Edinburgh Research Explorer
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Tipped Over the Edge
Tipped Over The edge Gender Inequity in the Restaurant Industry BY THE RESTAURANT OPPORTUNITIES CENTERS UNITED AND FAMILY VALUES @ WORK HERvotes COALITION INSTITUTE FOR WOMEN’S POLICY RESEARCH MOMSRISING NATIONAL COALITION ON BLACK CIVIC PARTICIPATION’S BLACK WOMEN’S ROUNDTABLE NATIONAL COUNCIL FOR RESEARCH ON WOMEN NATIONAL ORGANIZATION FOR WOMEN Foundation NATIONAL PARTNERSHIP FOR WOMEN & FAMILIES NATIONAL WOMEN’S LAW CENTER WIDER OPPORTUNITIES FOR WOMEN February 13, 2012 WOMEN OF COLOR POLICY NETWORK, NYU WAGNER 9TO5, National Association OF WORKING WOMEN RESEARCH SUPPORT The Ford Foundation The Moriah Fund The Open Society Foundations The Rockefeller Foundation February 13, 2012 Tipped Over The edge Gender Inequity in the Restaurant Industry AND FAMILY VALUES @ WORK HERvotes COALITION INSTITUTE FOR WOMEN’S POLICY RESEARCH MOMSRISING NATIONAL COALITION ON BLACK CIVIC PARTICIPATION’S BLACK WOMEN’S ROUNDTABLE NATIONAL COUNCIL FOR RESEARCH ON WOMEN NATIONAL ORGANIZATION FOR WOMEN Foundation NATIONAL PARTNERSHIP FOR WOMEN & FAMILIES NATIONAL WOMEN’S LAW CENTER WIDER OPPORTUNITIES FOR WOMEN WOMEN OF COLOR POLICY NETWORK, NYU WAGNER 9TO5, National Association OF WORKING WOMEN RESEARCH SUPPORT The Ford Foundation The Moriah Fund The Open Society Foundations The Rockefeller Foundation February 13, 2012 Tipped Over The edge Gender Inequity in the Restaurant Industry BY THE RESTAURANT OPPORTUNITIES CENTERS UNITED AND FAMILY VALUES @ WORK HERvotes COALITION INSTITUTE FOR WOMEN’S POLICY RESEARCH MOMSRISING NATIONAL COALITION ON BLACK CIVIC PARTICIPATION’S -
SONG ACTIVITY – Beautiful Day by U2
SONG ACTIVITY – Beautiful Day by U2 Name: Group: Date: / / 1. Work in small groups. Read the definition for the word “resilient”. Discuss the questions. resilient /rɪˈzɪliənt/ adj 1 able to become strong, healthy or successful again after something bad happens. 2 able to return to an original shape after being pulled, stretched, pressed, bent, etc. Adapted from: https://www.merriam-webster.com/dictionary/resilient a. Can you think of a situation in your life when you or a person you know were resilient? Talk about it. b. What can teenagers do to develop resilience? c. What do you usually do when you are having a difficult day? 2. Work with a partner. You are going to listen to the song Beautiful Day, by U2. The words in the cloud are in the lyrics of the song. How do you associate them with a beautiful day? Discuss your ideas and take notes in the lines below. ________________________________________________________________________________ ________________________________________________________________________________ ________________________________________________________________________________ ________________________________________________________________________________ ________________________________________________________________________________ ________________________________________________________________________________ 3. Now listen to the song. Were the words in Activity 2 associated to the idea of a beautiful day in the way you imagined? SONG ACTIVITY – Beautiful Day by U2 4. Listen to the song again. Check (✓) the alternative that best explains the lines in italics, in the context of the song. a. The heart is a bloom / Shoots up through the stony ground. [ ] Love is resilient and can overcome all difficulties. [ ] Love is blind to all problems and difficulties. b. The traffic is stuck / And you’re not moving anywhere. [ ] Traffic jams can ruin even the most beautiful day. -
SF Commentary 41-42
S F COMMENTARY 41/42 Brian De Palma (dir): GET TO KNOW YOUR RABBIT Bruce Gillespie: I MUST BE TALKING TO MY FRIENDS (86) . ■ (SFC 40) (96) Philip Dick (13, -18-19, 37, 45, 66, 80-82, 89- Bruce Gillespie (ed): S F COMMENTARY 30/31 (81, 91, 96-98) 95) Philip Dick: AUTOFAC (15) Dian Girard: EAT, DRINK AND BE MERRY (64) Philip Dick: FLOW MY TEARS THE POLICEMAN SAID Victor Gollancz Ltd (9-11, 73) (18-19) Paul Goodman (14). Gordon Dickson: THINGS WHICH ARE CAESAR'S (87) Giles Gordon (9) Thomas Disch (18, 54, 71, 81) John Gordon (75) Thomas Disch: EMANCIPATION (96) Betsey & David Gorman (95) Thomas Disch: THE RIGHT WAY TO FIGURE PLUMBING Granada Publishing (8) (7-8, 11) Gunter Grass: THE TIN DRUM (46) Thomas Disch: 334 (61-64, 71, 74) Thomas Gray: ELEGY WRITTEN IN A COUNTRY CHURCH Thomas Disch: THINGS LOST (87) YARD (19) Thomas Disch: A VACATION ON EARTH (8) Gene Hackman (86) Anatoliy Dneprov: THE ISLAND OF CRABS (15) Joe Haldeman: HERO (87) Stanley Donen (dir): SINGING IN THE RAIN (84- Joe Haldeman: POWER COMPLEX (87) 85) Knut Hamsun: MYSTERIES (83) John Donne (78) Carey Handfield (3, 8) Gardner Dozois: THE LAST DAY OF JULY (89) Lee Harding: FALLEN SPACEMAN (11) Gardner Dozois: A SPECIAL KIND OF MORNING (95- Lee Harding (ed): SPACE AGE NEWSLETTER (11) 96) Eric Harries-Harris (7) Eastercon 73 (47-54, 57-60, 82) Harry Harrison: BY THE FALLS (8) EAST LYNNE (80) Harry Harrison: MAKE ROOM! MAKE ROOM! (62) Heinz Edelman & George Dunning (dirs): YELLOW Harry Harrison: ONE STEP FROM EARTH (11) SUBMARINE (85) Harry Harrison & Brian Aldiss (eds): THE -
The Life Artistic: July / August 2016 Wes Anderson + Mark Mothersbaugh
11610 EUCLID AEUE, CLEELAD, 44106 THE LIFE ARTISTIC: JULY / AUGUST 2016 WES ANDERSON + MARK MOTHERSBAUGH July and August 2016 programming has been generously sponsored by TE LIFE AUATIC ... AUATIC TE LIFE 4 FILMS! ALL 35MM PRINTS! JULY 7-29, 2016 THE CLEVELAND INSTITUTE OF ART CINEMATHEQUE 11610 EUCLID AVENUE, UNIVERSITY CIRCLE, CLEVELAND OHIO 44106 The Cleveland Institute of Art Cinematheque is Cleveland’s alternative film theater. Founded in 1986, the Cinematheque presents movies in CIA’s Peter B. Lewis Theater at 11610 Euclid Avenue in the Uptown district of University Circle. This new, 300-seat theater is equipped with a 4K digital cinema projector, two 35mm film projectors, and 7.1 Dolby Digital sound. Free, lighted parking for filmgoers is currently available in two CIA lots located off E. 117th Street: Lot 73 and the Annex Lot. (Those requiring disability park- ing should use Lot 73.) Enter the building through Entrance C (which faces E. 117th) or Entrance E (which faces E. 115th). Unless noted, admission to each screening is $10; Cinematheque members, CIA and Cleveland State University I.D. holders, and those age 25 & under $7. A second film on LOCATION OF THE the same day generally costs $7. For further information, visit PETER B. LEWIS THEATER (PBL) cia.edu/cinematheque, call (216) 421-7450, or send an email BLACK IL to [email protected]. Smoking is not permitted in the Institute. TH EACH FILM $10 • MEMBERS, CIA, AGE 25 & UNDER $7 • ADDITIONAL FILM ON SAME DAY $7 OUR 30 ANNIVERSARY! FREE LIGHTED PARKING • TEL 216.421.7450 • CIA.EDU/CINEMATHEQUE BLOOD SIMPLE TIKKU INGTON TE LIFE ATISTIC: C I N E M A T A L K ES ADES AK TESBAU ul 72 (4 lms) obody creates cinematic universes like es Anderson. -
Off the Beaten Track
Off the Beaten Track To have your recording considered for review in Sing Out!, please submit two copies (one for one of our reviewers and one for in- house editorial work, song selection for the magazine and eventual inclusion in the Sing Out! Resource Center). All recordings received are included in “Publication Noted” (which follows “Off the Beaten Track”). Send two copies of your recording, and the appropriate background material, to Sing Out!, P.O. Box 5460 (for shipping: 512 E. Fourth St.), Bethlehem, PA 18015, Attention “Off The Beaten Track.” Sincere thanks to this issue’s panel of musical experts: Richard Dorsett, Tom Druckenmiller, Mark Greenberg, Victor K. Heyman, Stephanie P. Ledgin, John Lupton, Angela Page, Mike Regenstreif, Seth Rogovoy, Ken Roseman, Peter Spencer, Michael Tearson, Theodoros Toskos, Rich Warren, Matt Watroba, Rob Weir and Sule Greg Wilson. that led to a career traveling across coun- the two keyboard instruments. How I try as “The Singing Troubadour.” He per- would have loved to hear some of the more formed in a variety of settings with a rep- unusual groupings of instruments as pic- ertoire that ranged from opera to traditional tured in the notes. The sound of saxo- songs. He also began an investigation of phones, trumpets, violins and cellos must the music of various utopian societies in have been glorious! The singing is strong America. and sincere with nary a hint of sophistica- With his investigation of the music of tion, as of course it should be, as the Shak- VARIOUS the Shakers he found a sect which both ers were hardly ostentatious. -
Extending the Enterprise to the Edge Your Guide to Converging Operational and Information Technology
Extending the Enterprise to the Edge Your Guide to Converging Operational and Information Technology Traditionally, agencies have approached information technology as a separate discipline from operational technology, which includes data acquisition systems, control systems, industrial-class networks, and a wide variety of internet-connected devices that operate far beyond the walls of the data center. However, it is increasingly clear that the data gathered at the edge of operations can provide in- sights that agencies can use to improve the efficiency of their operations and deliver new services to support the mission. The key? Converging OT capabilities with enterprise-class IT systems in single box and deploying them at the edge. GovLoop, Affigent and Hewlett Packard Enterprise (HPE) collaborated on this worksheet to help you take advantage of this new wave of edge computing. Three Ways to Leverage OT-IT Convergence The benefits of converging OT and IT systems fall into three main categories: Physical systems Software and data Process convergence convergence convergence IT systems (compute, storage, Enterprise IT applications IT and OT teams agree to collaborate management, and security) collaborating with OT applications on end-to-end workflows and integrate in the same system chassis are applied to both traditional dataflows. with OT systems (data acquisition enterprise data and data derived systems, control systems, and at the edge. industrial networks). Leveraging Data at the Edge: A Framework By integrating OT and IT systems, agencies can create a flow of data from the enterprise out to the edge. By integrating this data, agencies can see greater insights into their operations and services. -
Exhibit Designs for Girls' Engagement a Guide to the EDGE Design Attributes
Exhibit Designs for Girls’ Engagement A Guide to the EDGE Design Attributes EDGE visitor research Toni Dancstep (née Dancu) and Lisa Sindorf & evaluation This material is based upon work supported by the National Science Foundation under Grant No. 1323806. Any opinions, findings, and conclusions or recommendations expressed in this material are those of the author(s) and do not necessarily reflect the views of the National Science Foundation. How to cite: Dancstep (née Dancu), T. & Sindorf, L. (2016). Exhibit Designs for Girls’ Engagement: A Guide to the EDGE Design Attributes. San Francisco: Exploratorium. 2 EXHIBIT DESIGNS FOR GIRLS’ ENGAGEMENT Table of Contents 4–7 Introduction 8 –27 The EDGE Design Attributes 28 –41 Case Studies 42 –57 Appendix A: Assessing Exhibits 58 –61 Appendix B: Tested Design Attributes 62–65 References 66 –67 Acknowledgments EXHIBIT DESIGNS FOR GIRLS’ ENGAGEMENT | Table of Contents 3 Introduction 4 EXHIBIT DESIGNS FOR GIRLS’ ENGAGEMENT | Introduction As a child, Alice’s family encouraged her to Unfortunately, science museums aren’t always engage with science. But her visits to science working as well for girls as for boys, and many museums were less than positive. She remem- girls’ experiences may be similar to Alice’s. bers, “I would stand there, trying to figure out Some research has shown that girls visit what was so interesting, and usually fail at science museums less frequently than boys.4 doing so” and “I thought that I had to be able And once inside, girls often have different ex- to ‘figure out’ each exhibit to be ‘using the periences at exhibits than boys. -
Phantom of the Paradise De Brian De Palma (1974)
Thème de la musique avant toute chose. Fiche cinéma 1 Phantom of the Paradise de Brian de Palma (1974) Synopsis : Un compositeur talentueux, Wislow Leach, inconnu et pauvre, vient d’écrire l’œuvre de sa vie : Faust,l’opéra rock, il vient proposer sa musique à une Major ; celle de Swan. Il sera dépouillé de son œuvre, emprisonné à Sing Sing sans raison et, dans un acte de folie, voulant récupérer son bien, va être victime d’un accident terrible dans les presses de la maison de disque. Devenant le « phantom » de lui-même, et du théâtre « Paradise » où doit se jouer son œuvre, il signera finalement un contrat avec Swan qui sera aussi celui de sa mort et dans lequel, sans s’en rendre compte, il se dépouille de son œuvre et de son âme. Dans ce film Brian de Palma fait le portrait d’une industrie liée au monde de la musique peu glorieuse, il nous en montre tous les travers. Il est une évidence, ce film colle au thème de la musique avant toute chose. Nous sommes dans l’univers musical de la production : maison de disque « Death Records », interprétation de Juicy Fruits « juteux pour le producteur ». Le producteur Swan, pour lui la musique n’est qu’une question d’argent. I/Les thèmes évoqués : -La drogue : Être sous stupéfiants pour se dépasser et aussi pour profiter de l’autre. -Le sexe : Il n’est pas tant libéré que cela, on comprend rapidement que le sexe n’existe que pour le bénéfice que l’on peut en retirer «de la musique avant toute chose » mis en place d’une certaine ironie. -
U2 3D Talent: Bono, the Edge, Larry Mullen, Adam Clayton. Directors
U2 3D Talent: Bono, The Edge, Larry Mullen, Adam Clayton. Directors: Mark Pellington and Catherine Owens Duration: 85 minutes Classification: G We rate it: 3 and a half stars. There’s no denying that Irish rock band U2 are probably still the biggest live musical act in the world, even after twenty-odd years of touring. Aside from maybe the great outdoor extravaganzas mounted during the 1970s and 80s by Pink Floyd, U2’s live gigs are renowned as dazzling, cutting-edge spectacles, as politically and ideologically provocative as they are musically engaging. Bono, the acknowledged master of making fame itself humanely useful, still struts his stuff as if he’s a 25-year- old, and the band that supports him is as skilled as rock bands get. To see this chart- topping foursome filmed playing before staggeringly large crowds in state-of-the-art digital 3D and surround sound is, admittedly, quite a spectacle. The peculiar thing, however, about sitting in a cinema and watching U2 3D is that throughout the experience, stunning as it is, one can’t help but reflect upon the fact that one is sitting in a darkened room watching film of a band playing live in front of crowds of a hundred thousand people. There’s something decidedly strange about sitting passively and observing (through the suitably nerdy polarising 3D glasses) this massive rock show, whose actual filmed audiences just don’t stop screaming and waving for a second. As one ruminatively chews one’s popcorn and sips one’s soft- drink, one can’t help but feel faintly left out, to say the least. -
Notations Spring 2011
The ASCAP Foundation Making music grow since 1975 www.ascapfoundation.org Notations Spring 2011 Tony Bennett & Susan Benedetto Honored at ASCAP Foundation Awards The ASCAP Foundation held its 15th Annual Awards Ceremony at the Allen Room, Frederick P. Rose Hall, Home of Jazz at Lincoln Center, in New York City on December 8, 2010. Hosted by ASCAP Foundation President, Paul Williams, the event honored vocal legend Tony Bennett and his wife, Susan Benedetto, with The ASCAP Foundation Champion Award in recognition of their unique and significant efforts in arts education. ASCAP Foundation Champion Award recipients Susan Benedetto (l) & Tony Bennett with Mary Rodgers (2nd from left), Mary Ellin A wide variety of ASCAP Foundation Scholarship Barrett (2nd from right), and ASCAP Foundation President Paul and Award recipients were also honored at the Williams (r). event, which included special performances by some of the honorees. For more details and photos of the event, please see our website. Bart Howard provides a Musical Gift The ASCAP Foundation is pleased to announce that composer, lyricist, pianist and ASCAP member Bart Howard (1915-2004) named The ASCAP Foundation as a major beneficiary of all royalties and copyrights from his musical compositions. In line with this generous bequest, The ASCAP Foundation has established programs designed to ensure the preservation of Bart Howard’s name and legacy. These efforts include: Songwriters: The Next Generation, presented by The ASCAP Foundation and made possible by the Bart Howard Estate which showcases the work of emerging songwriters and composers who perform on the Kennedy Center’s Millennium Stage. The ASCAP Foundation Bart Howard Songwriting Scholarship at Berklee College recog- nizes talent, professionalism, musical ability and career potential in songwriting. -
Screams on Screens: Paradigms of Horror
Screams on Screens: Paradigms of Horror Barry Keith Grant Brock University [email protected] Abstract This paper offers a broad historical overview of the ideology and cultural roots of horror films. The genre of horror has been an important part of film history from the beginning and has never fallen from public popularity. It has also been a staple category of multiple national cinemas, and benefits from a most extensive network of extra-cinematic institutions. Horror movies aim to rudely move us out of our complacency in the quotidian world, by way of negative emotions such as horror, fear, suspense, terror, and disgust. To do so, horror addresses fears that are both universally taboo and that also respond to historically and culturally specific anxieties. The ideology of horror has shifted historically according to contemporaneous cultural anxieties, including the fear of repressed animal desires, sexual difference, nuclear warfare and mass annihilation, lurking madness and violence hiding underneath the quotidian, and bodily decay. But whatever the particular fears exploited by particular horror films, they provide viewers with vicarious but controlled thrills, and thus offer a release, a catharsis, of our collective and individual fears. Author Keywords Genre; taboo; ideology; mythology. Introduction Insofar as both film and videogames are visual forms that unfold in time, there is no question that the latter take their primary inspiration from the former. In what follows, I will focus on horror films rather than games, with the aim of introducing video game scholars and gamers to the rich history of the genre in the cinema. I will touch on several issues central to horror and, I hope, will suggest some connections to videogames as well as hints for further reflection on some of their points of convergence. -
Film Reviews
Page 104 FILM REVIEWS “Is this another attack?”: Imagining Disaster in C loverfield, Diary of the Dead and [ Rec] Cloverfield (Dir. Matt Reeves) USA 2007 Paramount Home Entertainment Diary of the Dead (Dir. George A. Romero) USA 2007 Optimum Home Entertainment [Rec] (Dir. Jaume Balagueró & Paco Plaza) S pain 2007 Odeon Sky Filmworks In 1965, at the height of the Cold War, Susan Sontag declared in her famous essay ‘The Imagination of Disaster’ that the world had entered an “age of extremity” in which it had become clear that from now until the end of human history, every person on earth would “spend his individual life under the threat not only of individual death, which is certain, but of something almost insupportable psychologically – collective incineration which could come at any time”. Sontag went on to claim that narratives in which this fate was dramatised for the mass audience in fantastical form – like the monster movies of the 1950s – helped society deal with this stress by distracting people from their fate and normalising what was psychologically unbearable: a kind of vaccination of the imagination, if you will. If this is the case, then Cloverfield, in which Manhattan is destroyed by an immensely powerful sea monster, George A. Romero’s latest zombie movie, Diary of the Dead, and claustrophobic Spanish hit [Rec] are not so much preemptive vaccinations against probable catastrophe, but intermittently powerful, if flawed, reminders of actual calamity. In all three films some of the most destabilising events and anxieties of the past decade – including 9/11 (and the fear of terrorist attacks striking at the heart of American and European cities), Hurricane Katrina, the 2004 Tsunami, and the SARS virus– are reconfigured as genrebased mass market entertainment.