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The Application of Visual Analytics to Financial Stability Monitoring
14-02b | May 9, 2014, 2014 Revised October 7, 2014 The Application of Visual Analytics to Financial Stability Monitoring Mark D. Flood Office of Financial Research, U.S.A. [email protected] Victoria L. Lemieux University of British Columbia, Canada [email protected] Margaret Varga Seetru Ltd., U.K., and University of Oxford, U.K. [email protected] B.L. William Wong Middlesex University, U.K. [email protected] The Office of Financial Research (OFR) Working Paper Series allows members of the OFR staff and their coauthors to disseminate preliminary research findings in a format intended to generate discussion and critical comments. Papers in the OFR Working Paper Series are works in progress and subject to revision. Views and opinions expressed are those of the authors and do not necessarily represent official positions or policy of the OFR or Treasury. Comments and suggestions for improvements are welcome and should be directed to the authors. OFR Working Papers may be quoted without additional permission. 1 The Application of Visual Analytics to Financial Stability Monitoring Mark D. Flood Office of Financial Research, U.S.A. Victoria L. Lemieux University of British Columbia, Canada Margaret Varga Seetru, U.K. and University of Oxford, U.K. B.L. William Wong Middlesex University, U.K. May 9, 2014 – Initial version October 7, 2014 – this version ALL COMMENTS WELCOME We gratefully acknowledge helpful comments from Greg Feldberg, Richard Haynes, Roy Kalawsky, Rebecca McCaughrin, Alistair Milne, Trish Mosser, Mark Paddrik, -
Fringe Season 1 Transcripts
PROLOGUE Flight 627 - A Contagious Event (Glatterflug Airlines Flight 627 is enroute from Hamburg, Germany to Boston, Massachusetts) ANNOUNCEMENT: ... ist eingeschaltet. Befestigen sie bitte ihre Sicherheitsgürtel. ANNOUNCEMENT: The Captain has turned on the fasten seat-belts sign. Please make sure your seatbelts are securely fastened. GERMAN WOMAN: Ich möchte sehen wie der Film weitergeht. (I would like to see the film continue) MAN FROM DENVER: I don't speak German. I'm from Denver. GERMAN WOMAN: Dies ist mein erster Flug. (this is my first flight) MAN FROM DENVER: I'm from Denver. ANNOUNCEMENT: Wir durchfliegen jetzt starke Turbulenzen. Nehmen sie bitte ihre Plätze ein. (we are flying through strong turbulence. please return to your seats) INDIAN MAN: Hey, friend. It's just an electrical storm. MORGAN STEIG: I understand. INDIAN MAN: Here. Gum? MORGAN STEIG: No, thank you. FLIGHT ATTENDANT: Mein Herr, sie müssen sich hinsetzen! (sir, you must sit down) Beruhigen sie sich! (calm down!) Beruhigen sie sich! (calm down!) Entschuldigen sie bitte! Gehen sie zu ihrem Sitz zurück! [please, go back to your seat!] FLIGHT ATTENDANT: (on phone) Kapitän! Wir haben eine Notsituation! (Captain, we have a difficult situation!) PILOT: ... gibt eine Not-... (... if necessary...) Sprechen sie mit mir! (talk to me) Was zum Teufel passiert! (what the hell is going on?) Beruhigen ... (...calm down...) Warum antworten sie mir nicht! (why don't you answer me?) Reden sie mit mir! (talk to me) ACT I Turnpike Motel - A Romantic Interlude OLIVIA: Oh my god! JOHN: What? OLIVIA: This bed is loud. JOHN: You think? OLIVIA: We can't keep doing this. -
Baskin-Robbins Kicks Off the Ice Cream Season with a Scoop Fest Celebration
BASKIN-ROBBINS KICKS OFF THE ICE CREAM SEASON WITH A SCOOP FEST CELEBRATION Guests are Encouraged to Visit Participating Baskin-Robbins Shops Nationwide from April 22-24 for Super Sweet Deals CANTON, Mass. (April 14, 2014) – Baskin-Robbins, the world’s largest chain of ice cream specialty shops, is kicking off the ice cream season with a three-day Scoop Fest promotion from April 22 through April 24 at participating Baskin-Robbins locations nationwide. Ice cream lovers are encouraged to visit their local Baskin-Robbins shop to take part in sweet Scoop Fest deals, including: • $1.00 for a Single Kids Scoop (2.5 oz scoop) • $2.00 for a Double Scoop (4 oz scoops) • $3.00 for a Triple Scoop (4 oz scoops) Guests can visit http://www.amazingscoopfest.com to get more information about these great deals on their favorite Baskin-Robbins ice cream flavors, including the new April Flavor of the Month, The Amazing Spider-Man 2™ ice cream, which features blue and red vanilla-flavored ice creams with a dark chocolate flavored web and popping candies that combine to make an amazing hero of a flavor. “We are excited to offer our guests three days of great deals during Scoop Fest and invite them to try our new hero-inspired April Flavor of the Month, The Amazing Spider-Man 2™ice cream, to celebrate the movie, which is in theaters May 2, and ice cream season,” said Carol Austin, Vice President of Marketing, Baskin-Robbins. “Scoop Fest is a fun and delicious way for us to kick off the ice cream season with our guests and thank them for their patronage by offering sweet deals on their favorite Baskin-Robbins flavors.” Additionally, Baskin-Robbins is offering its guests a range of festive ice cream treats to help celebrate the Easter holiday on April 20th. -
2009 Annual Report
2009 ANNUAL REPORT Table of Contents Letter from the President & CEO ......................................................................................................................5 About The Paley Center for Media ................................................................................................................... 7 Board Lists Board of Trustees ........................................................................................................................................8 Los Angeles Board of Governors ................................................................................................................ 10 Media Council Board of Governors ..............................................................................................................12 Public Programs PALEYDOCEVENTS ..................................................................................................................................14 INSIDEMEDIA Events .................................................................................................................................15 PALEYDOCFEST .......................................................................................................................................19 PALEYFEST: Fall TV Preview Parties ..........................................................................................................20 PALEYFEST: William S. Paley Television Festival ..........................................................................................21 Robert M. -
'"There's More Than One of Everything": Navigating Fringe's Cofactual Multiverse'
. Volume 13, Issue 1 May 2016 ‘There’s More Than One of Everything’: Navigating Fringe’s cofactual multiverse Casey J. McCormick, McGill University, Montréal, Canada Abstract: This article analyzes how viewers of Fringe (FOX 2008-2013) make sense of the series’ complex science fictional storyworld. It argues that Fringe presents multiple iterations of worlds and characters in a way that encourages ‘cofactual’ interpretation: rather than figuring parallel universes and alternate timelines as ontologically hierarchical, the narrative accommodates all versions of reality and invites viewers to participate in shaping the multiverse. The article offers a close reading of Fringe’s complex narrative structure alongside an exploration of how audiences responded to and impacted the series through fannish practices such as vidding and narrative mapping. It concludes that cofactual narration opens up an array of participatory practices that blur the text/paratext distinction and facilitate interactive storyworld building. Keywords: Complex TV, Fandom, Narrative, Paratexts, Counterfactual, Cofactual, Possible Worlds Cofactual Interpretation By the time viewers reach the series finale of Fringe (FOX 2008-2013), they have travelled across two spatially-distinct universes, three versions of the future, and at least four different timelines, with each world-iteration populated by different versions of the show’s central characters. Through its reinvigoration of science fiction tropes, such as time travel, alternate realities, and temporal resets, Fringe asks viewers to re-evaluate typical models of narrative world-building. The series constructs a multiverse comprised of what I deem cofactual diegetic worlds. I use the term ‘cofactual’ in contradistinction to the more common narrative term ‘counterfactual’ as a means of emphasizing the plurality and simultaneity of diegetic worlds in Fringe. -
Sara Isaacson
sara isaacson casting director [email protected] 323-363-6179 CONNECTING Universal Television / NBC / ½ Hour Pilot and Series Executive Producers: Martin Gero, Brendan Gall Directors: Martin Gero, Linda Mendoza DARK WOODS Wolf Entertainment / Endeavor Audible / Wave Runner / Scripted Podcast Executive Producers: Dick Wolf, Elliot Wolf Director: Takashi Doscher ECHO Universal Television / Davis Entertainment / NBC / 1 Hour Pilot Executive Producers: John Davis, John Fox, JJ Bailey, David Frankel, Moira Kirkland Director: David Frankel THE BAKER AND THE BEAUTY Universal Television / Keshet Studios / ABC / 1 Hour Pilot Executive Producers: Dean Georgaris, Rachel Kaplan, Peter Tragott, David Frankel, Becky Hartman-Edwards Director: David Frankel MANIFEST Warner Brothers / ImageMovers / NBC / 1 Hour Pilot Executive Producers: Robert Zemeckis, Jeff Rake, Jack Rapke, Jackie Levine, David Frankel Director: David Frankel HUNTED Wolf Entertainment / Endeavor Audible / Neon Hum / Scripted Podcast Executive Producers: Dick Wolf, Elliot Wolf, Dave Easton, Jonathan Hirsch Director: Shawn Christensen EVELYN X EVELYN Reckless Tortuga Productions / Short Film Executive Producers: Eric Pumphrey, Tommy Savas Director: Eric Pumphry Oscar Award Qualifier, 2020 – Artios Award Nominations, 2020 1 MIDNIGHT, TEXAS Universal Television / NBC / 1 Hour Pilot and Series, Season 1 and 2 Executive Producers: David Janollari, Monica Breen, Nicole Snyder, Eric Charmelo, Director: Niels Arden Oplev THE ORDER Netflix / Nomadic Pictures / 1 Hour Pilot – Search -
Community Benefits District Wins in West Portal
Volume 27 • Number 5 June 2014 Thank You 49ers! Community Benefits District Wins in West Portal By John Farrell By Keith Burbank recently read the “Season of the new effort is underway to establish a community benefit district Witch” by David Talbot, which I rec- (CBD) in West Portal. The idea seems to have enough merchant and Iommend. It is a book that chronicles Alandlord support this time, said a leading supporter. And supporters the stories and events over the past century that have shaped are getting a fiscal boost. This year, through District 7’s participatory budget the way San Francisco is today. You cannot really appreci- process, residents voted to allocate $15,000 to the cause. ate how amazing this City is unless you know what this City “I just received the results from the District 7 partici- benefits, said has been through. Being a fifth generation San Franciscan, patory budget vote,” wrote Matt Rogers, owner, Papenhau- Pedro Gal- it brought back a lot of memories. Some good and some sen Hardware, and the leading supporter of the proposal. letti, owner, not so good. “The proposal to fund the effort to establish a CBD did Mozzarella Our City was in a terrible state of depression after receive enough votes to be funded. In fact, it received the di Bufala Piz- Are there flowers in West Portal’s future? the assassinations of Mayor George Moscone and Super- second highest number of votes, only nine votes shy of the zeria, 69 West visor Harvey Milk, the incomprehensible murders in project with the most votes.” Portal Avenue. -
From the Workshop of JJ Abrams
CHAPTER SIX From the Workshop of J. J. Abrams: Bad Robot, Networked Collaboration, and Promotional Authorship Leora Hadas University of Nottingham Whether ‘New golden age’ (Leopold, 2013) or ‘Peak TV’ (Paskin, 2015) – whatever glowing accolades cultural commentators now choose to use, all describe television in the United States as going from strength to strength. For a sustained number of years now, critics and popular opinion alike has celebrated a qualitative transformation in the output of an industry that has struggled for years to shed the image of a ‘vast wasteland’ (Minow, 1961). In critical and academic circles alike, credit for these exciting developments and the transformation of US television has tended to focus on a specific feature of the contemporary industry: the figure of the showrunner, television’s new auteur (Martin, 2013). The emergence of the showrunner-as-auteur has provided US television with a crucial source of cultural legitimacy, one traceable back to Bourdieu’s concept of the ‘“charisma” ideology’ (1980, p. 262) at work in judgements of artistic value. Shyon Baumann (2007) has analysed how film found legitimation as How to cite this book chapter: Hadas, L. 2017. From the Workshop of J. J. Abrams: Bad Robot, Networked Collaboration, and Promotional Authorship. In: Graham, J. and Gandini, A. (eds.). Collaborative Production in the Creative Industries. Pp. 87–103. London: University of Westminster Press. DOI: https://doi.org/10.16997/book4.f. License: CC-BY- NC-ND 4.0 88 Collaborative Production in the Creative Industries an art form in the 1960s through the celebration of autonomous film artists. -
Hauser Thesis
UC Riverside UC Riverside Electronic Theses and Dissertations Title No Comma, Period, Rage Permalink https://escholarship.org/uc/item/2tz236m4 Author Hauser, Aaron Publication Date 2013 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA RIVERSIDE No Comma, Period, Rage A Thesis submitted in partial satisfaction of the requirements for the degree of Master of Fine Arts in Creative Writing and Writing for the Performing Arts by Aaron Hauser December 2013 Thesis Committee: Professor Mary Otis, Co-Chairperson Professor Andrew Winer, Co-Chairperson Professor Robert Roberge Copyright by Aaron Hauser 2013 The Thesis of Aaron Hauser is approved: ___________________________________________ ___________________________________________ Committee Co-Chairperson ___________________________________________ Committee Co-Chairperson University of California, Riverside This manuscript is dedicated to my mother. Without her love and constant support none of this would have been possible. iv Table of Contents 1978......................................................................................................................... 1 Inflation ................................................................................................................. 24 No Comma, Period, Rage ..................................................................................... 42 The Reasons We Keep Them That Way .............................................................. -
“It's Like Groundhog Day”: Remediation
GRAAT On-Line issue #15 April 2014 “It’s like Groundhog Day”: Remediation, Trauma, and Quantum Physics in Time Loop Narratives on Recent American Television Michael Fuchs Independent scholar In his widely cited article “Narrative Complexity in Contemporary American Television,” Jason Mittell maintains that as a result of numerous contextual factors, including technological progress and the accompanying increased media savvy of recipients, “American television of the past twenty years will be remembered as an era of narrative experimentation and innovation, challenging the norms of what the medium can do.”1 These narrative experiments frequently center on questions of temporality, for numerous contemporary “shows play with time, slowing it down to unfold the narrative at rarely before seen rates […] and disrupting the chronological flow itself.”2 This focus on time may, however, come as a bit of a surprise in our present cultural moment. After all, analyses of (post-)postmodern culture tend to overemphasize the prioritization of spatiality over temporality while disregarding the fact that time and space are not so much conceptual opposites than intertwined categories, as scientists starting with Hermann Minkowski3 and cultural critics such as Mikhail M. Bakhtin (in his concept of the “chronotope”4) and David Harvey (the “time-space compression” characteristic of postmodernity5) have repeatedly underlined. Despite the unquestioned interconnections between time and space, it should be stressed that even though “time is one of the most fundamental parameters through which narrative […] is organized and understood,”6 it is 93 especially central for television storytelling, which is why Mary Anne Doane has even claimed that “[t]he major category of television is time.”7 Whereas Doane’s claim is grounded in her argument that repetition is central to television, no matter whether fictional or factual, Jason Mittell has more recently stressed that contemporary fictional television programs are characterized by seriality—a feature primarily conceived in temporal ways. -
TV Finales and the Meaning of Endings Casey J. Mccormick
TV Finales and the Meaning of Endings Casey J. McCormick Department of English McGill University, Montréal A thesis submitted to McGill University in partial fulfillment of the requirements of the degree of Doctor of Philosophy © Casey J. McCormick Table of Contents Abstract ………………………………………………………………………….…………. iii Résumé …………………………………………………………………..………..………… v Acknowledgements ………………………………………………………….……...…. vii Chapter One: Introducing Finales ………………………………………….……... 1 Chapter Two: Anticipating Closure in the Planned Finale ……….……… 36 Chapter Three: Binge-Viewing and Netflix Poetics …………………….….. 72 Chapter Four: Resisting Finality through Active Fandom ……………... 116 Chapter Five: Many Worlds, Many Endings ……………………….………… 152 Epilogue: The Dying Leader and the Harbinger of Death ……...………. 195 Bibliography ……………………………………………………………………………... 199 Primary Media Sources ………………………………………………………………. 211 iii Abstract What do we want to feel when we reach the end of a television series? Whether we spend years of our lives tuning in every week, or a few days bingeing through a storyworld, TV finales act as sites of negotiation between the forces of media production and consumption. By tracing a history of finales from the first Golden Age of American television to our contemporary era of complex TV, my project provides the first book- length study of TV finales as a distinct category of narrative media. This dissertation uses finales to understand how tensions between the emotional and economic imperatives of participatory culture complicate our experiences of television. The opening chapter contextualizes TV finales in relation to existing ideas about narrative closure, examines historically significant finales, and describes the ways that TV endings create meaning in popular culture. Chapter two looks at how narrative anticipation motivates audiences to engage communally in paratextual spaces and share processes of closure. -
The CHARIOTEER an Annual Review of Modern Greek Culture
The CHARIOTEER An Annual Review of Modern Greek Culture NUMBERS 33/34 1991-1992 SPECIAL DOUBLE ISSUE NIKIFOROS VRETT AKOS , C. Capri-Karka and R. M. Newton Y UNDER THE ACROPOLIS Tral'M:l~tterl by C. Capri-Karka and I. Karka CHORUS Translated by M. Chambers SELECTIONS FROM: COLLECTED POEMS VOL. 1 \ COLLECTED POEMS VOL. 2 PROTEST SUN LAMP GIFT IN ABEYANCE ENCOUNTER WITH THE SEA Tunslated by A. Michopoulos, G. Pilit9is, D. Connolly R. M. Newton, M. Chambers, I. Karka and M. Polis INTERVIEWS WITH NIKIFOROS VRETTAKOS Translated by A. Michopoulos and M. C. Pantelia A SELECTION OF CRITICAL ESSAYS by A. Argyriou, S. Geranis, K. Haralambides T. Patrikios and Vinzenzo Rotolo T<ranslated by M. C. Pantelia, R. M. Newton A. Michopoulos and C. Capri-Karka $15.00 THE CHARIOTEER AN ANNUAL REVIEW OF MODERN GREEK CULTURE Formerly published by P ARNASSOS Greek Cultural Society of New York NUMBERS 33/34 1991-1992 Publisher: LEANDROS PAPATHANASIOU Editor: c. CAPRI-KARKA Managing Editor: SOPHIA A. PAPPAS THE CHARIOTEER is published by PELLA PUBLISHING COMPANY, INC. Editorial and subscription address: Pella Publishing Company, 337 West 36th Street, New York, NY 10018. One year subscription $15; Two-year subscription $28; Three-year subscription $40. Copyright 1992 by Pella Publishing Company, Inc. All rights reserved. Printed in U.S.A. by Athens Printing Co., 337 West 36th Street, New York, NY 10018-6401-The CHARIOTEER solicits essays on and English translations from works of modern Greek writers. Translations should be accompanied by a copy of the original Greek text. Manuscripts will not be returned unless accompanied by a stamped self-addressed envelope.