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Mosher Award, Recognizing excellence in clinical research, The American Laryngological, Rhinological and Otological Society 2004 Distinguished Service Award in Scientific Programs, Exhibits, Continuing Education Courses and Instructional Course, American Academy of Otolaryngology-Head and Neck Surgery Foundation.2010 “America’s Top Physicians”, Consumers’ Research Council of America & SLD Industries, Inc.Professional Research Consultants (PRC) in Omaha, NE.Given for achieving overall quality of care in the 90th-99th percentile.2011 5-star Patient Satisfaction Awards for Overall Quality of Doctor Care. 2014 “America’s Top Doctors – New York Metro Area,” Edition 17, Castle Connolly.2014 Presidential Citation, AHNS, American Head and Neck Society.2015 “Top Doctors for Cancer,” Newsweek Magazine.2005-2018 “America’s Top Doctors for Cancer,” Editions, Castle Connolly.2009-2018 “America’s Top Doctors,” Editions 8-14, Castle Connolly.2016-2018 “America’s Top Doctors for Cancer,” Executive List, Castle Connolly.Assistant Professor, Otolaryngology/Head and Neck Surgery, University of North Carolina at Chapel Hill, 1996-2001.Assistant Professor, Biochemistry & Biophysics, University of North Carolina at Chapel Hill, 2000-2001.Associate Professor with Tenure, Biochemistry & Biophysics, University of North Carolina at Chapel Hill, 2001-2003.Associate Professor with Tenure, Curriculum in Genetics and Molecular Biology, University of North Carolina at Chapel Hill, 2001-2003.Associate Professor with Tenure, Otolaryngology/Head and Neck Surgery, University of North Carolina at Chapel Hill, 2001-2003.Assistant Professor, Curriculum in Genetics and Molecular Biology, University of North Carolina at Chapel Hill, 2001-2001.Co-director, Otolaryngology/Head and Neck Resident Curriculum, University of North Carolina at Chapel Hill, 2002-2003.Chief Otolaryngology, VA Medical Center, 2003-2004.Director, Barry Baker Laboratory of Head and Neck Oncology, Department of Otolaryngology, Vanderbilt University, 2003-2012.Associate Professor with Tenure, Cancer Biology, Vanderbilt University, 2003-2012.Associate Professor with Tenure, Otolaryngology, Vanderbilt University, 2003-2012.Ingram Professor of Cancer Research, Vanderbilt Ingram Cancer Center, Vanderbilt University, 2006-2012.Adjunct Associate Professor Surgery, Meharry Medical College, 2008-2012.Co-leader, Thoracic and Head & Neck Program, Vanderbilt Ingram Cancer Center, 2009-2012.Barry and Amy Baker Chair in Laryngeal, Head and Neck Research, Vanderbilt University, 2012-2012.Professor with Tenure: Department of Otolaryngology, Vanderbilt University, 2012-2012.Co-Director: Virus and Other Infection-associated Cancers (VOIC) Program, Yale Cancer Center, 2012-2018.Director: Head and Neck Disease Center, Smilow Cancer Hospital, 2012-2018. Professor, Otolaryngology: Department of Surgery, Yale School of Medicine, 2012-2018.Section Chief: Section of Otolaryngology, Department of Surgery, Yale School of Medicine, 2012-2018.Professor: Department of Pathology, Yale School of Medicine, 2013-2018.
Once you are familiar with these words, you’ll notice that they are used in a variety of situations. For example, the word swarm is usually used to discuss a group of insects such as ants, flies or bees, but many writers use it to talk about a very busy crowd of people. These words are sometimes interchangeable, and English writers and speakers often use them to describe different things. This list of common collective nouns contains words that describe groups of animals, people, or things. Everyone in the audience applauded loudly when Elvis appeared on stage.The rock group has been on tour for months.He comes from a huge family: he’s the oldest of eleven kids.The town council has approved plans to create a new park.Napoleon’s army was finally defeated at Waterloo.This year’s basketball team includes three players who are over six feet tall.We waited anxiously for the jury to come to a verdict.The herd of bison ran across the prairie, leaving a massive dust cloud in its wake.Our class took a field trip to the natural history museum.Once you’ve read these examples, you’ll find it much easier to recognize collective nouns when you see them. Collective nouns are in a class all their own. Remember that nouns are words naming people, animals, places, and things. You can’t have a team without individual members even so, we discuss a team as a single entity. Collective nouns are words for single things that are made up of more than one person, animal, place, thing, or idea. You might not know it, but you encounter collective nouns in everyday speech. Start writing with Ginger What is a Collective Noun If MININUM_SONGS_REQUIRED_BETWEEN_REPEATS >= #soundObjects then Check and warn for any predictable randomization issues given the minimum songs between repeat Local soundObject = Instance.new("Sound") Create and store sound objects to use in-game Array of song asset IDs to play randomly Local MININUM_SONGS_REQUIRED_BETWEEN_REPEATS = 3 Number of other songs required to play before the same song can play again Local SoundService = game:GetService("SoundService") In the script, delete all existing lines and paste in the following code:.In the Explorer window, add a new ModuleScript to ReplicatedStorage named AudioPlayer. To set up multiple songs and play any of them on command, you can implement a basic audio module. Playing background music can be achieved through scripting under two useful patterns as follows: Audio Module Right-click the item and select Copy ID to Clipboard (this ID will be required for playback testing below).After the import process is complete, the audio item(s) will appear in the Audio folder.Select the audio file(s) you want to import from your local machine and confirm.ID-verified creators can upload 100 free audio assets per 30 days, and unverified creators can upload 10 free audio assets per 30 days. You can upload custom audio for that you are certain you have permission to use, such as audio you make yourself or license from original creators. Right-click and copy ID Uploading Custom Audio Once you locate an audio file to use, right-click the item and select Copy Asset ID (this ID will be required for playback testing below).Ģ. You can preview audio directly within Studio by clicking the play button in the corner of each listing.Back in the main panel, search for music by typing keywords into the search field.Click the Apply button to save the sorting options.Optionally, adjust the Sound Length range to more easily distinguish between short sound clips and longer background music tracks.Select the first option to sort results by legal, free-to-use audio published by Roblox Click the button and then, in the Creator field, type ROBLOX.Click the Marketplace tab and select Audio from the menu.Audio MarketplaceĪ wide array of free-to-use audio can be searched for in the Toolbox. Combined creatively, these can set an atmospheric or exciting tone, build suspense, and bring life to your game’s characters. It just reminds me how my workflow changed when I switched from PC to Mac.While building a game, it’s easy to overlook the importance of sounds and music. To find a sample in Maschine's disc browser it can take 5 min to fin the sample itself. With Audiofinder I can find a sample, apply edits, cuts, fades, fx and drop it to Logic's Otherwise it's rather unproductive to search the samples on the Macintosh HD within the Maschine software especially in the case of more than one HD.Ĭan anyone at least tell me why there is no drag and drop to Maschine. I found Maschine,s browser nice and useful with its tagging feature but only and only when searching for the Factory sounds within the hardware. I would like to be able to drag and drop files from finder or application Like Audiofinder onto pad/sound slot in Maschine like it can be done in Logic or other OSX applications, not only the audio ones.ĭrag and drop is one of the best features in OSX, why isn't it working with Maschine. I have a relatively simple but mature request. While getting closer transparent cubes will appear. The first is the most constrained one, namely picking a card among (which clones it) then placing it on the wall. Here 2 modes of interactions are illustrated. Artefacts are present to enhance the conversation. The main value being in a shared space focus on a specific topic, e.g Linnaeus’ taxonomy, and nothing else. Namely you can go in the virtual space and invite others. Interactions: Like other Hubs room the most essential interaction is social. This room features 3 Carl Linnaeus card, a round table and a shelf. Depending on settings, this display might be ‘on your head’ so if you don’t see it well, please move back a bit (weird bug)/Įxploratory room on the Future of Text Lab with manipulable cards Interactions: This is a static map, you cannot move the elements about (yet) but you can pinch select text to see their relationships. To exit: Pinch your pointing finger and thumb, or click the ‘Oculus button’ (O) on your right controller, then choose ‘Exit’, which will put you back in the browser. This is a Map from an Author document showing how Defined Glossary Terms relate. This simple interaction makes it clear how this a VR view is more useful than simply having a large screen. Interactions: You can pinch your fingers (you need to hold your hand our in front of you so that your headset can ‘see’ your hand) and pull and push, to move the mural closer or further away. To exit: Click the ‘O’ button on your right controller. To enter: Click on the link above, wait for the scene to load (a mural against a black background) then click ‘View in VR’, put your controllers down and use your hands to interact. In this room there is just a mural of Carl Linnaeus’s Taxonomy. Click to launch room with floating text and lines or click to launch as a test Knowledge Room with wrap around Concept Map. Objects, rather than flat text, will of course be more visible, as would 3D text but it would also take more space, so this is being experimented with. Imagine also being able to tap on different texts to see connections to other information in the room, as well as being able to choose from a menu to draw forth more information.Īlternative View: There is also a test room with floating displays and a single floating connective line, to help us feel what kinds of displays work best. A stack of them are indicated by a small slip on the left and right. Interactions: This is a static scene and designed to simply illustrate the usefulness of large screens on a wall in a workroom.ĭevelopment: Imagine, however, being able to swipe on the huge Linnean slip to see another one and another one. You can then click the left arrow (top left of the window) to return to this page. Once this is done you can choose to ‘Join Room’, then ‘Enter’ when you see your audio options. To enter: Click the link above and wait for Mozilla Hubs to load. In this simple experience you will enter a room with a large view of a physical, scanned, Linneaus slip, his taxonomy scanned on the left and part of a taxonomy created in Author on the right. Simple, but imagine what kind of visualisations we could potentially enable here… The first experience is simply our earth in space. If you have not already done so, please have a look at the basic Setup Guide here. Here are a few experiences we have put together to highlight a few aspects of what VR is really like, with a focus on working with text. To the innocent eye, the rightly named death cap mushroom, host to nearly a dozen potent toxins and the leading cause of mushroom poisonings around the world, is a ringer for some of its more benign counterparts. To express bafflement over fugu is to ignore the fact that, for much of history, any given mouthful of food could wreak bodily harm. And the Japanese of that far-off era had little choice when food was scarce: Fugu was necessity before it was ever luxury. For those who wonder why those early cooks persisted despite presumed fatalities, Hiroya Kawasaki, a sensory scientist and member of the board of the Kyoto-based Japanese Culinary Academy, points out that the first people to taste blue cheese, with its veins of mold and alarming funk, took a gamble, too. The jawbones of the fish have been unearthed from sites in Japan dating back more than 4,000 years. Without any equivalent on Western menus, diners outside of Japan (and China, where fugu is called hetun and also treasured) tend to assume that the whole point of eating fugu is the risk, latching on to the notion, likely apocryphal, that some chefs will intentionally leave a trace of the toxin in the flesh, just enough to bring a tingling to the lips, a cautionary reminder of our transience on earth.įUGU IS PREHISTORIC. Rarely is it mentioned that the chrysanthemum is also a symbol of long life and the signature of the emperor. Even the lovely chrysanthemum that the chef painstakingly builds on the plate is read as a morbid omen, since, in Japan, the flower traditionally appears in funeral wreaths. While historically the Western attitude toward Eastern delicacies has often been one of suspicion and disgust, fugu is treated as a special case, not necessarily unpalatable - since it’s not widely available beyond Asia, few in the West have actually tasted it - but a literal threat. You don’t just toddle home afterward with a full belly you survive. To enter a fugu restaurant is cast as a daredevil feat akin to skydiving, with each bite a roll of the dice. “Trust the Russians to use something no one’s ever heard of.”) As recounted in Tom Parker Bowles’s 2006 travelogue, “ The Year of Eating Dangerously: A Global Adventure in Search of Culinary Extremes,” the real-life British explorer Captain James Cook had a more direct encounter with the fish in 1774 while trawling the South Pacific, sampling the liver and roe of a recent catch and then waking in the middle of the night to a violent prickling and sense of disembodiment in which “a quart pot full of water and a feather was the same in my hand,” for which only “a vomit and after that a sweat” offered reprieve.Īlmost everything written about fugu in the West, including the previous two paragraphs, revolves around the potential for death. No,” published the following year, it’s determined that the mysterious substance was “fugu poison.” (“Taken us three months,” the doctor reports. James Bond nearly dies of it at the end of Ian Fleming’s 1957 novel “ From Russia With Love,” when it’s administered by a kick from a boot with a hidden blade and he crumples to the floor in “ Dr. Just two or three milligrams of TTX may be lethal to a human - “more potent than arsenic, cyanide or even anthrax,” the American science writer Christie Wilcox notes in “ Venomous: How Earth’s Deadliest Creatures Mastered Biochemistry” (2016). In high enough doses, this can shut down a diner’s nerve impulses and cause, within hours, nausea, paralysis and the stalling of the heart, which only knows to beat because our body’s electrical system tells it to. Among those who think of fugu as merely a distant delicacy, knowledge rarely goes beyond the fish’s infamous trait: In the most delicious species, the innards are suffused with the neurotoxin called tetrodotoxin (TTX). A sluggish swimmer, fugu has stunted fins and often flat-lying spikes instead of scales, and when confronted by predators it compensates for its lack of speed by swallowing enough water to swell up until its spikes stand on end, so it looks like an angry armored balloon. Westerners have never quite understood the reverence in Japan for fugu, alternately known in English as puffer fish, globefish or blowfish, of the family Tetraodontidae. To one diner, this is a promise of pleasure to another, a teetering on the abyss. HERE IS A PLATE of fish cut so thin you can half see through it, the pale panels arrayed in rings that ripple outward, like the small, concentrically packed florets of a chrysanthemum. The first white tile with the big plus icon is used to add a new image. The app, when launched, presents somewhat puristic welcome screen that contains the list of thumbnails representing active image projects. Somewhat puristic welcome screen of the application. Pixelmator is able to read and write JPEG, PNG and PSD multi-layer (Photoshop) file formats as well as native Pixelmator (PXM) file (eg. The app supports Wacom Intuos Creative Stylus and Intuos Creative Stylus 2 for painting and editing (for those having these styli). content-aware retouch brush were only working on iPad 4 or later, but 1.0.1 quickly fixed this inconvenience and now even owners of older iPad models can enjoy full functionality (albeit working slower due to intensive processing power needs). When Pixelmator 1.0 was released, some of the more advanced functionalities, eg. For this particular review iPad Air (1) was used, where application ran and felt very snappy (more on performance in the later section of the article). It supports iPad 2 and later models, however in order to get an optimum performance, iPad 4 or later is recommended. We can just hope that the company brings the iPhone version as well (I would personally prefer to do editing on my phone and not wait until I get home to pick the iPad). Pixelmator is currently the iPad-only application. We will briefly mention other app features, which make it an ideal candidate for an artist, however we will focus on the features that allow you to effectively and painlessly post-process your mobile photos. This review will examine the new Pixelmator iPad app from the mobile photographer’s point of view. Nonetheless everyone gasped in surprise, when on the 2014 Apple October event the Pixelmator team showed up on the stage and presented a brand new Pixelmator for iPad app utilizing the newest hardware and software capabilities available on iPad Air 2 running iOS 8. Pixelmator earned well-deserved reputation in the Mac community and was repeatedly getting rave reviews since the first version was released back in 2007. For the rest of us, who do not photoshop images for a living, a small company named Pixelmator Ltd created an editor that nicely fills the gap between the amateur photo tools usually found in the operating system and the professional tools like Photoshop. When it comes to image editing, there is one gold industry standard, that all the professionals use: Photoshop. Uncovering secrets of mobile image editing with Pixelmator for iPad Maud Sulter's photomontage diptych Duval et Dumas, 1993 from the series Syrcasprovides historical context for this exhibition. This consideration of the self in relation to, and together with others, draws away from the photographic as exacerbating difference or the implicated position of a directed camera, and generates an argument for collaboration and collectivity. The enabling of voice(s) of authorship whereby subjectivity is activated in order to challenge the ideology of individualism and the singularity of the art historical canon and history itself, is what Janet Staiger describes as the 'technique of the self'. Each artist utilises language and the literary in dialogue with image-making to harnesses the intertextual, as archival photographs and stock footage are transformed through repetition, re-staging and re-imagining. Representation of western history through both image and text, with the inherent parallels between notions of historical and photographic truth, and the legacy of radical image/text practice in the 1970s and 1980s is central to the development of this exhibition. Grant suggests broadening notions of what constitutes primary texts, and exploring more rigorous methods of interactional, inter-subjective, or interdisciplinary approaches to critical analysis, also for artists' to broaden auteurial imaging. The exhibition title, Secret Agent, is inspired by artist Oreet Ashery and academic Catherine Grant, who describe feminist cultural production as an 'invisible agent' and generative informant for 'different kinds of subjectivity and agency under patriarchy'. Acts of image-making, archiving, and guerilla information tactics enable visibility and challenge relationships between author and authority. The six artists in the exhibition actively challenge the institutional structure of history and patriarchal authority – and imagine alternative narratives through the specificity of lens-based media. If you use any of the content on this page in your own work, please use the code below to cite this page as the source of the content.Secret Agent is a group exhibition composed from the viewpoint of feminist authorship and forms of collaboration in contemporary photography and film making practices. In addition, both Callistratus and Pausanias, cited Hemera as Memnon’s mother in their writings. Philostratus the Elder uses their names interchangeably when describing a painting of the funeral of the Ethiopian king Memnon-also the son of Eos. In some cases, the two goddesses were interchangeable. Given their similarities, some ancient texts closely associated Hemera with Eos, the goddess of the dawn. Yet another claimed Uranus as their only child. According to one version Hemera and Aether bore the Titans Gaia (Earth), Uranus (Sky) and Thalassa (Sea), while another version cited only Thalassa as the child of Hemera and Aether. Sources differ, however, when it comes to their children. In all ancient sources, Hemera was paired with Aether (Light), both her brother and consort. Hesiod described them drawing near and passing one another, one entering a house while the other departed to pass over the earth, the house never holding them both inside. They moved in counterpoint to one another, Nyx retreating from the sky as Hemera appeared. Whether daughter or sister, Hemera was always closely linked with Nyx, their heavenly movements used to explain the cycle of day into night to the ancients. Another version by Hyginus stated that Hemera emerged from Chaos alongside Nyx, making her Hemera’s sister, not mother. The poet Bacchylides, on the other hand, named Nyx as Hemera’s mother, but Chronos-the primordial god of time-as her father. According to Hesiod’s Theogony, the narrative detailing the genealogy of the gods, She was the daughter of Nyx (Night) and Erebos (Darkness), two primordial deities born from Chaos, the void or chasm before creation. Three different versions of her family tree exist in ancient writings. She was listed among the first gods, the generations before the Titans and Olympians. Still you can find many full videos over there. They were great, But they cut many of their videos in half length. 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Sustainability is the biggest factor to me in wind energy wind will always be here.” Numbers growing, slowly “Wind is crucial for our future when it comes to clean energy and power. “My goals in wind energy are to work my way up over the next several years, as in lead tech and even site lead,” Hobbs said. She’s done all this while also raising two girls as a single mother. Then Hobbs completed an advanced wind turbine technician certificate at the High Plains Technology Center in Oklahoma, and she recently accepted a job with GE that will see her not only knowing how wind turbines work, but helping them do so. “ I always wanted to know how they worked,” she said.įor seven years, Hobbs worked in another heavily male-dominated field: as a corrections officer and dispatcher in the corrections system. The Wind at Our Backs fellows include Ashley Hobbs, who became interested in wind energy seeing wind turbines along the drive to her high school in Arnett, Oklahoma. WRISE’s Wind at Our Backs scholars, meanwhile, are entering wind technology specifically, and received $2,500 scholarships along with attending the conference. Wind at Our Backs fellow Ashley Hobbs earned a wind turbine technician certificate while raising two girls as a single mother.įischer was among the Rudd Mayer fellows (named for a Colorado sustainability campaigner who passed away suddenly in 2002) who are considering a range of policy and other jobs in renewable energy. Fischer was among 11 women who received two different fellowships to attend last month’s annual WINDPOWER conference in Chicago. She is among a cohort of young women whom an organization called WRISE (Women of Renewable Industries and Sustainable Energy) hopes will increase representation of women in the wind energy field. and eventually related to international development. The more she learned about the role of deforestation and natural resource exploitation in creating poverty, the more she became interested in sustainability and renewable energy as ways to address injustice.įischer, who recently graduated summa cum laude from Ohio State University with a degree in sustainability economics and business, hopes to work in renewable energy policy, first in the U.S. The couple opened Fischer’s eyes to human rights and international development issues and sparked a desire to make a difference in such situations. Sarah Fischer’s journey into the renewable energy field began with a high school French teacher whose husband had been a child slave in Haiti. wind and solar energy jobs, higher than other technology fields. |
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