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Home > Books > Carrie's War
(Audio Cassette image)
Nina Bawden (Author)
These are the most recent 10 blog posts about Carrie's War in JacketFlap's Children's Publishing Blog Reader
Carrie's War (Oberon Plays for Younger People)
Oberon Books Ltd., Kindle Edition, 2012
Oberon Books, Paperback, 2007
Carrie's War (Complete & Unabridged)
BBC Audiobooks America, Audio CD, 2006
Carrie's War
Puffin Books, Paperback, 2003
Carrie's War (Cover to Cover)
Cover to Cover Cassettes Ltd, Audio Cassette, 2002
Puffin, Paperback, 2000
Carrie's War (Puffin Classics)
Penguin Children's Audiobooks, Audio Cassette, 1998
Carrie's War (Puffin Modern Classics)
Carrie's War: Play (Oxford Playscripts)
Oxford University Press, Paperback, 1997
Hamish Hamilton Ltd, Hardcover, 1995
Lippincott Williams & Wilkins, Library Binding, 1992
Hamlyn young books, Hardcover, 1992
Carrie's War (Cover to cover story tapes)
Penguin Books Ltd, Audio Cassette, 1989
Yearling, Paperback, 1989
Carrie's War (Puffin Cover to Cover Story Tape)
Penguin Children's Audiobooks, Paperback, 1988
CTC Carries War 1 Vol
Chivers Audio Books, Audio Cassette, 1987
Carrie's War (Complete and Unabridged) Audiobook
Cover to Cover, Audio Cassette, 1987
Carrie's War (Puffin Books)
Puffin / Penguin Books, Paperback, 1982
Viking Pr, Paperback, 1975
Chivers North America, Hardcover, 1973
Gollancz, Hardcover, 1973
Read the First Chapter Free
"Carrie's War" is an unforgettable Second World War story about two evacuee children by Nina Bawden, author of the Guardian Children's Fiction Award winning novel "The Peppermint Pig". Perfect for fans of "Goodnight Mister Tom by Michelle Magorian". It is the Second World War and Carrie and Nick are evacuated from London to a small town in Wales, where they are placed with strict Mr Evans and his ... More
"Carrie's War" is an unforgettable Second World War story about two evacuee children by Nina Bawden, author of the Guardian Children's Fiction Award winning novel "The Peppermint Pig". Perfect for fans of "Goodnight Mister Tom by Michelle Magorian". It is the Second World War and Carrie and Nick are evacuated from London to a small town in Wales, where they are placed with strict Mr Evans and his timid mouse of a sister. Their friend Albert is luckier, living in Druid's Bottom with Hepzibah Green who tells wonderful stories, and the strange Mister Johnny, who speaks a language all of his own. Carrie and Nick are happy to visit Albert there, until one day when Carrie does a terrible thing - the worst thing she ever did in her life...Based on her own childhood, Nina Bawden's enchanting story "Carrie's War" has delighted readers for almost 40 years.
Publisher Puffin Books
Binding Paperback (23 editions)
# of Pages N/A
Read the First Chapter of Carrie's War for Free
About Nina Bawden (Author) : Nina Bawden is a published author of children's books and young adult books. Some of the published credits of Nina Bawden include Off the Road (Unabridged), Devil by the Sea, Ruffian on the Stair (Vir... more
View Nina Bawden's profile


Byron Bay, budget accomodation, Gold Coast hinterland, QLD cheap places to stay and budget Northern Rivers, NSW north coast accommodation under $80 per night.
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1 minute walk from the beach and just 150 metres to the Richmond River, the Australian Hotel features free Wi-Fi, a restaurant and a bar. All rooms have a refrigerator, electric kettle, and flat-screen TV with cable channels. Shared bathroom facilities, and bistro with indoor and outdoor seating and beer garden.
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The Attr interface represents an attribute in an Element object. Typically the allowable values for the attribute are defined in a schema associated with the document.
Attr objects inherit the Node interface, but since they are not actually child nodes of the element they describe, the DOM does not consider them part of the document tree. Thus, the Node attributes parentNode, previousSibling, and nextSibling have a null value for Attr objects. The DOM takes the view that attributes are properties of elements rather than having a separate identity from the elements they are associated with; this should make it more efficient to implement such features as default attributes associated with all elements of a given type. Furthermore, Attr nodes may not be immediate children of a DocumentFragment. However, they can be associated with Element nodes contained within a DocumentFragment. In short, users and implementors of the DOM need to be aware that Attr nodes have some things in common with other objects inheriting the Node interface, but they also are quite distinct.
The attribute's effective value is determined as follows: if this attribute has been explicitly assigned any value, that value is the attribute's effective value; otherwise, if there is a declaration for this attribute, and that declaration includes a default value, then that default value is the attribute's effective value; otherwise, the attribute does not exist on this element in the structure model until it has been explicitly added. Note that the Node.nodeValue attribute on the Attr instance can also be used to retrieve the string version of the attribute's value(s).
If the attribute was not explicitly given a value in the instance document but has a default value provided by the schema associated with the document, an attribute node will be created with specified set to false. Removing attribute nodes for which a default value is defined in the schema generates a new attribute node with the default value and specified set to false. If validation occurred while invoking Document.normalizeDocument(), attribute nodes with specified equals to false are recomputed according to the default attribute values provided by the schema. If no default value is associate with this attribute in the schema, the attribute node is discarded.
In XML, where the value of an attribute can contain entity references, the child nodes of the Attr node may be either Text or EntityReference nodes (when these are in use; see the description of EntityReference for discussion).
The DOM Core represents all attribute values as simple strings, even if the DTD or schema associated with the document declares them of some specific type such as tokenized.
The way attribute value normalization is performed by the DOM implementation depends on how much the implementation knows about the schema in use. Typically, the value and nodeValue attributes of an Attr node initially returns the normalized value given by the parser. It is also the case after Document.normalizeDocument() is called (assuming the right options have been set). But this may not be the case after mutation, independently of whether the mutation is performed by setting the string value directly or by changing the Attr child nodes. In particular, this is true when character references are involved, given that they are not represented in the DOM and they impact attribute value normalization. On the other hand, if the implementation knows about the schema in use when the attribute value is changed, and it is of a different type than CDATA, it may normalize it again at that time. This is especially true of specialized DOM implementations, such as SVG DOM implementations, which store attribute values in an internal form different from a string.
<!ENTITY e '...
...'> [...]> "x=5&e;y=6"
The Element node this attribute is attached to or null if this attribute is not in use.
The type information associated with this attribute.
True if this attribute was explicitly given a value in the instance document, false otherwise.
On retrieval, the value of the attribute is returned as a string.
Returns whether this attribute is known to be of type ID (i.e.
Returns the name of this attribute. If Node.localName is different from null, this attribute is a qualified name.
The type information associated with this attribute. While the type information contained in this attribute is guarantee to be correct after loading the document or invoking Document.normalizeDocument(), schemaTypeInfo may not be reliable if the node was moved.
True if this attribute was explicitly given a value in the instance document, false otherwise. If the application changed the value of this attribute node (even if it ends up having the same value as the default value) then it is set to true. The implementation may handle attributes with default values from other schemas similarly but applications should use Document.normalizeDocument() to guarantee this information is up-to-date.
On retrieval, the value of the attribute is returned as a string. Character and general entity references are replaced with their values. See also the method getAttribute on the Element interface.
On setting, this creates a Text node with the unparsed contents of the string, i.e. any characters that an XML processor would recognize as markup are instead treated as literal text. See also the method Element.setAttribute().
Some specialized implementations, such as some [SVG 1.1] implementations, may do normalization automatically, even after mutation; in such case, the value on retrieval may differ from the value on setting.
If validation occurred using an XML Schema [XML Schema Part 1] while loading the document or while invoking Document.normalizeDocument(), the post-schema-validation infoset contributions (PSVI contributions) values are used to determine if this attribute is a schema-determined ID attribute using the schema-determined ID definition in [XPointer] .
If validation occurred using a DTD while loading the document or while invoking Document.normalizeDocument(), the infoset [type definition] value is used to determine if this attribute is a DTD-determined ID attribute using the DTD-determined ID definition in [XPointer] .
Note: XPointer framework (see section 3.2 in [XPointer] ) consider the DOM user-determined ID attribute as being part of the XPointer externally-determined ID definition.
using mechanisms that are outside the scope of this specification, it is then an externally-determined ID attribute. This includes using schema languages different from XML schema and DTD.
If validation occurred while invoking Document.normalizeDocument(), all user-determined ID attributes are reset and all attribute nodes ID information are then reevaluated in accordance to the schema used. As a consequence, if the Attr.schemaTypeInfo attribute contains an ID type, isId will always return true.
DOMException NO_MODIFICATION_ALLOWED_ERR: Raised when the node is readonly.


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Jeff Sessions on Budget & Economy
Republican Jr Senator (AL)
Bailout well-intentioned, but too much federal intervention
In campaign stops around Alabama, Sessions and Figures both said people voiced concerns about the economy.
Figures said people are "really finding it harder and harder to make ends meet. Look where we are. We went from a nation in the black to a nation in the red. Now we're up to trillions of dollars in the red," she said. "My opponent voted with the president 98 percent of the time."
But Sessions broke with the Bush administration in voting against the financial bailout bill on Oct. 1. "Though well-intentioned, the administration's plan represents unprecedented governmental intervention in the economy," Sessions said in a statement. Sessions said he doesn't believe in "protecting reckless investors" but supports "maintaining a healthy framework for investment."
Figures said she doesn't think anybody will be immune from the financial crisis. Without action by Congress, she said more jobs will be lost. Source: Associated Press on www.AL.com on 2008 Alabama Senate Debate , Oct 11, 2008
Tighten bankruptcy rules; it costs society & is immoral
The Senate voted overwhelmingly today to overhaul the nation's bankruptcy laws and make it harder for people to erase their debts. The lopsided vote, 83 to 15, makes it far more likely that the federal bankruptcy code will be rewritten this year. The House has passed a similar bill, and Pres. Bush has signaled that he will sign it.
The bill's sponsors said it would end abuses by people who have the ability to pay some of their debts but who choose instead to erase them by filing for bankruptcy. They said that abusive debtors who entered bankruptcy had forced up the cost of borrowing for all other consumers. "They have to raise the interest rates on all the rest of us," said Senator Jeff Sessions, Republican of Alabama. "I absolutely think this is a moral decision," Mr. Sessions said of his support for the bill, describing it as an issue of personal responsibility. "It's unhealthy to promote the idea that a person who can pay a substantial portion of his or her debts can just walk away." Source: Philip Shenon, NY Times on 2002 election , Mar 16, 2001
Voted NO on $192B additional anti-recession stimulus spending.
Congressional Summary:
$7 billion Increase in Fund balance appropriation (without fiscal year limitation).
With respect to the Unemployment Trust Fund and to the Black Lung Disability Trust Fund: Removes the FY2010 limitation as well as the specific dollar amount for such advances, replacing them with such appropriations as may be necessary.
Increases from $315 billion to $400 billion the maximum loan principal for FY2009 commitments to guarantee single family loans insured under the Mutual Mortgage Insurance Fund (MMIF).
Increases from $300 billion to $400 billion the limit on new Government National Mortgage Association (GNMA or Ginnie Mae) commitments to issue guarantees under the Mortgage-Backed Securities Loan Guarantee Program.
Proponent's argument to vote Yes:Rep. LEWIS (D, GA-5): This bipartisan bill will provide the necessary funds to keep important transportation projects operating in States around the country. The Highway Trust Fund will run out of funding by September. We must act, and we must act now.
Opponent's argument to vote No:Rep. CAMP (R, MI-4): [This interim spending is] needed because the Democrats' economic policy has resulted in record job loss, record deficits, and none of the job creation they promised. Democrats predicted unemployment would top out at 8% if the stimulus passed; instead, it's 9.5% and rising. In Michigan, it's above 15%. The Nation's public debt and unemployment, combined, has risen by a shocking 40% [because of] literally trillions of dollars in additional spending under the Democrats' stimulus, energy, and health plans.
We had a choice when it came to the stimulus last February. We could have chosen a better policy of stimulating private-sector growth creating twice the jobs at half the price. That was the Republican plan. Instead, Democrats insisted on their government focus plan, which has produced no jobs and a mountain of debt. Reference: Omnibus Appropriations Act Amendment; Bill H.R. 3357 ; vote number 2009-S254 on Jul 30, 2009
Voted YES on modifying bankruptcy rules to avoid mortgage foreclosures.
Congressional Summary:Amends federal bankruptcy law to exclude debts secured by the debtor's principal residence that was either sold in foreclosure or surrendered to the creditor.
Proponent's argument to vote Yes:Rep. PETER WELCH (D, VT-0): Citigroup supports this bill. Why? They're a huge lender. They understand that we have to stabilize home values in order to begin the recovery, and they need a tool to accomplish it. Mortgages that have been sliced and diced into 50 different sections make it impossible even for a mortgage company and a borrower to come together to resolve the problem that they share together.
Sen. DICK DURBIN (D, IL): 8.1 million homes face foreclosure in America today. Last year, I offered this amendment to change the bankruptcy law, and the banking community said: Totally unnecessary. In fact, the estimates were of only 2 million homes in foreclosure last year. America is facing a crisis.
Opponent's argument to vote No:
Sen. JON KYL (R, AZ): This amendment would allow bankruptcy judges to modify home mortgages by lowering the principal and interest rate on the loan or extending the term of the loan. The concept in the trade is known as cram-down. It would apply to all borrowers who are 60 days or more delinquent. Many experts believe the cram-down provision would result in higher interest rates for all home mortgages. We could end up exacerbating this situation for all the people who would want to refinance or to take out loans in the future.
Rep. MICHELE BACHMANN (R, MN-6): Of the foundational policies of American exceptionalism, the concepts that have inspired our great Nation are the sanctity of private contracts and upholding the rule of law. This cramdown bill crassly undercuts both of these pillars of American exceptionalism. Why would a lender make a 30-year loan if they fear the powers of the Federal Government will violate the very terms of that loan? Reference: Helping Families Save Their Homes Act; Bill HR1106&S896 ; vote number 2009-S185 on May 6, 2009
Voted NO on additional $825 billion for economic recovery package.
Congressional Summary:Supplemental appropriations for job preservation and creation, infrastructure investment, energy efficiency and science, assistance to the unemployed, and State and local fiscal stabilization, for fiscal year ending Sept. 30, 2009.
Proponent's argument to vote Yes:Rep. DAVID OBEY (D, WI-7): This country is facing what most economists consider to be the most serious and the most dangerous economic situation in our lifetimes. This package today is an $825 billion package that does a variety of things to try to reinflate the economy:
creating or saving at least 4 million jobs
rebuilding our basic infrastructure
providing for job retraining for those workers who need to learn new skills
moving toward energy independence
improving our healthcare system so all Americans can have access to quality treatment
providing tax cuts to lessen the impact of this crisis on America's working families.
Rep. JERRY LEWIS (R, CA-51): Most of us would agree that the recent $700 billion Troubled Asset Relief Program (TARP) is an illustration of how good intentions don't always deliver desired results. When Congress spends too much too quickly, it doesn't think through the details and oversight becomes more difficult. The lesson learned from TARP was this: we cannot manage what we do not measure. We cannot afford to make the same mistake again.
Sen. THAD COCHRAN (R, MS): We are giving the executive branch immense latitude in the disbursement of the spending this bill contains. We are doing so without any documentation of how this spending will stimulate the economy. Normally, this kind of information would be contained in an administration budget. For items that have a short-term stimulative effect, most of us will feel comfortable debating their merits as an emergency measure. But there is a great deal of spending that is not immediately stimulative. Reference: American Recovery and Reinvestment Act; Bill H.R.1 ; vote number 2009-S061 on Feb 10, 2009
Voted NO on $60B stimulus package for jobs, infrastructure, & energy.
Supplemental appropriations for:
Infrastructure Investments: Transportation: DOT, FAA, AMTRAK, and FTA
Clean Water (EPA)
Flood Control and Water Resources (ACE)
21st Century Green High-Performing Public School Facilities (ED)
Energy Development (DOE)
Extension of Unemployment Compensation and Job Training
Temporary Increase in Medicaid Matching Rate
Temporary Increase in Food Assistance
Proponent's argument to vote Yes:Rep. DAVID OBEY (D, WI-7): Congress has tried to do a number of things that would alleviate the squeeze on the middle class. Meanwhile, this economy is sagging. Jobs, income, sales, and industrial production have all gone down. We have lost 600,000 jobs. We are trying to provide a major increase in investments to modernize our infrastructure and to provide well-paying construction jobs at the same time.
Opponent's argument to vote No:Rep. JERRY LEWIS (R, CA-41): Just 2 days ago we were debating an $800 billion continuing resolution. Now in addition to being asked to pay for a bailout for Wall Street, taxpayers are being asked to swallow an additional $60 billion on a laundry list of items I saw for the first time just a few hours ago. The Democratic majority is describing this legislation as a "stimulus package" to help our national economy. But let's not fool ourselves. This is a political document pure and simple. If these priorities are so important, why hasn't this bill gone through the normal legislative process? We should have debated each of the items included in this package.
It doesn't take an economist to tell you that the economy needs our help. But what does this Congress do? It proposes to spend billions more without any offsets in spending. The failure to adhere to PAYGO means that this new spending will be financed through additional borrowing, which will prove a further drag on our struggling economy. Reference: Job Creation and Unemployment Relief Act; Bill S.3604&HR7110 ; vote number 2008-S206 on Sep 26, 2008
Voted YES on paying down federal debt by rating programs' effectiveness.
Amendment intends to pay down the Federal debt and eliminate government waste by reducing spending on programs rated ineffective by the Program Assessment Rating Tool (PART).
Proponents recommend voting YES because:
My amendment says we are going to take about $18 billion as a strong signal from the Congress that we want to support effective programs and we want the taxpayer dollars spent in a responsible way. My amendment doesn't take all of the $88 billion for the programs found by PART, realizing there may be points in time when another program is not meeting its goals and needs more money. So that flexibility is allowed in this particular amendment. It doesn't target any specific program. Almost worse than being rated ineffective, we have programs out there that have made absolutely no effort at all to measure their results. I believe these are the worst offenders. In the following years, I hope Congress will look at those programs to create accountability.
Opponents recommend voting NO because:
The effect of this amendment will simply be to cut domestic discretionary spending $18 billion. Understand the programs that have been identified in the PART program are results not proven. Here are programs affected: Border Patrol, Coast Guard search and rescue, high-intensity drug trafficking areas, LIHEAP, rural education, child abuse prevention, and treatment. If there is a problem in those programs, they ought to be fixed. We ought not to be cutting Border Patrol, Coast Guard search and rescue, high-intensity drug trafficking areas, LIHEAP, rural education, and the rest. I urge a "no" vote. Reference: Allard Amendment; Bill S.Amdt.491 on S.Con.Res.21 ; vote number 2007-090 on Mar 22, 2007
Voted YES on $40B in reduced federal overall spending.
Vote to pass a bill that reduces federal spending by $40 billion over five years by decreasing the amount of funds spent on Medicaid, Medicare, agriculture, employee pensions, conservation, and student loans. The bill also provides a down-payment toward hurricane recovery and reconstruction costs. Reference: Work, Marriage, and Family Promotion Reconciliation Act; Bill S. 1932 ; vote number 2005-363 on Dec 21, 2005
Voted YES on prioritizing national debt reduction below tax cuts.
Vote to table [kill] an amendment that would increase the amount of the budget that would be used to reduce the national debt by $75 billion over 5 year. The debt reduction would be offset by reducing the tax cut in the budget framework from $150 billion Reference: Bill S Con Res 101 ; vote number 2000-55 on Apr 5, 2000
Voted YES on 1998 GOP budget.
Approval of the 1998 GOP Budget which would cut spending and taxes.
Status: CR Agreed to Y)78; N)22 Reference: H. Con. Res. 84 as amended; Bill H. Con. Res. 84 ; vote number 1997-92 on May 23, 1997
Voted YES on Balanced-budget constitutional amendment.
Approval of the balanced-budget constitutional amendment.
Status: Joint Resolution Defeated Y)66; N)34 Reference: S. J. Res. 1; Bill S. J. Res. 1 ; vote number 1997-24 on Mar 4, 1997
Balanced Budget Amendment with 3/5 vote to override.
Sessions signed H.J.RES.1& S.J.RES.22
Constitutional Amendment to prohibit outlays for a fiscal year (except those for repayment of debt principal) from exceeding total receipts for that fiscal year (except those derived from borrowing) unless Congress, by a three-fifths rollcall vote of each chamber, authorizes a specific excess of outlays over receipts.
Requires a three-fifths rollcall vote of each chamber to increase the public debt limit.
Directs the President to submit a balanced budget to Congress annually.
Prohibits any bill to increase revenue from becoming law unless approved by a majority of each chamber by rollcall vote.
Authorizes waivers of these provisions when a declaration of war is in effect or under other specified circumstances involving military conflict.
Amendment to the Constitution shall be valid when ratified by the legislatures of three-fourths of the several States within seven years after the date of its submission for ratification
Source: Joint Resolution for Amendment to the Constitution 09-HJR1 on Jan 6, 2009
Disapprove of increasing the debt limit.
Sessions co-sponsored Joint Resolution on Debt Limit
Congressional Summary:JOINT RESOLUTION: Resolved by the Senate and House of Representatives: That Congress disapproves of the President's exercise of authority to increase the debt limit, as submitted on Jan. 12, 2012.
Congressional Vote: Vote #4 in the House: 239 Yeas; 176 Nays; Senate declined to vote on the Resolution.
OnTheIssues Explanation: On Jan. 12, 2012, Pres. Obama notified Congress of his intent to raise the nation's debt ceiling by $1.2 trillion, two weeks after he had postponed the request to give lawmakers more time to consider the action. Congress then had 15 days to say no before the debt ceiling is automatically raised from $15.2 trillion to $16.4 trillion. Hence the debt ceiling was increased.
In Aug. 2011, the US government was nearly shut down by an impasse over raising the debt ceiling; under an agreement reached then, the President could raise the debt limit in three increments while also implementing $2.4 trillion in budget cuts. The agreement also gave Congress the option of voting to block each of the debt-ceiling increases by passing a "resolution of disapproval." The House disapproved; the Senate, by declining to vote in the 15-day window, killed the Resolution. Even if the resolution were passed, Pres. Obama could veto it; which could be overridden by a 2/3 majority in the House and Senate. The House vote only had 57% approval, not enough for the 67% override requirement, so the Senate vote became moot. The same set of actions occurred in Sept. 2011 for the first debt ceiling increase. Source: HJRes.98/SJRes34 12-SJR34 on Jan 23, 2012
Audit the Federal Reserve & its actions on mortgage loans.
Sessions co-sponsored Federal Reserve Transparency Act
The Federal Reserve Transparency Act directs:
the completion, within 12 months, the audit of the Federal Reserve System and of the Federal Reserve Banks; with a detailed report of audit findings and conclusions.
Audit and report on the loan files of homeowners in foreclosure in 2009 or 2010, required as part of the enforcement actions taken by the Federal Reserve against supervised financial institutions.
Prescribes audit contents, including:
the guidance given by the Federal Reserve to independent consultants retained by the supervised financial institutions regarding procedures to be followed in conducting the file reviews,
the factors considered by independent consultants when evaluating loan files and the results obtained pursuant to those reviews, and
the determinations made by such consultants regarding the nature and extent of financial injury sustained by each homeowner as well as the level and type of remediation offered.
Source: H.R.24&S.209 13-S0209 on Feb 4, 2013
Biennial budget and appropriations process.
Sessions signed Biennial Budgeting and Appropriations Act
A bill to provide for a biennial budget process and a biennial appropriations process and to enhance oversight and the performance of the Federal Government.
Amends the Congressional Budget Act of 1974 to require: (1) biennial (currently, annual) budget resolutions; (2) biennial appropriations Acts; and (3) biennial government strategic and performance plans.
Defines the budget biennium as the two consecutive fiscal years beginning on October 1 of any odd-numbered year.
Requires the Director of the Office of Management and Budget (OMB) to: (1) determine the impact and feasibility of changing the definition of a fiscal year and the budget process based on that definition to a two-year fiscal period with a biennial budget process based on such period; and (2) report the findings to the House and Senate Budget Committees.
Source: S.169 2009-S169 on Jan 8, 2009
Click here for definitions & background information on Budget & Economy. .
Click here for VoteMatch responses by Jeff Sessions.
Click here for a summary of Jeff Sessions's positions on the AmericansElect.org quiz.
Click here for a summary of Jeff Sessions's positions on all issues.
Click here for contact info for Jeff Sessions>/a>.
Click here for a Wikipedia profile of Jeff Sessions.
Click here for a Ballotpedia profile of Jeff Sessions.
Other candidates on Budget & Economy: Jeff Sessions on other issues:
NSA:Bolton
U.N.:Haley
Econ.:Kudlow
Staff:Mulvaney
DHS:Nielsen
V.P.:Pence
USDA:Perdue
State:Pompeo
V.A.:Shulkin
Pres.:Trump
Pres.:Barack Obama
V.P.:Joe Biden
Pres.:George W. Bush
V.P.:Dick Cheney
EPA:Christie Whitman
Pres.:PBill Clinton
V.P.:Al Gore
DOL:Robert Reich
A.G.:Janet Reno
Cabinet Archives:
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You find in this category information related to the management of media projects as well as marketing related topics.
The term "video marketing" isn't consistently used. In a corporate environment "video marketing" is part of the overall marketing strategy and therefore not just related to one film. In a corporate environment, where web-videos are frequently produced, all video productions need to be aligned to the corporate video marketing strategy, which also translates the corporate branding into a practical guides. Additionally, since any video project is project management, the corporate project management approach needs to be applied as well. Here, additional aspects such as reusability of media as well as legal aspects need to be considered as well. Therefore, instead of "video marketing" often the term "video strategy" is used.
In a non-corporate environment the term "video marketing" is more often used for the sales and pre-sales activities related. Any sponsor is going to ask about the potential audience of a film – so who is going to watch it? Who is going to pay money for it? If a target group isn't defined then the distribution phase cannot be planed – and many other thinks.
Do I have a business case for the production of a video?
Which genre or "production format" should I use for the video (videos)?
How does the video production fit into the overall marketing strategy?
Which outline should the videos have?
How does the video strategy look like?
How do I publish the video?
These questions fall into the category "video marketing" and there answers are going to influence the four media management phases (Preproduction, Production, Post-Production and Distribution). Video marketing is a layer above these media management phases.
Below you find a variety of categories, which all cover video marketing topics and contain many articles related.


paths of righteousness for his name's sake.
art with me; thy rod and thy staff they comfort me.
The painting is �Thomas Blacksher, II.
It is used with permission of the Christ Centered Mall's Christian Art Center.


Interview with Nina Runa Essendrop, our guest artist for our June 30th 2018 workshop.
Nina Runa Essendrop is a Danish LARP designerand performance artist who has spent the majority of her life exploring the world through live-action role play. Her LARPs focus on investigating the basic sensory experiences and human emotions that are so common in our everyday lives, yet are so often pushed aside in favor of more rational ideas and actions. Favoring abstract soundscapes over words or dialogue, she encourages her performers and audiences to experience both the joys and sorrows of living through play as a way of preparing for real life outside the theater.
Nina is a member of the Nordic Larp community, she has designed and produced LARPs all over the world and collaborated with artists in Europe and the United States. She holds a master's degree in theatre and dance from the University of Copenhagen.
In this interview by Laura Anderson she discusses larp in general and her own style of creating events.
Laura Anderson: When most people think of LARP, I think they think of people dressing up in costumes to spend a weekend in a sort of Lord of the Rings fantasy. Your art provides a broader definition of what LARP and games can be. Can you describe that and what LARP is beyond that conception?
Nina Runa Essendrop: I think LARP has developed in a lot of different directions, from being mainly fantasy (as you describe) to cover a broad range of fictions, designs and experiences. The kind of LARP I work with is very inspired by dance, performance art and physical theatre. It is more abstract or poetic experiences, using physical tools (such as movements and sensory impressions), than a game to be played or a tool for narrative storytelling.
It is a bit hard for me to give a precise definition of what LARP is today. It can be a lot of different things. It is a lot like children's play, where everybody agrees to be someone else or to react or interpret their surroundings differently than they normally do. I think an important aspect of LARP is that you play for the sake of your own experience rather than to entertain others, but at the same time, a LARP is always brought to life as a collaboration between the participants within the frame that the LARP's designer has created.
LARP is almost always immersive because you use your own body to play out the character and situations rather than watching it from a distance. But unlike classic fantasy LARPs, the LARPs I make often create a kind of bodily immersion or immersion into a situation or state of being rather than letting the players immerse into a specific fictional universe.
Do you consider all of your performances LARP? If so, what makes them so, and how is LARP different than a more traditional performance?
One of the differences between LARP and traditional performance is the way it is played/performed. Larpers play LARPs with the purpose of creating an experience for themselves, even when there is an audience present. Designing a LARP with an audience means valuing both the experience of the larpers and the experience of the audience and creating a frame that makes these two (often different experiences) compliment and enhance each other.
LARPs are often no less serious or thoroughly designed than most performance pieces, but priorities are more on experience, interactions or personal stories than on aesthetics or ideas which should be communicated through the piece. That being said, some LARPs have a strong aesthetic focus, and some performances could for all intent and purposes as well have been LARPs. But the framing and context matters (at least that is my experience).
I consider my performances to be LARPs because this is the media I have learned to design within and the context my designs originate from (even though they are lot more inspired by traditional performance or other art forms than most other LARPs are).
Where do you draw inspiration for your LARP designs and performance pieces?
I think LARP design for me is more and more becoming a way to express sensations or experiences that feel essential but are hard to put into words. I often come back to the joy of moving and sensing or the small poetic moments that happen all the time and can have this undefinable beauty which can be hard to acknowledge because it is not based on logic.
Like when a smile all of a sudden means a lot to you, even though you are not sure why, and if you start interpreting it, it becomes complicated and harder to deal with, and therefore you put it away, but in the moment it was important. Or when you are walking outside and the light and the shapes of the branches somehow seem to line up with your thought patterns, and the moment feels meaningful even though you don't know why.
I sometimes get this more-or-less undefinable sensation of meaningfulness from dreams. I once dreamed about the world ending, and even though it was sad, it also had this beauty about it. I wrote a freeform game to try to catch and pass on this sensation because it felt meaningful, even though I did not fully understand it. Creating LARPs or performances or freeform games around sensations or experiences makes it possible to share them and legitimise them without being able to put them into words.
Another source of inspiration is music and film, dance, theatre, performance or other artistic expressions. To mention some examples of inspiration, I generally love ballet (and actually a lot of dance styles); classical music like Debussy, Satie, Chopin or Grieg; music by artists like Leonard Cohen or Tom Waits; fantastic, poetic and philosophical novels and film (such as novels by Neil Gaiman and Michael Ende or films by Wes Anderson or Alexander Jodorowsky); abstract, physical, poetic theatre, as for example Danish Odin theatre or American Robert Wilson; and presence based performances, such as performances by Marina Abramovic or Danish Sisters Academy.
And I am very inspired by Mark Johnson's body-mind theory, Rudolf Labans dance theory and theory on physical theatre by amongst others Michael Chekhov, Jerzy Grotowski, Eugenio Barba and Antonin Artaud. And of course I am inspired by a lot of different LARP designers. I also find it inspiring to design for a specific purpose or within a given frame that sets restrictions. Or designing in collaboration with others, finding the ideas that we are all passionate about, and then creating a frame and finding the tools to deal with these themes.
Your work seems to delve into what it means to be human at our core – our emotions, our movements, our senses, loss, discovery, even death. Why are you interested in exploring these topics through your performances?
I think these are topics I have always felt drawn towards or which felt meaningful for me to work with. All of these things are so close and so relevant for our experience of more-or-less every moment, but we tend to focus more on ideas about who we are or should be, what is objectively real, and what the rest of the world is or should be, and then forget about the felt experience that is never-the-less real and present all the time.
Especially for movements, emotions and senses, I find this to be true. We move and sense and feel all the time, and there is a lot of joy and meaning to be found in just noticing these qualities.
For themes like loss, discovery and death, these are inevitable in our lives, and something we have to deal with. I think all of these themes can have strongly poetic notes. Even in deep sadness, there can be a kind of beauty or presence, and colouring these emotions in our minds before actually being faced with them might make it just a little easier to react in the situation.
I sometimes think about death and am amazed that there is this huge change coming for all of us, and we have no idea what the experience is going to be like. But maybe that is true for almost all experiences. Humans can be amazing at adjusting to situations, but also to ignore the obvious or present. Being reminded how fantastic it is to be human and all the things we can do and experience and make meaningful for ourselves might be good once in a while.
I think larping has another strength here, letting us feel a lot of feelings without "real" consequences. In LARP it can be amazing to experience a big tragedy or to be really scared. I think this is true for most art forms, but very present in LARP where you feel the feelings through your character, reacting with your real body in a situation that feels real, rather than experienced through a character in a movie or play. LARP for me is a really good media to explore the fundamentals of what it is like to be human, because we can create these circumstances that, even when they are very abstract, become real to us because we for a while all agree to experience them and interact with them as though they where real.
Relatedly, how does exploring these basic sensory experiences allow us to perceive the world in new or different ways?
This leads back to Mark Johnson and body-mind theory. I believe that perceiving the world through movement and basic sensory experiences is something that everybody is not only capable of, but is doing every single moment of their lives. It is a matter of which of the many, many moment-to-moment experiences we focus on. We often focus on thoughts or interpretations, and shifting the attention to the physical sensations can make the world more clear and allow for another kind of depth. I think it allows us to notice some of the underlaying feelings or sensations that are always present but often ignored.
It sometimes feels like there is a whole world underneath our normal thoughts and perceptions, a secret, unconscious world, which is abstract because it goes beyond what words can express, but which still has a richness of meaning and beauty. I think I have always somehow been chasing this world. When I was a child, I was afraid to grow up because I though that this world would disappear in adult life, and now I can't believe how lucky I am to get to explore this world all the time, going deeper into all kinds of sensations and expressions, learning how things work without having to be able to verbally express this. I think this deep secret world (or world perception) is accessible and created through basic sensory experiences, as well as being connected to imagination and abstract meaningfulness.
From what I've seen of your work, it seems like there is little use of spoken words. Why do you tend to avoid this, and how is sound, or the absence of sound, incorporated into your work? What role does it play?
I am often attracted to the abstract because it allows for this undefinable meaningfulness, and it allows me to interpret the kind of meaning that feels real or relevant for me here and now. Music and sound are amazing to create abstract meaningfulness. It influences us intuitively and can contain many intricate layers that are perceived as a whole. The absence of words similarly allows for private interpretations. Words can often be very defining and can close the space for free interpretation.
I like words as a poetic means to pass on emotions or communication, but I am also a bit scared of words, because through language, we can influence each other's way of seeing the world, and define these points of views as indisputable truth. I don't want others to form my life and my world views, because I don't believe they can do this in the way that is best for me. Or the other way around.
Inspiring others is great, and sharing as much as we can is important, but I think the power of words is often underestimated or misused. I like to use words with the deliberate purpose of negotiating reality (so everyone knows what's at stake) or restrict the use of words to other specific purposes, and I like creating LARPs or performances with no words at all, because it allows the participants to have their own interpretations of the situations without having to negotiate verbally with others.
Removing or limiting the use of spoken language also allows the participants to focus on their movements and sensations, which I think we otherwise often forget to do. I read Mark Johnson's body-mind theory as part of my university study and it made a big impression. One of the basic ideas is, that we fundamentally experience the world through our bodies (movements, senses, emotions), but that we often consciously focus on concept, logic and words.
Is there anything else you'd like to say about your work and your process?
I hope and think that LARP as a media will continue to grow. Both LARP used to create performances or other kinds of artistic experiences, LARP used as a tool for education or to promote political awareness and LARP as a media in itself.
I think some of the qualities and tools that we enhance through LARP, such as flexibility in world view, empathy with people who think and experience differently than ourselves, attention to all kind of aspects and experiences of life, and the ability to design small, temporary universes and thereby learn to create and navigate reality is extremely important in the world today.
For myself, I hope to be able to keep doing what I do now, use LARP in collaboration with different artistic fields to explore aspects of experienced existence and search for the meaningful, underlying qualities beyond words.


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- Mix together the ginger, lemon juice, soy sauce, garlic, sesame oil, sugar, pear, and onion in a bowl.
- In a plastic bag or pan pour the marinade over the beef. Let sit in the refrigerator for an hour or two.
- Mean while, prepare the cilantro lime salsa and add the chopped green onion.
- On a saute pan, heat the oil until the pan is hot. Add the beef and saute for 2-3 minutes on each side or until medium rare.
- Let the meat rest for 5 minutes, then slice against the grain.
- Place the beef on the tacos and pour the soy sesame dressing over the beef and top with tomatoes and salsa.


text:
Catharsis on the Mall plans to have 45-foot-tall nude statue of woman on National Mall for months
By fox5dc.com staff
WASHINGTON - The organizers of Catharsis on the Mall are planning to have a 45-foot-tall statue of a naked woman near the Washington Monument for several months.
The National Park Services confirmed to FOX 5 it received and was reviewing a public gathering permit application for Catharsis on the Mall which would include erecting a 45-foot tall statue of a naked woman.
Organizers for the event said the statue, called "R-Evolution," is "a woman standing in her strength and power… expressing her humanity; how she feels when she is safe, when she can just be."
It was created by artist Marco Cochrane in collaboration with model Deja Solis and was first featured at Burning Man, an annual festival held in the Black Rock Desert in Nevada, back in 2015, according to organizers.
Catharsis on the Mall said it would like to have the statue next to the Washington Monument looking at the White House beginning Nov. 9 and lasting through March 2018.
Organizers were seeking to raise $90,000 in donations and "vigil keepers," which are people needed to stand watch around the statue 24 hours a day. Catharsis on the Mall said it would only be permitted to have the statue as long as someone is with it 24 hours a day, but National Parks Services did not confirm that information with FOX 5.
"As with all First Amendment activities, our review is to ensure public safety and that park resources and values are protected; we do not take into consideration content of the message presented," National Parks Services told FOX 5.
Catharsis on the Mall is an annual vigil held in D.C. that aims to raise awareness about the Equal Rights Amendment.
(App users, to watch this video, click here)
R-Evolution (9-22-2017) from Catharsis Onthemall on Vimeo.
Gardena police find man gravely wounded after being shot in the head


The process technologies and production economics for polypropylene (PP) are presented. Gas phase and bulk processes from all major technology holders are reviewed. Cost of production economics have been developed for USGC, China, and Middle East locations. Demand by end-use, capacity, and supply/demand/trade data is provided on a global and tri-regional basis.
Process technologies for the production of small scale methanol and DME are presented. Coverage includes both commercial and developing small scale methanol and DME technologies. Key drivers for the development of small scale plants, such as supporting local demand, feedstock availability and options, and potential use as a marine fuel are discussed. Regional production economics for small scale methanol and DME technologies are included. Global and regional supply, demand, and trade for methanol and DME are also provided.
This report examines the technology, cost of production, environmental impacts & restrictions, and markets for the leading fluorocarbons that are widely utilized today, as well as the latest fluorocarbons that are being commercialized to replace legacy fluorocarbons that have negative environmental impacts.
Process technologies for the production of propylene are presented. Coverage includes prevalent byproduct sources of propylene such as conventional fluid catalytic cracking as well as enhanced FCC technologies, steam cracking, and fractionation. On-purpose propylene processes include propane dehydrogenation, methanol to olefins, methanol to propylene, and metathesis. Production economics for byproduct and on-purpose propylene technologies are included on a USGC, Middle East, Western Europe, and China basis. Global and regional supply, demand, and trade for propylene are also provided.
This report provides an updated overview of the technological, economic and market aspects of selected specialty styrenics, including ASA, MBS, MABS, SMMA. Detailed cost of production estimates for various technologies are presented for USGC, China, Western Europe and Middle East.
The purpose of this report is to analyze developing technologies for the production of superabsorbent polymers. Technical and economic aspects of producing SAPs through bio-based acrylic acid and non-acrylate based SAP routes are explored in detail. Technology developments, drivers for development, and commercialization timelines and obstacles are also explored.
The process technology and production economics for polyvinyl alcohol and its key raw material, vinyl acetate, are presented. Comparative cost of production estimates are developed for the USGC, China (acetylene and ethylene-based), Japan, Taiwan, and Western Europe. Global demand by application as well as tri-regional capacity and supply/demand/trade data is provided.


Despite having a great office, a lot of the creative work that I do as part of, or related to, my job does not happen in the office. It's not always "creative work" in the sense that I will draw, but I get a lot of quality thinking, idea generation and broad background reading done when relaxing at the sea. And I definitely enjoy "taking work home" in this sense!
The picture below isn't an impressionist painting (although I am fond of art, too), it represents something that I am really passionate about: Observing the world around you and discovering physics, and specifically physical oceanography, everywhere. I can't help seeing it, but I want other people to see it, too: In puddles or the sink, in rivers, lakes, the sea. Here you see pollen on the surface of the Kiel fjord and you can use this to deduct something about waves over the last couple of hours as well as ocean currents from it! (How? Check out the @fascinocean_kiel post on the topic).
Being close to water is very important to me. So much that I chose this selfie of me inside a "Strandkorb" over more formal portrait shots to illustrate an interview that I gave on Social Media Consultant Susanne Geu's blog (link!) on being a #DigitalScientist. Since a large part of my job is related to using social media as a scientist, I was very excited about getting this opportunity to present myself! Also I really enjoy the opportunities that the web presents to communicate science in many different formats to many different people.
The second big part of my work revolves around creating informal learning opportunities, and I love doing this collaboratively. In the picture you see me and part of my team work on further improving the "energie:labor", a school lab in which we have school classes visit us for a day to work on energy in the climate system with them. Here we brainstorm on how to better integrate all the different experiences the students make throughout the day in a final activity, and how to help them compile it into a take-home message that they will hopefully remember for a long time.
In the "energie:labor", students conduct experiments with me and my team to investigate different aspects of the climate system. They spend about half the day becoming experts on five different aspects, before they then come together into teams to combine their expertise and use it to explain things going on in a simple climate model. I really like how hands-on experiments complemented with the climate model give students an idea of how climate scientists work and where challenges might arise.
Even though I am trained as an ocean modeller, what I love best are tank experiments. This is how I spend rainy weekends (or sunny ones, if there is something I really want to try) and I am trying to incorporate my expertise in how to use this kind of experiments in teaching in my day job. I just submitted an article on the process you see in the tank below, double-diffusive mixing.
10. And where are we going from here?
Actually, I have no idea. And as an example, below you see me and my sisters a loooong time ago, playing music at Ratzeburger Segelschule (where I used to work as sailing instructor for many years), to illustrate that there are things that have I have always been passionate about: Being in/on/near water. Doing creative things in one way or another. Working in a team. Leading. Instructing. Right now, all of this is combined in my job. Are there other ways these passions can be combined? For sure! For example when I finally fulfil my dream and live in my light house, from which I will watch the sea, create materials, run workshops, all related to oceanography scicomm.
This entry was posted in #SciCommChall, energie:labor on May 10, 2018 by mglessmer.
Next week we'll be presenting out new lab on energy in the climate system (read more about it here) at a conference.
The main focus is on actually presenting and conducting the experiments and showing and discussing the materials we developed, but I put together two posters to put up in some corner, to have something to point at while giving a brief overview over the concept and the experiments.
If you are curious, here they are (unfortunately in german, but give me a shout if you would like a translation of something!).
Poster 1 is about the general concept and the three phases of the lab: The overarching question, the experimental phase, and the expert puzzle which we use together with the MSCM model (more about that here) to bring the experts to a common understanding of the system.
Poster 2 is just a bunch of pictures of individual experiments that are being done at the different stations. And I realized I urgently need better pictures for the next conference! Especially pictures with kids on them and not my team.
So here we go! That's what I've been up to recently.
This entry was posted in energie:labor on March 9, 2018 by mglessmer.
At first, I wanted to call this blog post "behind the scenes of a school lab" until I looked through the pictures and realized that all I am showing is people sitting around my desk in my office! Actually, not only sitting — test-running all the experiments for our energie:labor!
First, here is Julian's experiment on atmospheric CO2.
And here an experiment from Jonas' station on the role of the ocean in the climate system. A candle below an air-filled balloon. Can you imagine what will happen next?
Sorry about the jump in perspective — even though I knew what would happen I clearly didn't expect it enough to hold the camera stable. Small consolidation that everybody else clearly jumped, too?
Anyway, the point of that experiment is to look at the heat capacity of air and water. I've written about this before, see here (where we also have pictures of bursting the water-filled balloon because this is how we roll. But only in the lecture theatre, not in my office… ;-)).
Below, we are looking at Jonas' overturning experiment, apparently discussing the work sheets. It's really great how well this team works together on developing all their materials, even though their personal styles span the whole spectrum of teaching styles!
In the picture below, taken on the second day of our dry run a couple of days later, we are looking at Henning's station on the ice-albedo-feedback. As Henning is sitting next to me and we are sitting around my desk, he's unfortunately not even in the picture!
What the guys are doing on the picture below? Using a bike pump to increase the pressure inside that bottle to make a cloud in a bottle.
And then, there comes the most sophisticated piece of equipment of the whole lab: Nicolas' cloud chamber. I'll only tell you this much for now: It's awesome! And you should stay tuned for an upcoming publication on how to build it and how to use it in teaching. Because it's that great!
This entry was posted in demonstration (easy), energie:labor, hands-on activity (easy) and tagged energie:labor, KiFo on December 15, 2017 by mglessmer.
Today was a very exciting day: We launched my new school lab on energy in the climate system! The "energie:labor" is finally up and running again!
Let me walk you through some of the stuff that is going on in the lab.
Below, you see Mirko, who leads the station on the hydrological cycle, and his group working on an experiment.
In the left jar, you see how much smoke a burning piece of paper makes. The students tried this in order to compare it with the jar on the right. Because what they see in there is not just smoke from a burning piece of paper, it's steam from the hot water at the bottom of the jar — a cloud in the jar! And the burning paper was just added to provide aerosols as condensation nuclei for the clouds.
Another part of the energy puzzle of the hydrological cycle: How much do raindrops falling down on the ground actually heat up the ground? The students are looking at the wooden board on the floor, using a thermal imaging camera. They won't see a lot when the bouncing ball hits, but they saw a clear signal with the heavy metal ball they used earlier! Kinda like what we did at the European Researcher's Night (see here).
Now, they are documenting their observations.
And later, they are running an experiment looking at how much moist vs dry air heats up in that insulated container below the lamp to explore the greenhouse effect of water vapour. The setup of this experiment was developed by Julian who is leading a different station on CO2 in the atmosphere, but sadly I don't have any good pictures of that station!
On the table next to the hydrological cycle team, there is Jonas, working on the role of the ocean in the climate system. Below, the students are dunking air-filled bottles into hot and cold water baths to watch how air expands and contracts depending on its temperature.
They seem to be having fun!
They are using a very strong lamp to model the heating by the sun near the equator, and cold packs to cool near the poles.
And they seemed to enjoy playing with food dye!
We have two more stations (or three, including the CO2 station I mentioned above), one on clouds run by Nicolas, and one on ice-albedo-feeback run by Henning. Unfortunately I don't have good pictures of those, either, but I will post pictures of our trial run soon, where they'll be featured, too.
Let's close this by looking at how we brought all our new experts back together (because each group only conducted one station, for which they had almost all morning) — by using the Monash Simple Climate Model! I've written before about how great it is in teaching (see here), and I am still a big fan!
The new "experts" on clouds, the ocean, the hydrological cycle, atmospheric CO2 and ice-albedo feedbacks explained their topics to the rest of their groups. And — surprisingly enough — in the model, you can switch on and off each of these processes individually and see what effect it has on climate!
But all in all, I am very happy with how the launch went, and I am super grateful to my great team! Thanks, Jonas, Julian, Nicolas, Mirko, and Henning (from the left in the picture above)! Hope you are enjoying your well-deserved weekend!
And last not least: Thank you, Frank, for letting us borrow your pupils! They were the nicest group we could have hoped for!
"Ready? Set! Aaaaand go!" was the command given at the start of a thumb wrestling war. In every pair of workshop participants, thumbs were being twisted, squeezed, freed again. We were given only 30 seconds to win! And then the time was over. "Who got how many points? Anybody more than 10?". Nope. Most people only had about three. Which, turns out, was because none of us had listened to the instructions given in the beginning: We had been told to play thumb wrestling, but with the instruction to make as many points as possible. NOT to win against the person we were playing with. So the best strategy would have been to just very quickly tap on the other person's thumb, maybe taking turns, but definitely not to twist, wriggle, squeeze and waste time fighting! Ooooops.
This is how our very busy — but also very exciting — phase at the energie:labor continued. Yesterday, we hosted Klaus Masch, creator of the simulation game "Offshore" (all of the materials for this game are online here), who gave a workshop on the theory behind simulation games and how to implement them in teaching. And since we learn best by doing and then reflecting about it (the equation for this, we learned, is DExR=L, which I remember without looking at my notes, which are on my desk at work while I am home on my sofa. DE being Direct Experience, R reflection, and L learning. And since learning is the product of DE and R, both have to be bigger than zero for learning to occur… (Or, technically, unequal to zero and of the same sign, but maybe the both-negative case doesn't apply here ;-)) See, it left quite an impression!), we got to play the simulation game ourselves.
Now. Everybody who knows me in person knows I HATE playing any kind of games. Hate it with a passion. But since I had read so much about the benefits of simulation games in teaching, I really wanted to try it in order to get a better idea on whether I should get over myself and offer one as part of energie:labor. And I have to say, I am a convert.
In Offshore, students discuss the possible investment of their city into an offshore wind park as reaction to the political decision to quit nuclear power all throughout Germany. They research and adopt the roles of different stakeholders (the mayor, the city council, an investment banking firm, the people building the wind park, scientists, environmental groups) and debate risks and benefits. For us, that meant starting research before lunch, already in our roles, staying in the roles over our lunch breaks (which included lots of negotiations and bilateral conversations already!), doing some more research after, and then, finally, debating in the official debate. I got to play a double role: A student at the Institute of Applied Marine Science who is also active in the environmental group Save the Ocean. In a way, that role was probably the easiest of all: I had clear instructions that I was definitely against the project, so I could just be against everything but didn't have to offer alternatives. All other roles had more balanced roles: Of course the investment people wanted to make as much money as possible from the project, but the role of my boss, for example, a professor in Applied Marine Sciences, was instructed to consider marine protection, but there was still room to interpret that in different ways.
Since Offshore is a frame game, it is quite easily adapted to different situations. One of our participants, for example, could only join after lunch. So a new role, the journalist, was invented for him and he was included in our simulation right away.
Participants in the workshop were all related to the energie:labor or KiFo in some way: Either having previously worked there, or currently working there with student projects or Master theses, or a visiting friend from the University of Applied Sciences who is involved in running their own energy lab that we cooperate with. That was great for me: Now future discussions on whether and how to use a simulation game for the energie:labor can refer to this common experience of playing together for a day, and getting so many useful tips and tricks along the way!
There were also so many useful micro teaching things going on that we can pick and choose from in other contexts, too. Below, for example, you see three participants holding hands: The one drawing on the flip chart has his eyes closed, while both others have their eyes open. And the left person has to guide the pen — through the other two! This, of course, causes a time lag between a signal going out and resulting in something on the paper, which sometimes makes it difficult to navigate the pen. Which is a great simulation of any complex system with a time lagged response: Any action you take doesn't have visible effects right away, so it's easy to over-correct and cause a mess just by being to fast in responding on the changes you (don't) see that were caused by previous actions.
To get back to the thumb-wrestling in the beginning: That micro simulation game is one I, or any of the other participants, for that matter, will never forget. It was a very bold and impressive reminder that collaboration should be the first impulse rather than assuming that every situation, every game is about playing against someone. Maybe that's what won me over to playing?
This entry was posted in energie:labor and tagged energie:labor, energy, simulation games on October 3, 2017 by mglessmer.
Yesterday Alice and I spent the afternoon and evening in the cute coastal town of Eckernförde, enjoying the summer-y weather, the Baltic Sea, and — of course! — the science outreach. It was European Researchers' Night!
The goal was to engage the public in thinking about physics, particularly about energy. What better tool to use than a thermal imaging camera?
I've talked about the many ways you can play with that sort of camera before (see here), but last night was special. To catch people's eyes and engage children as well as grown-ups, we had prepared a couple of fun experiments, for example hitting gummi bears with a hammer and observing how that changes the temperature.
This entry was posted in energie:labor and tagged #SciCommChall, Eckernförde, energie:labor, energy, ERN, European Researchers' Night, thermal imaging camera on September 30, 2017 by mglessmer.
As I mentioned yesterday, I recently contributed to a teacher training on Lotseninsel, a tiny island on the Baltic Sea coast. The training was run by the Ozean:Labor of the Kieler Forschungswerkstatt, and we spent Friday to Sunday there. I'm going to show you some impressions of that weekend here.
We had to pack A LOT of equipment on a small boat in pouring rain to bring everything over to the island.
In the evening, when all the teachers had arrived, we started with the workshops and continued until late in the night. Below you see two groups of teachers working on 3×3 m stretches of the beach, collecting plastic to map the pollution of the beach.
Obviously we had to do the melting ice cube experiment in a workshop on ocean physics!
And again, the second time that same workshop was run in the afternoon for the second group of teachers. Amazing how quickly the weather changed!
Also really cool: Those are baleens, those filters that whales use! Never touched them before.
But we also got some time to enjoy the weather and play with our equipment: Those are Jeannine, Dennis and Johanna, who I had the pleasure to work with. It was great fun!
This entry was posted in energie:labor and tagged Baltic Sea, KiFo, Lotseninsel, melting ice cubes experiment, teacher training on July 8, 2017 by mglessmer.
The KiFo owns a ROV that — until now — has never been fully operational. But since I like a challenge (and have a really skilled research assistant who really deserves all the credit) it's working again!
We first went to test it in a tiny lake on campus.
This was exciting enough, since it seemed to have been leaking on previous attempts.
But this time round it did not, and the lake wasn't deep enough to test whether it was actually water proof even at increasing pressure.
So off to the Kiel Fjord we went!
Well, at least until the laptop battery died. But it's a start! Thanks again for the great work, Nico!!!
This entry was posted in energie:labor and tagged energie:labor, Kiel fjord, KiFo, OpenROV on May 2, 2017 by mglessmer.


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Is Snapchat Threatening Twitter?
Trefis Team Contributor
Great Speculations Contributor Group
Recently, Bloomberg reported that Snapchat's daily active users had crossed 150 million, surpassing Twitter 's figure of 140 million daily active users. While Twitter does not report this metric, it has 310 million monthly active users and the company stated that about 44% of these users interact with the service every day. Snapchat is extremely popular with teens and millennials and is witnessing strong user growth.
In November last year the company introduced "Story explorer", which allows users to see more snaps of a particular moment from every perspective. It thus competes directly with Twitter's "Moments" app. It is also focusing on advertisement revenues and recently hired an executive from Facebook who was in charge of the Facebook Audience Network. This indicates that the company might be putting together a dedicated sales team together and automating its ad buying process. As Twitter appears to be losing advertisers due to low engagement levels and a stagnant user base, four year old Snapchat does appear to be a very strong competitor for Twitter, which is struggling despite a decade of its existence.
The logo of mobile app 'Snapchat' is displayed on a tablet on January 2, 2014 in Paris. Photo credit should read LIONEL BONAVENTURE/AFP/Getty Images)
Snapchat's New Initiatives Can Attract More Advertisers
While Twitter has been taking several steps to increase user engagement and expand its user base, an increasing number of advertisers are planning to decrease their spending on Twitter. Twitter's year-on-year growth in advertising revenue declined from 111% in FY 2014 to 59% in FY 2015. Snapchat's initiatives to attract advertisers will add to Twitter's woes.
Its recent hire from Facebook can help the company to launch an application programing interface which would allow it to automate the ad buying process. An API could also improve Snapchat's ad targeting, increasing the value of its ads and the opportunities for its advertisers. Snapchat's high engagement levels and faster growth rate can attract advertisers to its platform, reducing Twitter's market share in social media advertising in the future. In a 2014 survey, Twitter narrowly beat Snapchat in terms of total minutes spent on their platforms.
Recently, Snapchat reported that users spend nearly 25 to 30 minutes on its platform and the company is witnessing rapid growth. Its video views increased from 2 billion daily views in May 2015 to nearly 7 billion daily views recently. The platform's unique feature of posts getting automatically deleted within 24 hours or once they are viewed is an interesting way of increasing engagement.
Users freely share content on its platform without the fear of being judged as the post automatically gets deleted. While the company has still not aggressively pursued advertisers, it can put a dent on Twitter's advertising revenue, if the latter is not able to increase its engagement and user base. As per our estimates Twitter's U.S. ad revenue per 1,000 timeline views will increase from around $12 in 2016 to $19 by the end of our forecast period.
However, if intense competition from Snapchat leads to a slower increase in these revenues and they reach only $ 14 by the end of our forecast period, there can be a 10% downside to our price estimate.
Certain features offered by Snapchat compete directly with Twitter and the former is more popular with younger users. Twitter is already facing tough competition from Facebook and its advertisers are looking at alternative platforms. If Snapchat pursues an aggressive strategy to woo advertisers, Twitter will feel the heat.
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Another month of books, another month of book covers. Many, many great books came out this month, but I have to say I wasn't quite as blown away by the covers as a whole as I was last month. We also had a little less book cover coverage on site in the past few weeks, though I would advise you to check out this piece by Roman Muradov about designing for Norah Lange's People in the Room. Still, there are a few pretty phenomenal book covers on the Lit Hub September shelves, so before we move them to make way for October (the best month, in my opinion), here are some of the most notable.
This book is even more appealing in person: it's a little bigger than you'd think it would be, and the colors are even more vibrant and unusual. In fact, it's really those near-psychedelic colors that make it, especially paired with the simplicity of the blocking and the peacefulness of the illustration.
This looks a little like a bizarro-world version of Rachel Willey's cover for Claudia Dey's Heartbreaker, though I suppose that's just the prominence of that boxy sedan. I'm also getting some strong Lynch vibes. All in all, it does exactly what a book cover is meant to do, and makes me want to read what's inside.
To be fair, this kind of Miró-esque colorblocking playfulness gets me every time. But also look at the brilliant and seamless solution for Atul Gawande's credit line: it betrays a subtle sense of humor in the designer that I'd appreciate either way.
This is a bold, evocative cover—the layered treatment of the female figure reminds me a lot of Peter Mendelsund's incredible cover for the New Directions edition of Fernando Pessoa's The Book of Disquiet—which, full disclosure, I currently have on display in my apartment as art. This cover isn't as pure as that one, but I do like the text treatment quite a bit—it's one of those rare cases where multiple fonts compliment each other instead of fighting.
Usually a cover like this would feel a bit busy to me, but here the multiple elements combine to create a different kind of subtlety: the angled view of the girl, the opening like a wound or an eye or a boat on the water. In any case, it makes me keep looking. Plus, this is another one with great colors.
I immediately thought of Janet Malcolm's The Silent Woman and, to a lesser degree, Don DeLillo's The Angel Esmeralda—while I typically don't love decapitated women on book covers, this one achieves the stately allure of the other two. But the real draw for me here is in the details: the arrangement of the gold accents, and the way the text is tucked into the folds of the robe, integrating it beautifully into the image but also suggesting something hidden (and silent, one imagines).
This cover is particularly appealing for not looking anything like what you'd think a memoir by Steve Job's daughter might look like. For one thing, it focuses on her (or at least a female figure), and it doesn't at all try to trade on the highly recognizable image of Jobs to sell copies. In our current publishing climate, I'd call that daring (and by the way, it's a New York Times bestseller anyway).
I don't find this cover attractive, particularly. But I do love the commitment to the 70s style: the font, the colors, the muddiness. It's a choice, let's put it that way. As a cover, it has a seriousness as well as a sense of humor, and it definitely makes me want to find out more.
This is another one that I don't like, exactly—I mean, I wouldn't want to hang it on my wall. But it's so convincing at what it does and has such an outsize effect that you have to admire it. It's a fantastic, excting book cover without being a beautiful one.
Understated and evocative, and a thrilling example of how to use text effectively as a design element.
We'll finish the list with two covers that use a similar technique: a sharp trompe-l'œil sliced-paper effect. In this first cover, you see both the sliced paper and the promise of something underneath; the red and the white are stark and it looks like a scored wound. It's unsettling but very evocative.
In one sense, this cover takes it a step further—we actually see the blade slicing the paper—but also a step back, as that very element dissolves some of the trompe-l'œil effect. That doesn't matter for my appreciation of the cover here, though, because the concept is great: here's an ordered, clean, and yes, logical book cover—let's do something crazy and slash it. And here too, the colors are perfection.


text:
// Copyright (c) Microsoft.  All Rights Reserved.  Licensed under the Apache License, Version 2.0.  See License.txt in the project root for license information.

namespace Microsoft.CodeAnalysis.CodeLens
{
    /// <summary>
    /// Represents the result of a FindReferences Count operation.
    /// </summary>
    internal struct ReferenceCount
    {
        /// <summary>
        /// Represents the number of references to a given symbol.
        /// </summary>
        public int Count { get; }

        /// <summary>
        /// Represents if the count is capped by a certain maximum.
        /// </summary>
        public bool IsCapped { get; }

        public ReferenceCount(int count, bool isCapped)
        {
            Count = count;
            IsCapped = isCapped;
        }
    }
}

redpajama_set_name: RedPajamaGithub


Thanks to the complex river and canal, Mekong Delta has various fishes which is the main material in bun ca, the most favourite food in Mekong Delta. Bun ca in Mekong Delta is different with other places in Vietnam because of an unique taste.
Unlike Bun ca from Central Vietnam, Bun ca in Mekong Delta is made from snake fishes living in rice fields. The taste comes from the clear and hearty broth cooked from bone, snake fish bone, ginger and tomato. Green onion is added as late as possible in the cooking process. Besides, the vegetables are so clean and fresh, including beansprout, water spinach, hot mint and điên điển (a local pea plant) flowers. The soup is also unique. It's rich in flavors and smells.
The fish can be cooked in the broth or fried until yellow. To serve, rice noodle, pieces of snake fish are put into a bowl before the broth is ladled over them. Fish sauce, lime wedges and chili are on side for diners to season their Bun ca to taste.
Bun ca is served in a large bowl with rice noodles in the light-yellow soup, topped with slices of snakehead fish perfectly boiled, some prawns and a few slices of crispy roasted pork.


Cast your gaming sounds in iron with the GXT 4376 Ruptor Gaming Headset. Connect this 7.1 surround sound headset to your PC or laptop and you will stand strong against all your gaming enemies.
The GXT 4376 has powerful 50mm speaker units with 7.1 surround sound. It delivers clear high and deep tones as well as a rich bass for a detailed and immersive sound experience. The included software allows you to adjust the 7.1 sound and equalizer to your needs. And this is not all you will hear; the flexible microphone can be perfectly placed in front of your mouth and offers clear voice quality for better in-game chats.
The Ruptor headset has a 2m USB cable to connect it to your PC or laptop. It features soft and comfortable over-ear pads, made for those long gaming sessions. Additionally, the headband is self-adjustable for a perfect fit on every head. With the Ironn, your gaming reflexes will never go rusty.


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Former Detroit Anchor Jac LeGoff Dies
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PREVIOUS:KNBC Hires WNBC Veteran as VP of News
By Andrew Gauthier on Jul. 28, 2010 - 12:00 AM
Jac LeGoff, the calm, straight-shooting TV anchor who worked at four Detroit-area stations in a five-decade career, died Sunday in Novi. He was 87.
LeGoff was one of the first big names in the Detroit TV news market. Frequently teamed with John Kelly, LeGoff became a trusted news reader and ratings grabber on WJBK-TV (Channel 2) and WXYZ-TV (Channel 7) in the '60s and '70s.
"Jac was pretty much a straight-ahead guy," said Kelly, 82, who is now retired. More…


For visitors to India, the cities of eastern India have always been a source of natural and spiritual satisfaction. There is culture, there is tradition and of course there is an abundance of natural beauty, particularly in the cities lying in the foothills of the Eastern Himalayas. As you undertake a journey through the cities of eastern India, you'll come across a rich colonial heritage, some of the most surreal scenes, Buddhists circuits and renowned temple sites. Besides, you'll meet with tribal folks and be able to look into their lifestyles, exotic and alien.
You must have heard of Darjeeling, a world-famous hill station in the eastern part of India. The Toy Train, Tiger Hill and the tea plantations of Darjeeling invite travellers from all across the world. There are other famous hill towns like Gangtok and Imphal that bring you closer to the splendours of nature. Calcutta, located on the banks of river Hooghly is known for its colonial heritage, the local culture and the English street names. The cities of Bihar are highly rated for being Budhhist pilgrimage centres. These include Vaishali, Rajgir, Bodhgaya etc. So, it's about time you made a trip to the eastern India and enjoyed a genuine taste of India.


Looking for that jumpsuit that can transition from the day to evening? This piece is that and more. I love the chic and feminine factor of it not to mention the play of subdued and vibrant colours; which make it the perfect piece. It can be worn with a blazer for the day and left as is for a lovely evening on the town. Don't you agree?


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Search results for film:
Tom of Finland – Trailer
The film is Finland's official choice for submission in the Oscars' "Best Foreign Language Film" category. Directed by Dome Karukoski, the film follows Touko Laaksonen, a decorated officer, as he returns home to Finland after fighting for his country in World War II.
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Famous Faces in their Film Debuts
Memory Lane: Famous film stars in their film debuts.
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Your Film Festival
THE GLOBAL SEARCH FOR THE WORLD'S BEST STORYTELLERS: This is Your Film Festival. You have until March 31st to submit a short, story-driven video. There's no entry fee. It can be any format - short film, web-series episode, TV pilot - and any genre. In June, audiences around the world will vote, sen...
Waveform - Film Festival
The O'Neill UNREASONABLE film festival continues with film no. 4 "Waveform" from award-winning artist Stefan Nadelman from Portland, USA. Immerse yourself in fast-paced surfing sequences full of action, color, and fluid motion that expose waveforms in a new light.
Coming Home- LGBTQ Short Film
Original soundtrack composed and played by Hannah Bernstein Original story by Kimberly Forbes (This film was made by Valencia High School students) Thank you to everyone that helped make this film!
A short film based on true events. Stars Rudy Pankow. What a smart young man, he quickly thought of recording the conversation because of the way the guest is advancing towards him.
A Fantastic Woman | Trailer HD (2017)
Oscar Winner for Best Foreign Language Film from CHILE: A FANTASTIC WOMAN is the story of Marina, a waitress and singer, and Orlando, an older man, who are in love and planning for the future. After Orlando suddenly falls ill and dies, Marina is forced to confront his family and society, and to figh...
The Wedding Dance Film
A short film dealing with marriage equality. It tells the story of several same sex couples without getting into teh political arena.
THE DENIED FILM trailer
SAG-AFTRA shortfilm about EQUALITY. This is about two police officers that are also husbands. This film shows some of the issues and pain that goes on during a tragedy. This film is like no other film on this topic, it shows the issues but in a movie/drama television way
13 or so Minutes: Award Winning Short
Carlos Salas and Nick Soper star in this short film about two guys who act on the fact that they are incredibly attracted to one another. In the aftermath, one of them seems to have second thoughts. Best Short FIlm, Honolulu Rainbow Film Festival; Best Alternative Short, New York International Ind...


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