text:
[So many hundreds of pages of unpublished notes… and no time to work them up into a book, or even an essay. Yet almost it is hubris not to breathe a word of these, since the Reaper might require my soul (and thine) this very night … (and there is no editor to handle the Nachlass …)
And so, ere I lay me down to (perhaps eternal) sleep,
a simple posting, un-proofread, of miscellaneous jottings
re him whom I deem our greatest novelist.]
Complete caricature:
Punch & Judy, Commedia dell'arte
Comic strip characters of the usual sort, like Beetle Bailey, whose tabula becomes again rasa at the end of each four-panel strip. However many years or decades the strip runs, the character never develops. If by chance he changes (as, Garfield was more coarsely drawn in the first year of the strip), the change has nothing to do with development within a story, it's just a sort of drift that may not be noticed by readers, so long is the time-span
Intermediate between caricature and situated:
La Bruyère, Caractères de Théophraste
Alfred Kazin, On Native Grounds (2nd edn. 1955) , p. 361: "Faulkner's tobacco-drooling phantoms are not the constituents of a representative American epic, protagonists in a great modern tragedy; they are the tonal expression of Faulkner's own torment."
Gissing: "All Dickens might be summed in the title of Jonson's play; no figure but is representative of a 'humour', running at times into excesses hardly surpassed by Ben himself."
(Henry James) : learn nothing abt people
Thus Henry James (may bats sh*t on his forehead as he sits, hat on knees, in the waiting-room of purgatory, his application for admission to that salubrious locality having been indefinitely delayed), citizen James, I say, the paladin of boredom (guano dripping through his brows), has no doubt rendered many lessons about human behavior, but only about such humans as have long suffered from constipation; humans whom (and in this they are more to be pitied than blamed) in the extended absence of any satisfactory defecation, and being so impacted that, in default of an apple-corer or other appropriate reaming instrument diligently applied….[the author died of boredom before he was able to complete this sentence; but we preserve its fragments as a memorial].
I read Saintsbury's once-standard History of Nineteenth Century Literature with little profit and mounting irritation. It is a ratings-game approach to criticism, literature on a scale of 1 to 10. But it may at least serve as a springboard for disagreement.
He writes: "It was in Dombey and Son (1846-48) that the Dickens of the decadence first appeared. … A new and very inauspicious element appeared in certain mechanical tricks of phrase, and in a totally unreal style of character exemplified in the Bagstocks …"
What my own experience of Bagstock would have been had I met him first in print, whether he would have been forgettable or seemed unreal, I'll never know, for I was introduced to him in the brilliant reading by Frederick Davidson on Blackstone Audiobooks, where the Major appeared as a reality of chilling clarity, as unforgettable and looming and alarming as though, strolling through the woods, you had come upon a bear. The simple formula "Joe-y B…" rings on in the mind's ear with the resonance of "… and smote him thus" if you've ever heard a good performance of Othello. No, the portrait of Bagstock is not a full person, but it is a simple, striking image, a fixed point of reference and a new one in the heavens, and as such a valuable addition to our ontology, as is the outline of an eagle against the sky, or the hiss of an adder, though we personally be no further acquainted with either eagles or adders. No-one we ever meet will be an undiluted expression of…of what may we call …of Bagstockery: but with this prototype fixed indelibly in mind, we have a tool to pry apart the confused mix of tints and traits which any actual person presents, and to winkle out whatever there may be of this one, a step towards better understanding that person as a whole.
In his essay "Charles Dickens", Orwell quotes at length Magwitch's threatening speech to Pip, only to denounce it. "To begin with, no starving and hunted man would speak in the least like that." But thank goodness Magwitch did! The speech is wonderful, simultaneously a pragmatically appropriate horribilis to send the boy smartly on his errand, and a sort of gently winking bit of humor to the adult reader. -- I was startled, upon seeing the movie "Treasure Island" again, now as an adult, to see what an amiable scarescullion Long John Silver really is as there played. We do not, in literature, seek the transcribed minutes of familiar everyday dithering. No prince or no pauper ever spoke as they speak in Shakespeare, and the plays are none the worse for it.
(wish to address that charge that his characters are caricatures). The charge is embarrassing for me as a reader, since I find these characters all that one could wish.
(First, characters in most other novels are not all they're cracked up to be. Often just the author and his various egocentric projections.)
(Then there is the matter of the reader's limitations. I suspect that we recall even the central characters that we do recall by a sort of insensible regression to the mean. We have our own notion of The Hero, and this exerts a gravitational attraction upon our memory of the actual hero of any given novel, which with time therefore conforms more and more to this simple common denominator.
(Then there is the matter of the reader's limitations. I suspect that we recall even the central characters that we do recall by a sort of insensible regression to the mean. We have our own notion of The Hero, and this exerts a gravitational attraction upon our memory of the actual hero of any given novel, which with time therefore conforms more and more to this simple common denominator.
Novels are by nature well suited for imparting ideas and for giving full reign to language, but not particularly apt for fixing individualized characters in the reader's mind. For, our sense of the individual essence of the various people we know is based partly on a kind of aura each person has, some emanation of the soul, which may be illustrated but is not constituted by that person's sum of utterances over the course of our acquaintance.
(Dickens does not limit his characters to caricatures. Only, he makes certain that there is a striking visual or lexical figure – a caricature if you insist – which will remain in memory, instantly identifiable, and on which we may, as the case arises, hang further particulars, like hats upon a hatrack.)
Take Bitser in Hard Times, a minor character who would be lost in the shuffle of most novels. (Indeed, how many distinct and differentiated child characters do you recall, from books that are not themselves children's books?) Dickens begins by presenting him visually, literally in a shaft of light. (Eerily etiolated.) Next, he complies circumstantially with the schoolmaster's demand to "define a horse". So far, his position is antithetical rather than individual: his light complexion and male sex contrasting with the dark complexion and gentler gender of Cissy, his bill of particulars with her muteness on the subject (although actually, of course, she knows far more about horses, living as she does in a family of circus riders), his factuality and her fancy; and his import is merely structural: here is a member of the next generation that actually takes to the Gradgrind educational system – as, indeed, in any age, there will always be some individuals who take to the dictates of the prevailing ethos, whatever it might be. And if Dickens stopped there, the character would fade from memory, probably before the novel was over. But the author does two clever things.
First, the reply to the horse question, though perfect for its satiric purposes within the project of the novel as capturing none of the verve of this magnificent animal and emphasizing aspects practical for commence, is yet more attractive to the attention of the reader than would have been, say, an intellectually indifferent though mnemonically equally impressive recital of, say, the names of every river in Asia: " 40 teeth…. " This is actually sort of interesting – some readers, reading this, may perhaps for the first time hit upon the motivation for the expression about looking a gift horse "in the mouth". Further, for any older reader, it is memorable because rather alarming, triggering that instinct we have (inherited from our troglodyte patriarch, no doubt) of keeping a sharp eye out for any prodigy of a whippersnapper who swims into our ken. Despite half a century spent roaming about this planet, I did not myself know, prior to reading this passage, how many teeth are in the head of a horse, let alone the tariff of their individual specializations; nor seemed, it must be conceded, in a fair way ever to learn these particulars, in the normal course of living. When I shall rise from the grave, were Saint Peter to put to me this very question, I should have flunked, and had doubtless to have spent a stretch in some chalky purgatory doing those things that I ought to have done yet left undone, by way of practical learning. Yet here's this bleached-out halfpint of a schoolboy, who can give you chapter and verse! Better keep an eye on that one!
Second, Dickens gives the lad a gesture: " [quote] " And whenever we meet this person again, we see him knuckling his forehead. Now, this sort of thing may be just what the critics have in mind when they complain of caricature: but it is no shallow thing, whatever it is; it is more like the simple yet mysterious whiteness of the whale, in Moby Dick. The whiteness serves by mere difference to mark out this whale from the others that fill the seas, but it does something more, which Melville himself can only speculate about, in a chapter devoted to this question. This forehead-knuckling too, is at once a simple simile for the lad's grad-grinding of so many facts into his own hard head, and something more, an echo from an unseen corridor, which gains in resonance when we meet him again. (gesture of the damned in Michaelangelo…)
(Some of his characters are indeed) too little caricatures to really serve for the later antonomastic use that is made of them. The dictionary defines "Pecksniffian" as "hypocritical" or "pharisaical". That is to capture but a sliver of the man. You do no great injustice to (Prometheus) if you describe (an enterprise) as "Promethean", for of the original we know little beyond what is summarized in the adjective. But to use "Pecksniffian" as a mere extra synonym of "hypocritical" is to (render the word superfluous), save as you may wanting a rhyme for – well – it is hard to imagine for what; nor will the word ever nestle comfortably among the iambs and trochees. And to seek to use the word with its full flavor of the essence and accidents of Mr. Pecksniff, is to seek the fleece, or the roc on its fabled eyrie. Your hairs will grow grey, then white, then drop out one by one, before you encounter on the streets of life anyone fully fitting this eponym; he is no more to be met with, in his fullness, than Hercules, clad in his lion's pelt.
(He fixes his characters in our minds by means of characteristic expressions or gestures, and fixes these by repetition.)
But repetition alone does not suffice. Witness Pamela, who over and over (and over (and over) ) again and again, vents forth the same sentiments in much the same terms. Yet her we never sense as much more than a wisp amid petticoats.
(It will be well) to compare Dickens with Orwell in this respect, if only because Orwell wrote so superbly on Dickens.
Now, Orwell (in his fiction), has no memorable characters – not even himself: for though his weather eye is always in evidence, its lens is not (seems not to be) so to speak tinted, with any personal quirks or particulars; this is indeed the virtue of this trustworthy guide. It is part of his character not to be overconcerned with his own person, and thus he doesn't flaunt those little mannerisms which round out a portrait and help fix it in the mind. It's not that he's a nullity, he doesn't disappear into the landscape so much as overtop it, a firm beacon, fixing it with his beam.
There are memorable anecdotes in Orwell, some of them even Dickensian. As, the Loyalist militiaman, a stranger to letters, trying to keep up with the elaborate Tom-Sawyerish system of challenge and countersign, and being told that the S-R of the day was "… " Asking the meaning of the latter word, he was told it meant "valiente". Later, challenged with "", he replied "Valiente" – and was shot at by his own sentry. Now, this is tragic and funny and all-to--human, and you can generally visualize the cast of characters from which such an incident would spring: but the individuals, sentry and shot-at, are here nameless and faceless. They exemplify the tragicomedy of a class, memorably and tellingly, but they do it anonymously.
A word in defense of the mnemonic function of caricature. An Edward Gibbon or an Edmund Wilson, who remembered everything, had no need of such aids. But most of us must make do with a more lossy cerebral filing system. Now, just as a car is meant to be driven, so a novel is meant to be read; and this basic fact has functional consequences. The earliest automobiles were not usable by the average citizen, and airplanes still are not; this limited their usefulness. And one may argue that a novel by its nature must be more user-friendly than an automobile: for in the early days one could still get about by hiring a chauffeur, whereas no-one can do your reading for you.
(Dickens imprints his characters on your memory, by repetition of phrases and traits.) Yet overall he is quite sparing with recapitulation, despite the practical fact of drawn-out publication in installments. (The postface to Our Mutual Friend, with its complicated plexus of plots, says the process took 19 months.)
(signature tunes)
So suggestive are his characters, Harry Johnson wrote a novel The Veneerings (1922). And Wodehouse seems to have taken just certain precious chips from Dickens' characters, and fashioned them into puppets of his own. Thus Psmith is fleshed out of one facet of Eugene Wrayburn, without the rest.
In defense of caricature names:
To the principle characters, who must be at liberty to develop in any direction (whether or not the author makes ample use of this liberty), give neutral names like Joseph Andrews or Parson Adams. But the puppets they meet may as well receive humorously appropriate designations: Mrs Slip-slop, Mrs Grave-airs. This signals their function instantly and keeps them from getting confused in the mind with other minor characters. It is an annoyance, reading a modern novel, where Tim and Tom and Ben and Bob and Lee and Lisa and Linda and Barb are falling in and out of love and in and out of beds, to try to keep them straight.
(Flat chars, round chars, &) spectral characters. Cf. Fauvism: brilliant surfaces, shallow but not flat, because refracted.
Such depth as they have derives from the dreamer. As: sexual feelings projected and reflected from a hundred objects over a lifetime, now melded in the dream.
Invitation to a Beheading:
Cincinnatus languishes on death row. In bustles the prison director, saying things like "But why, may I be so bold as to ask, have you not touched your food? … Excellent sabayon! … And now, pour la digestion, allow me to offer you a cigarette. Have no fear, at most this is only the one before last."
Are we to docket a new instance of a character-type, the Jolly Jailer? Cf. & ctr. ….. in Little Dorrit.
(the actions of the characters do not delimit them as characters, but point to the unreality of the situation. As: shall we credit the parents in "Die Verwandlung" with remarkable sang-froid, when their son has suddenly turned into a giant cockroach?)
We are dealing with dream-logic, and not, in any proper sense, a plot.
(but actually the gap is not as wide as we might wish.) Mr. Dorrit is locked up for what (especially to our twenthieth-plus-century sense) seems an imaginary crime. Certainly the punishment does not fit it: He owes money; how is he to repay it if he cannot work? And the release seems as unreal as that of Cincinnatus.
…is actually dreamt-up. When it isn't simply a memoir with the names changed, fiction has necessarily a false bottom.
(What characters *do* we come really to know, and why?)
Though Esther Waters, in her eponymous novel, is always front and center, and though we seem to be privy to her thoughts, without hidden depths, yet we do not come really to know her. E.g. her horror of the ending in workhouse; but when she does wind up there, for what we later learn are several months, we get no description. Cf: Someone quite close to me once went to jail for a year. He never talks about it. It's a gap, a phantom limb.
Nor does she give a sense of the relations of mother and child. (Children have great particularity, and tend to surprise you with the way they keep turning out. None of that here, he's just a cipher: now a month old, now x years.)
"We never really knew him."
In Darkness at Noon (1941), the icy interrogator Gletkin is too immobile and controled to offer much purchase for mannerism, but the reader is repeatedly confronted with two traits: "H … settled his cuffs, … while the scar on his skull reddened." (P. 201; & passim)
(opposite of mnemonic)… is John Updike's Couples, which might as well have been called Quadruples or Octets, … There are many sharp observations in the novel, much masterly prose, but the traits and aperçus don't seem to stick consistently to any particular character. The effort to keep them straight – Frank and Harold and …… -- was more than difficult, it was actually unpleasant; so that I soon gave up and let the book wash over me, not as a unity, but as notes for a novel, a series of skits. (Wilfred Sheed had a similar experience with this book. He called it a "slide lecture" and complains that the characters "become almost interchangeable".)
If the fates are favorable, one meets Pooh and Piglet very early in life. (Archetypes)
The Pooh characters are something like archetypes, and as such they must be timeless. You can't imagine Piglet grown to – hoghood, God forbid.
C.S. Lewis Of Other Worlds (1966), p. 14: "Why should the characters be disguised as animals at all. The disguise is very thin, so thin that Gramame makes Mr Toad on one occasion 'comb the dry leaves out of his hair'. Yet it is quite indispensable." {et seq}
GKC (who is worth quoting en mauvaise part as he devoted quite a lot of intelligent and sympathetic attention to this author): "The whole of Dickens is made up of the strand of satire and the strand of sentimentalism; and the strand of satire is quite unnecessarily merciless and hostile, and the strand of sentimentalism is quite unnecessarily humanitarian and even maudlin."
(Hard Times, ch. (ca. 7), incident of Loup père losing his ability to function, beating the dog bloody, then lying on the floor hugging it weeping, as it laps his face)
Perhaps this is a sentimental passage. Perhaps the tears that even now return in memory of first hearing it, now as I re-type it, are foolish and untutored. Yet it has a kind of spare power for which it is difficult to find the example outside of the Gospel.
The death of little Johnny in Our Mutual Friend is told with something of the austerity of that austere novel, to a degree that younger readers (if any there be, of so adult a book) may not fully grasp what is going on; and yet it rings with a sort of steely pathos – the note of the trump of Judgment, or an iron gong.
Dickens, as a received and thus domesticated great, is now considered an ornament of empire – or rather was, for a time, before it became the fashion to denigrate everything that rises above the level of a village hut-- but in his own time he expended much effort and energy tearing down the monuments whose cold shadow lies athwart the human spirit.
There is something of charity, something of the way the shepherd watches for the least of his flock, in the way he keeps track of even his minor characters. At various points in Hard Times, I had thought we'd seen the last of Bitser, or Sleary, or Cissy's absent dad. Yet all return in an important part -- even the last, though he dies offstage, sending dog Merrilegs as funeral emissary.
Sometimes basically the same character pops up in more than one novel, but facing different circumstances.
Little Dorritt and Lizzy Hexam are similarly undemonstrative, self-effacing, clear-headed, self-sacrificing for their troubled fathers. But Little Dorritt vis-a-vis the Father of the Marshalsea faces a different task than Lizzy Hexam vis-a-vis Gaffer (who in any event soon turns up dead).
Eugene Wrayburn: "I am a bad, idle dog." Cf. Sydney Carton.
& cf Psmith. Both are aristocratic in manner and terribly offhand; untouched, unsullied as they walk through the world's commotion; with too much iron to be properly called smug, and contemptuous (without bravado) of personal danger.
& cf Psmith. Both are aristocratic in manner and terribly offhand; untouched, unsullied as they walk through the world's commotion; with too much iron to be properly called smug, and contemptuous (without bravado) of personal danger.
Zola was probably one of the first to describe a real proletarian, and not simply a poor man, as Dickens, for instance, had done.
-- Jan Romein, The Watershed of Two Eras: Europe in 1900 (1967, Eng. transl. 1978), p. 211
In Dickens there is a general sense of plenitude, a wide and well-stocked canvas of the whole of life. But if with parti pris you seek this or that feature, you may find it missing. Orwell sought in vain for any genuine sense of (industry and manufacture).
(The hobby-horse of the last century is sex. What do we find? Did we not start from this a-priori project, the corpus of Dickens itself would never suggest it.) As a concession to this age in which I find myself floating as some foreign particle, a few remarks.
Major Bagstock is a sort of perpetual erection, ever swollen with an overplus of his own humors; and his surname may perhaps be etymologized from the scrotal sac and its stick. Yet its application is not specially sexual; certainly no fecundation is intended. He represents the mere principle of plethora, as Mrs. Gradgrind, permanently detumesced beneath the labia-like folds of her shawls, represents mere inanition.
(One place where absence of any sexual savvy is odd, is Louisa's marriage to Bounderby. Before the marriage, we get a glimpse of actual lechery.) He eyes the rose when it is scarcely ripe, and moves to pluck it. He gets no further then a peck on the cheek; whereafter she, with as much a tomboy's as a maiden's gesture, abrades the spot till it glows. Now, with so much riding on so little, what might be the scene when, in possession, he forces his attentions and indulges his gross appetites in the nuptial bed? And repeats them, in and out of season (for he is not a man to be denied)? Bounderby himself is a phallic character, gross and swollen and bristling with hair. Yet we have no hint that there has ever been a wedding night. She loathes him as before; she keeps composure, as before. And the strange frozen horror with which she shrinks from the suit of Hardhouse (onomastic comment here superfluous), is almost that of one who has never tasted venery.
@DICKENSIAN EFFECTS chez autrui
Arthur Schlesinger Jr, A Thousand Days (1965), p. 467: "The Dulles world rested on unitary conceptions of the opposing blocs: on the one hand, the 'free world', capaciously defined to include such places as Spain [under Franco], Paraguay [under Stroesner], Batista's Cuba and Mississippi…"
Arthur Schlesinger Jr, A Thousand Days (1965), p. 480: "After the Soviet Union resumed nuclear testing, the neutral leaders gathering at Belgrade reacted with stupefying forbearance. We all knew how they would have blackened the skies with resolutions if we had been the first to resume."
Neil Stephenson, Cryptonomicon (1999), p. 641-3.
@ARCHITECTONICS @plot
Gissing: "Of Little Dorrit, as of Martin Chuzzlewit, who can pretend to bear the story in mind?"
Orwell slighted the structure but noted the gorgeous gargoyles.
This might apply to the earliest work, in its less successful parts, but seems unfair to the later. We may agree with Orwell so far, that the top-level architectonics are never quite satisfactory – the plot, the total mechanical arch of the novel. But they are not simply spotted with little good things. Rather – to continue the metaphor – there are exquisite chapels, an awesome altar, a beautiful choir, majestic nave, welcoming narthex, noble steeples and thilling crypts, only not perfectly fitted together to the eye of an airplane. Or to return to the literal: the novel as a whole is imperfect in its skeletal description, but consists of perfected novelettes.
A Dickens plot is like a Jurassic boneyard. Great ribs and femurs lie about in noble profusion, almost but not quite making up an entire animal, with members from other animals intermixed.
Why doesn't Eugene Wraeburn simply marry Lizzie Hexam at the outset? One is almost in the dark, what the impediment was, until he soliloquizes well into the novel, and then it seems absurd: he worries that she is socially beneath him. Our distance from accepting this is partly a matter of our perspective conditioned by current social practice, which has evolved since Dickens time in the direction of less distinct boundaries among classes. More telling, however, is a literary reason: in fiction, and this is fiction, men are forever wedding women from a lower social class; it's quite expected. Further, within the framework of this novel, Eugene is not of conformist temperament, and (as a lawyer without a practice) is far from well integrated into society at any event.
Gissing isn't bad, but even he does a fairish amount of serial thumbnail censure and praise, praise generous but of no critical specificity ("Every stroke of such outlines is a manifestation of genius", p. 209), like handing out prizes on Parent's Day.
@parallels, @recurring characters
(Cf. an atom in different chemical combination)
Younger brother, spoiled by petulant self-regard, meanly ungrateful to his self-forgetting sister:
(… gradgrind); Charlie Hexam
[Jenny Wren, a "parental child" in modern psychiatric terminology. – Cf. the progeriac Nicolino in Powers' Operation Wandering Soul.]
(curious, that among the finest passages are several excellent death scenes) I would have no idea how to write a death scene. The one death which should have touched me most nearly, I quite made a mess of; the memory weighs on my heart like a headstone; and am as a result crippled in this regard.
There are short stories which are as acutely observed as any equivalent number of pages in Dickens. One can even imagine having written those oneself: simply go out at the top of one's form, have a peak experience, rush home and write it all down before it fades in memory, expending the utmost of one's art. But one can't rush home and write an entire novel, nor yet a suite of novels, each thick and bursting with detail. I could right now go out to a coffeehouse and, spending the whole day there in intense observation, come up with a very nice description of someone raising a glass to her lips, in some very particular way. But I'd have nowhere to stick such a description. Dickens, writing novel number n, when he wanted such a description, reached into his capacious memory banks and extracted one, of a scene necessarily observed some years previously.
(learning great jokes and comparisons from him – but now it's been done.) It would have been more charitable in him, had he, from time to time, written simply: "There is an excellent comparison to be made between (darkness) and (cerements), but the margin is too small to contain it." That would have left something for the rest of us to do.
@wodehouse and dickens
Both have: A rollicking collection of eccentrics, colliding with one another …
But: The Wodehouse world lacks all evil. There are weakness and failings behind every plant-pot, and on every sleeve. But they are amiable peccadillos that raise a smile. Even the odd burglar is merely naughty, like a Beagle Boy.
((smash ice))
((some set such a scene, only to smash it -- expls)
((he knew when he set out, that all would end in ruin))
the Maypole ((hearkening back to a green time))
((but already, that time is long past. The inkeeper already of a leaden age))
((something of a wonder how he even managed to keep such an inn -- but keep it he does, and well)
(GKC of CD eclipsing his forbears; and GKC overshadows CD for us. GKC loves England as the knights loved it, and the elves))
Barnaby lives (in his mind) in Elfland; but alas! not surrounded by other elves.
Cf. the Woman in White: a damaged person, whose testimony is here and there of unique value, but who is not treated sentimentally as an oracle, like .... or Owen Meany.
((how to relate a tale, not told by an idiot, but *of* one. Not, in the idiot's own stumbling, crumpled cadences))((quote: leaves like spirits))
As the novel's end impends, Dickens must drop his leisurely exploration of the depths, and hurry the plot along. Wham bang, clunk clank.
Dickens novels tend to fall apart towards the very end, as he hastens to wrap up the plot, pulling rabbits out of hats. (As might we ourselves, at the very end ….)


text:
Musicon ONE
Musicon ONE
Musicon is an interactive music making machine for children.
Get a very unique Musicon for this special pre-order price. You get a Musicon with 3 instruments, M-notebook to write down your music and "The Musicon" lesson book with some great ideas.
Read more bellow...
ESTIMATED DELIVERY: 4 weeks
We ship to: European Union, Norway, Island, Lichtenstein, Canada, Singapore (more soon)
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How it works?
A Revolution methodology – touch, watch and listen!
It is a creative interactive musical instrument, designed to promote psychophysical and cognitive development in children ages 2 and up. It works like barrel organs. Kids experiment with Musicon and quickly understand how it works. What they create is what they hear, see and feel!
Set the tempo
What's the rhythm of your life? This can not get any easier – thanks to the tempo indicator (PRO version only) you can precisely control the tempo of the composition. 120 BPM is the tempo of human heart – smash hit recipe! But what's your tempo? Close your eyes set it and check what's playing in your heart!
Music is mathematic
Dependence between music and mathematic was never so obvious. While composing on Musicon kids incidentally are counting notes and rhythms. During arranging piece among all instruments they're working on a sets.
Analogue coding
Musicon has hundreds of buttons, which function as a simple coding language that can be touched. It is analogue introduction to digital world.
Team work
Team working is an important point in educational system. Musicon promotes all kinds of group cooperation, which enhances development of soft skills.
Modular system
All instruments are held by a magnetic system set on an acoustic frame. It is easy to rearrange instruments, even while Musicon is playing.
All before your eyes
Musicon is a micro lab for math, physics and mechanics. The learning process is highly effective because of periodical and repeatable nature of Musicon.
Musicon's elementary book – recipe for a success
To get the best out of Musicon, we've been working with skilled teachers, therapists, music experts and hundreds of children. With Musicon you receive scripted lessons and expert knowledge which were created as a result of those collaborations.
set of 3 instruments [ONE version]
set of 4 instruments [PRO version]
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works as according to Montessori rules
word-widely awarded design
Tech Specs
lever to change and control the tempo 36-144 bpm
magnetic frame
640 buttons, endless possibilities
clutch and computer – double safe system
AC adapter 100-240V
battery power supply [PRO version]
tempo display – watch and control the tempo [PRO version]
Manufacturer Information
CE & PN-EN 71 certified [pending]

subset: commoncrawl


text:
When a patient is going through a very difficult time, we aim to improve their quality of life and 'put life into every day' to ensure that they and their family can make the most of the time they have together. In this section you can read some of the true stories of people living with a life limiting illness, and their families, who we have cared for at the hospice.
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text:
Undergraduate Admissions and Auditions Process
Undergraduate auditions are held before the first day of classes, fall semester and in March of spring semester. All students must pass their entrance audition before being admitted as music majors.
Undergraduate Admissions and Audition Process
An audition is required for all new students seeking to enter a music degree program. At the discretion of the music faculty, an audition may be required for a current music major who seeks to change their music degree program (such as BA to BM) or add a second music degree program (double major).
Undergraduate Audition Process:
Undergraduate auditions for admission as a music major in Fall 2019 will be held on Friday, February 22, 2019. All students must pass an audition before declaring a music major. A new student may be allowed to take music classes in the fall with the understanding that they will audition the next semester for formal admission as a music major.
Students must fill out and submit the online audition request form (see below) to book their audition (confirmation will be sent to you from the audition coordinator). Students already enrolled at UAF or those who live within the Fairbanks North Star Borough must audition in person on campus. Those outside the borough may audition in person, or may submit an unedited DVD or a link to an unedited digital audition (eg. YouTube video or Google Drive file). Auditions should include two works of contrasting style and together be about 10 minutes in length.
Please note, only music majors are eligible for music scholarship awards. To be considered for a music scholarship for the upcoming academic year, new students must first audition on February 22 and be admitted as a music major. For more information on scholarships and application process, please follow the Financial Aid link on the Department's main web page.
All other admissions requirements are listed on the University Admissions Site.
See also the following link: Procedures for Admission as a Music Major.
Please Note - You will be required to attach a PDF file that briefly describes your musical background, interests and goals with this online application. Please make sure you have uploaded this document to your audition application BEFORE clicking the "submit" button at the end of the form.


text:
FIFA 18 Shooting Tips – Finesse Shot Tutorial
One of the most overpowered shots on the game is the finesse shot and that's the FIFA 18 shooting tutorial that we have for you today. Watch the full HD video guide below to learn all the tips to mastering this shot in matches.
The controls are straight forward! All you have to do is hold down the RB button on Xbox or R1 on PlayStation and then power up the shooting button. The angle is the most important factor behind scoring goals with this shot.
You have to position your player who's on the ball to face the corners of the goal at an angle. This is because the finesse is not about putting your foot through it but instead putting your foot around the ball and offering some swerve by moving the left-stick in the required direction.
You'll see as soon as you hit the ball that the curl is what beats the goalkeepers and this has been an OP technique used by loads of FIFA players for many years now. It's still as effective as ever today too.
Just remember not to be sprinting whilst performing any type of shot on the game as it'll decrease your chances of scoring by 90% compared to just simply dribbling. The best shot in the entire game is the low driven finesse shot so try to do them as much as possible especially with one-on-ones with the keeper.
If you haven't already, make sure to subscribe to our official YouTube channel to stay up to date on all tips and tricks to do with FIFA 18. Also follow us on social media to get exclusive content regarding the game as well.


text:
Contact Info for Bob Cromwell
Contact Info
To contact me, send an e-mail message to this address:
To do this securely, use my public keyMy publications
Sorry about making you open a mailer window and then transcribe my address by hand (the above is a PNG image, not copy-and-pastable text), but I do not want to get more spam. The spammers run their own automated processes to crawl through web pages and collect e-mail address patterns. This is sometimes called "web scraping".
Some people attempt to fool the spammers' automated
searches by obfuscating the HTML
tag and their address through ASCII encoding.
However, that is easily circumvented by the spammers'
automated web-scraping programs.
FYI, that image was created with ImageMagick:
$ convert -size 280x30 xc:transparent -font Helvetica \ -pointsize 20 \ -draw "text 10,20 'email@example.com'" \ -fill black address.png
You may need to change the
280 to a larger number
in that command if your e-mail address is longer than mine,
to allow it to fit into the image.
You will just have to experiment with the value to
see what's appropriate for your address.
You may want to make that number smaller if your address is shorter, so your image isn't much bigger than it needs to be.
And, of course, you can change the first
20 to make
the text larger or smaller, accompanied by the needed
changes in image width and height.


text:
Over the weekend I booked my reservations to attend my first gaming convention in 10 years. That's right, I'm going to CCP's Fanfest 2012 in Reykjavik, Iceland. From 1994-2002 I was a regular attendee of gaming conventions, particularly GenCon (both in Milwaukee and Indianapolis) and Origins in Columbus, Ohio. One year I even splurged and flew down to Atlanta to attend DragonCon. So this trip will be my biggest, most expensive trip by far.
When I travel I always try to get into my destination city the day before events start. I decided to take the opportunity to see some of Iceland so I signed up for the Golden Circle Express tour on Wednesday, which means leaving Chicago on Monday to catch the Icelandair flight to Reykjavik that arrives at 6:30 Tuesday morning. And since I heard that if you attend the Party at the Top of the World that you should not plan on leaving the next day, I am taking a lot of aspirin with me and leaving on Monday. I already talked with my boss and she doesn't expect me back in the office until the following Wednesday, which is good because I'm just a bit concerned about making my connecting flight. If I miss it, I won't get home until sometime Tuesday morning.
I may have made a bit of a mistake with my choice of hotels. I chose the CenterHotel Plaza as my hotel not only because it was available but because the hotel page lists the Plaza as the official Fanfest hotel where CCP staff visiting from offices outside Reykjavik as well as the gaming press will stay. The CenterHotel Arnarhvoll is the closest hotel to the Harpa Concert Hall and Convention Center. The walk from the Plaza is a nice distance as long as the weather cooperates, but if the weather turns nasty the walk will be miserable. Also, I really didn't take into consideration dropping off my laptop before going on the Pub Crawl with a Dev. Who knows if I'll have time to drop the laptop off at the hotel and go back on-site to start the crawl. Heck, my tolerance for alcohol is down since I pretty much stopped drinking a couple of years ago so I don't even know if I'll be in shape to blog on-site even if laptop storage is not a problem. But assuming that all works according to plan, staying in the same hotel as the press should be a good move.
I will probably have more to write about the trip as CCP announces further details in the days and weeks ahead. But for now, I can say I'm going to Iceland. Wow.


text:
Use the Turn Flag 1500 by itself for simple flying practice,
or procure several to set up a fun racing course. Looking for a greater challenge? Set up a crazy circuit by coupling the Turn
Flag 1500 with any of Graupner's FPV accessories: you and your friends will
have an incredible time racing around flags and through cubes and gates. The Turn Flag 1500 makes an excellent companion
to the Alpha 110 FPV copter, or any of Graupner's multirotor models. Go out and
get your race on!


text:
Know your competitors' properties better than they do.
The ultimate instruction generation tool for modern estate agents.
The Most Advanced Prospecting System Ever Built
Spectre represents a new era in marketing technology for estate agents.
The Spectre Process
Step 1
Once you have selected your postcode sectors you wish to target, Spectre will start
processing data on all properties currently on the market.
We ascertain all details possible regarding each property including the full
Step 2
All properties in your area are then constantly monitored and any activity is logged. Our
algorithms then identify key moments at which the vendor is most likely to consider
switching agents and notifies you.
Step 3
At the trigger points identified in step 2, Spectre automatically generates individual letters, specifically tailored to each vendor's situation for you to print and send. Vendor reduced and not sold? There's a letter for it. Out of sole agency? Withdrawn? Sale fallen through? Contact your prospects at just the right time, every time!
Stay Up to Date
We are crunching data 24/7 so your market information gets updated around the clock. This means you will react to opportunities before your competitors even know they exist.
Accurate Data
We know that if your reputation depends on our data, it better be good! That's why all our data is triple-checked to ensure your data is 99.95% accurate.
Produce marketing material to hundreds of vendors at the touch of a button, each with tailored content pertinent to their individual situation.
Measurable Success
We'll alert you when you have successfully taken on a property through Spectre allowing you to calculate an accurate return on your investment.
See the full power of Spectre
Spectre has helped over 1000 agents gain instructions worth over £2,000,000,000 in the last 12 months alone. The best way to understand how is to see Spectre in action.
We have dedicated teams on standby to book your demo and take you through how the platform works and how it can revolutionise your marketing. Fill in the form below and we will be in touch to arrange a suitable time with you.
Book a demo
Effortlessly keep in touch with vendors
Generate customised letters to properties on the market in your area in seconds using fully editable triggers and templates.
"We have been using Spectre since the beginning of the year and it's added a further dimension to our marketing mix, which (crucially!) is delivering fantastic results. Never before have we been able to track fully the ROI for our canvassing activity. Spectre is now an integral part of our business generation strategy."
Inform nearby vendors currently on the market when you sell a property.
Nothing promotes you as a company better than doing what you do best, selling houses. So when you do, Spectre allows you to contact nearby vendors who chose a different (inferior) agent.
Contact the Neighbours
Spectre automates the "standard" sold in your area process by retrieving addresses in the immediate vicinity of your sold property.
Contact Frustrated Vendors
Precisely target frustrated vendors with the most powerful message there is; We've sold another one!
Print in-house or leave it to us
Save both time and money by leaving the printing, envelope stuffing and postage to us. Or, if you're the type to hand-sign or hand-deliver, you'll always have that option too.
Letterhead-quality paper
When portraying your brand to a potential client, every detail counts. That's why all Spectre letters you entrust to us will go out on full 120gsm paper, printed on a high quality digital press.
Print & Post from just 40p
High quality doesn't always mean high cost! Our industry leading print and post prices start at 16p less than a second class stamp.
No Barcodes, No Mail Sort text
Nothing ruins a personally crafted letter like barcodes, betraying it as a piece of mass marketing. Our letters contain neither, ensuring a personal and authentic feel, just like you printed it yourself!
Agents all over the country are using Spectre
In a 2 month test Spectre generated 12 market appraisals, 10 of which instructed us to sell their property.
Spectre is a very powerful tool which we have used to generate a steady stream of instructions directly from our competitors. It is easy to maintain, flexible and we are able to monitor its use and success by individual branch.
We have been using Spectre for just over four months now and can honestly say it is one of the best investments we have made. We see regular instructions off the back of our Spectre letters, it is extremely quick and easy to use and any help needed is responded to almost instantly. Would most definitely recommend.
We have been using Spectre since the beginning of the year and it's added a further dimension to our marketing mix, which (crucially!) is delivering fantastic results. Never before have we been able to track fully the ROI for our canvassing activity. Spectre is now an integral part of our business generation strategy.
We are seeing a response rate of over 10% from some of our generated letters. We have customised the standard letter templates to match our brand's style and the results have been extremely positive.
Since launching with Spectre in May 2016, we have experienced a fantastic level of success with approximately 12 instructions being taken on to the market by our team as a direct result of the systems data. With an ROI of 2659% in this 5-month period, I think it is safe to say that Spectre has revolutionised our prospecting process. The user interface offers a simple way of acting on this valuable data and enables the sales teams to incorporate the letter sends into their daily admin with confidence. I would not hesitate in recommending this product to colleagues in the industry.


text:
Hi! I'm Kim!
I'm a Brooklyn based graphic designer with a love of fun patterns and witchy-wellness. I love creating, making, doing — anything hands on (or hands on mouse). When not obsessing over typography and bright colors, I'm probably seeking out the best bagel in the city. Also a lover of dogs, karaoke, interior design, and learning new things.


text:
Summary: 1. Provide better cues to the User Agent developer as to what we mean by efficient structural access to various points in the document. Specifically, mention time-to-speak as a relevant measure for assessing efficiency of access. A sample, not minimal implementation of this point would be: to a) say that 8.4 table of contents must be navigable and b) say that it must be configurable as to verbosity down to "order of seven give or take two" items. That would meet minimum requirements, but it is not required of all minimum implementations. 2. Ensure that something in the document means the user can step past a MAP in one user action. 3. Differentiate among the element types mentioned in HTML; they have different levels of structural relevance. This is a more faithful representation of the format specification, in a way that bears on the efficiency of the User Agent implementation. But also reduce this clause to informative because it is not sufficient for a minimum implementation. Please read the details (below) too. Al At 09:05 AM 2000-09-25 -0400, Charles McCathieNevile wrote: >OK. This makes sense to me, so I withdraw the proposal for navigating table >cells. > >I agree that the place to repair HTML is in the HTML WG, but there may be >many reasons why a document is not constructed with a container model. HTML >is just one example of a type that is rarely created in this way. > >An alternative approach is to require that any outline (for example provided >in accordance with 8.4) be navigable parent-child and sibling-sibling. This >is weaker than my original proposal, since it is not clear how such an >outline is constructed. I agree that there is a problem with the specificity >of my proposal. An alternative would be to propose to the WCAg group that >they make explicit their requirement for structure, in such a way that a >checkpoint of this kind could refer to it. But that will also be complex. AG:: Sorry, this is going to be hasty. I have been wanting to do a more professional writeup but I know you are having a meeting tomorrow where you need to consider this. a) So far as I know the only justification for the P2 priority is the "top links tank trap" problem. Otherwise structural navigation is a convenience but not an access necessity [only 1 vote]. b) The WCAG has two techniques for the author to use to avoid the above problem. One is the skip-navigation link after the fashion of the ACB site, and the other is to wrap groups of related links in a MAP. c) Pursuant to the second technique, there was some discussion between the groups where I believe the status at the end of the conversation was that yes, the GL group was assuming the UA group would ensure that the user could step past a MAP when encountered. This is not as efficient as the skip-navigation link but if the author does use the MAP wrapper and the user agent does support a "skip the whole thing" for at least this subtree, the number of steps to get to the meat of the page gets down to a level where it no longer merits recognition as a P2 severity access barrier. d) It would be much cleaner to proved the "skip subtree" navigation command more generally than just for MAP. But providing it only within the context of a filtered table of navigable destinations within the page would be appropriate. It need not be a purely syntactic rule that determines what subtrees have this function or where you go on asking for the 'next' instead of the current one. e) Stepping past MAP only gets as far as implementing UA support for WCAG. There is merit to considering what the UA should do for arbitrary HTML4 (XHTML 1.0) pages where the WCAG techniques described above have not been followed. This is as I understand the basis for claiming that checkpoint 7.6 is required at P2 severity. f) The problem with the present state of 7.6 and 8.4 is that it is too flat with regard to levels in the topic tree. A related problem is that there is no clean way to extract a human-helpful topic tree from the markup alone. The access problems diminish as one gets to finer and finer levels in the topical outline. One always has access to reading the full hypertext linearly. If that is not a long process, then failing to have structural subdivisons navigable or briefed (8.4) is not a big deal. The access-critical structure is the upper level or possibly two levels of page decomposition. A scientific rule would be to decompose until the time-to-read of the undivided chunks is small enough. g) The missing dimensions that are critical to the P2 level problem and are not adequately reflected in the current set of checkpoints are 1) concern for how the implemented topic tree, whether as briefed (8.4) or as navigable (7.6) divides up the time-to-speak of the page. A well-constructed effective topic tree will be tuned to break the page up into parts of time-to-speak which are roughly equal among the children of the same node. This is the quantitative semantics required for "efficient" navigation to various interesting starting points in a page. 2) concern for how long it takes to find an alternative to starting at the top, when the page outline is used as a navigable index. Saying that the table of contents described in 8.4 must be navigable is almost a good checkpoint. The almost is because there is still a failure mode allowed under this description if the table of contents is too verbose to provide a rapid overview of the top level structure of the page. h) The other problem is that the element type list is not prioritized. The elements named vary widely in their structural significance. Note the note in 8.4 which says that level of detail pruning is intended. But it is never defined anywhere. The present state of 7.6 defines an untrue minimum implementation because if the elements listed are all made the navigation basis at the top level the resulting navigation will not be efficient. The success of 7.6 is likewise contingent on the implementers adding more intelligence into what is done. i) There needs to be stronger language saying that whatever navigation tree is exposed to the user through 8.4 and 7.6, that it has to be very close to exactly the same thing. Conflicting information from the briefing (8.4) and response to user input (7.6) would be a strong violation of "the system response to user input must be predictable). j) There is a problem built into the UAAG use of priorities and minimum implementations. The minimum implementation of a P1 checkpoint leaves a P2 problem. The minimum implementation of a P2 checkpoint leaves a P3 problem. k) Providing a forward-only, step-to-next [child of same parent] would remove the P2 level problem here. Or at least that is my rough guess of the usability prognosis. As Charles has noted, this is not the structural navigation one would want, but there is not a P2 severity access barrier if that desirable function is missing. Something along these lines is required to fulfil the agreement with GL. This is one version of a possible minimum implementation, but as noted above it fails to touch the many pages that are not AAA per WCAG. l) A more direct approach is to tie 7.6 more closely to 8.4 where to implement 8.4 the user agent has to make some decision or other about the table of contents extraction -- what to include and what not to. m) in HTML itself, I still recommend that the analysis of element types be informative, moved to 8.,; and that it be graded. Here is a rough stratification of the list into categories of descending usual criticality for structural navigation: i) Clear structural role, used a lot to convey critical structure: FRAME, FORM, TABLE Note: this could possibly be limited to the outer TABLE in a nest. If treated thus, the interior TABLEs move to category (c) below. ii) Clear structural role, and when used, probably indicate important structure: MAP, DIV, (the virtual DIVs associated with H1-H6), FIELDSET, THEAD, TFOOT, TBODY iii) Clear structural role, structured navigation less critical than the above: OPTGROUP, OL, DL, UL, (the virtual DIV comprising one DT and its associated DDs) iv) weak grouping function: P, DD, LI v) Important atomic entries, no particular structural function: A, BUTTON, TEXTAREA, INPUT, IMAGE (sometimes), OBJECT vi) Structurally unimportant atomic elements: ADDRESS, DT If you cover a) and b) above, you should pass at P2 level (merit AA). The rest should not be required for a P2 checkpoint (makes browsing useless for some group). Add c) and d) together with level-of-criticality filtering at intermediate levels of navigation [c.f. guideline 8] you pass at P3 level (merit AAA) n) It would be clearer if we change "important structural elements," which comes across as "important _and_ structural elements," given the list, to "structurally important grouping elements" in the text of the checkpoint. o) The implementation of hierarchy in 7.6 and 8.4 includes the following: In deciding which starting points to include in the effective table of contents slash navigation, it is appropriate for well-labeled structurally-significant containers to hide significant starting points within them for the purposes of extracting a summary view. The availability of such a mnemonic superstructure is a factor in deciding the show/hide property of an element in the extraction of the effective structure presented to the user. p) In addition to the fundamental ergonomic consideration of how the effective navigation tree divides up the time-to-speak of the contents, the following heuristic hack would also probably produce useful information: Divide the graphic canvas of the page into five equal-area parts. One full-width rectangle across the top, another full-width across the bottom, and the remaining three areas being three columns running from the bottom of the top rectangle to the top of the bottom rectangle. In the Table of Navigation pruning, give consideration to obtaining representation for syntactic slash DOM elements contributing content to as many of these regions as possible. End of screed. Al > >Charles > >On Mon, 25 Sep 2000, Ian Jacobs wrote: > > Hello, > > Here's why I think a table navigation checkpoint isn't > required (and this, I believe is a summary of the history > of how we got to where we are today): > > 1) Checkpoint 2.1 requires access to all content. > 2) Checkpoint 8.1 requires the UA to communicate relationships > among cells and headers > 3) Checkpoint 7.6 requires navigation to meaningful elements, which > includes tables and table cells in the case of HTML. > > Therefore, I believe that Charles' requirement is already met > by the current set of checkpoints, and the current set of checkpoints > is the result of work that led to us removing checkpoints for > navigation to elements of a particular type. > > More comments below preceded by IJ2. > > - Ian > > > [1] http://www.w3.org/WAI/UA/WD-UAAG10-20000901/ > > > Charles McCathieNevile wrote: > > > > On Wed, 20 Sep 2000, Ian Jacobs wrote: > > > > Charles McCathieNevile wrote: > > > > > > Proposal and rationale - techniques to follow... > > > > > > My proposal is to modify as follows: > > > > > > Add a P1 requirement for columnwise navigation of tables. > > > (two different techniques: > > > + provide cell-level focus and vertical movement within tables or > > > + use tablin or similar to change the table axes back and forth ) > > IJ > > I STRONGLY OPPOSE THIS PROPOSAL. The WG long ago chose not to include > > a table navigation checkpoint and I don't believe that this issue should > > be reopened at this point. Refer to issue 160 [1] > > > > [1] http://server.rehab.uiuc.edu/ua-issues/issues-linear.html#160 > > CMN > > If I can't find out what is in a table I can't access the content. For > > graphical systems we have agreed that vertical / horizontal scrolling plus > > exporting the DOM are sufficient. That is not the same as "therefore there is > > no requirement to be able to read the content". > > > IJ2: see comments above. > > > I had said: > > > add a P2 requirement to be able to navigate a Document tree (parent-child, > > > and sibling-sibling, moving each way). This is an extension of 7.6 > > > > > > Add a P2 requirement for document types which are not based on a container > > > model (i.e. does apply to HTML, does not apply to SMIL or SVG) to navigate an > > > outline constructed according to the algorithm ISO-HTML specifies (and WCAG > > > implies) for using Hx elements. (same requirements as for the actual tree). > > IJ > > I don't like this ISO-HTML specific checkpoint. Why doesn't SVG have a > > container > > model? What is the "g" element? > > CMN > > SVG does have a container model - and therefore this checkpoint would not > > apply to SVG. (My editorial bad). > > IJ > > Can this just be a technique? Is there a URI to the ISO-HTML spec? > > If a URI isn't available (or if the ISO spec costs money) I am not > > excited about including it. > > CMN > > No, I do not consider that this can just be a technique. It is a requirement > > to have a navigable structure, and HTML doesn't. We can specify the algorithm > > ourselves rather than referring to ISO - I just wanted to save myself typing > > something I believed everyone understood. > > IJ2: If HTML is broken, ask that it be fixed. I don't think we should > enter > the realm of repair checkpoints at this point in the life of the > document. > We can make suggestions in techniques for the case of HTML. I would > rather avoid > technology specific requirements in the checkpoints (and I am glad to > get rid > of the explicit list of HTML elements if we can). > > > I had said > > > Add a P3 requirement to navigate a tree configured according to checkpoint > > > 8.5 (i.e. as above but with the user able to configure what elements are > > > used as dividers in the algorithm). The user should be able to specify > > > elements, or elements with specific style properties. (Al's "show me the next > > > thing like this") > > IJ > > Ok. > > > > CMN > > This would apply to SVG. It is a strategy for dealing with the fact that poor > > authoring may result in a large series of paths, only differentiated by style > > properties. The gain in that circumstance might be minimal, but minimal is > > better than nothing. > > I had written: > > > Rationale: > > > > > > The requirement is that a person who has restricted ability to cope with a > > > lot of content at once (for example using an audio interface) and has limited > > > ability to navigate (for example using a restricted keyboard), can easily > > > work with a document such as a large table, a specification, or a section of > > > a text book (to name just a few of many possible examples). > > > > > > It is possible to get to all the content by being able to read the document > > > forwards. however, in the case of a grid such as a table this may not make it > > > possible to understand what items are in what column. If the person can move > > > from the beginning of a column to the end of it, vertically, then this is > > > solved. > > > > > > So an absolute requirement is to be able to do this. > > IJ > > We have already decided that this navigation mechanism is best handled > > by > > assistive technologies. I strongly object re-adding this requirement. > > CMN > > As I understood it we had agreed that a visual technology had to layout the > > things in table form and scroll up down left right with the viewport, plus > > export the DOM so an assistive technology could provide whatever it wanted. I > > didn't understand that we had therefore decided that the functionality wasn't > > important, and if we had then I register my very strong disagreement with > > that decision. > > IJ2: See comments above. > > > charles > > > >-- >Charles McCathieNevile mailto:firstname.lastname@example.com phone: +61 (0) 409 134 136 >W3C Web Accessibility Initiative http://www.w3.org/WAI >Location: I-cubed, 110 Victoria Street, Carlton VIC 3053, Australia >September - November 2000: >W3C INRIA, 2004 Route des Lucioles, BP 93, 06902 Sophia Antipolis Cedex, France >Received on Monday, 25 September 2000 10:28:08 UTC
This archive was generated by hypermail 2.3.1 : Wednesday, 7 January 2015 14:49:28 UTC


text:
Officer: Army has evidence to try soldier in Afghans' deaths
An Army investigating officer this week recommended that a Stryker soldier accused of killing three civilians in Afghanistan should go to trial to face the charges.
Col. Thomas Molloy's recommendation does not guarantee that Spc. Jeremy Morlock will go to a court martial trial, where he could face the death penalty. That decision is up to 2nd Brigade, 2nd Infantry Division commander Col. Barry Huggins, and it is expected within the next few weeks.
"A final decision has not been made," said Maj. Kathleen Turner, an Army spokeswoman at Joint Base Lewis-McChord.
Morlock is one of five 5th Brigade, 2nd Infantry Division soldiers at Lewis-McChord who stand accused of killing civilians on their recent deployment to southern Afghanistan. Their unit was re-flagged as the 2nd Brigade when it came home.
The men accused of murder allegedly carried out scenarios to kill Afghans in combat-like situations. They have denied the charges, and they await hearings before investigating officers like Molloy.
Morlock, 22, last week appeared before Molloy for a hearing where his attorneys sought to discredit statements Morlock gave to Army investigators in May when he confessed to the killings. His attorneys painted him as intimidated by Staff Sgt. Calvin Gibbs, a squad leader who allegedly devised the kill scenarios. Gibbs is among the five accused of murder.
Morlock's attorneys also tried to cast doubt on the Army's evidence, repeatedly drawing attention to the inability of investigators to collect physical evidence connecting Morlock to a specific death.
Molloy, however, found that Morlock's May statements provided enough evidence to put the soldier on trial for participating in the killings.
The investigating officer was not swayed by defense arguments that Morlock had poor judgment during his deployment and during his interviews with Army investigators because he was taking a "cocktail" of prescription drugs to help him deal with four concussions he received in combat.
"During the times alleged in the charges, Spc. Morlock functioned as a team leader for a dismounted infantry squad, then carrying the designation of corporal, a leader," Molloy wrote. "In the eyes of his leaders and fellow soldiers, he was an effective, reliable, engaged team leader. The undersigned found no evidence that the accused was behaving in an erratic, impaired or irrational manner — as an intoxicated person would — at the time of the alleged offenses."
Geoffrey Nathan, one of Morlock's civilian attorneys, contends Morlock's statements won't hold up if the case goes to trial. He says investigators did not give Morlock an attorney when he asked to consult with one, and that Morlock was allowed to continue taking prescription drugs for pain relief during his interview with Army investigators, further impairing his judgment.
"I didn't expect this at all," Nathan said. "This was a very thorough hearing. We won the hearing. I don't understand how this could go any further on a murder charge for which there is no weapon, no body and nothing except a highly questionable statement from Morlock."
Morlock also is accused of violating a general order by keeping pictures of Afghan casualties, assaulting a fellow soldier and using hashish while he was deployed. Molloy determined that there was enough evidence to put Morlock on trial for those charges.


text:
The visual group OUTOFORDER has been around for well over a decade, so this blog post featuring their work is a little overdue. Though they've got countless projects to choose from, we had to pick just two to include here.
David Louf from OUTOFORDER sent over a few details to share,
Out of Order (David Louf and Yves van Asten), founded in 2000, is an Amsterdam/Rotterdam based Graphic design Studio with multi disciplinary skills ranging from graphic design, art, video, interactive productions and illustration. We work for clients in the music, fashion, culture and entertainment industry designing brand identities, communications, publications, digital content, concepts and events. In 2000 we did our first vi-gig in holland, we only used vhs tapes and an oldskool analogue video mixer.
The first project to feature, route du nord,
this is a interactive mapping installation for a electronic arts festival
i created a drawing on a wall...
this is the template for the movies…
8 movies, each movie has a sound…
all teh 8 movies together is 1 song..
people could play with the samples to play music and see the animations..
1 BEAMER, 1 LAPTOP, 60 METERS OF BLUE TAPE, 1 SONG, 8 BUTTONS, all made with vdmx
and the second, energy floors, an interactive animation,
The kinetic energy of walking or dancing people converts into electricity which is used to make the floor react and interact visually and to power applications which show the direct electricity output of a person's moves.
2 teams, 16 tiles… these tiles where connected to vdmx, the more you stamp on it, the more hits are created... every tile is a growing clip.
If you've enjoyed these, make sure to check out the OUTOFORDER website and vimeo page for more!


text:
Wallpaper of the lipstick department
In a reversal of roles, the AVON Lady wasn't calling on me. I was calling on her, or rather them, though not to buy or sell, but instead to learn about the science behind their newest anti-aging product, Anew Reversalist. I was part of a small group of journalists recently invited to the Research and Development headquarters in Westchester to meet some of the research scientists and learn more about skin care……one of my favorite subjects.
PF Alby Doll
A little history…
Avon was created in 1897 and has been a pro-women company from day one, and their Avon Lady one-on-one sales approach allowed women to independently earn an income before we even had the right to vote. Their very first sales lady, PF Alby went on to become a sales manager for the company, a position so few woman could even hope for 100 years ago. Today, the CEO is the dynamic Andrea Jung, and 50% of the Research and Development team are women. Just for good measure, it should also be noted that to date, the company has donated 775 million dollars for breast cancer research.
The location we visited, the new R&D center is the home to over 300 scientists – no ding-dongs here – and is on the site of the original Avon headquarters. The building, a striking glass and steel design has ultra modern yet inviting interiors. There are spaces with small couches and chairs all around where scientists can easily find a spot for a quick brainstorm with co-workers.
We got lab coats. Tres adorable! And a most interesting lecture about skin
Let's get to the science…
Our two tour guides, research scientists Glenn and Anthony, started out with giving us an understanding about how skin works to repair itself. One of the key factors in aging is the accumulation of micro injuries to the skin. Young skin has the ability to repair itself quickly, while older skin….not so much. Look at the difference in healing time from a scrape between a child and an adult, which illustrates the point; it's Activin, a protein found within our bodies that activates the repair process. As we age, our Activin levels don't change, however the growth protein in our blood molecules decreases, and that growth protein is what triggers Activin to repair. Hence, our own natural repair system is slowed down and our skin ages, and visible signs of it are noticeable. Hate that!
Now for the good news…
After five years of research, AVON scientists have patented Acvitinol, which is the basis of their new Reversalist Serum and Night Cream created to boost the Activin in our skin. Their research shows 75% of test participants had positive results after using the serum and night cream combo every day for two weeks with comments ranging from they felt like they had new skin to a lessening of wrinkle appearance. Not bad! My own use showed that my skin felt very silky; and a dry patch on my cheek (a result of weather suddenly turning cold) was gone after two days. The products have the usual pleasant Avon scent that many of us know, and the feel of the products is the typically smooth and silky dimethicone (silicone) found in many skin care products. My only negative comment about Reveralist is the serum's container. Similar to an umbrella handle with a push button on the side, I find this awkward to use and advise you not to use at a time your nail polish isn't totally dry. Also, since the container is opaque and can't be opened, there's no way to know how much product you have left until you're completely out of it.
Not only have I been using the Reversalist on my face, but on my neck and hands as well. Remember, skin care doesn't end at the chin!
For more information on Reversalist go to http://www.avon.com


text:
Read the Prologue of "Fairy Tale Interrupted"The office was quiet when I got in around nine o'clock. Too bad it wouldn't stay that way for long. Once John arrived, it would be nonstop until he got on the plane for his trip to Italy.
I had an hour to organize myself before I spent the rest of the day organizing him. I checked his voice mail—the first thing I did every single morning for the five years I worked for John—and he'd received six new messages since I left the office at nine the night before. Not bad; definitely not as bad as it could get. I wrote them all down (except for the two from John, asking me to remind him of things he had to do) on message slips, which I piled up and left in a slot on my desk for him to read on his own time. I never bombarded John with information as soon as he walked in the door. He had a very calm demeanor—panic was not his style.
Instead, after a simple greeting of "Morning" when he arrived and walked past my desk, I always gave him a minute to sit in his office and get settled, and I waited for him to call me.
"Rosie?" he yelled only a few minutes later.
"Coming," I said, rising from my chair and grabbing his calendar, a pen, and a legal pad.
I found him going through the stack of mail that I had covered in sticky notes with various instructions or questions. The whole of Central Park and the Upper West Side skyline was his backdrop as I sat across from him and the office's wall of windows.
I started in on his day: an editorial meeting at noon; lunch immediately after at Limoncello with Jeff Sachs, his friend and the executive director of Reaching Up, the charity they cofounded; then a 3 p.m. meeting with Biz Mitchell, executive editor of John's magazine George.
"Oh, brother, Rosie. You are going to have a miserable day if you don't find some time in that calendar for me to work out," he said.
So it was going to be like that today.
Whenever John was preparing to leave for a trip abroad, the atmosphere in the office was more hectic than usual, with me double-checking all the travel arrangements, getting vital answers on layouts and story ideas for editors before he was out of touch, and amassing absolutely everything he needed to have in his hands before taking off. That was on top of the regular load of phone calls, meetings, and mail. I detected a note of tension in his voice and knew he needed to release it at the gym. As I was his assistant, the more frazzled he got, the calmer I had to be.
"Okay. I'll find you forty-five minutes for the gym. You also have to write that thank-you note to Paul Begala today."
"No problem," he answered, already distracted and squeezing his stress ball.
When I got back to my desk, another eight voice mail messages were waiting for me, and the phones were going crazy, as they would until about seven that night. I was so used to the ringing, I almost didn't hear it anymore. I did hear the thud of the box of John's mail delivered to my desk. Forget it. That would have to wait till tomorrow when John was gone.
Among the new messages were a bunch that had to do with the upcoming auction of his mother's estate: Reporters from the New York Times, Daily News, and Time called looking for quotes. And Taylor, the woman handling the auction at Sotheby's, left a terse "Please have John call me back." I knew from her tone that she needed to discuss something important.
I actually didn't know anything about the auction, except what was announced to the public: Sotheby's was selling many items from Jackie Onassis's estate the following week. From the minute it was announced, I got the vibe from John that he didn't want it to take up much of his time. He refused to give me any details and dragged his feet when he had to do something for it. (I suspected his trip to Italy was perfectly timed to miss the event.) While John acted like the auction was not a priority, I was fielding numerous calls and requests—not just from the media but from people wanting to attend the event or get a catalog—yet I didn't have any information. I didn't even know that the brown paper shopping bag he asked me to take to the house of his sister, Caroline, the week before had been filled with $2 million's worth of jewelry. If I had, I would have killed him. John just wanted it to be over, so I had to figure out how to handle it without asking too many annoying questions. I acted like I knew what I was doing; pretending I had been there before was my specialty.
The mad dash to get John out of the office on time began as soon as he returned that afternoon from his abbreviated workout. There were new phone messages that I had to discuss with him. ("Is Carolyn also going to that dinner with Leonard Lauder?" "No, it's just work." "The Robin Hood Foundation wants you to speak at the next board meeting." "Okay, just put it on the calendar and write up some notes.") And the auction again.
"Taylor called a few more times," I said. "So did your sister."
"Are you going to call them back?"
"I said I'll call."
That was John not dealing with it, I could tell. I wished he'd either tell me what to do or call back, but I couldn't push him anymore unless I wanted my head taken off.
"Here's the stationery—and pen—to write Paul's thank-you note," I said, putting both on his desk. "It has to go out today."
I walked out of his office and went to the bathroom to cool off. We were together almost all day, every day. And working for John opened doors to places I never imagined I'd ever enter, like the hottest clubs in town, the most coveted events, the most exclusive restaurants, even his house in Hyannis, which he lent me for a week every summer. Carolyn, his wife, and I spoke on the phone about a hundred times a day and often hung out after work to talk about boys, clothes, and the latest celebrity gossip. John and I were as close as family, and, like family, we got on each other's nerves.
When I returned, John's office was empty. He had a lot to do, so where was he? I walked a short way down the hallway. He was in the publisher Michael Berman's office, chitchatting.
"John, what are you doing?"
"Shut up, Rosie. Stop nagging."
We were both frustrated, but he got up and returned to his office to write his thank-you note, return his last calls, and reply to editors' story ideas.
Finally, it was five o'clock: time to get him into the car and out of my hair.
"Car's downstairs, John," I shouted from my chair.
Five minutes went by with no response, so I walked into his office and said,
"You have to go now." He nodded and started to stand up when Michael walked in to tell him a funny story about his run-in with the publisher of Esquire.
"Michael! John has to go," I pleaded, but they both ignored me and he finished his story. It took another twenty minutes to get John downstairs, because people stopped him everywhere: in the hallway, in the elevator, even in the bathroom. Finally, sweet Jesus, we made it outside.
On the way to the car, a couple of construction workers spotted John and called out to him, as people always did when they saw him in public. (When I first met John, one morning I saw him on the street as I walked to work and shouted his name, but he didn't turn to acknowledge me. Later, I confronted him and asked why he had been so rude. "Rosie, do you know how many people yell 'John' when I'm walking down the street? If I turned to every one of them, I'd never get to work.")
"Hey, John John, I like your magazine," one of the construction guys yelled.
"Thanks, but it's one John," he said.
I handed him a folder that held absolutely everything he needed: his itinerary, a contact list, stories to edit, stories to review, pages to show the ad people, and more.
"Do you have your passport and wallet?" I asked.
He patted his pocket to double-check.
"John, one more thing. I'm getting a lot of calls about the auction. What should I tell people about that?"
He shot me a look. "How should I know? Do I look like I work at Sotheby's?" Dick! He was lucky he got in that car, or else I would have choked him. Thanks a lot, John, I thought as the town car rode away.
I picked up a fresh pack of Camel Lights and packed them into my hand as I walked down the hallway to creative director Matt Berman's office, which doubled as the magazine's rec room. The office had every new magazine, ashtrays, Diet Coke, and a sofa—all the makings of a good lounge. That's where Carolyn hung out whenever she visited, not in John's office. She'd flop down on the couch, a whirlwind of handbags and stories, and spend hours leafing through magazines and smoking, so that by the time she left, Matt's office looked like a nightclub. Now it was my turn on the couch.
"I could hear you pounding on those cigarettes from in here," Matt said. "Bad day?"
"You don't know the half of it," I said, taking a drag and a sip of Diet Coke.
Once John was gone, a Coke and a cigarette on Matt's couch was my ritual. Matt used to say he always knew when John had left for the day because he heard the can open in his office.
We weren't supposed to smoke in the office. But it was George. We could get away with almost anything. If we'd set the curtains on fire, the publishing company would have said, "Okay, just put them out when you're done."
I bitched to Matt about John's insensitivity, stubbornness, and a litany of other complaints. But truthfully, I was in heaven. With John on a plane for the next seven hours, I had something that was very rare for me—an evening all to myself. Not only could I actually leave the office by 7 p.m., I also wouldn't have to worry about misplaced keys, last-minute letters to celebrities for requests to pose for the magazine cover, reporters on deadlines, people wanting RSVPs, or any of the other details I dealt with day and night. I planned to enjoy it, and that meant going home, ordering in, and zoning out in front of the television. Heaven.
The buzzer rang with my food (interrupting a rerun of My So Called Life), and reaching inside my bag for my wallet, I found a white envelope with my name on it. It was in John's handwriting. I instantly pulled open the envelope. Inside, I counted ten hundred-dollar bills—a thousand dollars in cash.
Holy shit.
Was he kidding me? I read the accompanying note.
"Rosie, this means you have to commit crimes if I ask you to. Don't get used to it. We only auction mummy's jewelry once a life. Thanks, baby. Enjoy! JK"
The money was awesome, but the note was even better. I hadn't signed up for auctions when John hired me, and I felt as though he didn't get that. But of course, he wound up acknowledging it with the most thoughtful, low-key, classy thank-you I could ever imagine receiving. Even when we bickered, John knew I appreciated everything he did for me and that I always had his back.
John's and my lives were intertwined in many ways. Working for him, I was his gatekeeper, controlling access to someone who everyone wanted a piece of. I protected him and his time from things and people that weren't in his best interest. As a friend, my role wasn't all that different, except that I made him laugh. He teased me ruthlessly, and I gave it right back to him. He loved that I treated him like a normal person and not like JFK Jr. As his loyal assistant and friend, I would have done anything for him. Even though I never expected anything more than a paycheck, John gave me opportunities that changed my life forever, taking me on the most dramatic journey a girl in the City could ever dream of. Especially a girl like me.


text:
Finn's "I remember..." poem
I remember the salty ocean crashing on my face.
I remember the white shimmering snow blowing past my face.
I remember the sliminess of the flounder that I caught with my dad.
I remember when I went snorkeling in Hawaii and seeing all the colors of the rainbow and they were all fish.
Luke's "I remember..." poem
I remember playgrounds swarming with children
I remember eating ice cream and staring into the summer sun
I remember getting a trophy for playing on a baseball team
I remember my first day of school I was so nervous you could fill up a pool with my sweat.
Jenna's "My Secret Is..." Poem
My secret is made
from wind blowing,
thunder crashing,
trees pitch black and
This secret can
electrify you, fall
on you, also you can
I found it on the top of a black mountain
that has nothing
on it, not even one seed.
It shadows over the town.
If I lost this secret
all the boys brains
will fall into millions of pieces.
Excerpt from "Justin's My Secret Is..." Poem
My secret is made from the softest, lightest, brightest pixie dust,
Two drops of the reddest, thickest blood of a dragon, and
The hardest, shiniest pieces of metal that will never be destroyed.
I found it through a waterfall through the darkest cave behind a Chinese bakery in Sweden.
Excerpt from Jihae's "Secrets on the line story": I eat insects.
While my mom was upstairs checking to see if I had made my bed, I put my breakfast in a paper towel and quickly threw it away. Then I snuck outside the back door and breakfast my style. Cockroaches with ants on top. Yum!
Kyle's "Secrets on the line story": I saw my brother driving the car without a license.
Today when I was walking the dog with my friend, Adam, he said, "Zachariah, isn't that your dad's car?'
"Oh, my god, it's Patrick driving dad's car!"
He got his license taken away because he ran into a fruit stand last month.
I asked Adam to film the thing on his iPhone 4g. He said, "But I'm about to beat Angry Birds!"
I took his phone anyway and filmed it and emailed it to myself.
When Patrick got home, I told him, "I have a video of you driving the car."
He told me I was bluffing, so I showed it to him. He said, "Please don't ruin my life, I'll do anything." I told him to do whatever I said for the rest of the summer or I'm telling mom. And also, to stop pranking me! He agreed even though he was as mad as a billionaire gone broke.
This summer is going to be pretty cool I guess.


text:
Option 3
Assisted Positive Input
Ventilation or A-PIV
The A-PIV system combines the dMEV and the PIV together. It's used when a property is particularly draught proof, as is the case with so many new builds these days. It is also used when a room that is directly in contact with a direct moisture source, such as a bathroom or kitchen, is not off the main hall way. What this system does is push clean, fresh air into the room with the PIV and then slowly extract it with the dMEV part of the system. This creates continues flow of air into and out of the room. This system is particularly effective if your home is suffering from severe condensation.


text:
- Season 4 Episode 6
Kung Fu Fighting
- Airdate:10.22.2007.
With his marriage in turmoil, the Chief turns to his fellow male surgeons for a "gentleman's evening," Cristina and Izzie heatedly compete for the same surgeries and the favor of the doctor performing them, Meredith treats the survivor of a skydiving accident, and the doctors treat two injured finalists who are competing in a promotional competition
Promo Video #1
See more at Grey's Anatomy Season 4 Episode 6 "Kung Fu Fighting" Promo
series regulars:
Ellen Pompeo as Meredith Grey
Patrick Dempsey as Derek Shepherd
Sandra Oh as Cristina Yang
Katherine Heigl as Isobel "Izzie" Stevens
Justin Chambers as Alex Karev
T.R. Knight as George O'Malley
Chandra Wilson as Miranda Bailey
James Pickens, Jr. as Richard Webber
Sara Ramirez as Callie Torres
Eric Dane as Mark Sloan
Chyler Leigh as Lexie Grey.
guest cast:
David Denman as Rick
Cullen Douglas as Mr. Arnold
Marina Black as Sally
Tommy Dewey as Mike
Amanda Loncar as Jackie
Steve Sandvoss as Jason
Chryssie Whitehead as Helena.


text:
In the continuing saga of me and the mail lady...
We had heavy rain here on Saturday and I was gone all morning.
Between the rain and the high winds I wan't sure what I would find when
I returned home to check on the mail.
I was pleasantly surprised to find the packages all stacked neatly on the porch!
Hurray for the mail lady!
Here are the latest fabrics for the
I Spy Swap!
Fabrics received from Laurie at Simple Things in Life.
Fabrics received from Amy at Little Country Bumpkins.
Fabrics received from Mary.
Fabrics received from Cheri at jovaliquilts.
I'll be posting more photos tomorrow,
and the drawing for the kitty will be held later this week
so stay tuned!
All I Spy fabrics can be viewed on flickr
so be sure to check out the cute designs and leave a comment.
May you always Sew in Peace:)


text: Since the emergence of Zika virus (ZIKV), reports of microcephaly have increased significantly in Brazil; however, causality between the viral epidemic and malformations in fetal brains needs further confirmation. Here, we examine the effects of ZIKV infection in human neural stem cells growing as neurospheres and brain organoids. Using immunocytochemistry and electron microscopy, we show that ZIKV targets human brain cells, reducing their viability and growth as neurospheres and brain organoids. These results suggest that ZIKV abrogates neurogenesis during human brain development.


text: Counting down the days until you're summoned to the middle of the dance floor? Through creativity and collaboration we work with our clients to create the "right" first dance. Our "Not One Size Fits All Approach," is what sets us apart from other studios. We really listen to our clients to achieve their goals. We can work with any song. Our specialty is wedding dance, but we do so much more at the dance studio! We teach people just like you how to dance. If you're engaged to be married and would like some help with your wedding dance, you've come to the right place! Private dance lesson can be scheduled throughout the week and start at $185 for 4 lessons.


text:
I'm so excited to now have my very own "projects" page in Sakura of America's Creative Inspiration section on their site! You can now download and print FREE PDFs of worksheets to color and adorn here! I'll be adding more on a regular basis, so be sure to check back often.
A little back story on the worksheets: Back in February, I had the privilege of being part of an Interactive Children's Art Workshop hosted by the local non-profit, Art Love Magic at Southside on Lamar in downtown Dallas. These workshops are held several times a year, and aims to allow children ages 4-16 to work alongside real artists in an open studio environment. I love this approach because it provides children the opportunity to experiment with many different mediums, as well as interact with established artists and other kids in a way is more organic than overly structured. Rather than just offer the kids paper and pens to draw with, I decided to print off these blank-faced worksheets. They were a huge hit among children and adults, and I hope you'll enjoy coloring them as well.
If you end up printing them for yourself or young ones, I'd love it so much if you shared your result. You can post them in the comments or on my Facebook page. Have fun!


text:
Upcoming Races
This weekend, Laurel is headed to Bradley, CA for the Wildflower Triathlon. I have the weekend off from racing, but will be volunteering at the Krell Adventure Games, an obstacle race. This race video makes me think it is going to be a very fun day!
Meanwhile, Laurel will be toughing it out in the hills of central California. With the temps forecast near 100 and with a field of very fast ladies, it is sure to be another HOT race this year. Here's a recap of Laurel's experience from last year.
Last Week's Races
Laurel tuned up for Wildflower by doing the PossAbilties Triathlon last weekend. This sprint, reverse triathlon is usually won by Julie Ertel, but with Julie out with a foot injury, the door was open for a new champ. After running the opening leg, a 5k, in 18 minutes, Laurel led the race through the 8 mile bike and into the final transition from bike to swim. She had an unfortunate collision with male competitor twice her size and was knocked to the ground hard. Despite a painful hip, she got back up and ran to the final leg of the race - a 150 meter pool swim - where she was passed by a fast swimming Taylor Spivey.
My race in St. Anthony's went well. I hung in there to place 9th in a very competitive field. I plan on writing up a complete race report later this weekend, but to summarize my race: I got the most out of myself while racing in the middle of a tough training block.
Instagram of the Week
For those of you still riding on the trainer, we're with you:
Recipe of the Week
These brownies are a splurge, but well deserved after a hard day. Check out the recipe, it's super easy and doesn't contain any weird, hard to find ingredients.


text:
Friday, December 16, 2011
YA Movie News
-Another YA book to movie I'm looking forward to! Laini Taylor's Daughter of Smoke and Bone is also getting a big screen adaptation! Universal bought the film rights and I really hope this one happens-don't you want to see that book come to life?
-Meg Rosoff's Printz Award Winner, How I Live Now, has been optioned for a big screen adaptation. Saorise Ronan is in talks to star. How I Live Now is one of my favorite Printz winners and I'd love to see it on the big screen! Thanks to Cynopsis Kids for the news.
-Downton Abbey creator Julian Fellows is working on a musical version of The Wind in the Willows.
-In other musical news, a musical adaptation of Because of Winn-Dixie is in the works with Duncan Sheik signed on to write the music. I think this is a great idea!
-Paramount acquired the rights to Colleen Houck's novel Tiger's Curse.
3 comments:
I am a fan of this new Hunger Games poster too! It has that epic feel that I think is so necessary to convey for this series. Can't wait for when it hits the big screen!ReplyDelete
Wow! They just keep optioning YA books for movies, don't they? Not that I'm complaining! I'm looking forward to a lot of them!ReplyDelete
Ooh, lots of good news! And wow that was fast about Lani Taylor's book--that one's only been out a few months, right? Surprising they're doing another Wind in the Willows adaptation--there already is one (well, a loose adaptation, I guess) called A Year With Frog and Toad which did moderately well when released. Wonder how they'll manage the car joyride scene.ReplyDelete
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