reflect progress in society, economy and technology.
At the School of Design, this complexity is covered by the teaching provided. In addition to this, the department continues to develop new profiling areas for designers: design management, design journalism and design curatorship are further new areas of activity in which designers work.
Design teaching areas
What should a product designer be able to do? At its core, the product design process consists of typical tasks that require certain abilities, qualifications, capabilities and craftsmanship: competences best described as skills. Designers need a sense of the whole, they need to be able to keep the overall goals of a project in mind, acquire specific knowledge and see the project in a wider context – these make up the designer's individual design skills. Then there is a sense of material and form, for instance: How do I create the transition from one geometric shape to the next? This includes drawings, renderings in different stages, simple and complex models: How universally understandable is an interface? This includes a sense, understanding and love of form and detail in analogue and digital contexts (formal aesthetics). The necessity of skills is underlined, for example, by Bruno Latour: »A mad attention to the details has always been attached to the very definition of design skills. [...] there is a sense of skillfulness, craftsmanship and an obsessive attention to detail that make up a key connotation of design.« Along with an affinity with detail, designers also need commitment, empathy, poetry and humor, criticism and powers of persuasion. Design is not merely the crucial factor in individual innovations. Design is also embedded in larger innovation processes, and in this, designers need to be able to work in structures that can also be described as networks with different agents.
Theoretical teaching areas
Introduction to the Department of Science
Reflecting on the shape of human products is as old as western philosophy. Admittedly, for a long time the way artifacts were designed was not a problem. This had to do with the idea that in the last instance human products are always only imitations of what Nature creates. The ancient Greeks, for example, as we learn from Aristotle, were of the opinion that even a structure that seems somewhat unnatural, like a house, is nonetheless in essence basically the same as what it is based on, for example a cave. Accordingly, a house is just an improved form of the natural enclosure, which accounts for the core of its being. Correspondingly, thinkers such as Plato considered human improvements to be attempts to do justice to the primeval form of things or the idea underlying them. As such, column portals imitated and at the same time geometrically improved tree trunks, which once gave the porches of huts a befitting appearance, as joined walls imitated the hewn interior of a cave, and windows a view which otherwise only paintings could.
Nor did earlier Modernity have any real theoretical problem with the design of artifacts. Equipment and devices that were so improbable they had no precedent in Nature, in the way that the renaissance relied on Classicist predecessors, were considered to be deformities and monsters of nature, which could be viewed together with the wonders of technology in specially established art chambers.
Not until the Industrial Revolution did it become obvious that at long last things shaped by human hand had an inherent right to lay claim to validity. New materials and production technologies enabled even the most everyday objects to boast previously unseen designs that could look absolutely sensational. And at the same time popular taste became radically freed as soon as objects such as these were no longer manufactured just for local markets and needs, but on a global scale and as mass-produced goods. The presentation of industrial products at world expositions from the mid-19th century onward marked the cultural seal of approval for both trends.
At the same time architects and authors such as Gottfried Semper were first weighing up the basic methods for this new creative freedom. The approach pursued back then, namely of entrusting the design of things the engineers, did not have the makings of a permanent solution, just as the opposing tendency to conceal technical innovation behind old shapes came to nothing. Gas lamps which looked like candles, for example, aroused Semper's theoretical ire. The desire grew in him to give the technical progress a form that would be appropriate to the object in a totally new way. Since Semper formulated his fundamental ideas there have essentially been two established approaches in design theory. One still attempts to consciously pursue the old scheme of an ur-form of things or just as self-consciously distance itself from that. Classicism, on the one hand, and forms of decadence, on the other, alternate or at least interact with one another. Even the late 19th century was confronted with opposing trends, something that goes back to the reduction of forms to the original idea behind things, or vice versa adopts it with relish, embellishing and reproducing it in a Baroque style. In a similar strategic vein, the late 20th century saw the heyday of postmodernism, which ultimately even succeeded in elevating what was formerly kitsch to the absolute pinnacle of good contemporary taste.
The other approach in design theory attempts to add a time component to this development of trends. What previously seemed only ideal or decadent is now combined with a basic orientation to the past or what is to come. Accordingly, in the second half of the 19th century the Arts and Crafts Movement dared cast a determined look backwards. The desired retrogression to an ur-form of things was associated with a return to a crafts method of production in the hope that this would enable the right forms to be re-created if only by making them in the same way as had previously been the case. A basic difficulty with this approach is discernible in the context that whereas earlier a specific shape had served as a guide for craftsmanship, the return to this craftsmanship was now itself intended to spawn the guideline. Every form of Romanticism ultimately thrives on the notion that it is cultivating a past, to which it basically no longer has any real access. Seen this way, however primordial a form may seem to be, it always has something magical about it, too. Attempts to come to terms conceptually with this basic difficulty stretch from John Ruskin to Richard Sennett.
As well as looking back, as cultivated by the Modernists design theory looks forwards. Inasmuch as it counters the decline of design, this too can be considered a conservative approach. Unlike with the Romantic movements, Modernist manufacturing technologies were regarded as capable of providing decisive information about the design and essence of objects. In the early 1920s the Werkbund, for example, gave rise to the Bauhaus movement, with Walter Gropius thus laying the theoretical foundations for it. To his mind, the new design principle was particularly vivid in architecture, because glass and concrete were not just new materials that were increasingly being used for reasons of cost, they were also the basis for totally rethinking the building principle itself – and with it the associated experience of living in such edifices. Load-bearing features such as concrete and steel girder structures gave rise to spatial designs that enabled clear geometric lines and generous lighting. In Gropius' opinion, the essence of Modernist architecture and interior design initially only exposed the thrust of a Modern life-style, which, however, intrinsically always had people in mind. It is a feeling that can repeatedly be provoked, by occasionally succumbing to the nostalgia of old living-room Rromanticism while, at the sight of cool elegance, being unable to do anything other than breathe a sigh of relief.
The time was ripe for the final theoretical step in design theory to date: in the post-War era the notion of basing design on past or future ideals itself became suspicious, thus necessitating deep thought about its meaning and purpose. Since the 1950s, HfG Ulm and later HfG Offenbach have made important contributions to critical enquiries in this regard. With Dieter Rams, Otl Aicher and others, on the one hand, this involved retaining clear lines in design without, however, taking on the predecessors' metaphysics (whereby we assume here that metaphysics means elevating design to a major art form which also claims to foster significance and improve the world). At HfG Ulm and elsewhere, the opinion was that if a fire extinguisher was designed such that it worked perfectly and was easy to use, then that was enough. As such, it did not have to look like a piece of Art Deco as well.
On the other, describing the objects in a sober but apt way instead of idealizing and aestheticizing them was an obvious move. The theory of product language developed primarily by Jochen Gros und Bernhard E. Bürdek in the 1970s and 1980s at HfG Offenbach attempted to do justice to this. A description in terms of product language brought to light the design principle the object was based on. Together, symbols for how the product should be handled in practical terms, the symbolic form required for it to assert itself in social contexts and an appreciation of the form and aesthetics of the lines and appearance now defined the basic idea of design. The approach proved flexible enough to absorb the anti-classic trends of post-Modernism in the 1990s without, however, at the same time endorsing them.
The early 21st century ultimately confronted design theory with new, fundamental challenges. Innovations were the result not least of all of technical progress, which has now advanced sufficiently to fundamentally change the requirements previously made on design. To date it was considered agreed that the designer first had to make technical devices with a complex internal life accessible and easy to handle. The underlying idea is that design is an interface, as developed, for example by Gui Bonsiepe and Peter Sloterdijk. However, with the devices having become smart enough to render their complicated use readily understandable, there is no longer any need for external simplification that draws on the designer's technical and practical intelligence. As such, many of the questions that previously revolved around the objects' technical appearance, now appear in a new light, or simply become obsolete. Basically, there is no longer a need to define what the objects' natural form is when deciding "for or against" the external technical appearance. Technical features no longer have to be concealed or face outwards, as advocated by many of the above trends. Objects to be designed in the future will be seen far more in the context of their handling and an appreciation of them based on the possibility of their being networked with other similar objects, which is a fundamental aspect for the user.
Critical questions such as design's share in marketing will change, as the external incentives previously provided by the use of design means and advertising will foreseeably lose out in terms of standing as soon as the focus is on the objects being interconnected internally and functionally. Even today it is foreseeable that on the outside lots of devices of a particular category will be identical to one another; one need only think of smartphones, robot vacuum cleaners, and car dashboards. In this context, what is proving to be decisive with regard to the issue of "design" is how the applications are designed, i.e., how, in terms of a display the exterior, which now must apparently always look the same, features meaningful applications and their visual forms.
So design theory is challenged, against the backdrop of what is now classic teaching, to open up new horizons. At HfG Offenbach one of the basic assumptions has been that the practical training will involve taking a look behind the façade of objects, thereby getting back to their meaningful function. Theory as well must now do justice to this in a new way.
Practice and design modules
»Design is indeed about life, and at a time of accelerated technological evolution and dramatic political, environmental, demographic and economical concerns, designers' presence guarantees that human beings are always kept at the centre of the discussion.« (Paola Antonelli)
Technologies of widely diverging complexity are required to make and use products. They range from elementary artisan techniques to interlinked mechanical, electrical and chemical industrial procedures, to the cutting-edge manufacture of micro-electronic and/or biochemically produced components. The usability of products whose functionality is defined through such hierarchically interwoven technologies is inferred via the design – which often consciously conceals the complexity – of these products or their so-called user interfaces. Where globalized supply chains and marketing channels dilute social, economic and ecological connections between places of manufacture and places of use so as to be unrecognizable at times, it is not only vital that designers have creative design skills, but equally that they are user-oriented. Both these skills are to be given a sound factual foundation through the technology and material-based elements of the course.
Vocational Preparation
The HfG trains excellent, independently active and contributing artists and designers who can hold their own in a changing professional world. In addition, the career preparation program offered at the university with counseling and training accompanies students on their first steps into professional life. It offers a series of lectures and seminars on the subject of starting a business and also a consultation hour to help students plan their careers and professional entry into the world of work.
From first draft to prototype
Presentation techniques are the main means of communication for a designer. Various presentation and communication methods are used in order to gain and to impart insights in the context of a decision-making process. In various phases of the design process, presentation techniques are defined by questions such as "what for?", "what about?" and "out of what?" Information about the form and function of the evolving project are thereby communicated via diverse means, such as sketches, models, and photography.
Since the founding of the university, the School of Design has developed an integrated laboratory and workshop concept. The departmental workshops are part of the design and model construction concept and together with it they constitute an entity. Based on this, laboratories and workshops are divided into "manual model construction" which includes the fields of metallic, synthetic and wooden materials and technical clay, as well as "digital model construction", 2D CAD and 3D CAM.
New technologies have also led to new methods of presentation. Especially noteworthy are CAD sketching techniques, image processing and fi lm editing and, a strongpoint at the HfG Offenbach, 3-axis and 5-axis CNC technologies. At present, there is a controversy about the introduction of generative production methods (e.g. laser sintering LSL, laminated object manufacturing LOM, 3-D printing, stereo lithography) to complement, modernize and accelerate the conception and prototyping processes.
Central computer lab, DTP
Jörg Langhorst
Wolfgang Heide
General modeling, metal
Harald Andres, Anja Bernhardt, Joerg Obenauer
Modeling and derived timber products
Matthias Gerhold
Photo studio
Wolfgang Seibt
Summer semester 2021
Presentation techniques vocational preparation
Rudy C. Meidl
Workshop and Software
Aeneas Stankowksi
Drawing I & Applied Drawing I
Kondrad Regel
Supervision Diploma
Thilo Schwer
R. Hetting-Thomasius
Frederic Kreutzer
Course Objectives
Combining design, technical, and methodical basics on the one hand and theory on the other is intended to produce the prerequisites for an holistic design approach with a high degree of creative and intellectual flexibility.
Particular emphasis is placed on team spirit and working in networks, as well as on a focus on specific subjects based on individual skills that become apparent during the course.
The overarching objective of the course is to develop the expertise with which graduates can find their way and position themselves in the constantly changing profession that is design.
Course Structure
The four-semester basic course culminates in the university intermediate Diplom examination, and the advanced course in the 10th semester in the Diplom examination (ten semesters in total).
The Diplom examination comprises a complex design project and, independent of it, a theoretical thesis as well as further design and theoretical examinations. The degree awarded is that of Diplom-Designer, School of Design.
Course Structure and Courses
The focus of the training in the basic and advanced courses is on creative projects (design projects and experimental creative works). They are complemented by events in the form of lectures and seminars, as well as workshop and software courses.
Foundation Course
Alongside a non-applied exploration of drawing and 3D design basics, from the very beginning of the course the teaching also focuses on creating an awareness of the communicative interplay between people and objects and products.
The theory of product language investigates questions of designation and the context-related positioning of products, the interaction between the user and the object (product) and the precise communication of the design objective. This investigation takes place in the form of workshops and design projects and is accompanied by an introduction into the theory of design.
The design projects on the foundation course are intended to reveal the diverse areas of work product design involves and lead to a differentiated, hands-on method of product development.
In addition to traditional design methods (freehand drawings, illustrations, 3D model construction), digital tools for model visualization (computer aided design, rapid prototyping) are also integrated in the design process. The workshop and software courses that accompany the projects provide information about the prerequisites for these.
The addressing of social questions as well as an understanding of materials, technical function and production aspects (techniques and technologies) play a fundamental role.
Lectures and seminars provide an introduction to corresponding theoretical and technological areas of knowledge: theory of culture and theory of technology, aesthetics, theory of perception, design theory, design methodology, design history, an introduction to technology and ergonomics.
Advanced Course
On the advanced course the design, theoretical, technological and technical basics are expanded and explored in greater depth. Furthermore, students are given an opportunity to develop their own profile from among a wide range of topics in the fields of technical design, integrating design, furniture design, strategic design, material-oriented design, inter-cultural designs and brand and design strategy.
Alongside assignments students are free to choose themselves which take up current social and technological trends, there are regular collaborations with industrial partners and various public institutions. Students can build on this individually by including an internship in their course of studies or by spending time studying abroad.
Project Fields
In general product designs explores the problems associated with out private life (among other things how we live, leisure time, sport, health), the working world (among other things our profession, industrialism, production), and the public domain (among other things transport, traffic, architecture) by means of in-depth exploration and criticism of mankind's current and future individual, social, and economic spheres. Here, how we live and the culture of home living are accorded special importance.
The focus in the development of technical products and product systems is on technologically innovative approaches and product concepts that also integrate digital and mechanical interface components and process them in network contexts and interdisciplinary teams.
Interdisciplinary design processes are playing an increasing role in integrative design as well, examples being space-related projects such as exhibitions, , corporate design, and guidance systems.
In terms of experimental fields in new technological and globalized contexts, the range of projects is rounded out by experimental construction (for example material and its impact) and intercultural design projects.
Strategic brand design questions are likewise discussed and exemplified in innovative projects.
For interaction design and interface design (as an additional professional qualification at a later date as well) there is already a large project room available – either in its own right or integrated in individual project fields.
By their Diplom examination, students must prove they have completed an internship lasting at least 12 weeks. The internship can be in a design studio or the design department of an industrial company, as well as in a research institute.
Furthermore, before embarking on their studies it is desirable for students to complete a handicrafts and technically oriented internship.
Dean's Office
The Dean's Office runs the Faculty, and prepares and implements the resolutions passed by the Faculty Council. It concludes target agreements with the Executive Board and, as part of structural and development planning, makes decisions with regard to equipping the Departments and the use of human and material resources. Furthermore, the Dean's Office is responsible for organizing studies and examinations.
Prof. Lisa Borgenheimer
Dean for Academic Affairs
Prof. Janina Anjuli Schmidt
Christiane Kühn-Wilkens
Tel.: + 49 (0)69 80059 150
Fax: + 49 (0)69 80059 151
Examination Committee
Elvira Werner
Tel.: + 49 (0)69 80059 277
Fax: + 49 (0)6980059 151
Postal address
Hochschule für Gestaltung
Dean's Office Design
Schlossstrasse 31
63065 Offenbach/M
Room 213b, 2nd floor, main building
Entrance: Schlossstrasse 31


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Historic Memorial Auditorium organ to get facelift
LOUISVILLE (WAVE) - Louisville's Memorial Auditorium has hosted some of the brightest stars in Hollywood over its eighty-plus year history including Bette Davis, Myrna Loy and many other famous actors. It's also the home of the world's largest Pilcher pipe organ. But time has taken its toll on the one-of-a-kind instrument and now an effort is underway to save this historic piece of Louisville history.
Tim Baker, President of the William H. Bauer Foundation, is spear heading the effort to restore the historical pipe organ. And his love for the instrument goes back to his teen years.
"My friend and I have been down here (Memorial Auditorium) since we were sixteen-years-old working on this instrument and keeping it going, because if you don't play them, they die."
The organ was built by Henry Pilcher's Sons and is listed as the largest of its kind in the world. Unveiled on Memorial Day 1929 for Memorial Auditorium's grand opening, the pipe organ has been played by some of the greatest organists of all time.
Baker says, "I feel honored just to sit on this bench, the same place that so many world famous organists have spent time here as well and they loved the instrument."
The restoration has to be divided into several phases. The leather inside the organ is over eighty years old, but the biggest hurdle is the electrical system, which is the heart of the organ. Parts alone are estimated to be over $40,000. But the cost of repairing the organ is going to be free. Thanks to labor of love by organ restorer Samuel Bowerman.
"I wanted to make sure that we at least started this under some kind of supervision that I could be part of," says Bowerman, who also used to work on the organ along with Baker years ago.
Time is of the essence when it comes to repairing the organ. Bowerman estimates it will take between five-hundred and six-hundred hours to restore the organ to its original condition. That time includes refurbishing all of the 6,000-plus hand made pipes that make up the organ.
"They're all hand soldered, all the metal has to be cut, metal has to be cast, wood has to be planed , they have to be rolled up on the mandrills (and) the seams have to be all soldered together," says Bowerman.
When the job is finally finished, Bowerman says "we're going to crank it up wide open! You think it's something now, if that ever gets done, watch out!"
Thanks to donations enough money has been raised to at least start the renovation on this organ. The electrical system will be the first part to be restored with the rest of the organ following as more money is raised. Currently Baker says that they hope to have the organ back to perform for guests in the Fall. Although enough money has come in to start renovations, they still have a long way to go. If you would like to help, you can donate to the William Bauer Foundation courtesy of Memorial Auditorium, 970 S. 4th Street in Louisville.
Copyright 2011 WAVE. All rights reserved.


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In honor of Valentine's Day, I'd like to take a quick look at one of the most fundamental human emotions — hate.
Wait, that doesn't seem right. Hate? On Valentine's Day? Isn't V-Day supposed to be about love, Hallmark, and all of those positive, mushy feelings?
Well, sure. Of course Valentine's Day is supposed to be about love. But are love and hate really all that different?
They both make us act irrationally. They both cloud our thinking and judgment. They've both sparked wars, poetry, and some of the greatest epics of all time. They both make our hearts race, our pupils dilate, and our palms sweat.
OK. So it seems like love and hate are not quite so different after all. Plenty of age-old sayings agree: "There's a thin line between love and hate." "The opposite of love is not hate, it's indifference."
There's also a never-ending stream of support from pop culture. 'Friends' fans will remember when Rachel bitterly hated her co-worker Gavin… until he surprised her with a scarf on her birthday and they ended up kissing on her balcony ('There's a thin line between love and hate, and as it turns out, that line is a scarf'). Sandra Bullock and Meg Ryan have built entire film careers out of replaying different versions of the same story: Boy meets girl. Boy and girl desperately hate each other. Girl is usually neurotic and/or overwhelmingly anxious. Girl spends about half of the movie complaining to a best friend (maybe Judy Greer) about how much she hates the boy, but for some reason can't avoid him entirely (usually because they work together or for competing businesses). Boy reveals a vulnerability or minor endearing flaw to girl. Both are madly in love by the end.
Pop culture is all for the fluidity of love and hate, but what about scientific research? Well, chick flicks may not be far off base. When neuroimaging subjects looked at the faces of people they strongly hated, the insula region in the brain was activated more than it was with neutral faces, which also happens when you look at faces that make you feel — you guessed it — passionate, romantic love. This in itself is not very informative.1 But importantly, the insula does not have anything to do with what type of emotions you experience… just their intensity. Whether those emotions are positive or negative mean nothing to that little brain region; all its activation means is that when you see a face, you feel VERY STRONGLY ABOUT THAT PERSON.
Just to demonstrate how important this brain region is to emotional intensity, when people with insula damage were asked to rate how strongly they felt about progressively more positive or negative things, they didn't respond by feeling more and more intense about them like people with 'normal' brains did – instead, they stayed fairly neutral the whole time. So, the insula becomes activated whether you love or hate somebody, and it controls how strongly you feel about things or people, yet it has nothing to do with whether those feelings are good or bad. Well if your brain is trained to activate the insula every time you see the face of someone in your life who elicits a strong reaction, what if something minor happens to flip the switch from negative to positive? If something suddenly makes you start to feel positively – like you learn about a few redeeming qualities, or maybe this person buys you a scarf – the network associated with that person still includes the insula, so your feelings will still be drastically intense. This makes the switch from 'hate' to 'love' quite natural.2
Sadly for all of the Valentines out there, that 'hate' to 'love' switch can flip the other way as well. When people were asked to think about their last break-up, almost 1/3 of ex-partners specifically listed "unattractive features" that were simply negative versions of qualities that they initially loved. A woman who once found her boyfriend to be 'funny and fun' later disliked his 'constant silliness.' A man who initially found his partner 'refreshingly innocent' later disparaged her 'lack of maturity.' Most importantly, some types of qualities tend to be more 'fatal' to relationships than others. If you're initially drawn to your partner because he/she is "exciting, spontaneous, and outgoing" or "different, unique, and opposite from me," there's a much higher risk that your opinion will flip… and that it will eventually kill the relationship. Sad, but true – while the people that we hate can easily become the people that we love, the things that we love about them often become the things that we can't stand.
James Carville and Mary Matalin are political pundits on opposite extremes of the ideological spectrum and have managed to stay happily married since 1993. Maybe they've figured out the secret to keeping 'different' as a positive!
So let's kick off this Valentine's Day on an optimistic note. Instead of worrying that you will eventually view your partner's charming overprotection as nasty nagging, try to maintain a realistic view of your loved one's strengths and weaknesses so you can avoid the fatal 'switch.' When you see that hated co-worker, remember that the emotions you identify as 'hate' could just as easily be 'love' with a little more information. When thoughts of your hated ex-lover make you boil over with rage, remember that you likely feel that way because you once felt so strongly positive. And as for tonight, throw on some red clothing and turn up the thermostat. Hey, it can't hurt.
1. For a better explanation of why this isn't necessarily informative, simply knowing that something 'lights up' certain areas of the brain is not inherently interesting, especially if it's a brain area that lights up for a lot of things. The insula in particular is related to pretty much every visceral feeling and strong emotion that exists, so it's pretty intuitive that it would be activated for 'hate' or 'love'; it's also activated when people crave drugs, feel pain, or hear a funny joke. For a great New York Times article that goes into more detail about the insula, see here.
2. These last few sentences are mostly speculative.
Zeki, S., & Romaya, J.P. (2008). Neural correlates of hate. PLoS ONE, 3.
Felmlee, D. (1995). Fatal attractions: Affection and disaffection in intimate relationships. Journal of Social and Personal Relationships, 12, 295-311.
Berntson, G.G., Norman, G.J., Bechara, A., Bruss, J., Tranel, D., & Cacioppo, J.T. (2011). The insula and evaluative processes. Psychological Science, 22, 80-86.'
Love/Hate image by user asphyxiat3d available via DeviantArt
You've Got Mail image by user desireefawn available via Flickr
This was originally blogged at IonPsych for Valentine's Day on 2/14/2011, and reblogged again at PsySociety on 2/14/2012.
You can see the original posts here and here.