Hoppet is a 2007 motion picture directed by Petter Næss. The Kurdish boys Azad and Tigris are brothers. Due to an airstrike Tigris cannot speak anymore, they are sent to an uncle in Germany, the parents plan to come soon afterwards. The boys are accompanied by another family until Sweden, they have to live with the family in Sweden. Azad gets the opportunity to travel to Germany for a competition. However, he has no passport. Therefore, he borrows the passport of a Swedish friend, changes his appearance to look like the picture: he puts in blue lenses and dyes his hair blonde. Tigris is smuggled into Germany in a suitcase; when he is about to be discovered by the border guard, the latter is distracted with conversation, they can move on. In Germany Azad is reunited with his parents. Hoppet on IMDb Hoppet at Rotten Tomatoes
Karine Nahon is an Israeli information scientist in the area of information and society. She holds a dual position as an associate professor in The Information School at University of Washington and the Interdisciplinary Center Herzliya. In July 2017, Nahon was named #24 on Forbes' list of 50 Most Influential Women in Israel, her co-authored book “Going Viral” was awarded Best Information Science Book Award by the Association for Information Science and Technology and the 2014 Outstanding Academic Title Award by the American Library Association. Nahon was born in Tel-Aviv, her academic background is from various fields. She received a B. Sc. in computer science, B. A. in political science and M. Sc. and Ph. D. in management of information systems from Tel-Aviv University. She maintains a dual position as an associate professor faculty in the Information School at the University of Washington since 2004, since 2010 in the Lauder School of Government and Strategy at the Interdisciplinary Center Herzliya in Israel.
At the University of Washington she directs the Virality of Information research group. She is the first woman nominated to lead a track at the Hawaii International Conference on System Sciences. In Israel, Nahon serves on the editorial board of the Freedom of Information Movement and the Internet Society, she is one of the leaders of the movement against the biometric database in Israel. The biometric database is still in its pilot phase and Nahon appealed to the High Justice Court against its deployment; the work of Karine Nahon synthesizes empirical research literature with combination of information science, politics and internet studies. Her studies on information and society focus on power and politics of information. In this domain she has developed a framework of Information viralty. Karine Nahon has written a number of contemporary pieces on gatekeeping theories between disciplines. In 2008, she proposed a new way of looking at gatekeeping, merging the disciplines' of communication, information science, management perspectives into a refined theory of gatekeeping.
Traditional mass communication gatekeeping theory has focused on how we get news, however Nahon's approach applies to all information. Nahon adds new terms and redefines old terms in the framework Gate – "entrance to or exit from a network or its sections." Gatekeeping – "the process of controlling information as it moves through a gate. Activities include among others, addition, display, shaping, repetition, localization, integration and delection of information." Gated – "the entity subjected to gatekeeping" Gatekeeping mechanism "a tool, technology, or methodology used to carry out the process of gatekeeping" Network gatekeeper – "an entity that has the discretion to exercise gatekeeping through a gatekeeping mechanism in networks and can choose the extent to which to exercise it contingent upon the gated standing."This updated look at gatekeeping poses a number of classifications including the bases for gatekeeping, mechanisms used in network gatekeeping, types of authority of network gatekeepers.
Additionally, Nahon introduces a typology for the gated. According to her approach, the gated can have four key attributes at different levels that determine how they can interact with the gate; these are: Political power in relation to the gatekeeper, Information production ability, Relationship with the gatekeeper, And alternatives in the context of gatekeeping. A typology of combinations of these characteristics allows for evaluation of potential interactions between the gatekeeper and the gated based on the number and type of attributes an individual has, her discussion about "the gated" resonates with audience gatekeeping in that both empowers the message recipients in the process of gatekeeping. Nahon Karine and Hemsley Jeff, 2013, “Going Viral”, Polity. UK: Cambridge. Nahon Karine and Hemsley Jeff, 2014, “Political Blogs and Content: Homophily in the Guise of Cross-Linking”, American Behavioral Scientist, Vol. 58, pp. 1294–1313. Nahon Karine, Jeff Hemsley, Shawn Walker and Muzammil Hussain, 2011, “Fifteen Minutes of Fame: The Power of Blogs in the Lifecycle of Viral Political Information”, Policy & Internet, Vol. 3, Article 2.
Nahon Karine, 2011, “Network Fuzziness of Inclusion/Exclusion”, International Journal of Communication, Vol. 5, pp. 756–772. Barzilai-Nahon Karine, 2009, "Gatekeeping: A Critical Review", Annual Review of Information Science and Technology, Vol. 43, pp. 433–478. Barzilai-Nahon Karine, 2008, "Towards a Theory of Network Gatekeeping: A Framework for Exploring Information Control", Journal of the American Society for Information Science and Technology, Vol. 59, pp. 1493–1512. Barzilai-Nahon Karine, 2006, “Gaps and Bits: Conceptualizing Measurements for Digital Divide/s”, The Information Society, Vol. 22, pp. 269–278. Barzilai-Nahon Karine and Barzilai Gad, 2005, “Cultured Technology: Internet and Religious fundamentalism“, The Information Society, Vol. 21, pp. 25–40. Karine Nahon’s personal home page Going Viral: Polity Press
The Lloyd George Society is an organisation connected with, but not formally affiliated to, the Liberal Democrats. It is named after David Lloyd George, the Welsh Liberal politician, British prime minister from 1916-1922; the Society was founded in the late 1950s by Liberals in Wales when it was known as the Welsh Liberal Weekend Schools. It met at a hotel in Mid Wales, once a year to discuss topical political and social questions both domestic and foreign, with invited specialist guest speakers. A favourite location has been the Abernant Lake Hotel at Llanwrtyd Wells because this was one of the Spa towns at which Lloyd George used to spend time, its main purpose at that time was to provide Liberal parliamentary candidates with an environment in which they could learn about the issues of the day, debate them with experts and so gain in experience and self-assurance better to equip them for the pressures of fighting general elections. By the mid-1980s, with the development of the Liberal-SDP Alliance, the name Welsh Liberal Weekend Schools was discarded and the group became known as the Lloyd George Society.
The founding members included Emlyn Hooson, Liberal MP for Montgomeryshire from 1962–79 and Tom Ellis of the SDP. The first Chairman was Roger Pincham, former Chairman of the Liberal Party, it has continued to meet annually in Wales with expert speakers invited to talk on topical issues but over the years it has stopped being a training school for Liberal candidates and has now opened its doors to an audience who have an interest in Welsh affairs and culture as well as the wider British political scene. The Society promotes an interest in the life and family of David Lloyd George. At the meeting of the Society in Llandrindod Wells in February 2009, Jennifer Longford, the daughter of Frances Stevenson, Lloyd George's longtime mistress and his second wife, was elected as a Vice-President of the Society. Liberal Democrats Politics of the United Kingdom Lloyd George Society Website of the Lloyd George Museum, Llanystumdwy Article from the Times newspaper, Jennifer Longford's parentage
A Full Moon Consort was a band in the St. Louis area in the 1970s; when their album was released it was reported to be the best-selling album in the St. Louis area, they have been noted to be "one of the area's top bands" in the mid-1970s. A Full Moon Consort performed from about the mid-1970s to 1978. A Full Moon Consort included: Chuck Sabatino, Joe Marshall, Steve Strayhorn, Joe Truttman and Dave Timmermann; the band featured members of three earlier bands: Jake Jones, King of Hearts, The Rockets. Jake Jones was from the St. Louis area and released two albums on Kapp Records in the early seventies. No one in the group was named "Jake Jones"; the last installment included Jim "Peach" Thompson. Chuck Sabatino's composition "Elijah" was covered by the Illinois band Head East on their self-titled album "Head East". Sabatino was a contributing writer for a number of songs performed by Michael McDonald as well as other artists, he had a stroke while playing for Mike McDonald in Los Angeles in 1994. He died in 1996 in Illinois.
The band pioneered live performance in a darkened planetarium with a choreographed light show overhead in 1976 at Abrams Planetarium at Michigan State University. Encore performances were held in 1978 at the same venue. There was a reunion performance at The Stadium Club in Belleville, Illinois, in 1992, they ended the night with the song Elijah. Joe Marshall still lived in the St. Louis area up to his death on February 26, 2014, he worked at St. Louis Music until the early 2000s and played through 2010, he taught music classes at Forest Park Community College and at B-Sharp music school in St. Louis, MO. Joe Truttman is a Chiroproactor. Steve Strayhorn was a member of acclaimed blues band Uncle Albert, he died in 2010. Joe Marshall and Joe Truttman would sit in with Steve Strayhorn in the band the Choozy Mothers until Steve died. Dave Ferris has resided in Los Angeles as a freelance Jazz and Studio player since 1979. Jim Thompson's whereabouts are unknown. Http://rockclassics.tripod.com/jakejone.html http://www.stlmusicyesterdays.com/A%20Full%20Moon%20Consort.htm
In printmaking, an edition is a number of prints struck from one plate at the same time. This may be a limited edition, with a fixed number of impressions produced on the understanding that no further impressions will be produced or an open edition limited only by the number that can be sold or produced before the plate wears. Most modern artists produce only limited editions signed by the artist in pencil, numbered as say 67/100 to show the unique number of that impression and the total edition size. An important and confused distinction is that between editions of original prints, produced in the same medium as the artist worked, reproduction prints, which are photographic reproductions of the original work in the same category as a picture in a book or magazine, though better printed and on better paper; these may be marketed as "limited editions" with investment potential, signed and numbered by the artist. Some knowledge is required to tell the difference. One of the main reasons for the development of printmaking was the desire of artists to make more money from their work by selling multiple copies.
The production of multiple copies tends to reduce production costs and market price when compared to a single or unique image. Until the 19th century, in the period of the Old master print the concept of an edition did not apply to prints, unlike books. Prints were run off as demand allowed, worn-out plates were reworked by the original artist or another, to produce a new state; the art market attempts to distinguish between "lifetime impressions" and "late impressions", which were produced after the death of the artist. This can be done to some extent by the study of the paper involved, its watermark, the condition of the plate as revealed by the printed image, but it remains a difficult area. The aquatints of Goya, which are done in a technique that wears out on the plate, were the first important prints to be published in limited editions, which however were not signed or numbered. In fact the plates survived, since Goya's death several further editions have been published, showing a progressive and drastic decline in quality of the image, despite some rework.
Because of this and other cases, "posthumous editions" produced after the death of an artist, not signed by him, are far less sought after. The plates of prints are "cancelled" by defacing the image, with a couple of impressions of the cancelled plate taken to document it; this is now expected by collectors and investors, who want the prints they buy to retain their value. Prints by artists today may retain their financial value as art because they are created by an artistic process rather than by a mechanical one, may become scarce because the number of multiples is limited. In Rembrandt's time, the limit on the size of an edition was practical: a plate degrades through use, putting an upper limit on the number of images to be struck. Plates can be reworked and restored to some degree, but it is not possible to create more than a thousand prints from any process except lithography or woodcut. A few hundred is a more practical upper limit, that allows for significant variation in the quality of the image.
In drypoint, 10 or 20 may be the maximum number of top-quality impressions possible. Today, artists will sometimes refer to a print as a "one-off," meaning that the artist has made a unique print and no reproductions of it from the original matrix not a proof. In this category one sometimes finds monotypes, collagraphs, altered prints with collage or chine colle additions, or hand-colored prints. There remain artists who are strong advocates of "artist's prints" which are conceived, printed and given the edition number 1/1 by the artist. One contemporary printmaker says that she believes that "there is a natural sequence of actions and thoughts which cannot be approximated by the substitution of an artist/printer collaboration unless the artist is involved with the printer or assistant in every step of the decision-making and mark-making processes." Because of the variation in quality, lower-numbered prints in an edition are sometimes favored as superior with older works where the image was struck until the plate wore out.
However the numbering of impressions in fact may well not equate at all to the sequence in which they were printed, may be the reverse of it. In times, printmakers recognized the value of limiting the size of an edition and including the volume of the edition in the print number. Tight controls on the process to limit or eliminate variation in quality have become the norm. In monotyping, a technique where only two impressions at most can be taken, prints may be numbered 1/1, or marked "unique". Artists print an edition much smaller than the plate allows, both for marketing reasons and to keep the edition comfortably within the lifespan of the plate. Specific steps may be taken to strengthen the plate, such as electroplating intaglio images, which uses an electric process to put a thin coat of a stronger metal onto a plate of a weaker metal; the conventions for numbering prints are well-established, a limited edition is hand signed and numbered by the artist in pencil, in the form: 14/100. The first number is the number of the print itself.
The second number is the number of overall prints. The lower the second number is, the more valuable