Churchill's Cookbook
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October 2004
SECRETARY’S MESSAGE didn’t last until 1 a.m., I hear that plenty of attendees were still going strong then – and not only young graduate students! I was there long enough to see Arne Kaijser and Paul Edwards jamming with For all of our members who made it to the band on stage and to hear Johan Schot and Ruth Amsterdam, I hope you’ve now recovered from Oldenziel announce that they’d made the dance your travels. A special welcome to all of our first- party into a new SHOT tradition. We’ll see - I’m time attendees who are now new SHOT members not quite ready to make any promises for – we hope to see you in Minneapolis next Minneapolis. Each SHOT location has its November and hope that SHOT will become a distinctive opportunities, but our members always valuable, lasting part of your professional life. All manage to have fun wherever we go. And for those of us had the opportunity to appreciate a most who have their hearts absolutely set on a wild party, successful conference, the credit for which, of there’s always our Las Vegas meeting in 2006! course, goes to Johan Schot, meeting coordinator Donna Mehos, and their beautifully efficient local arrangements team. As always, we had the chance to hear some fascinating papers, thanks to In This Issue program creators Ruth Oldenziel, Dan Holbrook, and Eda Kranakis. Society Business and News……………………3 The meeting featured a number of special points Prize Winners………………………………….3 to remember, starting with the setting, the impressively-domed Koepelchurch. -
National Life Stories an Oral History of British
NATIONAL LIFE STORIES AN ORAL HISTORY OF BRITISH SCIENCE Professor Bob Dickson Interviewed by Dr Paul Merchant C1379/56 © The British Library Board http://sounds.bl.uk This interview and transcript is accessible via http://sounds.bl.uk . © The British Library Board. Please refer to the Oral History curators at the British Library prior to any publication or broadcast from this document. Oral History The British Library 96 Euston Road London NW1 2DB United Kingdom +44 (0)20 7412 7404 [email protected] Every effort is made to ensure the accuracy of this transcript, however no transcript is an exact translation of the spoken word, and this document is intended to be a guide to the original recording, not replace it. Should you find any errors please inform the Oral History curators. © The British Library Board http://sounds.bl.uk British Library Sound Archive National Life Stories Interview Summary Sheet Title Page Ref no: C1379/56 Collection title: An Oral History of British Science Interviewee’s surname: Dickson Title: Professor Interviewee’s forename: Bob Sex: Male Occupation: oceanographer Date and place of birth: 4th December, 1941, Edinburgh, Scotland Mother’s occupation: Housewife , art Father’s occupation: Schoolmaster teacher (part time) [chemistry] Dates of recording, Compact flash cards used, tracks [from – to]: 9/8/11 [track 1-3], 16/12/11 [track 4- 7], 28/10/11 [track 8-12], 14/2/13 [track 13-15] Location of interview: CEFAS [Centre for Environment, Fisheries & Aquaculture Science], Lowestoft, Suffolk Name of interviewer: Dr Paul Merchant Type of recorder: Marantz PMD661 Recording format : 661: WAV 24 bit 48kHz Total no. -
Teeming Boisterous Life Dents Are Powerfully Motivated by Exposing All Their Senses to Steinbeck’S “Teeming Boister- Known with Good Reason As the ‘Death Apple’
BOOKS & ARTS NATURE|Vol 443|21 September 2006 and learn invertebrate anatomy by preparing a paella. This is not educational sadism, as stu- Teeming boisterous life dents are powerfully motivated by exposing all their senses to Steinbeck’s “teeming boister- known with good reason as the ‘death apple’. ous life”. Watching my own students scramble Sensuous Seas: Tales of a Marine Biologist by Eugene H. Kaplan This compendium of sex and death provides across rocky shores and peer tremulously under Princeton University Press: 2006. 288 pp. plenty for raconteurs wanting to leave a lasting seaweed, I can only agree that these activities $24.95, £15.95 impression on friends, relatives or — in Kap- ignite interest and trigger understanding. lan’s case — students. People sometimes ask me whether the world Jon Copley Each of the 31 chapters opens with either one really needs more marine-biology graduates. “What good men most biologists are, the ten- of Kaplan’s own memoirs or a scenario from his Despite the vast challenge of exploring and ors of the scientific world — temperamental, imagination, before exploring the marine biol- understanding the marine realm, very few moody, lecherous, loud-laughing, and healthy,” ogy behind the tale. As a result, a reader may students actually become career scientists, wrote John Steinbeck in The Log from the Sea sometimes wonder where the book is going, as openings are highly competitive now that of Cortez (Viking, 1951). “The true biologist although the entertainment seldom flags. But universities are turning out more and more deals with life, with teeming boisterous life, PhDs. -
In the Name of Krishna: the Cultural Landscape of a North Indian Pilgrimage Town
In the Name of Krishna: The Cultural Landscape of a North Indian Pilgrimage Town A DISSERTATION SUBMITTED TO THE FACULTY OF THE GRADUATE SCHOOL OF THE UNIVERSITY OF MINNESOTA BY Sugata Ray IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Frederick M. Asher, Advisor April 2012 © Sugata Ray 2012 Acknowledgements They say writing a dissertation is a lonely and arduous task. But, I am fortunate to have found friends, colleagues, and mentors who have inspired me to make this laborious task far from arduous. It was Frederick M. Asher, my advisor, who inspired me to turn to places where art historians do not usually venture. The temple city of Khajuraho is not just the exquisite 11th-century temples at the site. Rather, the 11th-century temples are part of a larger visuality that extends to contemporary civic monuments in the city center, Rick suggested in the first class that I took with him. I learnt to move across time and space. To understand modern Vrindavan, one would have to look at its Mughal past; to understand temple architecture, one would have to look for rebellions in the colonial archive. Catherine B. Asher gave me the gift of the Mughal world – a world that I only barely knew before I met her. Today, I speak of the Islamicate world of colonial Vrindavan. Cathy walked me through Mughal mosques, tombs, and gardens on many cold wintry days in Minneapolis and on a hot summer day in Sasaram, Bihar. The Islamicate Krishna in my dissertation thus came into being. -
Baldwin Chapter 6 the Value Structure of Technologies 8-18-20
Design Rules, Volume 2: How Technology Shapes Organizations Chapter 6 The Value Structure of Technologies, Part 1: Mapping Functional Relationships Carliss Y. Baldwin Working Paper 21-039 Design Rules, Volume 2: How Technology Shapes Organizations Chapter 6 The Value Structure of Technologies, Part 1: Mapping Functional Relationships Carliss Y. Baldwin Harvard Business School Working Paper 21-039 Copyright © 2020 by Carliss Y. Baldwin Working papers are in draft form. This working paper is distributed for purposes of comment and discussion only. It may not be reproduced without permission of the copyright holder. Copies of working papers are available from the author. Funding for this research was provided in part by Harvard Business School. © Carliss Y. Baldwin Comments welcome. Please do not circulate or quote. Design Rules, Volume 2: How Technology Shapes Organizations Chapter 6 The Value Structure of Technologies, Part 1: Mapping Functional Relationships By Carliss Y. Baldwin Note to Readers: This is a draft of Chapter 6 of Design Rules, Volume 2: How Technology Shapes Organizations. It builds on prior chapters, but I believe it is possible to read this chapter on a stand-alone basis. The chapter may be cited as: Baldwin, C. Y. (2020) “The Value Structure of Technologies, Part 1: Mapping Functional Relationships,” Harvard Business School Working Paper (Rev. September 2020). I would be most grateful for your comments on any aspect of this chapter! Thank you in advance, Carliss. Abstract Organizations are formed in a free economy because an individual or group perceives value in carrying out a technical recipe that is beyond the capacity of a single person. -
Resume (Adobe PDF Format)
DINAH LENNEY 2136 Princeton Avenue Los Angeles, California 90026 (323)664-8186 email: [email protected] www.DinahLenney.com EDUCATION Bennington Writing Seminars, MFA in Creative Nonfiction and Literature Yale University, Bachelor of Arts, American Studies. Neighborhood Playhouse School, Certificate of Acting. PROFESSIONAL ACADEMIC EXPERIENCE WRITING Assistant Professor of Literature and Creative Writing, appointed June, 2012, University of Southern California Visiting Faculty December, 2012, University of California, Palm Desert Fulltime Lecturer, 2009 to 2012, Master of Professional Writing Program, University of Southern California, Los Angeles, California. Guest Artist and Faculty, July, 2012, Centrum Writers’ Conference, Port Townsend, Washington. Instructor, Union Station Homeless Services Centennial Place 2011, Memoir Writing, Poets and Writers Grant. Mentor, 2010, The Loft Literary Center, Minneapolis, Minnesota. Core Faculty, 2008 -2013, Bennington Writing Seminars, Bennington, Vermont. Core Faculty, 2008 -2013, Rainier Writing Workshop, Tacoma, Washington. Part-time Lecturer, 2008-2009, Master of Professional Writing Program, University of Southern California, Los Angeles, California. Visiting Lecturer, October 2008, Scripps College, Memoir Lecture and Reading. Mentor, January, 2008 to August, 2008. PEN USA Emerging Voices Program. Associate Faculty, June 2007, Bennington Writing Seminars, Bennington, Vermont. Visiting Lecturer, 2007, UCLA, Los Angeles, California. Intro to Memoir: Fining Your Own True voice. Instructor, February -
Arts Council England Grant-In-Aid and Lottery Distribution Annual Report and Accounts | |
13 14 Arts Council England Grant-in-Aid and Lottery distribution annual report and accounts | | Arts Council England Grant-in-Aid and Lottery distribution annual report and accounts 2013/14 Presented to Parliament pursuant to sections 34(3) and 35(5) of the National Lottery etc Act 1993 (as amended by the National Lottery Act 1998 and National Lottery Act 2006). Ordered by the House of Commons to be printed 10 July 2014 HC 176 | CONTENTS 20 REVIEW OF THE YEAR 40 THE CREATIVE ECONOMY 41 CHAIR’S REPORT 71 CHIEF EXECUTIVE’S REPORT 02 ACHIEVING GREAT ART AND CULTURE FOR EVERYONE 04 EQUALITY AND DIVERSITY 44 HIGHLIGHTED INFORMATION © Arts Council England copyright 2014 67 GRANT-IN-AID ACCOUNTS The text of this document (this excludes, where present, the Royal Arms and all departmental or agency logos) may be reproduced free of charge in 110 LOTTERY DISTRIBUTION ACCOUNTS any format or medium provided that it is reproduced accurately and not in a misleading context. 130 NATIONAL LOTTERY REPORT The material must be acknowledged as Arts Council England copyright and the document title specified. Where third party material has been identified, permission from the respective copyright holder must be sought. Any enquiries related to this publication should be sent to National Director, Advocacy & Communications, Arts Council England, The Hive, 49 Lever Street, Manchester M1 1FN This publication is available at www.gov.uk/government/publications Print ISBN 9781474100908 Web ISBN 9781474100915 Printed in the UK by the Williams Lea Group on behalf of the Controller of Her Majesty’s Stationery Office ID 12031401 07/14 Printed on paper containing 75% recycled fibre content minimum 1 Review of the year 4 Lottery distribution accounts | | 2 Highlighted information 5 National Lottery report 3 Grant-in-Aid accounts ReVIEW OF 1 THE YEAR Peter Grimes opera on the beach, Aldeburgh Music in Suffolk. -
Press Release: 27 March 2018 the HEPWORTH WAKEFIELD ANNOUNCES NEW CHAIR of the BOARD
Press Release: 27 March 2018 THE HEPWORTH WAKEFIELD ANNOUNCES NEW CHAIR OF THE BOARD The Trustees of The Hepworth Wakefield have appointed internationally acclaimed design critic, Alice Rawsthorn OBE as the new Chair of The Hepworth Wakefield. Rawsthorn will take up the role in May 2018 when the gallery’s first Chair, David Liddiment steps down after a seven year term. David Liddiment, current Chair of The Hepworth Wakefield Board, said: “On behalf of The Hepworth Wakefield Board, I am delighted to announce Alice Rawsthorn as its new Chair. Alice has a wealth of experience and knowledge both as a Chair and Trustee of arts organisations that will be hugely beneficial to realising the gallery’s ambitious plans in the coming years.” On being appointed as Chair of The Hepworth Wakefield, Alice Rawsthorn said: “As a proud northerner, who is passionate about the arts I am thrilled to be taking on the role of Chair of The Hepworth Wakefield. The gallery has achieved so much in such a short time, and I am delighted by the prospect of being able to contribute to its future development and growth.” Rawsthorn has broad experience in arts governance, working for seven years as a trustee of Arts Council England, and serving on the board of the Whitechapel Gallery for over 20 years. She currently chairs the boards of trustees of Chisenhale Gallery and the contemporary dance group Michael Clark Company. Born in Manchester, Rawsthorn graduated in art history from the University of Cambridge. Awarded an OBE for services to design and the arts, she is an honorary senior fellow of the Royal College of Art and has an honorary doctorate from the University of the Arts. -
Calendrical Calculations: the Millennium Edition Edward M
Errata and Notes for Calendrical Calculations: The Millennium Edition Edward M. Reingold and Nachum Dershowitz Cambridge University Press, 2001 4:45pm, December 7, 2006 Do I contradict myself ? Very well then I contradict myself. (I am large, I contain multitudes.) —Walt Whitman: Song of Myself All those complaints that they mutter about. are on account of many places I have corrected. The Creator knows that in most cases I was misled by following. others whom I will spare the embarrassment of mention. But even were I at fault, I do not claim that I reached my ultimate perfection from the outset, nor that I never erred. Just the opposite, I always retract anything the contrary of which becomes clear to me, whether in my writings or my nature. —Maimonides: Letter to his student Joseph ben Yehuda (circa 1190), Iggerot HaRambam, I. Shilat, Maaliyot, Maaleh Adumim, 1987, volume 1, page 295 [in Judeo-Arabic] If you find errors not given below or can suggest improvements to the book, please send us the details (email to [email protected] or hard copy to Edward M. Reingold, Department of Computer Science, Illinois Institute of Technology, 10 West 31st Street, Suite 236, Chicago, IL 60616-3729 U.S.A.). If you have occasion to refer to errors below in corresponding with the authors, please refer to the item by page and line numbers in the book, not by item number. Unless otherwise indicated, line counts used in describing the errata are positive counting down from the first line of text on the page, excluding the header, and negative counting up from the last line of text on the page including footnote lines. -
Religious Studies 181B Political Islam and the Response of Iranian
Religious Studies 181B Political Islam and the Response of Iranian Cinema Fall 2012 Wednesdays 5‐7:50 PM HSSB 3001E PROFESSOR JANET AFARY Office: HSSB 3047 Office Hours; Wednesday 2:00‐3:00 PM E‐Mail: [email protected] Assistant: Shayan Samsami E‐Mail: [email protected] Course Description Artistic Iranian Cinema has been influenced by the French New Wave and Italian neorealist styles but has its own distinctly Iranian style of visual poetry and symbolic lanGuaGe, brinGinG to mind the delicate patterns and intricacies of much older Iranian art forms, the Persian carpet and Sufi mystical poems. The many subtleties of Iranian Cinema has also stemmed from the filmmakers’ need to circumvent the harsh censorship rules of the state and the financial limitations imposed on independent filmmakers. Despite these limitations, post‐revolutionary Iranian Cinema has been a reGular feature at major film festivals around the Globe. The minimalist Art Cinema of Iran often blurs the borders between documentary and fiction films. Directors employ non‐professional actors. Male and female directors and actors darinGly explore the themes of Gender inequality and sexual exploitation of women in their work, even thouGh censorship laws forbid female and male actors from touchinG one another. In the process, filmmakers have created aesthetically sublime metaphors that bypass the censors and directly communicate with a universal audience. This course is an introduction to contemporary Iranian cinema and its interaction with Political Islam. Special attention will be paid to how Iranian Realism has 1 developed a more tolerant discourse on Islam, culture, Gender, and ethnicity for Iran and the Iranian plateau, with films about Iran, AfGhanistan, and Central Asia. -
Comics and Science Fiction in West Bengal
DANIELA CAPPELLO | 1 Comics and Science Fiction in West Bengal Daniela Cappello Abstract: In this paper I look at four examples of Bengali SF (science fiction) comics by two great authors and illustrators of sequential art: Mayukh Chaudhuri (Yātrī, Smārak) and Narayan Debnath (Ḍrāgoner thābā, Ajānā deśe). Departing from a con- ventional understanding of SF as a fixed genre, I aim at showing that the SF comic is a ‘mode’ rather than a ‘genre’, building on a very fluid notion of boundaries between narrative styles, themes, and tropes formally associated with fixed genres. In these Bengali comics, it is especially the visual space of the comic that allows for blending and ‘contamination’ with other typical features drawn from adventure and detective fiction. Moreover, a dominant thematic thread that cross-cuts the narratives here examined are the tropes of the ‘other’ and the ‘unknown’, which are in fact central images of both adventure and SF: the exploration and encounter with ‘unknown’ (ajānā) worlds and ‘strange’ species (adbhut jāti) is mirrored in the usage of a lan- guage that expresses ‘otherness’ and strangeness. These examples show that the medium of the comic framing the SF story adds further possibilities of reading ‘genre hybridity’ as constitutive of the genre of SF as such. WHAT’S IN A COMIC? Before addressing SF comics in West Bengal, I will first look at some interna- tional definitions of comic to outline the main problematics that have been raised in the literature on this subject. In one of the first books introducing the world of comics to artists and academics, Will Eisner looks at the me- chanics of ‘sequential art’ (a term coined by Eisner himself) describing it as a dual ‘form of reading’ (Eisner 1985: 8): The format of the comic book presents a montage of both word and image, and the reader is thus required to exercise both visual and verbal interpretive skills. -
Redirected from Films Considered the Greatest Ever) Page Semi-Protected This List Needs Additional Citations for Verification
List of films considered the best From Wikipedia, the free encyclopedia (Redirected from Films considered the greatest ever) Page semi-protected This list needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be chall enged and removed. (November 2008) While there is no general agreement upon the greatest film, many publications an d organizations have tried to determine the films considered the best. Each film listed here has been mentioned in a notable survey, whether a popular poll, or a poll among film reviewers. Many of these sources focus on American films or we re polls of English-speaking film-goers, but those considered the greatest withi n their respective countries are also included here. Many films are widely consi dered among the best ever made, whether they appear at number one on each list o r not. For example, many believe that Orson Welles' Citizen Kane is the best mov ie ever made, and it appears as #1 on AFI's Best Movies list, whereas The Shawsh ank Redemption is #1 on the IMDB Top 250, whilst Star Wars Episode V: The Empire Strikes Back is #1 on the Empire magazine's Top 301 List. None of the surveys that produced these citations should be viewed as a scientif ic measure of the film-watching world. Each may suffer the effects of vote stack ing or skewed demographics. Internet-based surveys have a self-selected audience of unknown participants. The methodology of some surveys may be questionable. S ometimes (as in the case of the American Film Institute) voters were asked to se lect films from a limited list of entries.