Physics 115 “Physics for FUTURE LEADERS” Prof
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Affordability Now This Is the Second in a Three-Part Series
TODAY PRESIDENT’SMESSAGE “...Where to now, St. Peter?” Affordability Now This is the second in a three-part series. The original article was published in the May 2014 issue of Crop Insurance TODAY ®. Laurie Langstraat, Editor Many of us recall the Seinfeld television series Hannah Wiebelhaus, Assistant Editor which aired for 10 years with 180 episodes. In sitting down to share my thoughts for this President’s Mes- TODAY® IS PROVIDED AS A SERVICE OF NATIONAL CROP INSURANCE SERVICES® sage, I was reminded of Episode #159 “The Serenity TO EDUCATE READERS ABOUT THE RISK Now” (aired October 9, 1997). In this particular ep- MANAGEMENT TOOLS PRODUCERS USE isode, George’s father was “prescribed” to utter the TO PROTECT THEMSELVES FROM phrase “Serenity Now” when he felt his blood pressure THE RISKS ASSOCIATED WITH spiking. PRODUCTION AGRICULTURE. Here is an excerpt from the transcript of that episode: Industry-leading crop insurance reporting TODAY is published quarterly–February, May, Frank Costanza: “Serenity Now! Serenity Now!” August, and November by George Costanza: “What is that?” tools to connect you and your customers National Crop Insurance Services Frank: “Doctor gave me a relaxation cassette. When 8900 Indian Creek Parkway, Suite 600 my blood pressure gets too high, the man on the tape tells Overland Park, Kansas 66210 Tom Zacharias, NCIS President me to say, ‘Serenity Now!’” GAIN EFFICIENCIES WITH THE RCIS PRECISION FARMING TOOL www.ag-risk.org George: “Are you supposed to yell it?” Frank: “The man on the tape wasn’t specific.” If you move, or if your address is incorrect, please Okay, enough levity and stream of consciousness. -
A Covert Case Study of Bouncers in the Manchester Night-Time Economy
6 A COVERT CASE STUDY OF BOUNCERS IN THE MANCHESTER NIGHT-TIME ECONOMY 6.1 Manchester as a case study: my biographical and experiential backyard 124 6.2 Covert passing in a demonized subculture: body capital and interaction rituals 126 6.3 The door order and door code: folklore, stories, trust, fictive kinship, masculinity, dirty work and private policing 129 6.4 Managing situated ‘ethical moments’ on the door 138 6.5 An optic on violence 142 6.6 Emotionality, embodiment and risk-taking in ethnography 145 6.7 Conclusions: the post-fieldwork self in a study that never quite finishes 147 6.8 Learning exercise 149 07_Calvey_Ch_06.indd 123 2/28/2017 10:53:56 AM Covert research This chapter focuses on a covert retrospective participant observation case study of bouncers in the night-time economy of Manchester in the United Kingdom. I will discuss my case study, comparing it to the work of other researchers who have explored this specific area, as well as others who might echo my research journey. 6.1 Manchester as a case study: my biographical and experiential backyard The location of Manchester, the UK, for the case study, which is where I live and work, is highly strategic. The city is saturated in popular culture, being named Gunchester, Gangchester and Madchester in the past, and has been well documented by a range of popular journalists and commentators (Haslam, 1999; Swanton, 1997, 1998; Walsh, 2005; Wilson, 2002). The development of club cul- tures in Manchester has been specifically linked to urban regeneration (Lovatt, 1996). -
The Lily- White Boys
The Library of America • Story of the Week From William Maxwell: Later Novels & Stories (The Library of America, 2008 ), pages 726 –730 . Originally published in The Paris Review , Summer/Fall 1986 . Reprinted in All the Days and Nights: The Collected Stories of William Maxwell (1995) . Copyright © 1995 by William Maxwell. Used by permission of Alfred A. Knopf, a division of Random House, Inc. The Lily- White Boys he Follansbees’ Christmas party was at teatime on Christ - T mas Day, and it was for all ages. Ignoring the fire laws, the big Christmas tree standing between the two front windows in the living room of the Park Avenue apartment had candles on it. When the last one was lit, somebody flipped a light switch, and in the hush that fell over the room the soft yellow candle - light fell on the upturned faces of the children sitting on the floor in a ring around the base of the tree, bringing tears to the eyes of the susceptible. The tree was strung with loops of gold and silver tinsel and popcorn and colored paper, and some of the glass ornaments— the hardy tin soldier, the drum, the nut - meg, and the Man in the Moon— went all the way back to Beth Follansbee’s childhood. While the pres ents were being distributed, Mark Follansbee stood by with a bucket of water and a broom. The room smelled of warm wax and balsam. The big red candles on the mantelpiece burned down slowly in their nest of holly. In the dining room, presiding over the cut- glass punch bowl, Beth Follansbee said, “You let the peaches sit all day in a quart of vodka, and then you add two bottles of white wine and a bottle of champagne— be a little careful, it isn’t as innocuous as you might think,” and with her eyebrows she signaled to the maid that the plate of water - cress sandwiches needed refilling. -
TELEVISION and VIDEO PRESERVATION 1997: a Report on the Current State of American Television and Video Preservation Volume 1
ISBN: 0-8444-0946-4 [Note: This is a PDF version of the report, converted from an ASCII text version. It lacks footnote text and some of the tables. For more information, please contact Steve Leggett via email at "[email protected]"] TELEVISION AND VIDEO PRESERVATION 1997 A Report on the Current State of American Television and Video Preservation Volume 1 October 1997 REPORT OF THE LIBRARIAN OF CONGRESS TELEVISION AND VIDEO PRESERVATION 1997 A Report on the Current State of American Television and Video Preservation Volume 1: Report Library of Congress Washington, D.C. October 1997 Library of Congress Cataloging-in-Publication Data Television and video preservation 1997: A report on the current state of American television and video preservation: report of the Librarian of Congress. p. cm. þThis report was written by William T. Murphy, assigned to the Library of Congress under an inter-agency agreement with the National Archives and Records Administration, effective October 1, 1995 to November 15, 1996"--T.p. verso. þSeptember 1997." Contents: v. 1. Report - ISBN 0-8444-0946-4 1. Television film--Preservation--United States. 2. Video tapes--Preservation--United States. I. Murphy, William Thomas II. Library of Congress. TR886.3 .T45 1997 778.59'7'0973--dc 21 97-31530 CIP Table of Contents List of Figures . Acknowledgements. Preface by James H. Billington, The Librarian of Congress . Executive Summary . 1. Introduction A. Origins of Study . B. Scope of Study . C. Fact-finding Process . D. Urgency. E. Earlier Efforts to Preserve Television . F. Major Issues . 2. The Materials and Their Preservation Needs A. -
The Transom Review February, 2003 Vol
the transom review February, 2003 Vol. 3/Issue 1 Edited by Sydney Lewis Gwen Macsai’s Topic About Gwen Macsai Gwen Macsai is an award winning writer and radio producer for National Public Radio. Her essays have been heard on All Things Considered, Morning Edition and Weekend Edition Saturday with Scott Simon since 1988. Macsai is also the creator of "What About Joan," starring Joan Cusack and author of "Lipshtick," a book of humorous first person essays published by HarperCollins in February of 2000. Born and bred in Chicago (south shore, Evanston), Macsai began her career at WBEZ-FM and then moved to Radio Smithsonian at the Smithsonian Institution in Washington, DC. After working for NPR for eight years she moved to Minneapolis, MN where "Lipshtick" was born, along with the first of her three children. Then, one day as she tried to wrangle her smallish-breast-turned-gigantic- snaking-fire-hose into the mouth of her newborn babe, James L. Brooks, (Producer of the Mary Tyler Moore Show, Taxi, The Simpsons and writer of Terms of Endearment, Broadcast News and As Good As It Gets), called. He had just heard one of her essays on Morning Edition and wanted to base a sitcom on her work. In 2000, "What About Joan" premiered. The National Organization for Women chose "What About Joan" as one of the top television shows of that season, based on its non- sexist depiction and empowerment of women. Macsai graduated from the University of Illinois and lives in Evanston with her husband and three children. Copyright 2003 Atlantic Public Media Transom Review – Vol. -
On Richards, Race, and Empathy
Lanita Jacobs, Ph.D. Word Count: 5318 Anthropology Department University of Southern California 3601 Watt Way, GFS 120 Los Angeles, CA 90089-1692 Office: (213) 740-1909 Email: [email protected] On Richards, Race, and Empathy It has been well over a month since Richards blasted four Black males at the Laugh Factory, one of several clubs I frequent in my research on Black comedy. To be frank, I care less about Richards’ words, the news coverage, and the televised apologies. I sit, poised to write, and find myself in a weary place. Actually, I am weary of race … of what happens when a white man of notoriety goes off about “niggers” and makes a veiled reference to lynching. “So what?” as comic Chris Spencer told me wearily, “Not all white people think that way.” Lest you think I want to engage in one of the safest possible ways of discussing race, let me tell you why I am weary. It is safe to say that Richards lost it. Onstage. And somebody recorded it with their cell phone. And that is, in large part, why you and I are even having this conversation. Having watched comics closely over the past five years, I can appreciate (though not excuse) his tirade as indicative of what happens when a comic’s stage time is threatened. Comics work hard to perform in Los Angeles. The self-described “world-renown” Laugh Factory can rightly boast its title. It’s a great place for a comic to play and those who grace its stage often have to endure the careful scrutiny of club owner and former-comic Jamie Masada. -
"Private Lines"
"PRIVATE LINES" an episode for Seinfeld Written By Shaun Breidbart Copyright 1992 by Shaun Breidbart. All Rights Reserved. (I wrote this script after only maybe three episodes of the show had aired– without the book typically prepared by a TV show for outside writers that details information on the show about the characters, etc. Some of what's here actually ended up in later episodes– what's known to writers as parallel development, when two people independently come up with the same idea. Other stuff might be inconsistent with what came later in the show, but that's typical of early free-lance TV scripts. Remember, this was written back when the show had three stand-up routines per episode– at the beginning, middle and end of the show, as the original idea for the show was that what happened in the show would inspire his stand-up routines.) FADE IN: INT. NIGHT. COMEDY CLUB Jerry on stage. JERRY Why do they put pictures of 'America's Most Wanted' on the wall at the post office? Nobody looks at them anymore. With so much crime, there just isn't room on the walls for all the posters anyway, even if you have all day, waiting in line, to read. If they wanted to get our attention, they should put photos of dangerous criminals right on the stamps... and the postage could be a percentage of the reward. Really dangerous criminals go on the express mail stamp. Fifteen bucks to mail, a hundred fifty thousand dollars for catching them. No so bad guys, ten thousand reward, go on the ten cent stamp. -
Aaron Sorkin and Emily Procter
The West Wing Weekly 4.24: Season 4 Retrospective Guests: Aaron Sorkin and Emily Procter [Intro Music] HRISHI: Live from Town Hall in New York, it’s The West Wing Weekly [applause and cheering]. I’m Hrishikesh Hirway [applause and cheering]. JOSH: And I’m Joshua Malina [applause and cheering] We’re excited to be here. [applause and cheering] Shalom chaverim, welcome friends and rabbis [laughter] and friends who are rabbis. We’re at a national historic landmark. HRISHI: That’s right, Bob Dylan played here. JOSH: Right and now we’re doing a podcast [laughter]. Hmmm. I realized before we walked out I’ve been working a distinctive look for this tour. If you’re listening at home: a slightly baggy suit, spectacles, cheap fedora, and I just realized, now in the 6th and final leg of our tour, essentially I’m engaging in flashback Jules Ziegler cosplay. [laughter, applause] HRISHI: In honor of that, Josh will do the rest of the episode in Yiddish. [laughter and applause] JOSH: I have a feeling most of you would be fine with that. [laughter] HRISHI: It’s true, we did receive a gift of kugel tonight. [laughter] JOSH: In preparation, I’ve been doing kugel exercises for months. [laughter] I really tightened them up. [laughter] It’s going to get worse from here. HRISHI: [groan] Tonight is a very special episode of The West Wing [crosstalk] JOSH: [crosstalk] Of Blossom [laughter] HRISHI: As I believe all of you know, tonight we’re not going to be discussing a specific episode, in fact, instead we are going to be looking back at all of season 4 and really of all of the Aaron Sorkin years on The West Wing. -
Vol. XXVIII No. 2 Spring 2003 PDF File
® THE LANGUAGE QUARTERLY Vol. XXVIII, No. 2 Summer 2003 VERBATIM Editor: Erin McKean Founding Editor: Laurence Urdang Seinfeldisms Paul McFedries Toronto, Ontario It has become a cliché to say that the TV sitcom GEORGE: No, something is bunk and then you Seinfeld was “a show about nothing.” But to anyone debunk it. who loves words and appreciates good (and even JERRY: What? bad) word play, Seinfeld was really a show about ELAINE: Huh? language. The absurd situations, the sight gags, and GEORGE: I think. Kramer’s entrances, exits, and pratfalls notwith- Back formations—new words formed by standing, the comedy and the commentary in removing a real or imagined affix from an existing Seinfeld was remarkably language-based. In fact, word—are also part of “Seinlanguage.” Examples it’s not a stretch to say that no other TV show before include the verb bobulate, ‘to be composed and or since has been so self-consciously verbal. Yes, level-headed’ (from discombobulate; “The Parking other shows have sprouted famous catchphrases, Space,” Apr. 22, 1992) and the nouns odorant (from from Jackie Gleason’s “How sweet it is!” to Star deodorant) and perspirant (from anti-perspirant; Trek’s “Beam me up, Scotty” to Anne Robinson’s both appeared in “The Smelly Car,” Apr. 15, 1993). “You are the weakest link!” The Seinfeld writers also weren’t shy about cre- Seinfeld, too, generated its share of catchphrases, ating their own euphemisms. For example, a the most famous being not that there’s anything woman with silicone breast implants is playing wrong with that (“The Outing,” Feb. -
Custom Packing Tape Case Study
Custom Packing Tape Case Study: 7 Bucks 1-866-829-2640a Popphoenix-tape.com 2 Peas Funko Pop Academy Background 7 Bucks a Pop (7BAP) is one of the leading independent resellers of Funko Pop products, a wildly popular line of whimsical and nostalgic pop culture collectibles, accessories, and toys in themes such as Star Wars, Harry Potter, and Seinfeld. 7BAP was founded by a husband-and-wife duo of Funko Pop (“Pop”) collectors who graciously refer to their business as a labor of love. It started when the couple would spend months selling Pops that they didn’t need to purchase the Pops they wanted. They discovered a significant market for previously owned Pops, marking the beginning of an exciting small business venture. The founders used the attainable $7 price-point as inspiration for their company name, allowing Pop collectors to purchase budget-friendly common, exclusive, and vaulted collectibles. Besides its $7 Pops, 7BAP also sells premium and grail Pops at competitive prices ranging from $2 to $1000 depending on varying factors, including condition and rarity. The company purchases more Funko Pop collections than any other company on the planet. It has proudly built a reputation for stocking the hard-to-find Pops that other collectible and toy companies cannot get. With the help of its 11 employees, 7BAP has sold over 100,000 previously owned Pops from their Catsonville, MD warehouse, and they show no signs of slowing down. “We kind of knew we had something right off the bat, so we started growing very quickly,” said Lee Biars, Co-Founder, 7 Bucks a Pop. -
Mestres Do Domínio Dos Outros: Narrativa E Estilo Em Seinfeld Masters of Someone Else’S Domain: Narrative and Style in Seinfeld
Revista ISSN: 1415-0549 e-ISSN: 1980-3729 mídia, cultura e tecnologia DOI: http://dx.doi.org/10.15448/1980-3729.2017.2.25049 Televisão Mestres do domínio dos outros: narrativa e estilo em Seinfeld Masters of someone else’s domain: narrative and style in Seinfeld Christian Hugo Pelegrini Doutor em Meios e Processos Audiovisuais pela Escola de Comunicação e Artes da Universidade de São Paulo (ECA-USP), professor Adjunto do curso de Cinema e Audiovisual do Instituto de Artes e Design da Universidade Federal de Juiz de Fora (IAD-UFJF). <[email protected]> RESUMO ABSTRACT O artigo analisa a série Seinfeld e sua ruptura com as The paper analyzes the TV show Seinfeld and its convenções de gênero historicamente construídas breaking with the genre conventions historically na TV americana. Para tal, nossa análise observa duas constructed on american television. To this end, dimensões da estética do programa: a narrativa e a our analysis points out two dimensions of program estilística. Do ponto de vista da estética narrativa, aesthetics: the narrative and the stylistic ones. From indicamos a ruptura com o modelo dramático the narrative aesthetics point of view, we indicated a orientado a um objetivo (ou o “modelo aristotélico”, break with the goal oriented dramatic model (or the hegemônico na TV do período). Do ponto de vista “Aristotelian model”, hegemonic in the television of estilístico, consideramos o quanto a crescente adoção such period). From a stylistic point of view, we consider de práticas de produção pouco comuns levou à how the increasing adoption of unusual production constituição de um sitcom híbrido entre o multicâmera practices led to the formation of a hybrid between the e os programas de câmera única. -
Master of Fine Arts Thesis MFA Thesis Exhibition Gustav Hamilton
Master of Fine Arts Thesis MFA Thesis Exhibition Gustav Hamilton Submitted in partial satisfaction of the requirement for the degree of Master of Fine Arts, School of Art and Design Division of Ceramic Art New York State College of Ceramics at Alfred University Alfred, New York 2016 !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! Gustav Hamilton, MFA " I make work that reflects its position as an art object as well as my location psychologically, socially, and geographically as an artist. These reflections and references vary. In some cases a work may have a direct relationship with another object: a piece is propped up with a book that features an image of itself, or a ceramic tile may depict the work that it shares the space with. At other times the reference may be more vague: a stack of buckets becomes a “stand-in” for one of Brancusi’s Endless Columns, or a tile covered with saturated globs of glaze represents the overwhelming feelings I have in the studio. The content I work with comes as I alternate from actor to viewer and from past, present, and projected future relationships to the art world and my position within it. This makes room for both autobiographical and fictional information and areas where the two blur together. Dark Helmet: Have you found them yet? Corporal: No, Lord Helmet, they're still not on the scanner. Dark Helmet: Well, keep looking for them. [taking a couple sips of coffee through his helmet] Colonel Sandurz: Pardon me, sir. I have an idea. Corporal, get me the videocassette of "Spaceballs: the Movie". Corporal: Yes, sir.