Fringe: Septembers Notebook PDF Book
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International Child Abduction: Implementa- Tion of the Hague Convention on Civil Aspects of International Child Abduc- Tion
INTERNATIONAL CHILD ABDUCTION: IMPLEMENTA- TION OF THE HAGUE CONVENTION ON CIVIL ASPECTS OF INTERNATIONAL CHILD ABDUC- TION HEARING BEFORE THE COMMITTEE ON INTERNATIONAL RELATIONS HOUSE OF REPRESENTATIVES ONE HUNDRED SIXTH CONGRESS FIRST SESSION Thursday, October 14, 1999 Serial No. 106±89 Printed for the use of the Committee on International Relations ( U.S. GOVERNMENT PRINTING OFFICE 63±699 CC WASHINGTON : 2000 VerDate 11-MAY-2000 12:44 Jul 17, 2000 Jkt 000000 PO 00000 Frm 00001 Fmt 5011 Sfmt 5011 63699.TXT HINTREL1 PsN: HINTREL1 COMMITTEE ON INTERNATIONAL RELATIONS BENJAMIN A. GILMAN, New York, Chairman WILLIAM F. GOODLING, Pennsylvania SAM GEJDENSON, Connecticut JAMES A. LEACH, Iowa TOM LANTOS, California HENRY J. HYDE, Illinois HOWARD L. BERMAN, California DOUG BEREUTER, Nebraska GARY L. ACKERMAN, New York CHRISTOPHER H. SMITH, New Jersey ENI F.H. FALEOMAVAEGA, American DAN BURTON, Indiana Samoa ELTON GALLEGLY, California MATTHEW G. MARTINEZ, California ILEANA ROS-LEHTINEN, Florida DONALD M. PAYNE, New Jersey CASS BALLENGER, North Carolina ROBERT MENENDEZ, New Jersey DANA ROHRABACHER, California SHERROD BROWN, Ohio DONALD A. MANZULLO, Illinois CYNTHIA A. MCKINNEY, Georgia EDWARD R. ROYCE, California ALCEE L. HASTINGS, Florida PETER T. KING, New York PAT DANNER, Missouri STEVE CHABOT, Ohio EARL F. HILLIARD, Alabama MARSHALL ``MARK'' SANFORD, South BRAD SHERMAN, California Carolina ROBERT WEXLER, Florida MATT SALMON, Arizona STEVEN R. ROTHMAN, New Jersey AMO HOUGHTON, New York JIM DAVIS, Florida TOM CAMPBELL, California EARL POMEROY, North Dakota JOHN M. MCHUGH, New York WILLIAM D. DELAHUNT, Massachusetts KEVIN BRADY, Texas GREGORY W. MEEKS, New York RICHARD BURR, North Carolina BARBARA LEE, California PAUL E. GILLMOR, Ohio JOSEPH CROWLEY, New York GEORGE RADANOVICH, California JOSEPH M. -
KENNY PERRY Friday, April 18, 2014
INTERVIEW TRANSCRIPT: KENNY PERRY Friday, April 18, 2014 DAVE SENKO: Kenny, thank you for joining us. Good start, 4-under 68 today. Just share some thoughts on your round and then we'll get -- looks like you had four birdies and no bogeys. KENNY PERRY: Yeah, just kind of played like the rain, very steady. You know, the rain was just more aggravating than anything. It actually wasn't -- I mean it was chilly out there a little bit and the rain was aggravating but yet, you know, it didn't allow good scores to be shot. So I drove the ball nicely, I hit my irons good and made some key putts at the right time. So all in all it was just, you know, just a normal day at the office. I just seemed to not make any big mistakes and was able to hit the golf ball. My misses wound up in good spots and I was able to recover from them, and then I took advantage of the few good irons I hit in there close and was able to make a couple birdies. DAVE SENKO: Your birdies, No. 7. KENNY PERRY: On the back nine first? DAVE SENKO: Yeah, start at No. 12. KENNY PERRY: Oh, 12, I hit a 3-wood and a hybrid, a 4-iron hybrid. Man, that hole was playing long, dead into the wind, it was raining, it was gusty and I had about a 20 footer and I rolled it in. I probably got the only birdie there of the day. -
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. -
The-Future-Of-Immortality-Remaking-Life
The Future of Immortality Princeton Studies in Culture and Technology Tom Boellstorff and Bill Maurer, Series Editors This series presents innovative work that extends classic ethnographic methods and questions into areas of pressing interest in technology and economics. It explores the varied ways new technologies combine with older technologies and cultural understandings to shape novel forms of subjectivity, embodiment, knowledge, place, and community. By doing so, the series demonstrates the relevance of anthropological inquiry to emerging forms of digital culture in the broadest sense. Sounding the Limits of Life: Essays in the Anthropology of Biology and Beyond by Stefan Helmreich with contributions from Sophia Roosth and Michele Friedner Digital Keywords: A Vocabulary of Information Society and Culture edited by Benjamin Peters Democracy’s Infrastructure: Techno- Politics and Protest after Apartheid by Antina von Schnitzler Everyday Sectarianism in Urban Lebanon: Infrastructures, Public Services, and Power by Joanne Randa Nucho Disruptive Fixation: School Reform and the Pitfalls of Techno- Idealism by Christo Sims Biomedical Odysseys: Fetal Cell Experiments from Cyberspace to China by Priscilla Song Watch Me Play: Twitch and the Rise of Game Live Streaming by T. L. Taylor Chasing Innovation: Making Entrepreneurial Citizens in Modern India by Lilly Irani The Future of Immortality: Remaking Life and Death in Contemporary Russia by Anya Bernstein The Future of Immortality Remaking Life and Death in Contemporary Russia Anya Bernstein -
Emily Dickinson Introduction Emily Dickinson Was Born on December 10, 1830, in Amherst, Massachusetts
Emily Dickinson Introduction Emily Dickinson was born on December 10, 1830, in Amherst, Massachusetts. She attended Mount Holyoke Female Seminary in South Hadley, but only for one year. Throughout her life, she seldom left her home and visitors were few. The people with whom she did come in contact, however, had an enormous impact on her poetry. She was particularly stirred by the Reverend Charles Wadsworth, whom she first met on a trip to Philadelphia. He left for the West Coast shortly after a visit to her home in 1860, and some critics believe his departure gave rise to the heartsick flow of verse from Dickinson in the years that followed. While it is certain that he was an important figure in her life, it is not clear that their relationship was romantic—she called him “my closest earthly friend.” Other possibilities for the unrequited love that was the subject of many of Dickinson’s poems include Otis P. Lord, a Massachusetts Supreme Court judge, and Samuel Bowles, editor of the Springfield Republican. By the 1860s, Dickinson lived in almost complete isolation from the outside world, but actively maintained many correspondences and read widely. She spent a great deal of this time with her family. Her father, Edward Dickinson, was actively involved in state and national politics, serving in Congress for one term. Her brother, Austin, who attended law school and became an attorney, lived next door with his wife, Susan Gilbert. Dickinson’s younger sister, Lavinia, also lived at home for her entire life in similar isolation. Lavinia and Austin were not only family, but intellectual companions for Dickinson during her lifetime. -
'"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. -
Fringe: Septembers Notebook Free
FREE FRINGE: SEPTEMBERS NOTEBOOK PDF Tara Bennett,Terry Paul,Jeff Pinkner | 192 pages | 15 Mar 2013 | Titan Books Ltd | 9781781166093 | English | London, United Kingdom Fringe: September's Notebook Fringe wrapped its five-year foray into the far-out realms of science and dangerous dimensions of the human heart back in January. But today, exec producer J. Except for those years Fringe: Septembers Notebook he was Hairy Donald. Another time. Or read the book! EW recently spoke with Bennett and Fringe: Septembers Notebook about getting the chance playing in the world of the show, what it was like to be behind the scenes during the last season, and the discoveries that delighted and surprised them the most. Jeff and Joel said yes. We started working on it in earnest by November We basically fell over. Fringe: Septembers Notebook plug that sucker in and it was full of completely mind-blowing material, as far as the quality and the exclusivity of it. But the sheer amount was just staggering! So we had to excavate that drive completely. This is the opportunity to show it off! You want to do what?! For the rest of season 4 into season 5 and all the way up until Novemberwhich is when we Fringe: Septembers Notebook the book, they were still sending me material. When I was in Vancouver they took me to the prop warehouse. I was a kid in a candy store of Fringe stuff. Holding the Martin Luther King money is in my hand, looking at all of the individual images that young Olivia had created when she was doing the Cortexiphan trials with Walter as a kid—. -
Edinburgh Fringe (/Fringe/)2018
Daniel Sloss interview - 2018 Edinburgh Fringe - British Comedy... https://www.comedy.co.uk/fringe/2018/features/daniel_sloss_inter... (/) TV (/TV/) RADIO (/RADIO/) FILM (/FILM/) Search Comedy.co.uk ONLINE (/ONLINE/) LIVE (/LIVE/) PEOPLE (/PEOPLE/) > (/OVERVIEW/) EE dd i nn bb uu rr gg hh FF rr i nn gg ee (( // ff rr i nn gg ee // )) 2018 (/fringe/beer52/) ! (()) Search 2010-2017 listings Home (/) / Live (/live/) / Fringe (/fringe/) / 2018 Features (/fringe/2018/features/) / Daniel Sloss interview Published: Sunday 15th July 2018 Daniel Sloss interview Daniel Sloss (/people/daniel_sloss/) is 27, yet one of the most established acts at the Edinburgh Festival, having started stand-up whilst still in his teens. This year he'll be performing 'X' - his 10th full-length show at the festival - at the big EICC venue. We interrupted one of his writing sessions to find out how preparations are going, and talk about his Netflix (/guide/channel/netflix/) deal. 1 of 8 15/07/2018, 15:10 Daniel Sloss interview - 2018 Edinburgh Fringe - British Comedy... https://www.comedy.co.uk/fringe/2018/features/daniel_sloss_inter... Hi Daniel. You've been performing at the Edinburgh Festival for over a decade now. Have you contemplated that statistic? It's sort of weird to think about. I remember being pretty much forced into my first Fringe show. I didn't want to do it because I didn't think I had the material. I didn't think I was ready and I wanted to what most comics do; wait until I had a show that I thought could win an award, or something. -
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. -
Art [X]Smooth Images
The e itud Plen Design and Engineering in the era of Ubiquitous Computing Rich Gold © Rich Gold 1993 – 2002 Silicon Valley, California [email protected] www.richgold.org draft version 0.9 Dedicated to Marina LaPalma and Henry Goldstein The Present Press Note: You must change the following preferences in Adobe Acrobat Reader 5.0 to view this book correctly: Under Edit (or under Right Arrow above slide bar) go to Preferences. In Preferences Check all of the following: [x]Smooth Text [x]Smooth Line Art [x]Smooth Images Do not use Adobe eBook Reader to view this book. It does not allow these settings. The Plenitude Page 1 12/10/2002 TABLE OF CONTENTS: I. INTRODUCTION II. THE 4 CREATIVE HATS III. MY LIFE IN THE PLENITUDE (A) IV. SMART HOUSE? V. MY LIFE IN THE PLENITUDE (B) VI. SEVEN PATTERNS OF INNOVATION VII. MY LIFE IN THE PLENITUDE (C) VIII. THE MUSEUM AS A BOOK IX. DESIRE IN CONTEXT X. MY LIFE IN THE PLENITUDE (D) XI. THE PLENITUDE I think this is a good place to note that throughout this book I make heavy use of a font I got off the web called MOM’S TYPEWRITER. Frankly, I’ve got a font Jones and spend way too much time routing about the web looking for new fonts, not unlike how driftwood artists scour the shores looking for new bleached branches. Christoph Mueller designed MOM’S TYPEWRITER by scanning in the output of his mother’s old machine. One of its charms is that it has neither a zero nor a one. -
Leaves of Grass
Leaves of Grass by Walt Whitman AN ELECTRONIC CLASSICS SERIES PUBLICATION Leaves of Grass by Walt Whitman is a publication of The Electronic Classics Series. This Portable Document file is furnished free and without any charge of any kind. Any person using this document file, for any pur- pose, and in any way does so at his or her own risk. Neither the Pennsylvania State University nor Jim Manis, Editor, nor anyone associated with the Pennsylvania State University assumes any responsibility for the material contained within the document or for the file as an electronic transmission, in any way. Leaves of Grass by Walt Whitman, The Electronic Clas- sics Series, Jim Manis, Editor, PSU-Hazleton, Hazleton, PA 18202 is a Portable Document File produced as part of an ongoing publication project to bring classical works of literature, in English, to free and easy access of those wishing to make use of them. Jim Manis is a faculty member of the English Depart- ment of The Pennsylvania State University. This page and any preceding page(s) are restricted by copyright. The text of the following pages are not copyrighted within the United States; however, the fonts used may be. Cover Design: Jim Manis; image: Walt Whitman, age 37, frontispiece to Leaves of Grass, Fulton St., Brooklyn, N.Y., steel engraving by Samuel Hollyer from a lost da- guerreotype by Gabriel Harrison. Copyright © 2007 - 2013 The Pennsylvania State University is an equal opportunity university. Walt Whitman Contents LEAVES OF GRASS ............................................................... 13 BOOK I. INSCRIPTIONS..................................................... 14 One’s-Self I Sing .......................................................................................... 14 As I Ponder’d in Silence...............................................................................