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Using Concrete Scales: a Practical Framework for Effective Visual Depiction of Complex Measures Fanny Chevalier, Romain Vuillemot, Guia Gali
Using Concrete Scales: A Practical Framework for Effective Visual Depiction of Complex Measures Fanny Chevalier, Romain Vuillemot, Guia Gali To cite this version: Fanny Chevalier, Romain Vuillemot, Guia Gali. Using Concrete Scales: A Practical Framework for Effective Visual Depiction of Complex Measures. IEEE Transactions on Visualization and Computer Graphics, Institute of Electrical and Electronics Engineers, 2013, 19 (12), pp.2426-2435. 10.1109/TVCG.2013.210. hal-00851733v1 HAL Id: hal-00851733 https://hal.inria.fr/hal-00851733v1 Submitted on 8 Jan 2014 (v1), last revised 8 Jan 2014 (v2) HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Using Concrete Scales: A Practical Framework for Effective Visual Depiction of Complex Measures Fanny Chevalier, Romain Vuillemot, and Guia Gali a b c Fig. 1. Illustrates popular representations of complex measures: (a) US Debt (Oto Godfrey, Demonocracy.info, 2011) explains the gravity of a 115 trillion dollar debt by progressively stacking 100 dollar bills next to familiar objects like an average-sized human, sports fields, or iconic New York city buildings [15] (b) Sugar stacks (adapted from SugarStacks.com) compares caloric counts contained in various foods and drinks using sugar cubes [32] and (c) How much water is on Earth? (Jack Cook, Woods Hole Oceanographic Institution and Howard Perlman, USGS, 2010) shows the volume of oceans and rivers as spheres whose sizes can be compared to that of Earth [38]. -
JWO Vol. 17 Corrected.Indd
28 Merlyn Q. Sell How Shakespeare Lost the American West Merlyn Q. Sell Independent Scholar hakespeare was among the first European settlers in the American West. He first hitched rides in the packs of fur S traders in the 1830’s and then stuck around, hanging out through the cattle drives of the 1890s. Considering Shakespeare’s large role in the Wild West of history, his absence from the Wild West of popular culture is glaring. While fictions of the Wild West are not beholden to the facts, the reasons a particular fictitious narrative has dominated the genre deserves interrogation—particularly when that narrative forms a cornerstone of national identity. A key reason for Shakespeare’s disappearance, or erasure, from the myth of the Wild West is his association with upper-class women and their civic reforms. As the “wildness” of the west became idealized, Shakespeare was remembered as a sign of refinement and his wilder and woollier past forgotten. In the mining camps of the West the same pattern emerged time and again. Shakespeare was an integrated part of these rough and rowdy communities from the start. His works were performed alongside variety acts, circuses, and boxing 1 matches for a mostly working class, mostly male audience. Journal of the Wooden O. Vol 16, 28-37 © Southern Utah University Press ISSN: 1539-5758 How Shakespeare Lost the American West 29 As railroads linked these once isolated communities to the trends of the East, Shakespeare’s place within the community transformed. Older versions of Shakespeare performance were not suitable for the changing demographics as cities once dominated by single males saw an influx of women and families.2 While women did not introduce Shakespeare to Western communities, they did employ him in different ways. -
2 a Quotation of Normality – the Family Myth 3 'C'mon Mum, Monday
Notes 2 A Quotation of Normality – The Family Myth 1 . A less obvious antecedent that The Simpsons benefitted directly and indirectly from was Hanna-Barbera’s Wait ‘til Your Father Gets Home (NBC 1972–1974). This was an attempt to exploit the ratings successes of Norman Lear’s stable of grittier 1970s’ US sitcoms, but as a stepping stone it is entirely noteworthy through its prioritisation of the suburban narrative over the fantastical (i.e., shows like The Flintstones , The Jetsons et al.). 2 . Nelvana was renowned for producing well-regarded production-line chil- dren’s animation throughout the 1980s. It was extended from the 1960s studio Laff-Arts, and formed in 1971 by Michael Hirsh, Patrick Loubert and Clive Smith. Its success was built on a portfolio of highly commercial TV animated work that did not conform to a ‘house-style’ and allowed for more creative practice in television and feature projects (Mazurkewich, 1999, pp. 104–115). 3 . The NBC US version recast Feeble with the voice of The Simpsons regular Hank Azaria, and the emphasis shifted to an American living in England. The show was pulled off the schedules after only three episodes for failing to connect with audiences (Bermam, 1999, para 3). 4 . Aardman’s Lab Animals (2002), planned originally for ITV, sought to make an ironic juxtaposition between the mistreatment of animals as material for scientific experiment and the direct commentary from the animals them- selves, which defines the show. It was quickly assessed as unsuitable for the family slot that it was intended for (Lane, 2003 p. -
Media Guide Template
MOST CHAMPIONSHIP TITLES T O Following are the records for championships achieved in all of the five major events constituting U R I N the U.S. championships since 1881. (Active players are in bold.) N F A O M E MOST TOTAL TITLES, ALL EVENTS N T MEN Name No. Years (first to last title) 1. Bill Tilden 16 1913-29 F G A 2. Richard Sears 13 1881-87 R C O I L T3. Bob Bryan 8 2003-12 U I T N T3. John McEnroe 8 1979-89 Y D & T3. Neale Fraser 8 1957-60 S T3. Billy Talbert 8 1942-48 T3. George M. Lott Jr. 8 1928-34 T8. Jack Kramer 7 1940-47 T8. Vincent Richards 7 1918-26 T8. Bill Larned 7 1901-11 A E C V T T8. Holcombe Ward 7 1899-1906 E I N V T I T S I OPEN ERA E & T1. Bob Bryan 8 2003-12 S T1. John McEnroe 8 1979-89 T3. Todd Woodbridge 6 1990-2003 T3. Jimmy Connors 6 1974-83 T5. Roger Federer 5 2004-08 T5. Max Mirnyi 5 1998-2013 H I T5. Pete Sampras 5 1990-2002 S T T5. Marty Riessen 5 1969-80 O R Y C H A P M A P S I T O N S R S E T C A O T I R S D T I S C S & R P E L C A O Y R E D R Bill Tilden John McEnroe S * All Open Era records include only titles won in 1968 and beyond 169 WOMEN Name No. -
PB Paddington 2
presenta ! diretto da PAUL KING con HUGH GRANT BRENDAN GLEESON JIM BROADBENT PETER CAPALDI JULIE WALTERS SALLY HAWKINS HUGH BONNEVILLE e con la voce di FRANCESCO MANDELLI distribuito da EAGLE PICTURES durata 95' AL CINEMA DAL 9 NOVEMBRE 2017 www.eaglepictures.com UFFICIO STAMPA Pierluigi Manzo e Alessio Piccirillo +39.347.0133173 +39.393.9328580 [email protected] - www.manzopiccirillo.com CAST ARTISTICO BRENDAN GLEESON Nocche McGinty SALLY HAWKINS Mary Brown FRANCESCO MANDELLI Paddington HUGH GRANT Phoenix Buchanan JIM BROADBENT Samuel Gruber JULIE WALTERS Miss Bird HUGH BONNEVILLE Henry Brown PETER CAPALDI Reginald Curry SAMUEL JOSLIN Jonathan Brown MADELEINE HARRIS Judy Brown TOM DAVIS T-Bone !2 CAST TECNICO Diretto da PAUL KING Scritto da PAUL KING SIMON FARNABY Prodotto da DAVID HEYMAN Produttori esecutivi ROSIE ALISON ALEXANDRA FERGUSON RON HAPERN Case di produzione HEYDAY FILMS MARMALADE FILMS LTD. STUDIO CANAL Fotografia ERIK WILSON Scenografie GARY WILLIAMSON Montaggio JONATHAN AMOS MARK EVERSON Costumi LINDY HEMMING !3 Musiche DARIO MARIANELLI Casting NINA GOLD Direttore delle animazioni PABLO GRILLO Supervisore VFX GLEN PRATT Distribuito da EAGLE PICTURES Ufficio Stampa MANZOPICCIRILLO SINOSSI Paddington è ormai un celebre membro di Windsor Gardens, la comunità in cui vive con la famiglia Brown. A caccia del regalo perfetto per il centenario di zia Lucy, il nostro simpatico e buffo amico trova un raro libro pop-up in un negozietto di antiquariato. Dopo avere svolto una serie di lavoretti per tentare di comprarlo, il libro -
Social Psychology
Social Psychology OUTLINE OF RESOURCES Introducing Social Psychology Lecture/Discussion Topic: Social Psychology’s Most Important Lessons (p. 853) Social Thinking The Fundamental Attribution Error Lecture/Discussion Topic: Attribution and Models of Helping (p. 856) Classroom Exercises: The Fundamental Attribution Error (p. 854) Students’ Perceptions of You (p. 855) Classroom Exercise/Critical Thinking Break: Biases in Explaining Events (p. 855) NEW Feature (Short) Film: The Lunch Date (p. 856) Worth Video Anthology: The Actor-Observer Difference in Attribution: Observe a Riot in Action* Attitudes and Actions Lecture/Discussion Topics: The Looking Glass Effect (p. 856) The Theory of Reasoned Action (p. 857) Actions Influence Attitudes (p. 857) The Justification of Effort (p. 858) Self-Persuasion (p. 859) Revisiting the Stanford Prison Experiment (p. 859) Abu Ghraib Prison and Social Psychology (p. 860) Classroom Exercise: Introducing Cognitive Dissonance Theory (p. 858) Worth Video Anthology: Zimbardo’s Stanford Prison Experiment* The Stanford Prison Experiment: The Power of the Situation* Social Influence Conformity: Complying With Social Pressures Lecture/Discussion Topics: Mimicry and Prosocial Behavior (p. 861) Social Exclusion and Mimicry (p. 861) The Seattle Windshield Pitting Epidemic (p. 862) Classroom Exercises: Suggestibility (p. 862) Social Influence (p. 863) Student Project: Violating a Social Norm (p. 863) Worth Video Anthology: Social Influence* NEW Liking and Imitation: The Sincerest Form of Flattery* Obedience: Following Orders Lecture/Discussion Topic: Obedience in Everyday Life (p. 865) Classroom Exercises: Obedience and Conformity (p. 864) Would You Obey? (p. 864) Wolves or Sheep? (p. 866) * Titles in the Worth Video Anthology are not described within the core resource unit. -
Tournament Notes
TournamenT noTes as of march 31, 2010 THE RIVER HILLS USTA $25,000 WOMEN’S CHALLENGER JACKSON, MS • APRIL 4-11 USTA PRO CIRCUIT RETURNS TO JACKSON FOR 12TH STRAIGHT YEAR TournamenT InFormaTIon The River Hills USTA $25,000 Women’s Challenger is the 10th $25,000 women’s tournament of the year and the only $25,000 Site: River Hills Country Club – Jackson, Miss. women’s event held in Mississippi. Jackson Websites: www.riverhillsclub.net, is the second of three consecutive clay court procircuit.usta.com events on the USTA Pro Circuit in the lead-up to the 2010 French Open. Bryn Lennon/Getty Images Qualifying draw begins: Sunday, April 4 Main draw begins: Tuesday, April 6 This year’s main draw is expected to include Julia Cohen, an All-American at the University Main Draw: 32 Singles / 16 Doubles of Miami who reached the semifinals of the NCAA tournament as a sophomore in 2009, Surface: Clay / Outdoor Lauren Albanese, who won the 2006 USTA Prize Money: $25,000 Girls’ 18s National Championships to earn an automatic wild card into the US Open, and Tournament Director: Kimberly Couts, a frequent competitor on the Dave Randall, (601) 987-4417 USTA Pro Circuit who won the 2006 Easter Lauren Albanese won the 2006 USTA Girls’ [email protected] Bowl as a junior and was a former USTA Girls’ 18s National Championships to earn an 16s No. 1. automatic wild card into the US Open. Tournament Press Contact: Kendall Poole, (601) 987-4454 International players in the main draw include freshman in 2009 and led Duke University [email protected] -
The Air Cadet League of Canada (Manitoba) Inc
The Air Cadet League of Canada (Manitoba) Inc. NEWSLETTER October 2014 Supporting the Youth of Manitoba since 1941 3/2014 A MESSAGE FROM THE CHAIR TO THE MANITOBA AIR CADET COMMUNITY “I would like to take this opportunity to introduce my- meaningful programme for years to come, one that self as your new Chair of the Air Cadet League of Can- they will look back on as helping to shape and make ada in Manitoba. My name is Doug McLennan, and I possible their future goals and aspirations. have served on the League Board of Directors for five Thank you for the privilege of becoming your League years, first as the Aviation Committee Chair, then as Chair for the next year.” Vice Chair for the past three years, and now as the League Chair. My goal for the next year is to further the Air Cadet MEMBERSHIP RESTRUCTURE movement and programme in Manitoba, and by exten- sion across Canada, and to ensure that the support The 2014 Annual General Meeting of the Corporation the League provides to our Squadrons, Squadron held on October 19, 2014 approved the Eighth Sponsoring Committees, and to the over 1340 Cadets amendment to the Corporation’s by-laws which re- in the province remains the best we can give. We structured the membership to a more practicable need to “keep up with the times” so that the pro- structure for our program at this time. There now gramme remains desirable, relevant and sustainable shall be five classes of members in the Corporation as for many years to come. -
Appendix N Hospitality Provisions at Itf Junior Circuit Tournaments
CONTENTS Please note: All amendments to the Regulations are underlined I The Competition 1 1 Title 2 Mission Statement 3 ITF Junior Circuit Main Calendar Principles 4 Ownership 5 Players Eligible 2 6 Rules to be Observed 7 International Player Identification Number (IPIN) 8 Final Rankings 3 II Management 4 9 Board of Directors a) Management b) Duties 10 Juniors Committee III Rules and Regulations of the Circuit 5 11-15 Combined Junior Ranking 16-19 Tournament Application and Approval 6 20 Public Liability Insurance 21 Sanction Fees 22-26 Tournament Responsibilities 7 27-28 Research 29-30 ITF Responsibilities 8 31 National Association Responsibilities 32-33 Grades and Allocation of Points IV Tournament Regulations 10 34 Variations to Regulations 35-36 Age of Competitors 37 Number of Events 38* Match Format 11 39-40* Entries and Draws 41 Minimum duration and tournament week 42 Singles Entry and Withdrawal 12 43 Administrative Error on Acceptance Lists 14 44 One Tournament per Week 45 One Tournament per Week – Grand Slam 46* Criteria for Acceptances 15 47 National Rankings 17 48 Entry Definitions a) Direct Acceptances b) Qualifiers c) Wild Cards d) Alternates 18 e) On-site Alternates f) Lucky Losers 19 g) Special Exempts h) 16 & Under Team Competition Feed Up Exempt i) 16 & Under Tournament Feed Up Exempt 49 Seeds a) Number of Seeds b) Selection of Seeds 20 50 Sign-in/Registration a) Qualifying b) Main Draw 21 i) Singles ii) Doubles 51 Composition of Draws a) Qualifying b) Main Draw 22 i) Singles ii) Doubles 52* Making a Draw a) Qualifying -
DOCUMENT RESUME ED 368 394 IR 054 978 TITLE Read
DOCUMENT RESUME ED 368 394 IR 054 978 TITLE Read Arizona. INSTITUTION Arizona Center for the Book, Phoenix.; Arizona State Dept. of Library and Archives, Phoenix. SPONS AGENCY Office of Educational Research and Improvement (ED), Washington, DC. Office of Library Programs. PUB DATE 91 NOTE 175p. PUB TYPE Guides Non-Classroom Use (055) Reports Descriptive (141) Tests/Evaluation Instruments (160) EDRS PRICE MF01/PC07 Plus Postage. DESCRIPTORS Children; *Childrens Libraries; Elementary Education; Library Role; *Library Services; Program Descriptions; Program Guides; Publicity; *Public Libraries; Questionnaires; Reading Materials; *Reading Programs; State Libraries; *Summer Programs; Vacation Programs IDENTIFIERS *Arizona ABSTRACT This manual is designed to help public libraries in Arizona to plan their summer reading programs. The theme of the 1991 program is Arizona and its characteristics. The material in the manual is prepared for libraries to adapt for their own uses. Topics covered include: goals, objectives, and evaluation; procedures for getting started; common summer program structures; planning timelines; hints for publicity and promotion; braille and talking books; suggestions for awards and incentives; involving parents/family; reading motivation ideas and activities for parents and educators (also in Spanish); ideas for displays and decorations; complete program ideas; a guide for general crafts; book, film, and videos bibliographies; resources; activity sheets; calendars; evaluation questionnaire; sample letters; and clip art.(JLB) -
Children's Folk Music in Canada: Histories, Performers and Canons
Children’s Folk Music in Canada: Histories, Performers and Canons ANNA HOEFNAGELS Abstract: In this paper the author explores the origins, growth and popularity of prominent children’s performers and their repertoires in English Canada from the 1960s-1980s, arguing that this period saw the formation of a canon of children’s folk music in Canada.Various factors that have supported the creation of a children’s folk music canon are highlighted, including the role of folk song collectors, folk singers, educational institutions, media outlets and the role of parents in the perpetuation of a particular canon of folk songs for children. ike many adults, I was rather uninterested in children’s music until I be- Lcame a parent. However, since the birth of my children, my family has been listening to and watching various performers who specialize in music for children. I am not unique in my piqued interest in this repertoire after the birth of my children; indeed many parents seek to provide a musical environ- ment for their children at home, both through songs and lullabies they may sing to their children, and by listening to commercial recordings made for young children. Early music educators recognize the importance of music in the development of young children, and the particular role that parents can have on their child’s musical development; as researchers Wendy L. Sims and Dneya B. Udtaisuk assert: Early childhood music educators stress the importance of pro- viding rich musical environments for young children. The intro- duction to MENC’s National Standards states, “The years before children enter kindergarten are critical for their musical develop- ment,” and infants and toddlers “should experience music daily while receiving caring, physical contact” (Music Educators Na- Hoefnagels: Children’s Folk Music in Canada 15 tional Conference, 1994). -
Issue URL May 30, 2015
REVUE D’ÉTUDES INTERCULTURELLES DE L’IMAGE JOURNAL OF CROSS-CULTURAL IMAGE STUDIES IMAGINATIONS JOURNAL OF CROSS_CULTURAL IMAGE STUDIES | REVUE D’ÉTUDES INTERCULTURELLES DE L’IMAGE Publication details, including open access policy and instructions for contributors: http://imaginations.csj.ualberta.ca Issue URL http://imaginations.csj.ualberta.ca/?p=6547 May 30, 2015 To Link to this issue: http://dx.doi.org/10.17742/IMAGE.ONF.6-1 The copyright for each article belongs to the author and has been published in this journal under a Creative Commons Attribution NonCommercial NoDerivatives 3.0 license that allows others to share for non-commercial purposes the work with an acknowledgement of the work’s authorship and initial publication in this journal. The content of this article represents the author’s original work and any third-party content, either image or text, has been included under the Fair Dealing exception in the Canadian Copyright Act, or the author has provided the required publication permissions. REVUE D’ÉTUDES INTERCULTURELLES DE L’IMAGE JOURNAL OF CROSS-CULTURAL IMAGE STUDIES L’ONF PAR ONF.CA - FABRICATION, VALORISATION ET CÉLÉBRATION DU PATRIMOINE À L’OFFICE NATIONAL DU FILM DU CANADA 2015. 6-1 RÉDACTRICE INVITÉE • MICHÈLE GARNEAU JAMES CISNEROS CAROLINE ZÉAU NINA BARADA CHRISTINE ALBERT STÉPHANIE CROTEAU DOMINIC GAGNON DOLORÈS PARENTEAU-RODRIGUEZ L’ONF par ONF.ca Fabrication, valorisation et célébration du patrimoine à l’Office national du film du Canada 2015 | 6-1 Editor in Chief | Rédacteur en chef | Sheena Wilson Guest