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Brave New World
BRAVE NEW WORLD by Aldous Huxley (1894-1963) Chapter One A SQUAT grey building of only thirty-four stories. Over the main en- trance the words, CENTRAL LONDON HATCHERY AND CONDITIONING CENTRE, and, in a shield, the World State's motto, COMMUNITY, IDEN- TITY, STABILITY. The enormous room on the ground floor faced towards the north. Cold for all the summer beyond the panes, for all the tropical heat of the room itself, a harsh thin light glared through the windows, hungrily seeking some draped lay figure, some pallid shape of academic goose- flesh, but finding only the glass and nickel and bleakly shining porce- lain of a laboratory. Wintriness responded to wintriness. The overalls of the workers were white, their hands gloved with a pale corpse- coloured rubber. The light was frozen, dead, a ghost. Only from the yellow barrels of the microscopes did it borrow a certain rich and living substance, lying along the polished tubes like butter, streak after luscious streak in long recession down the work tables. "And this," said the Director opening the door, "is the Fertilizing Room." Bent over their instruments, three hundred Fertilizers were plunged, as the Director of Hatcheries and Conditioning entered the room, in the scarcely breathing silence, the absent-minded, soliloquizing hum or whistle, of absorbed concentration. A troop of newly arrived students, very young, pink and callow, followed nervously, rather abjectly, at the Director's heels. Each of them carried a notebook, in which, whenever the great man spoke, he desperately scribbled. Straight from the horse's mouth. It was a rare privilege. -
Worlds Apart: Bosnian Lessons for Global Security
Worlds Apart Swanee Hunt Worlds Apart Bosnian Lessons for GLoBaL security Duke university Press Durham anD LonDon 2011 © 2011 Duke University Press All rights reserved Printed in the United States of America on acid- free paper ♾ Designed by C. H. Westmoreland Typeset in Charis by Tseng Information Systems, Inc. Library of Congress Cataloging- in- Publication Data appear on the last printed page of this book. To my partners c harLes ansBacher: “Of course you can.” and VaLerie GiLLen: “Of course we can.” and Mirsad JaceVic: “Of course you must.” Contents Author’s Note xi Map of Yugoslavia xii Prologue xiii Acknowledgments xix Context xxi Part i: War Section 1: Officialdom 3 1. insiDe: “Esteemed Mr. Carrington” 3 2. outsiDe: A Convenient Euphemism 4 3. insiDe: Angels and Animals 8 4. outsiDe: Carter and Conscience 10 5. insiDe: “If I Left, Everyone Would Flee” 12 6. outsiDe: None of Our Business 15 7. insiDe: Silajdžić 17 8. outsiDe: Unintended Consequences 18 9. insiDe: The Bread Factory 19 10. outsiDe: Elegant Tables 21 Section 2: Victims or Agents? 24 11. insiDe: The Unspeakable 24 12. outsiDe: The Politics of Rape 26 13. insiDe: An Unlikely Soldier 28 14. outsiDe: Happy Fourth of July 30 15. insiDe: Women on the Side 33 16. outsiDe: Contact Sport 35 Section 3: Deadly Stereotypes 37 17. insiDe: An Artificial War 37 18. outsiDe: Clashes 38 19. insiDe: Crossing the Fault Line 39 20. outsiDe: “The Truth about Goražde” 41 21. insiDe: Loyal 43 22. outsiDe: Pentagon Sympathies 46 23. insiDe: Family Friends 48 24. outsiDe: Extremists 50 Section 4: Fissures and Connections 55 25. -
JMAD Media Ownership Report
JMAD New Zealand Media Ownership Report 2014 Published: 2014 December 5 Author: Merja Myllylahti This New Zealand Ownership Report 2014 is the fourth published by AUT’s Centre for Journalism, Media and Democracy (JMAD). The report finds that the New Zealand media market has failed to produce new, innovative media outlets, and that all the efforts to establish non-profit outlets have proved unsustainable. The report confirms the general findings of previous reports that New Zealand media space has remained highly commercial. It also confirms the financialisation of media ownership in the form of banks and fund managers. The report also observes that in 2014 convergence between New Zealand mass media and the communications sector generally was in full swing. Companies, such as Spark (former Telecom NZ), started to compete head-to-head with the traditional broadcasters on the online on-demand video and television markets. The American online video subscription service Netflix is entering the NZ market in March 2015. Additionally, the report notes evidence of uncomfortable alliances between citizen media, politicians, PR companies and legacy media. As Nicky Hager’s Dirty Politics book revealed, the National Party and PR practitioners used the Whale Oil blog to drive their own agendas. Also, events related to Maori TV, TVNZ and Scoop raise questions about political interference in media affairs. It is now evident that the boundaries between mainstream media, bloggers, public relations practitioners and politicians are blurring. Key events and trends concerning New Zealand media Financialisation of mass media ownership confirmed Substantial changes in Fairfax, APN and MediaWorks ownership Competition heats up in online television and video markets Turbulence at Maori TV Blurred lines among politicians, bloggers, journalists and PR practitioners The JMAD New Zealand media ownership reports are available here: http://www.aut.ac.nz/study- at-aut/study-areas/communications/media-networks/journalism,-media-and-democracy-research- centre/journalists-and-projects 1 1. -
Resume-08-12-2021
Mike Milo Resume updated 08-12-2021 • OBJECTIVE: • To create stories, characters and animation that move the soul and make people laugh. CREDITS: • DIRECTOR- Warner Bros. Animation-HARLEY QUINN (current) • WRITER and PUNCH-UP on unannounced Netflix/ Universal- WOODY WOODPECKER movie • Supervising DIRECTOR- Age of Learning/Animasia- YOUNG THINKER’S LABORATORY • Story Artist- Apple TV- THE SNOOPY SHOW • Story Artist- Warner Bros. Animation SCOOBY DOO HALLOWEEN • DIRECTOR- Bento Box/ Apple TV- WOLFBOY AND THE EVERYTHING TREE • Freelance Animation DIRECTOR for Cartoon Network/HBO Max’s TIG ‘n’ SEEK • SHOWRUNNER/DIRECTOR- Universal’s WOODY WOODPECKER • DIRECTOR-Warner Bros. Animation- SCOOBY DOO AND GUESS WHO • Freelance Animation DIRECTOR for Warner Bros. Animation LOONEY TUNES 1000-ongoing • Freelance Animation DIRECTOR for Cartoon Network's CRAIG OF THE CREEK • Story Artist- CURIOUS GEORGE- Universal/DreamWorks • Creator, Writer, Director, Designer, Story Artist- GENIE HUNTERS- Cartoon Network • Freelance Animation DIRECTOR for Cartoon Network's UNCLE GRAMPA • Freelance Animation DIRECTOR for Cartoon Network's Justice League Action • Freelance Animation DIRECTOR for Netflix’s STRETCH ARMSTRONG • Storyboard Supervisor/Director/Teacher/Technology consultant: storyboards, writing, animation, design, storyboard direction and timing- RENEGADE ANIMATION • Freelance Storyboards and writing- THE TOM AND JERRY SHOW- Renegade Animation Freelance Animation DIRECTOR for Cartoon Network's BEN 10 • Freelance Flash cartoons for PEOPLE MAGAZINE and ESSENCE MAGAZINE • Flash storyboards, Direction, animation and design- Education.com on BRAINZY • Freelance Exposure Sheets for Marvel Entertainment- AVENGERS ASSEMBLE • Flash storyboards for Amazon pilot: HARDBOILED EGGHEADS • •Character Design and Development- Blackspot Media NYC- IZMOCreator, Writer, Director, Designer, Story Artist- Nickelodeon development BORIS OF THE FOREST with BUTCH HARTMAN • •Story Artist at Nickelodeon Animation Studios- FAIRLY ODD PARENTS • •Freelance Character Design at Animae Studios- LA FAMILIA P. -
ELIGIBILITY REQUIREMENTS and RELEASES Eyeworks New
ELIGIBILITY REQUIREMENTS AND RELEASES Eyeworks New Zealand Limited (“Eyeworks”) described here as the “Producers”, are holding auditions to select participants for a television programme entitled “The Block NZ – Series 6” (the “Programme”). We are applying to audition for selection as a participant team in the Programme. We have read and we understand fully the contents of this application and we agree to all the terms and conditions set out below. WE DECLARE We are all 18 years of age or older. We are all either New Zealand citizens or have been permanent residents in New Zealand for at least two years. We are applying in our personal and private capacity and we represent and warrant that none of us are an employee of, or in any way associated with, any news or media outlet, including any web based media outlet, either in New Zealand or elsewhere. Now and during the past two years, none of us have been an employee, officer, director or agent of Mediaworks or their associates or affiliates and neither is any member of our immediate families or anyone living at our residential address. THE AUDITION Our application does not constitute entry into a relationship or association of any kind with the Producers and we agree that we will receive no payment for our possible participation in the Audition. During the Audition: a) We will comply with all requests and directions given by the Producers and we will fully co-operate with the Producers; b) We will not interfere with or damage the set or any equipment used for the Audition; c) We will not interfere with, impede or abuse any other person at the Audition; d) We will leave the Audition immediately if asked to leave by the Producers; e) We will participate in the Audition voluntarily and at our own risk; and f) We agree that the Producers will not be liable to us for any loss or damage or injury to us or to our property or to our reputations caused or suffered in connection with our attendance at the Audition or our travel to and from the Audition. -
Brave New World: the Correlation of Social Order and the Process Of
Brave New World: The Correlation of Social Order and the Process of Literary Translation by Maria Reinhard A thesis presented to the University of Waterloo in fulfilment of the thesis requirement for the degree of Master of Arts in German Waterloo, Ontario, Canada, 2008 ! Maria Reinhard 2008 Author's Declaration I hereby declare that I am the sole author of this thesis. This is a true copy of the thesis, including any required final revisions, as accepted by my examiners. I understand that my thesis may be made electronically available to the public. ii Abstract This comparative analysis of four different German-language versions of Aldous Huxley’s Brave New World (1932) shows the correlation between political and socio- cultural circumstances, as well as ideological differences, and translations of the novel. The first German translation was created by Herberth E. Herlitschka in 1932, entitled Welt – Wohin? Two further versions of it were released in 1950 and 1981. In 1978, the East German publisher Das Neue Berlin published a new translation created by Eva Walch, entitled Schöne neue Welt. My thesis focuses on the first translations by both Herlitschka and Walch, but takes into account the others as well. The methodological basis is Heidemarie Salevsky’s tripartite model. With its focus on author and work, commissioning institution and translator, it was developed as a tool to determine the factors influencing the process of literary translation. Within this framework, the translations are contextualized within the cultural and political circumstances of the Weimar and German Democratic Republics, including an historical overview of the two main publishers, Insel and Das Neue Berlin. -
Faith Stevens Sat Down Next to Me
36 Hours a series by Jean-Thomas Louvier BEFORE THE END “Your dead shall live; their bodies shall rise. You who dwell in the dust, awake and sing for joy! For your dew is a dew of light, and the earth will give birth to the dead. - Isaiah 26:19 A pearl moon shivered amongst the stars, sleeping in the ink black sky. Its cool glow slithered over the palm trees and ferns adorning the marble walkway. The fronds drooped downwards, perspiring gloom that never seemed to leave, drawing your eyes into a never-ceasing stare. The rapping of shoes against stone echoed between the trees at the side of the path; young and old, couples and singles, men and women, children and grandparents made their way up the path, through the chilled night, into the warmth of the building. Velvet draperies clung to the windows, pushing back the night, trying to forget that there was an end to the day. People stood in groups amongst the room, talking quietly among themselves, holding briefcases and purses. Some cried, and they were comforted. Against the walls were plaques filled with pictures of a baby; the next plaque showed snapshots of a little girl, six or seven, grinning with mustard on her church clothes. A woman stroked the images and turned her head, closed her eyes, throat quivering. A man placed a hand on her shoulder, squeezed. Flowers covered the back of the room, where, upon a marble pedestal, sat a small rectangular box made of oak wood with silver lining, velvet insides. -
Pwc Asset Management 2020: a Brave New World 3 Introduction
Amid unprecedented economic turmoil and regulatory change, most asset managers have afforded themselves little time to bring the future into focus. But the industry stands on the precipice of a number of fundamental shifts that will shape the future of the asset management industry. To help asset managers plan for the future, we have considered the likely changes in the asset management industry landscape over the coming years and identified key gamechangers which will impact the competitive environment. Asset Management 2020 A Brave New World www.pwc.com/assetmanagement Contents Introduction 4 The landscape in 2020: 6 The industry expands, the investor base morphs 1. Huge rise in assets and shift in investor base 7 2. Pressures on the asset management industry 14 3. Nothing to hide,nowhere to hide and nothing at risk 16 AM 2020: 18 Gamechangers that will redefine the industry 1. Asset management moves centrestage 19 2. Distribution is redrawn – regional and global platforms dominate 24 3. Fee models are transformed 26 4. Alternatives become more mainstream, passives are core and ETFs proliferate 28 5. New breed of global managers 31 6. Asset management enters the 21st century 34 A shared vision: 36 Wei and the asset management industry Contacts 38 PwC Asset Management 2020: A Brave New World 3 Introduction It’s March 11, 2020. As Wei boards her train in the suburbs of Beijing, heading for her office in the capital of the world’s biggest economy, she checks her mobile device. She has been sent a message from international dating company eMatch’s sister site, eMatch Investments. -
Stuart Richardson Post Producer / Field Director / Writer +64 27 395 0952 | [email protected]
Stuart Richardson Post Producer / Field Director / Writer +64 27 395 0952 | [email protected] Australian Ninja Warrior, Series 5, Channel 9 Post Producer March 2021 - Current Endemol Shine Australia, Sydney, Australia (Remote contract from Tauranga NZ) Ref: Dave Forrester, Post EP, Endemol Shine Australia [email protected] Ultimate Tag, Series 1, Channel 7 Post Producer November 2020 - Current Endemol Shine Australia, Sydney, Australia (Remote contract from Tauranga NZ) Ref: Dave Forrester, Post EP, Endemol Shine Australia [email protected] Title TBC! – A Netflix Original Documentary Series Post Producer March – October 2020 IFA Media, Singapore (Remote contract from Tauranga NZ) Ref: Joe Evans, Series Producer, IFA Media Singapore [email protected] Outback Truckers, Series 7 & 8, Discovery Channel Post Producer Prospero Productions, Fremantle, Australia (Remote contract from Tauranga NZ) January - June 2019, December 2019 – March 2020 Ref: Alan Hall, Series Producer, Prospero, Fremantle, WA [email protected] Outback Opal Hunters, Series 3, Discovery Channel Post Producer September - December 2019 Prospero Productions, Fremantle, Australia (Remote contract from Tauranga NZ) Ref: David Holroyd, Series Producer, Prospero, Fremantle, WA [email protected] The Making of Crossroads Maldives, History Channel Post Producer June 2019 - September 2019 IFA Media, Singapore (Remote contract from Dunedin, NZ) Ref: Joe Evans, Executive Producer, IFA Media [email protected] My Lottery Dream -
Pofc TBI Main Octnov20.Indd
Insight on screen TBIvision.com | October/November 2020 Distributor's Survey The inside track Bible reading on the global sales The future of business formats Page 14 Page 34 pOFC TBI Main OctNov20.indd 1 02/10/2020 15:28 pIFC-01 Global Agency TBI OctNov20.indd 2 01/10/2020 10:35 pIFC-01 Global Agency TBI OctNov20.indd 3 01/10/2020 10:35 ABANDONED ENGINEERING S5 12 x 60’ Like a Shot Entertainment EDGES UNKNOWN RACE TO VICTORY 7 x 60’ 4East Media 6 x 60’ CIC Media SEX UNLIMITED 5 x 60’ Barcroft Studios For sales enquiries please contact: [email protected] www.beyondrights.tv pXX Beyond TBI OctNov20.indd 1 28/09/2020 09:44 Welcome | This issue Contents TBI October/November 2020 34. Future-proofi ng formats With the pandemic upending the TV industry across the world, Mark Layton fi nds out what the impact has been on the global format sales business and how it has adapted to the new normal. 38. Keeping the music playing through Covid Karen Smith, MD of Tuesday’s Child and Tuesday’s Child Scotland, on The Hit List. 10 40. Formats Hot Picks The formats that caught our eye this month including 9 Windows, Pooch Perfect and Tough As Nails. 10. Press record TikTok has exploded into the public consciousness like few – if 42. e colourful world of co-productions any other – video-led service before it. UK & Europe chief Rich Sharing production costs on unscripted projects was on the increase Waterworth tells Richard Middleton how he sees the future prior to Covid-19, but is the pandemic accelerating this further? Tim panning out. -
Living Large
HOMES HOMES Living large This giant warehouse reveals itself as a series of beautifully decorated spaces, each with its own distinct narrative. WORDS Holly Jean Brooker PHOTOGRAPHY Duncan Innes 78 homestyle homestyle 79 HOMES HOMES EXTERIOR Along with the foliage of some already- established plants, palms in pots from Artedomus and chairs from ECC frame the home’s front door. Inside, the concrete flooring is softened with rugs Sam sourced on a trip to Morocco. 80 homestyle homestyle 81 HOMES HOMES THE CLASSIC WEATHERBOARD HOME is a Kiwi favourite, one that Auckland’s Jenny and Sam Porter have enjoyed in various forms over the years. But during their recent search THE PROJECT for a new place to live, they decided to go for something outside the box. Jenny Porter, HR advisor/owner of boutique kids’ party “We weren’t exactly sure what we wanted, hire company My Little Party, and her travel specialist but we knew what we didn’t want: another husband Sam redecorated this four-bedroom warehouse in Auckland’s Grey Lynn for themselves and their villa,” says Jen. “When our agent contacted children Darcy (12) and Amelia (10). us to give us the heads-up that this home was going to be listed that week, we visited it immediately and bought it that night.” The 200m2 Grey Lynn dwelling was less of a house and more of a warehouse. Previously a mechanics’ workshop, it had been converted into a large, open-plan central living and dining space with internal glass doors leading to an office, another living space, a kitchen and a formal dining room. -
When Cultures Collide: LEADING ACROSS CULTURES
When Cultures Collide: LEADING ACROSS CULTURES Richard D. Lewis Nicholas Brealey International 31573 01 i-xxiv 1-176 r13rm 8/18/05 2:56 PM Page i # bli d f li 31573 01 i-xxiv 1-176 r13rm 8/18/05 2:56 PM Page ii page # blind folio 31573 01 i-xxiv 1-176 r13rm 8/18/05 2:56 PM Page iii ✦ When Cultures Collide ✦ LEADING ACROSS CULTURES # bli d f li 31573 01 i-xxiv 1-176 r13rm 8/18/05 2:56 PM Page iv page # blind folio 31573 01 i-xxiv 1-176 r13rm 8/18/05 2:56 PM Page v ✦ When Cultures Collide ✦ LEADING ACROSS CULTURES A Major New Edition of the Global Guide Richard D. Lewis # bli d f li 31573 01 i-xxiv 1-176 r13rm 8/18/05 2:56 PM Page vi First published in hardback by Nicholas Brealey Publishing in 1996. This revised edition first published in 2006. 100 City Hall Plaza, Suite 501 3-5 Spafield Street, Clerkenwell Boston, MA 02108, USA London, EC1R 4QB, UK Information: 617-523-3801 Tel: +44-(0)-207-239-0360 Fax: 617-523-3708 Fax: +44-(0)-207-239-0370 www.nicholasbrealey.com www.nbrealey-books.com © 2006, 1999, 1996 by Richard D. Lewis All rights reserved. No part of this publication may be reproduced in any manner whatsoever without written permission from the publisher, except in the case of brief quotations embodied in critical articles or reviews. Printed in Finland by WS Bookwell. 10 09 08 07 06 12345 ISBN-13: 978-1-904838-02-9 ISBN-10: 1-904838-02-2 Library of Congress Cataloging-in-Publication Data Lewis, Richard D.