Sensitive to environmental considerations in the security and video surveillance industry, Panasonic System Networks Company of America, Secaucus, N.J., is taking leadership by offering products manufactured in energy-efficient facilities, using fewer hazardous materials and emitting less CO2, and which also consume less power than previous Panasonic comparable models.

Shaw Floors’ divisions Tuftex Carpets of California and Anderson Hardwood have launched the Color Coordinates display system exclusively for Shaw Design Center retailers.

Spend time NOT talking to family with our preview
of the holidays’ most-hyped new releases. by Dom Sinacola

Holidays are usually meant for time with family, which is obviously why so many people elect to go to the movies on Thanksgiving and Christmas. Thanks to theaters being open, you now have a ready-made excuse to avoid talking to loved ones for a solid two hours. 

From St. Johns Twin Cinemas to Regal Division Street, every corner of Portland is thriving with film love, be it a first-run chain or local rep theater. So, to gird thy loins for the upcoming high holy days, I’ve assembled a preview of the movies you can see in theaters on Thanksgiving and/or Christmas day when conversation runs as dry as an overcooked bird. 

Red One

Following the box office shrug that was 2022’s Black Adam, The Rock optimistically reported from the set of Red One that his new blockbuster, co-starring Chris Evans and JK Simmons (as muscle daddy Santa Claus), is a “big, fun, action packed [sic] and fresh new take on Christmas Lore [sic].” After The Rock’s supposed chronic lateness and “unprofessional” on-set behavior helped push Red One to late 2024, this “new take” on the late-December holiday will finally see the overcast light of mid-November. Apparently, when Santa Claus is kidnapped, the head of North Pole security, Callum Drift (Rock), must join forces with world-class bounty hunter (come on now) Jack O’Malley (Evans, seemingly running on fumes), to save Kris Kringle. Whatever. I have no doubt this movie will be excrement, struck with surprisingly upsetting violence splayed against the most conservative values you can carve from a $250 million budget. This comes out on November 15; will it still be in theaters on Thanksgiving? Let’s hope not.

Gladiator II

If you’ve seen Ridley Scott’s Napoleon, you know that the octogenarian director cannot be bothered by such woke trappings of cinematic culture as “historical accuracy” or “consistent accents.” Instead, Scott trades obsession for the spectacle of history; he’s in thrall more to the bloom of organs erupting from cannonball wounds than allegiance to facts most audiences wouldn’t know anyway. 

That energy will carry into Gladiator II, Scott’s sequel to his 2000 original, which will surely be a stupendously gory feast for IMAX screens. Arms all veined up, Paul Mescal is New Gladiator, the fate of Rome on his shoulders for some reason, with Denzel Washington clearly having a blast playing an ancient weapons dealer. Finally able to put a career’s worth of ideas onto the screen, Scott’s never been more prolific, and never less beholden to anyone than himself. Respect. 

Wicked Part One

The first half of an adaptation of the musical—as well as of the 1995 novel on which the musical’s based and the Wizard of Oz writings of Frank L. Baum—Wicked has a runtime of two hours and 40 minutes. More like Wicked Long Movie [pats self on back]. Growing to the width of the Garfield balloon at the Macy’s Thanksgiving Day parade, Ariana Grande’s dinner plate eyes will ultimately occlude all other light. Suddenly, lifetimes will pass in the dark of that theater. You will wake in another epoch, another land, and you will discover there is still a second movie to sit through.

Moana 2

The November of The Rock continues with the last IP he hasn’t stripmined of all goodwill. That’s right, Rockheads, Maui, the beefy demigod from Moana, is back for the sequel. Originally developed as an animated series, Moana 2 went theatrical eight months ago when Bob Iger announced the series had been reconfigured following a revamping of the producing and directing teams—for solely artistic reasons, I’m sure. Rarely are reports like this a good sign, usually accompanied by accounts of animators enduring hellish work conditions or presaging a movie that feels functionally incomplete. Still, I can’t imagine families not defaulting to this Thanksgiving weekend. Will our thumb-headed megastar once again drop a People’s Elbow on the box office? I sincerely do not care.

The Brutalist 

Brady Corbet’s gushed-over saga about architect László Toth (Adrien Brody) has the accolades (garnering Corbet the Silver Lion at the Venice Film Festival), distribution deal (A24), and runtime (215 minutes) to make it the year’s biggest small release. Couple this with Corbet and cinematographer Lol Crawley shooting in Vistavision—a process that can make 35mm film look as huge as 70mm in the theater just by running the stock through the camera sideways—and expect to see this engorged on the swollest screens in town. It’s so intentionally and obviously epic, you’d be forgiven for assuming architect László Toth is a real person. The magic of cinema!

Babygirl

I was going to make a joke about Halina Reijn’s Babygirl being the perfect choice for families wanting to watch a horny movie together on Christmas, but looking into the film’s reception at the Toronto International Film Festival, I find critics saying that Nicole Kidman’s performance as a repressed CEO who forms a sub-dom bond with an intern (Harris Dickinson) is a brave and reflexive exploration of her career and aging physicality. So I will be similarly brave and refrain from making that joke.

Nosferatu

A young foil to Ridley Scott and his disregard for the exigencies of time, Robert Eggers is a horror filmmaker who makes macabre period pieces—The Witch, The Lighthouse, The Northman—that are so thoroughly researched they feel like stolen visions, like sights from the past that we have no right to witness. With Nosferatu, he seems to be pulling from F.W. Murnau’s 1922 silent film as much as from Werner Herzog’s 1979 remake and Bram Stoker’s 1897 Dracula novel, filtering his hyper-literate taste through a century of German expressionism. 

A Complete Unknown

James Mangold responds to Walk Hard: The Dewey Cox Story—a satire responding to the pestilence of Oscar-bait biopics birthed by Mangold’s Walk the Line—by making an even more by-the-numbers take on an iconic musician. This time it’s Bob Dylan, given approximate life by Timothée Chalamet. A Complete Unknown will almost certainly hinge on Dylan going electric at the 1965 Newport Folk Festival, giving him the opportunity to reminisce about what led up to this all-culminating cultural moment. Its financial returns will be optimistic, its award season obligatory. So it is foretold.

Better Man

While we’re on the subject of biopics: Better Man is about the life of UK pop idol Robbie Williams… only he’s a CGI chimpanzee and no one else in the movie acknowledges he’s a CGI chimpanzee. I hesitate to call this conceit so stupid it may be genius, but I won’t hesitate to recommend it, because we both know it will be [my eyes glaze over and soul noticeably disappears from my body] bananas.

The Friday bout pits the 58-year-old former heavyweight champ against a much younger opponent whose fame is rooted in social media.

Rebroadcast September 26, 2014 It's been almost two months since 18 year old Michael Brown was shot and killed by Ferguson, MO police officer Darren Wilson, but the reverberations surrounding his death continue. Brown's death was the fourth last summer in as many weeks in which an African American man was killed by law enforcement. In a special conversation this week, Basic Black goes beyond the headlines to explore the racial, historical, and cultural underpinnings of the relationship of law enforcement to communities of color and the meaning of protest in a post-civil rights movement era.

Panelists:
- Callie Crossley, Host, Under The Radar With Callie Crossley, WGBH News
- Phillip Martin, Senior Reporter, WGBH News
- Frank Rudy Cooper, Professor of Law, Suffolk University Law School
- Marcela Garcia, Regular Contributor to The Boston Globe, Editorial and Op-Ed Pages
- Peniel Joseph, Professor of History, Tufts University

Photo: A man is moved by a line of police as authorities disperse a protest in Ferguson, Mo. early Wednesday, Aug. 20, 2014. On Saturday, Aug. 9, 2014, a white police officer fatally shot Michael Brown, an unarmed black teenager, in the St. Louis suburb. (AP Photo/Charlie Riedel)

December 5, 2014 December 1st marked the 59th anniversary of Rosa Parks refusing to give up her seat on the bus to a white passenger, setting in motion the Montgomery Bus Boycott and the emerging modern civil rights movement. We observe this anniversary amidst a wave of protests: online, on the streets, and in the marketplace… actions in response to the deaths of several African American men and boys at the hands of law enforcement. This week on Basic Black, we consider the changing face and force of future social justice movements.

Panelists:
- Callie Crossley, Host, Under the Radar with Callie Crossley, WGBH News
- Kim McLarin, Assistant Professor of Writing, Emerson College
- Phillip Martin, Senior Reporter, WGBH News
- Peniel Joseph, Professor of History, Tufts University
- Pamela Lightsey, Associate Dean for Community Life and Lifelong Learning, Boston University School of Theology
Students and community members hold their hands up on campus at Boston University in Boston, Monday, Dec. 1, 2014 to show solidarity with protesters in Ferguson, Mo. (AP Photo/Elise Amendola)

December 5, 2014
December 1st marked the 59th anniversary of Rosa Parks refusing to give up her seat on the bus to a white passenger, setting in motion the Montgomery Bus Boycott and the emerging modern civil rights movement. We observe this anniversary amidst a wave of protests: online, on the streets, and in the marketplace… actions in response to the deaths of several African American men and boys at the hands of law enforcement. This week on Basic Black, we consider the changing face and force of future social justice movements.?? Panelists:? - Callie Crossley, Host, Under the Radar with Callie Crossley, WGBH News ?- Kim McLarin, Assistant Professor of Writing, Emerson College ?- Phillip Martin, Senior Reporter, WGBH News ?- Peniel Joseph, Professor of History, Tufts University? - Pamela Lightsey, Associate Dean for Community Life and Lifelong Learning, Boston University School of Theology?
Photo: Students and community members hold their hands up on campus at Boston University in Boston, Monday, Dec. 1, 2014 to show solidarity with protesters in Ferguson, Mo. (AP Photo/Elise Amendola)

Life is already hard enough, but with teen daughters—  of which I have two, ages 15 and 16 -- well, let's just say that, what with everything going on these days, my mind is a bit addled. And my latest TV obsession isn't exactly helping.

"I have such a sense of dystopia," I complained to my friend Carol. 

She replied: "Maybe you should stop binge-watching The Handmaid's Tale!

It's true.  I've watched so many hours of The Handmaid's Tale, I've started to involuntarily greet people with, "Blessed be the day," "Blessed be!"  If that's not  familiar to you, you're probably not aware that in the oppressive futuristic society depicted here—?   Fertile young women are farmed out to "commanders" and forced to have sex with them between their wives' legs, in order to birth mutant babies. . .

I'm old enough to remember "Happy Days."  Do you remember the sitcom "Happy Days"?  What was it about?  Days. . . that were Happy!  Teens hanging around the jukebox!  With poodle skirts!  The Fonz!  Having shenanigans! 

So I resolve to turn off the news—  Except for the headlines that actually leap out of the radio—  And maul you, like a wolverine—   Ever seen that?  Anyway—

I also take a break from The Handmaid's Tale—  I turn instead to the comedy Grace and Frankie, with Jane Fonda and Lily Tomlin!  I embrace their comforting presences like the stylish pashmina throw either might wear—  If The Cheese Nun was still on?  I would binge-watch that!  Very reassuring.  The Cheese and the Nun.

But then I start getting emails -- the Concerned Parent E-Blasts I don't recall ever signing up for, a la—?  "Does your teen get enough sleep?"  No.  "Is your teen ready for the SAT?"  No. "Does your teen eat too much sugar and waste a lot of time?"  Yes.   Apparently that's abnormal behavior and there's medication for that.  Good to know!

 Well—  The truly alarming news is that—  Often unbeknownst to their parents— All of our teens are secretly watching this new TV series called "13 Reasons Why."  As in, 13 reasons why this teenage girl commits suicide.  She leaves behind the reasons in a box of tapes.  One reason is rape.  Shown on screen. 

It's a long way from Happy Days.

As a responsible parent, I need to talk to my daughters. . . about this show.

 Next week: A Visit with Dr. Mom.

This content is from Southern California Public Radio. View the original story at SCPR.org.

Life is stressful enough.  And now—?  I've been getting all these alarming missives from parenting organizations about the Netflix series "13 Reasons Why."  As in, 13 reasons why this teenaged girl commits suicide—  Which is depicted on screen, as is a rape!  Yikes!  Apparently all teens are secretly streaming it, so we parents need to open up the conversation.

But then I'm thinking: What if my two teen daughters are the only teens not watching it?  And then my raising the topic would be—what do you call it?  A trigger?  It's so confusing these days!  College campuses are full of "safe spaces"—  But middle schoolers can stream suicide shows!

And my younger daughter?  She's already fluttery, like a leaf.  Sample text—and I can't convey how terrifying these words look on one's phone: "Mom.  Mom.  Mom.  Please!  I'm so scared.  I don't know what to do!  Help me!"  Situation?  She was in the bathroom at Starbucks and the toilet wouldn't flush.  Fortunately Dr. Mom was right outside the door.

So with this one, driving home from school, I just ask, with an odd vague heartiness: "So. . . What movies or TV shows are all the kids watching these days?"

"All the kids?" she says.  "What are you talking about?  What kids?"

"You kids!" I say.  "You!  You and your peeps!"

"What?" she says.  "Nothing."  She goes on instead to describe her traumatic field trip.  Instead of studying tide pools at a nice quiet museum, her class went to the actual beach!  She slipped on a rock and all these kids from the Medical Magnet too-eagerly stormed her with gauze and bandages! 

Okay.  I'll let that fragile kid be.  Now it's on to my older, more sophisticated daughter.  The one with the nose ring—at least it's fake.  I ask her bluntly: "So, what's the deal with this '13 Reasons Why' show?"

 She groans.  "I already read the book back in sixth grade."
 

"In sixth grade?" I exclaim.

Apparently at her old middle school, everyone was reading books about teen suicide—  Which appears to have been an actual cottage industry, possibly it's own Young Adult genre.  Sheesh!  What happened to Nancy Drew?

She says she did watch the show but stopped during the rape scene, which was a bit much.  In fact, now, on social media, the show's premise had surfaced as a joke meme.  As in, "I asked to borrow a pencil.  You said you didn't have one."  Ominous pause.  "It's one of the 13 Reasons Why." Ba-dum-bum.

In the end, Dr. Mom felt a bit out of her league.  I guess I'll just have to trust that the teens are going to be fine.  And to be on hand to flush the toilet.}
 

This content is from Southern California Public Radio. View the original story at SCPR.org.

Rob Marshall is either the bravest director in Hollywood or the most foolhardy. Three of his five theatrical films — the musicals "Chicago," "Nine" and now "Into the Woods" — don't just invite comparison to the eccentric genius of other artists, they insist on it.

Originally a Bob Fosse stage project, "Chicago" was so imbued with Fosse's vitriolic spirit that even in Marshall's more straightforward hands the movie version felt like the missing piece in a triptych with Fosse's "Cabaret" and "All That Jazz."

"Nine" is the musical created from Fellini's masterpiece "8 1/2."

(Marcello Mastroianni in Fellini's "8 1/2")

Odd enough that someone thought Fellini's intimate but epic fugue on his own creative doubts and sexual fantasies should be adapted by others for Broadway; stranger still to re-import the hybrid back to the screen, in the workmanlike form Marshall gave to it.

And now we have "Into the Woods," a film placing Marshall in the long line of moviemakers defeated by Sondheim's difficult musical brilliance and penchant for challenging material. It's distinguished company, reaching back all the way to "A Hard Day's Night" director Richard Lester's re-invention of "A Funny Thing Happened (On the Way to the Forum)" as a kind of psychedelic Keystone Cops movie, and forward to Tim Burton's more adept but still wrong-headed Murnau-meets-Hammer-Horror approach to "Sweeney Todd."

Even director Hal Prince, the principal theatrical collaborator during Sondheim's most fertile and formative period, made an absolute hash of their shared stage success "A Little Night Music" in a film version later disavowed by both men, and mostly remembered for Elizabeth Taylor's chirpy and discernibly flat rendition of "Send in the Clowns."

Liz singing "Send in the Flat Clowns"

It's just possible that the real problem is that Sondheim's self-reflexive and deconstructive impulse (his musicals are almost always and to varying degrees commentaries on the Musical itself) makes his projects unfit for screen adaptation. In movies, we miss the artifice of the proscenium, the sweat on the actor's brow. But if any of Sondheim's late-period projects held out the hope of a successful movie version it was surely "Into the Woods," a droll recombination of the fairytale form's literary DNA into something like Sondheim's masterpiece "Company," set in a realm of magic beanstalks and slippers made of glass.

The characters are straight out of the Disney pantheon (or "Shrek"): Cinderella meets Rapunzel meets Red Riding Hood meets Jack and his Beanstalk, with a generic Wicked Witch, a couple of not so charming Prince Charmings, plus a peasant couple thrown in. But the issues at stake — marital fidelity, raising children, the fear of aging and death — are complicated, and filled with gray tones which Sondheim and librettist James Lapine masterfully etched across the fairytale's Manichean black and white.

What seemed audacious when Sondheim and Lapine conceived it in 1987 ought to fit comfortably into the era of "Sleepy Hollow" and "Maleficent," but in Marshall's hands, it does not. The good news is that though populated by what old school TV shows used to call a Galaxy of Today's Brightest Stars (Anna Kendrick as an appealingly unglamorous Cinderella; Chris Pine as the nymphomaniac Prince who stalks her; Meryl Streep quite moving in the Wicked Witch role made famous on Broadway by Bernadette Peters) this is mostly a very well-sung movie. There have been controversial excisions and revisions (enabled by Lapine, who is Marshall's screenwriter), but as an introduction to one of Sondheim's more beloved scores, "Into the Woods" makes for a solid musical primer.

WATCH: The "Into the Woods" trailer

But though Marshall has taken a lot of flack for daring to cut out characters (most notably the stage production's Narrator, who served as a kind of Greek Chorus in the original) and for softening plot points (Rapunzel died onstage), the big problem is that Marshall isn't nearly ruthless enough in rethinking "Into the Woods" as an honest-to-God movie. There are many moments (Johnny Depp ending a scene with a stagy howl at the Moon that virtually screams "and... fade out!;" the unseen death of a major character) where Marshall embraces the limitations of stagecraft when something bigger and more cinematic is needed, as if afraid to mar the pedigree of Broadway with Hollywood's debased visual stamp.

"Giants in the Sky," Jack's coming-of-age number, where he describes finding manhood in the sexual and physical dangers available above the clouds in the Giant's Castle, is a showstopper onstage, where we're willing to accept rhetoric in place of physical immediacy. Onscreen, it's simply frustrating for a character to suddenly appear and tell us he's just had the adventure of a lifetime, and that it's too bad we missed it.

The Woods themselves — both character and symbol onstage, a kind of living maze representing moral confusion — are lush here and geographically nondescript, like a particularly plush unit set, done up in a generic Lloyd Webber-meets-Disney house style.

Perhaps most unfortunately of all, Marshall seems constitutionally incapable of conveying the pervasive satiric impulse at the heart of the Sondheim/Lapine original, which could have been called "What Happens After Happily Ever After." Without ironic distancing, the film's second half, where the characters betray each other in decidedly contemporary sexual and self-interested terms, plays as non-sequitur.

It's possible to imagine a more idiosyncratic movie director who both understands and embraces the arsenal of cinematic effects available through editing, camera movement and design transforming "Into the Woods" into a rousing cinematic triumph — the young Terry Gilliam comes to mind. But Hollywood doesn't really embrace its daring cranks and visionaries very often, as Gilliam's difficult career demonstrates. Whenever possible, today's studios like to import genius at a safe remove, and then hand it off to a reliable journeyman who won't make waves or piss off the suits. The limitations of that approach are visible in every scene of "Into the Woods," and perhaps they explain its failure best of all. It's one thing not to be up to the task of adapting a work of odd brilliance. It's something else again to not even take it on.

This content is from Southern California Public Radio. View the original story at SCPR.org.

Two tents in Hollywood erected beneath the 101 Freeway during a January rainstorm. (Matt Tinoco/KPCC)

This content is from Southern California Public Radio. View the original story at SCPR.org.

; Credit: Courtesy Randy Newman

Read the full article at LAist

Japan-based startup SmartBank has announced the rise of a USD 26 million funding round, aimed at the development of its personal finance management app. 

US-based identity platform Persona has partnered with Okta to deliver an automated identity verification solution and support organisations to safeguard against phishing and deepfakes. 

Larry Ellison, CEO of Oracle Corporation, gestures as he makes a speech during the New Economy Summit 2014 in this file photo taken in Tokyo on April 9, 2014. The company said Thursday, September 18, 2014, that Ellison would step aside as CEO and become chairman and chief technology officer.; Credit: TORU YAMANAKA/AFP/Getty Images

Oracle says Larry Ellison is stepping aside as CEO of the company he founded. The business software maker promoted Safra Catz and Mark Hurd to replace him as co-CEOs.

Ellison will reclaim the title of chairman at Oracle and is also taking the role of chief technology officer. Oracle says Ellison wants to focus on product engineering, technology development and strategy. Jeff Henley, Oracle's chairman since January 2004, is now its vice chairman.

Catz and Hurd were co-presidents of the Redwood Shores, California, company. Catz will be in charge of the company's manufacturing, finance and legal functions. Hurd will be in charge of sales, service, and other global business units.

Ellison founded Oracle Corp. in 1977 and was its chairman from May 1995 to January 2004.

Terlato Wine Group, Lake Bluff, Ill., announced Academy Award-nominated actor, No. 1 New York Times Best Selling author, and entrepreneur Taraji P. Henson has joined the Seven Daughters family as strategic adviser and creative collaborator of the brand.

If you are planning on visiting Atlanta's landmark Georgia Aquarium with a group, travel by charter bus with Samson Trailways makes your outing easier and more enjoyable.

The Atlanta bus charter company recommends passengers select a transport company with a name like theirs; reputation says much about a business, and the name/brand image tends to illustrate that the best

Atlanta tinting company, The Tint Guy, would like to discuss some of the benefits of getting your commercial tinting done in the off season.

California drifter Tyler Wolfson is entering his second year competing on GT Radial ultra high performance tires and is getting some attention after five podium finishes in 2012. His car is on the cover of this month's Wrecked Magazine.

Watsonville's AAA-Certified Auto Repair Center Serving the Community with Excellence

Rodger K. Johnson has made his mark on the world of financial planning across more than 45 years

Acquisition growth in 2024 includes 7 companies, 1700 new associates and 89 new branches

Treat yourself and your loved ones to the new BBQ Baby Back Ribs and decadent line of one-of-a-kind Cinna-Rolls

Anthony Watts retired from Banc Mortgage Financial Corp in 2004

Look at your organization and consider the unstructured text or audio data you gather and the possible revelations it may hold. That data reflects the voices of those you serve and holds the potential to help you deliver better experiences, improve quality of care and enrich human engagement. There are powerful stories to be told from your unstructured text data. And the best way for you to find them is with natural language processing.

I’ve shot at this location a few times but for some reason I’ve never seen it from the other side. Literal proof that shooting with other creatives gives you new perspective. ???? (at Toronto, Ontario)

President-elect Donald Trump has only begun to fill out the ranks of his incoming administration. His first choices confirm that his son Donald Jr. and the former Fox TV personality Tucker Carlson have emerged as major influences over his picks.

Phil Wilson is a Web Software Developer for the University of Bath where he develops n-tier J2EE web applications, and has been doing this for various companies for five years. Phil's interests include web standards, Web usability, collaborative Web tools, Firefox hacking and the Semantic Web. Phil facilitated a workshop sessions on "The Eternal Beta - Can it Work in an Institution?".

Scott Wilson works for CETIS. He was initially responsible for turning the CETIS site into THE portal for learning technology standards. Scott is an Assistant Director of CETIS, and has a special interest in standards for infrastructure and enterprise integration. Scott facilitated a workshop session on "XCRI: Syndicating the Online Prospectus" with Ben Ryan.

Adrian Stevenson works for the Learning Technology Services Team which is part of Internet Services at the University of Manchester. He is responsible for investigating and assessing emerging Web and elearning technologies and is the organiser of the University's eLearning Technologies Group. His experience is in Web-based systems design and development using HTML, XML and Web Service technologies. Adrian has also worked for MIMAS, a national data centre based at the University of Manchester, on the JISC-funded JORUM project (2002-2005). Prior to this he was a Web Developer for Multimedia Services at Leeds Metropolitan University (2001-2002) and the Web Editor at King's College London (2000-2001). Adrian first studied Economics and later Continental Philosophy at the University of Warwick. Following this he became a professional guitarist in a number of bands based in London, as well as a Sound Engineer for a number of independent artists including My Bloody Valentine. Adrian facilitated a workshop session on "Know Me Knowing YouTube".

Debbie Nicholson has worked at the University of Essex for 13 years. Having previously worked in the Timetable Office and Systems Administration, she now works in the Web Support Unit (WSU) and has been there for 5 years. She is part of a team of 6 people who are responsible for the maintenance and development of the University corporate pages, the University Web site design service, Web support across the University and Web related training for staff. Debbie facilitated a workshop session on "So, What Would You Do With 45 Sixteen Year Olds?".

Michael Wilson, CLRC Rutherford Appleton Laboratory, gave a talk entitled "SMIL: Multimedia on the Web".

Mark Simpson has been working as the User Issues researcher on the De Montfort University, MLE project, since October 2001. Previously, he has worked on the following: aircrew operational issues of flying in icing weather, funded by the CAA and European Community; training and human factors issues for real-time, full motion simulators; the design of photocopier manuals and control panel information; and the design of process plant control rooms. He has a BSc in Ergonomics, a Postgraduate diploma in Computing and a MA in Industrial Design. The title of Mark's talk is "Designing For Usability".

Scott Wilson works for CETIS. He was initially responsible for turning the CETIS site into THE portal for learning technology standards. Scott is an Assistant Director of CETIS, and has a special interest in standards for infrastructure and enterprise integration. Scott spoke in a panel session on Web 2.0. Scott can be contacted at s.wilson@bangor.ac.uk.

David Harrison is Assistant Director of Information Services at Cardiff University with responsibility for Strategy and Engagement. He had previously been a Director and a Head of Service at two other universities. He is also a past-Chair of the Universities and Colleges Information Systems Association (UCISA) and CEO of Welsh Networking. He has an interest in how emergent technologies from external providers (especially Web 2.0 tools) can be accommodated within traditional service delivery models but more especially he is interested in the cultural change agenda that needs to be considered in ensuring successful implementation and take-up of new technologies. In this, the role of enablement and education become of paramount importance, as does the concept of partnership working both within and outside the enterprise. David gave a plenary talk entitled "Servicing 'Core' and 'Chore': A framework for understanding a Modern IT Working Environment" with Joe Nicholls.

Debbie Nicholson has worked in Web and Learning Technology (WaLT) at the University of Essex for 8 years as a Web Developer, and more recently as WaLT Project Manager. Debbie is currently project managing the relocation of all the University Professional Service web content from individual office based sites, to audience based content incorporated in to the corporate site and design. Debbie chaired the day 2 morning session.

Phil Wilson is a Web Developer working at the University of Bath. He has been writing enterprise Java applications for the past five years and has previously delivered talks on Microformats, Wikis and extreme programming. In his free time he writes code for distributed syndication tools and exploring and sharing the social graph. His blog is philwilson.org: a geek commodity. Phil facilitated a workshop on "What's the Point of having Developers in a Web 2.0 World?" with Tom Natt.

Nicholas Watson is the media account manager for Corporate Projects for Learning and Teaching Solutions (LTS) - the media production arm of the Open University (OU). He is responsible for production of Open Educational Resources such as OpenLearn, iTunes U and YouTube. Nicholas facilitated a workshop on "Podcasting and iTunes U: Institutional Approaches to Scaleable Service" with Jeremy Speller. Nicholas can be contacted at n.watson@open.ac.uk

Debbie Nicholson has worked in the Web Support Unit (WSU) at the University of Essex for 6 years. As well as working as part of the Web Design Team, responsible for the maintenance and development of the University corporate pages, Web site design and Web related support and training for staff, Debbie is currently working as a project manager for the Unit. Debbie has just project managed the rebuild of the new University Web site, and is busy planning phase 2 which will look at delivery of web information from departments and sections and the introduction of new Faculties. Debbie facilitated a workshop on "Hands Up if You Haven't done Yours Yet..." with Keith Brooke.

Dan Jackson is the Web Team Leader at City University London. He is part of a small team responsible for the maintenance and development of the University Web site, CMS and related systems and applications. During his time at the University Dan has overseen a site redesign and an accessibility audit. He has over 7 years experience in Web development, and his interests include Web standards, usability, accessibility, client-side coding and PHP. Dan facilitated a workshop on "Coping with Forms: Implementing a Web Form Management Application".

Alison Wildish is Head of Web Services at Edge Hill University where, for the past seven years, she has led a team responsible for the development of the corporate Web site(s), intranet sites and Web services. Prior to joining Edge Hill, Alison was developing Web applications in the commercial sector. Alison has an active interest in the opportunities offered by personalisation and user owned technologies and gave a plenary talk on "Let the Students do the Talking...."

Dr Miranda Stephenson was heavily involved in establishing the National Science Learning Centre which is based on the University of York campus. Miranda welcomed delegates to the University of York at the start of the Institutional Web Management Workshop 2007 event.

John Harrison is the CEO of Maxsi. Maxsi are developers of eVisit Analyst, a range of advanced Web site analysis tools used by universities such as Northumbria and Exeter. John participated in the panel session on "Dealing with the Commercial World: Saviour or Satan?"

Event Begins: Thursday, November 14, 2024 4:00pm
Location: Student Activities Building, Maize and Blue Auditorium, 515 E Jefferson St, Ann Arbor, MI, United States
Organized By: University Career Center

If you are interested in interning for the Office of Governor Whitmer, please join us on Thursday, November 14 from 4:00 PM - 5:00 PM at the Maize & Blue Auditorium (located on the 1st floor of the Student Activities Building).Staff and recruiters from the Governor’s office will be visiting campus to provide an overview of their internship program for both Spring 2025 and Summer 2025. If you are in the Public Service Intern Program or pursuing professional opportunities in government, this is the event for you! Please come prepared with some questions toask the speakers as there will be Q&A for students who attend.  

Event Begins: Thursday, November 14, 2024 4:00pm
Location: Hutchins Hall
Organized By: Faculty Senate

SPEAKER: JUDITH BUTLER
November 14, 2024
4:00-5:30 P.M.
100 Hutchins Hall
(Zoom link coming soon)

The annual Davis, Markert, Nickerson Lecture on Academic and Intellectual Freedom is named for three U-M faculty members—Chandler Davis, Clement Markert, and Mark Nickerson—who in 1954 were called to testify before the House Un-American Activities Committee. All invoked constitutional rights and refused to answer questions about their political associations. The three were suspended from the University with subsequent hearings and committee actions resulting in the reinstatement of Markert, an assistant professor who eventually gained tenure, and the dismissal of Davis, an instructor, and Nickerson, a tenured associate professor.

Event Begins: Thursday, November 14, 2024 1:00pm
Location:
Organized By: University Career Center

In 2015, Johnson & Johnson launched WiSTEM2D – Women in Science, Technology, Engineering, Math, Manufacturing, and Design (STEM2D) – initiative to promote learning and career opportunities in STEM2D disciplines. Led by a network of volunteers from across Johnson & Johnson and its local operating companies, this ambitious initiative seeks to promote learning across Youth, University and Professionals.  We are inviting university students to participate in a WiSTEM2D Virtual Event – Leadership Development Program Panel! Participants will hear fromfive female panelists working in a variety of pharmaceutical and medical technology roles at Johnson & Johnson, on the topics noted above, as well as an opportunity to submit questions.- Meredith DiBona, Associate Director – Global Trial Associate Leadership Development ProgramLead- Erin McGrann, Global Trial Associate (GTA) – Global TrialAssociate Leadership Development Program- Kaiya Mitchell, Global Trial Associate (GTA) – Global Trial Associate Leadership Development Program- Nora Tovar, Early In Career Programs Manager, MedTech – R&D Leadership Development Program- Saila Incollingo, IT Director, MedTech – Technology Leadership Development Program