Global cotton markets saw slight declines and stabilisation in recent weeks, with NY/ICE December futures trading between 67–75 cents/lb since June, now at 71 cents/lb. The global A Index dipped from 85 to 83 cents, while China's index dropped from 101 to 97 cents due to a weaker yuan. Indian and Pakistani spot prices also declined, but both rupees remained stable against the dollar.

The 2024 Laureus Sport for Good Index honours brands advancing the 17 SDGs through sport, highlighting impactful initiatives that address key social and ecological issues. Head of Partnerships Astin Ewington emphasises the Index’s role in showcasing sport's power to drive positive change, inspiring more brands to use sport as a platform for meaningful, sustainable impact.

Burberry has introduced its first virtual scarf try-on experience in its ‘Wrapped in Burberry’ holiday campaign. Partnering with AR provider WANNA, the immersive experience lets customers view iconic Burberry scarves in real-time, with over 50 styles and two classic options. Available online and in select stores, customers can share images and directly access product pages for purchases.

Web Industries will showcase its nonwoven materials solutions for medical, personal care, and home care markets at Hygienix 2024, held November 18-21 in Nashville. The company will highlight its slitting, spooling, printing, and modular converting capabilities, offering precision converting for flexible packaging, films, and medical-grade materials.

Enterprise search projects start with intentions to provide ?Google for our organization' but too often fail to deliver on that promise. In our experience, these projects fail due to a lack of sustained effort and governance. The commercialization of next-generation search technologies allows you to fulfill this promise if you take a systematic approach to implementation.

The data, information, and analytics economy runs on well-curated, structured data. No matter your industry?having good curated data and content is critical. It's increasingly important as more data and content are generated. Intelligent tools to sift through content are more robust and at the same time, more "needy." That means modern technology platforms, systems, and even content consumers require well-structured data and content to perform well. As most artificial intelligence (AI) practitioners state?"nothing starts without good data."

AI-Powered Search Engines?referred to as "Insight Engines" by Gartner and "Cognitive Search" by Forrester?can deliver significant value to organizations these days, provided certain risks are avoided.

Artificial intelligence (AI) is one?if not the?key technology of our decade. Technological advances in this field are not only fundamentally changing our economies, industries and markets, but are also exerting enormous influence on traditional business practices, many of which will disappear, while others will be transformed or completely reinvented.

There may be several generations that a KM system appeals to in different ways, but there are no generational differences when it comes to expecting high quality customer service and knowledgeable agents.

A New York appellate court ruled that a worker injured in an accident caused by a falling pipe should have been granted summary judgment on his Labor Law claim. Case: Jara-Salazar…

West Virginia’s Supreme Court upheld a finding of compensability for a worker with a knee injury. Case: P&G Tabler Station v. Hiett, No. 23-703, 10/30/2024, published. Facts: David Hiett worked for P&G Tabler…

The Workers Compensation Research Institute is holding a webinar on Nov. 21 to discuss findings from a recent study of the impact of attorney representation on claim payments. Bogdan Sayvch The…

Ganezza’s Visual Identity: A Dynamic Branding Journey

Bien-Être Simple’s Vibrant Branding and Web Design by Impulso

Wildlife photography fans now have a unique opportunity to own a true collector’s piece from renowned wildlife photographer David Lloyd. For the first time, David...

The post Now you can own this rare collector’s edition book set of wildlife fine art photography appeared first on DIY Photography.

Mini tripods have become increasingly popular over the last few years. They’ve become a versatile and invaluable part of many creators’ kit bags. There are...

The post The Mambapod is a compact tripod you can mount anywhere appeared first on DIY Photography.

For many of us creative folks, periods of low inspiration and creative block are inevitable. Max Kent also felt disconnected from his craft, but found...

The post From burnout to breakthrough: Five key steps to breaking the creative block appeared first on DIY Photography.

Finding power on location can be tough, especially when those locations are out in the middle of nowhere. It’s been getting a lot easier in...

The post Bluetti’s new Elite200 V2 wants to power your camera gear on location appeared first on DIY Photography.

Yesterday, Cameron Koczon shared a link to the dingbat font, Pictos, by the talented, Drew Wilson. Cameron predicted that dingbats will soon be everywhere. Symbol fonts, yes, I thought. Dingbats? No, thanks. Jason Santa Maria replied:

@FictiveCameron I hope not, dingbat fonts sort of spit in the face of accessibility and semantics at the moment. We need better options.

Jason rightly pointed out the accessibility and semantic problems with dingbats. By mapping icons to letters or numbers in the character map, they are represented on the page by that icon. That’s what Pictos does. For example, by typing an ‘a’ on your keyboard, and setting Pictos as the font-face for that letter, the Pictos anchor icon is displayed.

Other folks suggested SVG and JS might be better, and other more novel workarounds to hide content from assistive technology like screen readers. All interesting, but either not workable in my view, or just a bit awkward.

Falling down with CSS text-replacement

A CSS solution in an article from Pictos creator, Drew Wilson, relies on the fact that most of his icons are mapped to a character that forms part of the common name for that symbol. The article uses the delete icon as an example which is mapped to ‘d’. Using :before and :after pseudo-elements, Drew suggests you can kind-of wrangle the markup into something sort-of semantic. However, it starts to fall down fast. For example, a check mark (tick) is mapped to ‘3’. There’s nothing semantic about that. Clever replacement techniques just hide the evidence. It’s a hack. There’s nothing wrong with a hack here and there (as box model veterans well know) but the ends have to justify the means. The end of this story is not good as a VoiceOver test by Scott at Filament Group shows. In fairness to Drew Wilson, though, he goes on to say if in doubt, do it the old way, using his font to create a background image and deploy with a negative text-indent.

I agreed with Jason, and mentioned a half-formed idea:

@jasonsantamaria that’s exactly what I was thinking. Proper unicode mapping if possible, perhaps?

The conversation continued, and thanks to Jason, helped me refine the idea into this post.

Jon Hicks flagged a common problem for some Windows users where certain Unicode characters are displayed as ‘missing character’ glyphs depending on what character it is. I think most of the problems with dingbats or missing Unicode characters can be solved with web fonts and Unicode.

Rising with Unicode and web fonts

I’d love to be able to use custom icons via optimised web fonts. I want to do so accessibly and semantically, and have optimised font files. This is how it could be done:

1. Map the icons in the font to the existing Unicode code points for those symbols wherever possible.

   Unicode code points already exist for many common symbols. Fonts could be tiny, fast, stand-alone symbol fonts. Existing typefaces could also be extended to contain symbols that match the style of individual widths, variants, slopes, and weights. Imagine a set of Clarendon or Gotham symbols for a moment. Wouldn’t that be a joy to behold?

   There may be a possibility that private code points could be used if a code-point does not exist for a symbol we need. Type designers, iconographers, and foundries might agree a common set of extended symbols. Alternatively, they could be proposed for inclusion in Unicode.

2. Include the font with font-face.

   This assumes ubiquitous support (as any use of dingbats does) — we’re very nearly there. WOFF is coming to Safari and with a bit more campaigning we may even see WOFF on iPad soon.

3. In HTML, reference the Unicode code points in UTF-8 using numeric character references.

   Unicode characters have corresponding numerical references. Named entities may not be rendered by XML parsers. Sean Coates reminded me that in many Cocoa apps in OS X the character map is accessible via a simple CMD+ALT+t shortcut. Ralf Herrmann mentioned that unicode characters ‘…have “speaking” descriptions (like Leftwards Arrow) and fall back nicely to system fonts.’

Limitations

1. Accessibility: Limited Unicode / entity support in assistive devices.

   My friend and colleague, Jon Gibbins’s old tests in JAWS 7 show some of the inconsistencies. It seems some characters are read out, some ignored completely, and some read as a question mark. Not great, but perhaps Jon will post more about this in the future.

   Elizabeth Pyatt at Penn State university did some dingbat tests in screen readers. For real Unicode symbols, there are pronunciation files that increase the character repertoire of screen readers, like this file for phonetic characters. Symbols would benefit from one.

2. Web fonts: font-face not supported.

   If font-face is not supported on certain devices like mobile phones, falling back to system fonts is problematic. Unicode symbols may not be present in any system fonts. If they are, for many designers, they will almost certainly be stylistically suboptimal. It is possible to detect font-face using the Paul Irish technique. Perhaps there could be a way to swap Unicode for images if font-face is not present.

Now, next, and a caveat

I can’t recommend using dingbats like Pictos, but the icons sure are useful as images. Beautifully crafted icon sets as carefully crafted fonts could be very useful for rapidly creating image icons for different resolution devices like the iPhone 4, and iPad.

Perhaps we could try and formulate a standard set of commonly used icons using the Unicode symbols range as a starting point. I’ve struggled to find a better visual list of the existing symbols than this Unicode symbol chart from Johannes Knabe.

Icons in fonts as Unicode symbols needs further testing in assistive devices and using font-face.

Last, but not least, I feel a bit cheeky making these suggestions. A little knowledge is a dangerous thing. Combine it with a bit of imagination, and it can be lethal. I have a limited knowledge about how fonts are created, and about Unicode. The real work would be done by others with deeper knowledge than I. I’d be fascinated to hear from Unicode, accessibility, or font experts to see if this is possible. I hope so. It feels to me like a much more elegant and sustainable solution for scalable icons than dingbat fonts.

For more on Unicode, read this long, but excellent, article recommended by my colleague, Andrei, the architect of Unicode and internationalization support in PHP 6: The Absolute Minimum Every Software Developer Absolutely, Positively Must Know About Unicode and Character Sets.

Stories are everywhere. When they don’t exist we make up the narrative — we join the dots. We make cognitive leaps and fill in the bits of a story that are implied or missing. The same goes for websites. We make quick judgements based on a glimpse. Then we delve deeper. The narrative unfolds, or we create one as we browse.

Mark Bernstein penned Beyond Usability and Design: The Narrative Web for A List Apart in 2001. He wrote, ‘the reader’s journey through our site is a narrative experience’. I agreed wholeheartedly: Websites are narrative spaces where stories can be enacted, or emerge.

Henry Jenkins, Director of Comparative Media Studies, and Professor of Literature at MIT, wrote Game Design as Narrative Architecture. He suggested we think of game designers, ‘less as storytellers than as narrative architects’. I agree, and I think web designers are narrative architects, too. (Along with all the multitude of other roles we assume.) Much of what Henry Jenkins wrote applies to modern web design. In particular, he describes two kinds of narratives in game design that are relevant to us:

Enacted narratives are those where:

[…] the story itself may be structured around the character’s movement through space and the features of the environment may retard or accelerate that plot trajectory.

Sites like Amazon, New Adventures, or your portfolio are enacted narrative spaces: Shops or service brochures that want the audience to move through the site towards a specific set of actions like buying something or initiating contact.

Emergent narratives are those where:

[…] spaces are designed to be rich with narrative potential, enabling the story-constructing activity of players.

Sites like Flickr, Twitter, or Dribbble are emergent narrative spaces: Web applications that encourage their audience use the tools at their disposal to tell their own story. The audience defines how they want to use the narrative space, often with surprising results.

We often build both kinds of narrative spaces. Right now, my friends and I at Analog are working on Mapalong, a new maps-based app that’s just launched into private beta. At its heart Mapalong is about telling our stories. It’s one big map with a set of tools to view the world, add places, share them, and see the places others share. The aim is to help people tell their stories. We want to use three ideas to help you do that: Space (recording places, and annotating them), data (importing stuff we create elsewhere), and time (plotting our journeys, and recording all the places, people, and memories along the way). We know that people will find novel uses for the tools in Mapalong. In fact, we want them to because it will help us refine and build better tools. We work in an agile way because that’s the only way to design an emerging narrative space. Without realising it we’ve become architects of a narrative space, and you probably are, too.

Many projects like shops or brochure sites have fixed costs and objectives. They want to guide the audience to a specific set of actions. The site needs to be an enacted narrative space. Ideally, designers would observe behaviour and iterate. Failing that, a healthy dose of empathy can serve. Every site seeks to teach, educate, or inform. So, a bit of knowledge about people’s learning styles can be useful. I once did a course in one to one and small group training with the Chartered Institute of Personnel and Development. It introduced me to Peter Honey and Alan Mumford’s model which describes four different learning styles that are useful for us to know. I paraphrase:

1. Activists like learning as they go; getting stuck in and working it out. They enjoy the here and now, and are happy to be dominated by immediate experiences. They are open-minded, not sceptical, and this tends to make them enthusiastic about anything new.
2. Reflectors like being guided with time to take it all in and perhaps return later. They like to stand back to ponder experiences and observe them from many different perspectives. They collect data, both first hand and from others, and prefer to think about it thoroughly before coming to a conclusion.
3. Theorists to understand and make logical sense of things before they leap in. They think problems through in a vertical, step-by-step logical way. They assimilate disparate facts into coherent theories.
4. Pragmatists like practical applications of ideas, experiments, and results. They like trying out ideas, theories and techniques to see if they work in practice. They positively search out new ideas and take the first opportunity to experiment with applications.

Usually people share two or more of these qualities. The weight of each can vary depending on the context. So how might learning styles manifest themselves in web browsing behaviour?

• Activists like to explore, learn as they go, and wander the site working it out. They need good in-context navigation to keep exploring. For example, signposts to related information are optimal for activists. They can just keep going, and going, and exploring until sated.
• Reflectors are patient and thoughtful. They like to ponder, read, reflect, then decide. Guided tours to orientate them in emergent sites can be a great help. Saving shopping baskets for later, and remembering sessions in enacted sites can also help them.
• Theorists want logic. Documentation. An understanding of what the site is, and what they might get from it. Clear, detailed information helps a theorist, whatever the space they’re in.
• Pragmatists get stuck in like activists, but evaluate quickly, and test their assumptions. They are quick, and can be helped by uncluttered concise information, and contextual, logical tools.

An understanding of interactive narrative types and a bit of knowledge about learning styles can be useful concepts for us to bear in mind. I also think they warrant inclusion as part of an articulate designer’s language of web design. If Henry Jenkins is right about games designers, I think he could also be right about web designers: we are narrative architects, designing spaces where stories are told.

—∞—

In 2003, my wife Lowri and I went to a christening party. We were friends of the hosts but we knew almost no-one else there. Sitting next to me was a thirty-something woman and her husband, both dressed in the corporate ‘smart casual’ uniform: Jersey, knitwear, and ready-faded jeans for her, formal shoes and tucked-in formal shirt for him (plus the jeans of course; that’s the casual bit). Both appeared polite, neutral, and neat in every respect.

I smiled and said hello, and asked how they knew our hosts. The conversation stalled pretty quickly the way all conversations will when only one participant is engaged. I persevered, asked about their children who they mentioned, trying to be a good friend to our hosts by being friendly to other guests. It must have prompted her to reciprocate. With reluctant interest she asked the default question: ‘What do you do?’ I paused, uncertain for a second. ‘I’m a web designer’ I managed after a bit of nervous confusion at what exactly it was that I did. Her face managed to drop even as she smiled condescendingly. ‘Oh. White backgrounds!’ she replied with a mixture of scorn and delight. I paused. ‘Much of the time’, I nodded with an attempt at a self-deprecating smile, trying to maintain the camaraderie of the occasion. ‘What do you do?’ I asked, curious to see where her dismissal was coming from. ‘I’m the creative director for … agency’ she said smugly, overbearingly confident in the knowledge that she had a trump card, and had played it. The conversation was over.

I’d like to say her reaction didn’t matter to me, but it did. It stung to be regarded so disdainfully by someone who I would naturally have considered a colleague. I thought to try and explain. To mention how I started in print, too. To find out why she had such little respect for web design, but that was me wanting to be understood. I already knew why. Anything I said would sound defensive. She may have been rude, but at least she was honest.

I am a web designer. I neither concentrate on the party venue, food, music, guest list, or entertainment, but on it all. On the feeling people enter with and walk away remembering. That’s my job. It’s probably yours too.

I’m self-actualised, without the stamp of approval from any guild, curriculum authority, or academic institution. I’m web taught. Colleague taught. Empirically taught. Tempered by over fifteen years of failed experiments on late nights with misbehaving browsers. I learnt how to create venues because none existed. I learnt what music to play for the people I wanted at the event, and how to keep them entertained when they arrived. I empathised, failed, re-empathised, and did it again. I make sites that work. That’s my certificate. That’s my validation.

I try, just like you, to imbue my practice with an abiding sense of responsibility for the universality of the Web as Tim Berners-Lee described it. After all, it’s that very universality that’s allowed our profession and the Web to thrive. From the founding of the W3C in 1994, to Mosaic shipping with <img> tag support in 1993, to the Web Standards Project in 1998, and the CSS Zen Garden in 2003, those who care have been instrumental in shaping the Web. Web designers included. In more recent times I look to the web type revolution, driven and curated by both web designers, developers, and the typography community. Again, we’re teaching ourselves. The venues are open to all, and getting more amazing by the day.

Apart from the sites we’ve built, all the best peripheral resources that support our work are made by us. We’ve contributed vast amounts of code to our collective toolkit. We’ve created inspirational conferences like Brooklyn Beta, New Adventures, Web Directions, Build, An Event Apart, dConstruct, and Webstock. As a group, we’ve produced, written-for, and supported forward-thinking magazines like A List Apart, 8 Faces, Smashing Mag, and The Manual. We’ve written the books that distill our knowledge either independently or with publishers from our own community like Five Simple Steps and A Book Apart. We’ve created services and tools like jQuery, Fontdeck, Typekit, Hashgrid, Teuxdeux, and Firebug. That’s just a sample. There’s so many I haven’t mentioned. We did these things. What an extraordinary industry.

I know I flushed with anger and embarrassment that day at the christening party. Afterwards, I started to look a little deeper into what I do. I started to ask what exactly it means to be a web designer. I started to realise how extraordinary our community is. How extraordinary this profession is that we’ve created. How good the work is that we do. How delightful it is when it does work; for audiences, clients, and us. How fantastic it is that I help build the Web. Long may that feeling last. May it never go away. There’s so much still to learn, create, and make. This is my our party. Hi, I’m Jon; my friends and I are making Mapalong, and I’m a web designer.

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)

BIG NEWS: My custom Lightroom presets are now available and 50% off for a limited time with discount code HOLIDAY50. Link in profile!

This collection includes two styles (Everyday and Clean) that I use to edit every shot on this feed. I can’t wait to see what you all do with them! Stay tuned to my upcoming tutorials on how to put the presets to good use. ???? (at Toronto, Ontario)

I like the philosophy behind shooting with primes; that a photographer shouldn’t stand still but instead, continuously move closer, further, lower, or higher relative to his/her subject as a means of establishing a deeper connection. ????????
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Save 50% on my custom Lightroom presets with HOLIDAY50. Link in profile. (at Toronto, Ontario)

Bricks are better black. ◾️ (at Toronto, Ontario)

Missing Berlin’s gorgeous buildings again. ???? (at Berlin, Germany)

I’ve gone subway hopping for photos in every city I’ve been to except the one I live in. ???? (at Toronto, Ontario)

I took this shot about a year ago when I had a very different editing style. A ton of faded blacks and, believe it or not, a subtle green tint (unknowingly inherited from the preset I was using at the time). Re-editing it now, I’m happy with the way my style has evolved, though I can already sense that I’m on the brink of evolving it again. And I’m okay with that. ???? (at London, United Kingdom)

This might as well be a Herschel ad. ???? (at London, United Kingdom)

Four days from now I’ll be boarding a one way flight to San Francisco to take on the next evolution of my role at @shopify. Leaving the city that I’ve called home my entire life and the people who have defined everything I am was one of the most uncomfortable decisions I’ve ever had to make. But this wouldn’t be the first time I’ve chased discomfort in my career.
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I wrote about my ongoing pursuit for discomfort this morning in hopes of inspiring others to do the things that scare and challenge them this year. You can find the link in my profile.
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Happy 2017! ????
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????: @jonasll (at San Francisco, California)

I had a fantastic conversation with Jem Sophia today (our first actual conversation after years of talking online!) who pointed me in the direction of this fantastic article. I love the sentiment and the metaphor. Creating software to scratch an itch without any ambitions of ScAlInG and turning it into a capitalistic enterprise.

Discover top YouTube channels dedicated to UX design, offering insights and tutorials to enhance your skills in creating intuitive and engaging user experiences. Here are some of the best channels for UX designers.

The market Study is segmented by key regions which is accelerating the marketization.

Rob Ball
Untitled, Margate, England, 2014
From the Dreamland series
Website - RobBall.co.uk

Rob Ball is a British photographer and academic working on self-initiated projects and commissions. His work has been shown at numerous institutions and festivals including The National Portrait Gallery, Ways of Looking Festival, Format Festival and Bonnington Gallery, Nottingham. Interested in areas including materiality, process, landscape and the archive, Rob produces a variety of outputs including the publications Unremarkable Stories and Beyond the View (2014). Rob is Deputy Director of The South East Archive of Seaside Photography (SEAS).

Jesse Chehak
Near Big Water, Utah, 2010
Website - JesseChehak.com

Born in Tarzana, California, Jesse Chehak studied photography and Art History at Sarah Lawrence College and is currently pursuing a MFA at the University of Arizona. Chehak has exhibited his large format prints in galleries and project spaces including Bruce Silverstein (New York), Danese (New York) and the Durham Art Guild (Durham, North Carolina.) He is currently seeking funding to publish his first monograph, Fool's Gold, and a gallery to exhibit and distribute the completed print edition. In 2005, Chehak joined M.A.P. and began executing commercial campaigns and editorial features for clients, including The New York Times, Wallpaper*, Newsweek, GQ, Ogilvy & Mather, Saatchi & Saatchi, Digitas, and others. Chehak has received notable attention for his work, including PDN30 in 2005, The Magenta Foundation's Flash Forward in 2007, a Baum Nomination in 2008, and AP25. He lives in Tucson and Los Angeles.

Abelardo Morell
Camera Obscura: Early Morning View of the East Side of Midtown Manhattan, , 2014
Website - AbelardoMorell.net

Abelardo Morell was born in Havana, Cuba in 1948. He immigrated to the United States with his parents in 1962. Morell received his undergraduate degree in 1977 from Bowdoin College and an MFA from The Yale University School of Art in 1981. In 1997 he received an honorary degree from Bowdoin College.

His publications include a photographic illustration of Alice’s Adventures in Wonderland (1998) by Dutton Children’s Books, A Camera in a Room (1995) by Smithsonian Press, A Book of Books (2002) and Camera Obscura (2004) by Bulfinch Press and Abelardo Morell (2005), published by Phaidon Press. Recent publications include a limited edition book by The Museum of Modern Art in New York of his Cliché Verre images with a text by Oliver Sacks.

His work has been collected and shown in many galleries, institutions and museums, including the Museum of Modern Art, The Whitney Museum of American Art, the Metropolitan Art Museum in New York, The Chicago Art Institute, The San Francisco Museum of Modern Art, The Houston Museum of Art, The Boston Museum of Fine Art, The Victoria & Albert Museum and over seventy other museums in the United States and abroad. A retrospective of his work organized jointly by the Art Institute of Chicago, The Getty in Los Angeles and The High Museum in Atlanta closed in May 2014 after a year of travel. Abelardo will be having his first show at the Edwynn Houk Gallery in New York opening October 23, 2014 and will run until December 20, 2014 featuring a selection of new pictures.

““I always hated that word—marketing—and I hate it now. Because for me, and this may sound simplistic, the key to marketing is to make something people want. When they want it, they buy it. When they buy it, you have sales. So the product has to speak. The product is what markets things.””

- Interview with Tom Ford.

“

What is deceptive, especially in the West, is our assumption that repetitive and mindless jobs are dehumanizing. On the other hand, the jobs that require us to use the abilities that are uniquely human, we assume to be humanizing. This is not necessarily true. The determining factor is not so much the nature of our jobs, but for whom they serve.

‘Burnout’ is a result of consuming yourself for something other than yourself. You could be burnt out for an abstract concept, ideal, or even nothing (predicament). You end up burning yourself as fuel for something or someone else. This is what feels dehumanizing. In repetitive physical jobs, you could burn out your body for something other than yourself. In creative jobs, you could burn out your soul. Either way, it would be dehumanizing. Completely mindless jobs and incessantly mindful jobs could both be harmful to us.

President-elect Trump and Elon Musk, two billionaires with strikingly similar DNAs, are fusing into a new, powerful governing-media paradigm.

House Freedom Caucus members block bipartisan bill to expand some Social Security benefits

Incident Name: LUCKNOW DR
Territory: CFA
Agency: CFA
Fire District: North Central
Incident No: 189525
Date/Time: 14/11/2024 22:44:00
Type: OTHER
Location: BEVERIDGE
Status: Responding
Size: SMALL
Vehicles: 0
Latitude: -37.4764620871069
Longitude: 144.94403673476685

Ben facilitated a workshop session on "XCRI: Syndicating the Online Prospectus" with Scott Wilson.

Sebastian Rahtz is Information Manager at Oxford University Computing Services, where he continues to evangelize for XML content on the web using a decent schema. Given that he is heavily involved in the Text Encoding Initiative, it is no surprise that he produces Web pages written in TEI XML. Until recently he was director of OSS Watch, JISC's Open Source Advisory Service, and remains an open source evangelist. Sebastian facilitated a workshop session on "Geolinked Institutional Web Content" with Patrick Lauke and Nigel Bradley.

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?".

William (Bill) Mackintosh is Web Manager at the University of York. A Web CMS selection process is underway before the introduction of an Institutional Portal. William facilitated a workshop session on "Web Usage Statistics in the University Environment" with Paul Kelly.

Claire Gibbons is the Web Officer for the University of Bradford, working within the department of Marketing and Communications. Claire is responsible for the external face of the University's web presence and works closely with departments and Schools to ensure consistency of University brand and message as well as compliance with standards and legislation, such as SENDA. Claire is also studying for the Chartered Management Institute Diploma in Management - which has sparked her current (and slightly obsessive) interest in organisational culture. Claire is also working on the new University visual identity roll-out for the University of Bradford and the Content Management System Project. Claire facilitated a workshop session on "People, Processes and Projects - How the Culture of an Organisation can Impact on Technical System Implementation" with Russell Allen.

Nigel Bradley has been the Web Services Manager at Northumbria University for the past 6 years. Although not (web) technical he has led the way for Northumbria to always be amongst first to implement new technologies whether it be their CMS, their SITS integration, their Web stats or more recently their adaptation of the Google maps API for various projects. Nigel facilitated a workshop session on "Geolinked Institutional Web Content" with Patrick Lauke and Sebastian Rahtz.

Simon Ball is a Senior Advisor at Techdis. Simon now leads the work of TechDis in Higher Education, in addition to leading on E-Assessment across the sectors. Over the coming months Simon will be developing and putting into operation a new operating plan for the TechDis Higher Education work, including directing specific messages to senior managers, exploring the area of inclusion funding, and further developing the TechDis range of staff development and instructional materials to raise the base level of inclusion provision across HE. Simon facilitated a workshop session on "Contextual Accessibility in Institutional Web Accessibility Policies" with David Sloan.

The "Call for speakers and workshop facilitators" was sent to the web-support JISCMail list. [22 Jan 2008]