Japanese and Korean Art
Kitagawa Utamaro (1753?-1806)
Joshoku kaiko tewaza-kusa (Women engaged in the sericulture industry)
USD 15,000 - USD 20,000
The complete set, each signed Utamaro hitsu and published by Tsuruya Kinsuke--good and very good impressions, some colors faded, trimmed, some soiling and staining, repairs
The series comprising:
1. "Tending the newly hatched worms," depicting a woman with a feather brushing the worms from the paper upon which they have been incubated, two other women look on
2. "Picking mulberry leaves," depicting a woman on a stand and a woman on a ladder picking mulberry leaves, another woman gathering them in a basket
3. "Feeding the silkworms," depicting a girl dicing the mulberry leaves on a block in the foreground while two others are feeding the worms on trays in the background
4. "Stirring the silkworms," depicting a girl in the foreground stirring the silkworms in a tray, another bearing a tray of worms and another taking away an empty tray
5. "The great awakening of the silkworms," depicting three girls tearing off the leaves from mulberry branches to feed the silkworms while another arrives with fresh branches
6. "The cocoon stage," depicting a girl arranging the cocoons on a tray, another holds a full tray and another watches the scene
7. "The emergence of the moths," depicting two girls watching moths lay eggs on a piece of paper, another standing and looking at the scene
8. "Watching moths," depicting two women and their children watching flying moths in the evening
9. "Winding the thread," depicting a woman winding thread taken from cocoons boiling in a pan of water, two other women watching the scene
10. "Stretching the silk floss," depicting two women stretching the silk floss by twisting around wooden posts, another girl in the background hanging the silk in skeins over a bamboo rod
11. "Spinning the silk," depicting a woman seated in the background spinning silk on a loom and a standing woman in the foreground
12. "Weaving the silk," depicting a woman seated before a loom about to throw the shuttle, two assistants standing beside
oban tate-e: 37.2 x 25cm., each approx. (12)
These genre scenes illustrate the stages of sericulture, traditionally women's work, in a series of twelve numbered designs. Purple dominates the color scheme in the aptly named "purple picture" (murasaki-e) style. The text at the top of each sheet within cloud borders is taken from the series of twelve chuban designs of the subject by Katsukawa Shunsho and Kitao Shigemasa of around 1772.
Another set was sold in these Rooms, Japanese Prints, Paintings, Illustrated Books and Drawings, from the Collection of the late Theodor Scheiwe, Part I, 21 March 1989, lot 80.
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McVey replaces housing minister Malthouse as revolving door at MHCLG continues
Esther McVey will become the ninth housing minister since 2010, Mortgage Solutions understands, replacing Kit Malthouse who held the role for a year.
A Number 10 spokesman confirmed that McVey, MP for Tatton would be taking over the housing minister responsibilities and that Malthouse's brief had yet to be confirmed.
Malthouse was one of the candidates to stand against new prime minister Boris Johnson in the Conservative leadership election.
The housing minister role has seen many incumbents since the Conservatives took power in the coalition with the Liberal Democrats in 2010.
McVey is likely to take the lead on housing policy and interaction with the industry, with responsibilities expected to include financing streams, home ownership policy and Help to Buy.
She will also attend cabinet.
McVey was secretary of state for work and pensions from January to November 2018 before resigning over the Brexit withdrawal agreement. She was also minister of state for employment from 2013 to 2015.
Jenrick replaces Brokenshire
Robert Jenrick has been appointed secretary of state for housing, communities and local government and will lead the Ministry of Housing, Communities and Local Government (MHCLG), with McVey taking on housing policy.
Jenrick, Conservative MP for Newark, was exchequer secretary to the Treasury from 9 January 2018 until his promotion to replace James Brokenshire who resigned yesterday.
He has previously held roles within the Department for Work and Pensions, Ministry of Justice and Home Office.
The future of housing and homelessness minister Heather Wheeler, who took on her role in January 2018, is not yet known.
Incoming chancellor blocked mortgage prisoner deal
Johnson has also appointed housing secretary Sajid Javid as chancellor of the exchequer.
A freedom of information (FOI) request made by Thisismoney in February revealed that six years ago Javid, then economic secretary to the treasury, torpedoed proposed regulation that could have saved mortgage prisoners thousands of pounds each.
Javid, who was housing and communities secretary from July 2016 to April 2018, has been promoted from home secretary.
He was also secretary of state for business, innovation and skills from May 2015 until July 2016.
Return of Shapps
One of those previous housing ministers, Grant Shapps, has returned to government, replacing Chris Grayling as transport secretary.
Shapps lasted more than two years as housing minister when he took on the role in May 2010 following the formation of the coalition government between the Conservatives and Liberal democrats.
No Help to Buy extension for builders struggling to meet completion deadline
Waking watch fund not retrospective and limited to high rise blocks
Ground rent scrapped for extended leaseholds in property law reform
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cabinet Communities and Local Government (MHCLG) Esther McVey Housing Minister housing secretary Ministry of Housing Robert Jenrick
Fleet lengthens offer and valuation times on new build BTL
Buy-to-let lender Fleet Mortgages has extended offer and valuation times on new-build purchases for its standard and limited company mortgages.


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Scalable Localization and the Psychology of Usability and Design
Room 42 is where practitioners and academics meet to share knowledge about breaking research. In this episode, Kirk St.Amant explains how combining intercultural communication with cognitive psychology can identify usability expectations in different contexts.
Season 1 Episode 3 | 50 min
Transcript (Expand to View)
[00:00:13.420] – Liz Fraley
Good morning, everyone, and welcome to Room42, I'm Liz Fraley from Single-Sourcing Solutions. I'll be your moderator today. This is Janice Summers our interviewer, and welcome Kirk St.Amant, today's guest in Room42. Kirk is a professor at the Eunice C. Willamson Endowed Chair for Technical Communication and the director of the newly formed Center for Health and Medical Communication at Louisiana Tech University. He's here to help us start answering the question. How do concepts from psychology, usability, design, and intercultural communication help us identify usability expectations in different contexts?
Welcome, Kirk.
[00:00:54.100] – Kirk St Amant
Thank you for having me Liz, thank you for having me Janice, looking forward to our discussion.
[00:00:58.240] – Janice Summers
I am so excited to be talking to you. This is just like absolutely exciting and I have so many questions for you.
I'll do my best.
Well, I'm going to try to get through–you've got so much information that you can share that I'm going to try to keep us kind of focused and I hope you'll come back again, because I don't think we're going to be able to get to everything, but we're going to try our best.
OK, sounds like a plan.
Scalable Useability, what is that? How did you come up with that phrase?
What inspired you for that?
It was actually looking at localization and customization if you will.
And so, for example, with–I do a lot of work with engineers, particularly biomedical engineers right now.
And it's looking at whenever you design a technology for someone, for example, their default on how to use things is based on their personal experiences.
And so the more you can customize something to meet the previous experiences and expectations of the specific individual, the more readily they can use it because their expectations have been met, they can look at it reflexively, they know what it is, they know what it does and they know how to use it. And I'm just thinking in terms of that, we are also talking about international communication at the same time and localization, and the notion of well with localization the idea is, you don't treat an entire cultural group like a gigantic monolith, but you try to figure out that specific group. What are their experiences that have shaped their expectations for how to recognize things, how to use things, and how to operate them. And at that point, it kind of struck me well, we're talking about the same thing, whether it's ultimate individualized customization or localization. We're basically dealing with the continuum of how closely we try to meet the specific expectations of someone based on their experiences, because those shape, the mental models or the cognitive processes, they use to interact with devices or life around them. And so that's where the idea came from, is this notion of if you start with the individual total individualized customization as the beginning point, how far out can you scope or scale back and what range of the experiences do you take into account to try to meet the expectations of needs of individuals as shaped by their experiences?
OK, so taking it from the perspective of the end-user rather than the engineers' own personal biases.
Now, how would they gain that knowledge of the end-users?
Engineers don't often interface with a lot of people.
And I suppose that's from folks like myself and some other colleagues in cognitive psychology from my university and other areas I've come in. And there's the recognition that you've got to understand the human element, what the human user expects and needs before you build something for them. So like the classic line, if you build it, they will come from Field of Dreams.
This notion of if you build it, they will use it. No, the idea–we'll need to know, No, what do they need? What do they expect and that determines whether they use. And so it's a matter of getting folks to actually sit down with the people you're designing something for and figure out what do they expect, what do you expect a blood pressure gauge to look like versus have me design it for you and hope that you know what it is. When you know what it looks like well, how do you expect to use it based upon your experiences rather than me kind of put some switches on it and hope you can intuit your way through it. Your experiences might have taught you what to look for in that design. And so it's essentially building from the user back to the engineer. Here is what the user looks for when they pick a device up. This is what they need to know to recognize it, this is what they look for, to operate it, and most importantly, the context they're in dictates what they will do with it. So here's where they tend to be when they use it, which governs what they look for and how they operate something. Classic example, you and I might both check our blood pressure using a wrist gauge in our kitchens.
But you're checking your blood pressure at the very start of the day when you're the only person awake and have all the time in the world. So the degree of attention you can pay to find detail of designs of devices is quite high. I might be doing the same thing in my kitchen at the end of the day after picking up my kids from school and preparing dinner for them. In that context, my attention is in a dozen different places. And so when I come to operate that same device, the context where I'm using it needs to be addressed to make sure I don't make a mistake because my attention is being shifted continually while I use it. So it's looking at those dynamics, if you will.
OK, so now, Intercultural communication. Now, can you just define that for me? How would you define it?
Sure. I'm going to start with the abstract textbooky kind of thing and then talk about the more pragmatic.
So quite often you hear Culture defined as a worldview, and a worldview, basically, is this group of individuals determines what is important to them and their group, which is essential for them to pay attention to and value or pay attention to and avoid because it's related to their survival. So that's kind of the fundamental thing when we talk about a culture at a very brass tacks level if you will. From a more pragmatic, let's say, cognitive psychological perspective, it goes to attention on what you pay attention to. So, it kind of works something like this. Our brains cannot effectively process all the information our senses bring in at one time. Which is there's too much data coming in that the brain can process.
And we've all experienced sensory overload. There's too much going on, I don't know what to do, I've got to shut down to avoid living in a state of that, our culture teaches us, what are the sensory impulses to pay attention to.
And that's key because it tells us what to separate out from the environment around us and focus on–
— what's important. Yeah.
Yes, ma'am. It's called perceptual segregation in cognitive psychology. But built into that perceptual segregation is this concept of scope and scale. For example, if I do this and you say, well, what do I look at? Do I look at the shirt? Do I look at the buttons? Do I look at the color? the weave, I say, look at the hand, just focus on the hand. And suddenly everything else goes away. And then you might ask, what do I focus on the individual digits? Do I focus on the creases, the veins, the fingernails, and then cultural signal, just look at the hand. All that matters is the hand. At some point, the fingernails may become relevant and we'll tell you to focus on them. But for now, just focus on the hand. OK, now that I asked you to focus, what does it do? Well, we use it to reach out to greet someone or we use it to reach around to hold something. But the idea is what culture essentially does in this worldview format is tells you of all the sensory data you're taking in. Here's what to pay attention to and once your attention is focused, here's what it is, here's what it does, and here's how you use it in this specific set of context that occur in our culture or if you will, we're going to call that Recognition, Categorization, and Operationalization. I can identify it, I know what it can do and I know in a specific setting I'm in right now which of those potential uses to apply to make it work or to use it.
And those things are, how different are they for cultures? Is there a lot of commonality? boundaries. I mean, the whole concept of boundaries–
It has shifted, hasn't it.
Right. I mean, a lot of these factors are based upon exposure over time. I mean, we're taught either actively someone tells us, pay attention to this or passively. We see other members of our group paying attention to something and learn it to get some sort of merit, whether it's, you know, valued or not. And the more physical separation that occurred historically, the easier it was for two different groups to diverge and remain in divergence around what they pay attention to.
Now all of that changes the moment you're exposed to something else. And so with modern telecommunications, particularly the Internet, the more we can interact with other individuals, the more we can see what individuals from different regions, nations and cultures, what they're doing
How they design, the more we can expand our understanding to incorporate those factors.
And so, you know, culture isn't a fixed entity. It's always in a state of flux, depending upon who you're interacting with, what the nature of the interaction is, when it is happening? All those things cause that flux to progress over time.
Right, how do you compensate for that in design?
In design again, it's we go back to the individual user, OK, and it comes down to who are you, where are you and what are you trying to do?
And I mean, those are key. You might have the knowledge to operate a specific technology, but the context you're in does not have, let's say, a readily available power source that allows the technology that we want to give you to be powered. In that case, we need something else. Or you might be in an environment that permits you to use this technology, but you don't have the knowledge because the educational system you were in did not provide you with that knowledge. So it's a matter of going back to who are we designing this for, regardless of the culture that they are in, who are they? Where are they located? and what are they trying to do? And working with members of that group asking them these questions. What are you trying to do, what do you usually use to do this, what does this process usually entail? But if you're using something else, what is it and how do you use it? What factors in the environment where you are, affect how you do something? It's getting that level of detail to figure out literally how people are engaging in this perceptual segregation, what they look for and look at to identify things, use them, and figure out what to do in a context.
Now, how are you assessing all of this? Are you doing in-depth interviews?
Or are you using online tools for this? How are you capturing all of that information straight from an end-user?
It's a multipart process. So, I mean, you begin with both interviews and focus groups. And the idea is with the interview, you get that individual in-depth one on one information from the person. But we're all fallible, we'll forget things. So balance it with focus groups so that when the group begins to respond as a group, they tend to fit in parts–put in parts and pieces that might have been omitted.
And so you take that initial data from individuals and focus groups and use it to come up with a prototype design.
And I should point out during these things, since we're talking about the design of something, it's always important to either sketch out or create some sort of representation as folks are talking and have them clarified. So when you say, for example, it's a remote control, begin the drawing it out, something that looks like this or something slightly differently. But the idea is you aggregate this data and look for trends in it across people and across this group, these seem to be the features this technology needs to have, for people to know what it is, identification. More importantly, these features need to be configured in this way or put in these places on the interface so they know what it does on categorization. And then we also need to be asking them where are you using this thing so we can make sure they can find it in a pinch if needed. How many of us reflexively use a remote control by touch because we know where it is and how to find it. That operationalization, and so based upon that, you come up with a wireframe or an initial prototype design that you then go back to members of this audience and you test with and brute force questions. Do you recognize what this is? Tell me what it does, how would you use it? OK, talk me through the process you would engage in to use it. If it's a functioning prototype, I'd like you to use this design to perform this task. I'd like you to use this prototype remote control to turn on the TV set, and key to this approach talk a lot or think a lot protocols. I want to observe what you're doing, but please tell me what you are doing, why and what your initial reactions are, as you're going through a process and you collect that data from these initial tests. And again, we're talking both with individuals and focus groups, time and resources permitting, you revise that design and ideally test again. Now, I'm presenting an idealized situation.
There are no parameters. And so for the practitioner, the question becomes how much time and how much money do we have to dedicate to this? We know that at a minimum, we must gain data or initial input from the population we're designing for.
And we know we've got to do at least one round of testing because me guessing at what you want, is always a dangerous thing. And so based upon those parameters, what is a reasonable number of interviews or focus groups, what is a reasonable level of time and money to put into developing a prototype to test what kind of testing do we wish to engage in? All of that is governed by those real-world factors of time and resources or time and money if you will.
So the more testing that you do, is there a greater success?
Theoretically, yes, I mean, you want to get to the perfect point where there's no–people look at it reflexively, they can do and use.
That's very difficult. And so you've also, thank you for mentioning it in this process, got to create a threshold. What is the level at which we'll find it's acceptable now? Most people can perform most of the functions that are essential. And functions that either cannot be performed or performed problematically are not so detrimental that they'll cause some sort of problem that can't be undone.
So, again, this is, the beginning of the processes is setting these parameters.
And then once you've set the parameters, figuring out how to select test subjects, how to engage in this kind of data collection, how to do this kind of initial user testing, how to do the revision process.
Right, now can you start with, like, work that's already been done and then build from that?
Definitely.
Is there like a way that you could borrow somebody else's research on a related type of thing and apply it?
Sure. I mean, one of the interesting things is most of us are accustomed to using a range of things. And so whenever we create something, "New" we're not building something that's never existed before for the most part, we're creating a one-off of something or a modification of something that already exists, and so in that case, it's a matter of if we take stuff that people can already recognize.
What are some modifications we can make to it and then try it with the sample of the test audience to see if they can understand it. We all know how apps on the phone work on an iPhone work and smartphone work. And so it's a matter of we don't need to get into designing a smartphone. So based upon that, what should our app look like so people can recognize it on a phone?
How does our app need to respond? So when they tap it once or twice like they would a conventional app, we know it's responding accordingly so we can use existing products that mirror what we're trying to do, and to a fair level of safety I guess, guess that there's going to be some parallelism there. Let's call this analogous design. We design something based on a pre-existing thing that folks already know how to use.
Because they've got it built into their mental hardware a method for using it. So it's just a matter of righting that existing reflexive behavior to an objective.
Right, to use a calculator, you can use your phone.
The keyboard is the same, the same if you have the math part on your keyboard, right, the same thing. So you're just gonna vary it a little bit and you can safely assume and just test from that aspect you can build from what's already been done.
Yes, ma'am.
What if you have no exposure to your end-users? like there are situations where people just don't have exposure to end-users. So what could somebody in that situation do?
Well, let's take this leg as a two-part approach.
So but no exposure. It's one thing to say there's no ability to physically interact with somebody.
Right, but they can't interview their customer, they have no connection with customers.
Yeah like they're not allowed. There's gatekeepers.
Right. So, I mean, in that case, the question becomes, if it's an organizational perspective, how does the organization create an initiative that the gatekeepers who were involved realize it's in their benefit to participate in this process and to provide some degree of access to this population? Now, at some point, the organization will have to make a decision. If the gatekeeper is a third party, do we want to let that third party do this kind of research for us, or do we want the third parties permission, ability, whatever you want to call it, to interact with this population directly, and so those are things to sort of negotiate there within. So that's kind of one way of doing it. The second way is, there are certain bands of–for consumer sake certain bands of consumer different categorizations folks fall into. And you could sort of get into it by saying we just need consumers from this particular bandwidth or this particular background. So maybe we'll do something as simple as on our website, put out a call for these many individuals. Or through our social media platforms, put out a call for this many individuals for research. But it's simply a matter of without having access to the people you're designing for, the ability to guess at their expectations, is kind of difficult at a minimum and could be dangerous in some cases, if, particularly if it's instances of life and death.
Can't mess around in those situations, it's hard to run a prototype if you're testing like ambulance technology for sure.
Right, right, yeah. So how do you measure usability and cost consumer customer expectations?
You can do it a couple of different ways and from like a very beta stage, you can do things like pre and post-testing to show just brute force customer satisfaction before the creation of our product, these were the completion rates and completion times for this task, either using a pre-existing product or with no product to fill the gap at all. Using our revised product or this new product, there is a decrease in completion time and an increase in success rate. So that could be one marker and that's something you can measure more directly. But then there are things like follow up interviews that check satisfaction level and adoption rate. So satisfaction level, Did you enjoy this process? Would you use this technology again? Adoption metrics, would you recommend this technology to a friend, family member, co-worker, client? But measuring those two kinds of data to figure out the usability will guide the marketability of it in many cases. So since word of mouth and social media marketing are so important now, effective usability that encourages individuals to want to share information about something with someone can be very valuable. So from my perspective, it's not thinking about usability as this extra thing, but it is an integrated part of the process that affects the design, the development, the marketing, all of it, because it's all interconnected.
Right. Were there any things that you intuited and were completely surprised at the end results when you measured usability at the back-end?
Yes, I'm going to sound like a geek for a second.
That's OK.
So we all taking information through different senses.
And some of us have a primacy sense, for those of us who are sighted, our sense of vision is our primary sense of doing things.
Because of that, we tend to forget that whenever we process information, we take it into all channels at the same time.
And so working with users–
The difference between being on the phone or being face-to-face.
A good example. Yeah.
But you don't realize how important nonvisual factors are to usability until someone brings them to your attention.
So I've talked a lot about we draw this, we sketch this, we sketch this. At some point, someone's going to ask, well, what does it feel like to hold in your hand? And we found this out in terms of when you interact with individuals who are visually impaired.
They might not, they've got a different primary sense that they will use to recognize something. It's not what it looks like. It might be what it feels like or what it sounds like. Well, it turns out we all recognize many of those same cues. We just have relegated them further back in our cognitive processes because we don't realize they're as important as they are. So it's realizing not only is it important for me to create an effective, let's say, pen that I recognized when I see it, but when I pick it up and feel it, it feels it's got the right proportions, have substance to it, that it's a good pen and it sounds right. So when I use it, I know it's operating correctly. So the big surprise there was usability is multichannel and it's whenever you do collect this kind of data, it involves more than simply asking what does it look like? But it's what does it feel like? What does it sound like? Whenever you–
All the sensors into consideration.
And the usability. Yes.
When you test, not just well, do you recognize this? What facets let you recognize it? Does it hold this? Manipulate it? Does it feel correct, those kinds of things.
Just last week, we had Lisa Melonçon and she talked about her brother-in-law with an iPad in the field and no sink to clean his fingers so that he could operate the iPad.
And on top of that, he's on a tractor trying to–
Trying to fix something.
But we're back to context. You know, it's one thing to know your user, but you got to know where they're using something.
You know, that becomes key. There's a joke about, like the manuals that are used to do everything from open-heart surgery to, say, diffuse a landmine.
And it's always the point at where the individuals get both hands on something. And if they let go, the chaos will happen. Then you see turn page, you know, and so it's always about well, know, where are people using this thing? And I think that's one thing that when folks begin to think about scaling for usability, it's you scale for the context where something is used as well as the individual who's using it.
So in compensating for that context that's where you can have huge variations, right?
Right, you talked about earlier, the person like if I'm taking my blood pressure in the morning and I'm relaxed, nobody's up and I'm doing it before I'm having coffee.
Right, and I have plenty of time. Whereas if, you know, the kids are up and I'm making dinner and everything is chaos and hectic, I have very little bandwidth. As if I only got so many bites per second that I'm going to process, and I don't have a lot of time devoted to interfacing with this equipment.
So the context, but that's a huge swing. In context, how do you figure out where to target? Because you can't hit everybody. You can't aim for everyone.
Great question. And I mean, this is where it comes down to–it's got to be user testing in context. So, for example, when we collect data, because that's, one of the questions to always ask is where is this used and when? Because the when, the time dynamic will affect what is going on in that space, like we mentioned before breakfast or in the middle of making a meal. So when and where, and then it's identifying when we do initial interviews on focus groups asking these questions, where would you use this technology? When would you use it? What is going on in that space? Who is there? What is happening while you're using this process? Excuse me, but then it involves user testing it ideally in that location. So back to you mentioned the iPad in the field. It's not a matter of you bringing in farmers to a controlled location like a laboratory setting, give them an iPad and do it. No, no, no, no. You go out to the field, and ask the person on the tractor to please stop. Can you try to do this right now? And now that does get tricky and that's where you need to think about, we're back to time and resources. How do we do this? Do we mail them the iPad and ask them, like on their own to use it and return it? Do we find it that they've already got an iPad, put the app on it and ask them to include it in their daily routine.
But if you're not testing in context, you're not going to get the full range of different–what's often called affordances or constraints, that affect how people use things. And that's what's going to be key.
Right. Now, what about–well, are there times you have to fill in the blank and make your best guess? Your best educated guess.
Assuming like we all have a pre-concept of a farmer's life, right, we've pretty much seen or heard movies, right at this point in our lives. So everyone has kind of a general sense of what the life of a farmer is on a tractor. So we have this idea of it. Is it OK sometimes to fill in the blank with, like, writing a future film and imagining this character and all this character is going through, to help fill in some of these blanks? Because in a practitioner's world, I can see where a lot of that analysis time is not given to them it just isn't and it won't change.
So for a practitioner, what do you recommend they could do to try and solve that? Because it's an important factor. It really is in design.
So you've raised some excellent points and excellent questions, I'll do my best to try to talk about each of them.
So in terms of the pragmatics, when can you sort of bridge the gap or when can you like, let your own sort of movie that you've created to do stuff? Well, it comes down to what is your objective and what is the users objective? So, I mean, you mentioned movies, so let's start there. A Movies designed to entertain, so its ability to reflect reality, you can take in artistic parameters with it. Me creating an app that's designed to help people share their videos of themselves lip-synching songs on an online platform. Well, I can roughly kind of guess at what that is, because any sort of adverse effect that might come out of it in theory should be mitigated or at least the level of damage or danger that could occur. Now we can talk about what does that mean in terms of requiring age checks of individuals before they post things? That's a different element. But so, in theory, the level of danger is limited. Now, let's take something like a drug dispensing device that individuals are supposed to operate on their own. You're talking about something where if the individual doesn't use it effectively, there will be severe harm, if not death, that results from it. In those cases, you really cannot take the risk.
That I guess, is something. So, again, we're back to that scalability. When you are scoping this process, what is the scope that you are dealing with? Is it entertainment? Is it some sort of professional function that's associated with production, with sales, with legal compliance? Is it designed to monitor a health condition? Is it designed to save a life? That's kind of we're back to that context. What is the context this is going to be used in?
And so that becomes important. To your question of so, how do you research this? We're at a stage now where the complexity of these kinds of issues is not something personally I think one individual, one organization or small group can do. This is literally talking about a community involvement project. And so it's a matter of, well, if I'm an educator and you work in industry, what are some things we could collaborate on? So I could use students working in say, one of my classes to conduct some of this research as they learn about it. That could be of benefit to you and your organization for which maybe the students could get, say, internship credit.
How could you partner with professional organizations in the field to say, would you consider having members work on this project? And here might be something that we can provide in exchange, maybe access to some of our professional development materials. But we're at a point now where we need to start thinking about effective collaborations to engage in this kind of work, because I think it's two things. It's very difficult to do independently. But second, we need to be sharing this information for the most part.
And if it's not a proprietary thing and it's not something that involves the disclosure of some sort of specific trade secret or benefit, if it's just about human behavior with certain things, to what levels can we share this information? Because it does all of us good.
Right, right. Exactly. And you brought up a really good point, which I always like to encourage practitioners to get involved with professors at universities and engage students and things like you might not have the budget, you might not have– often you don't have the bandwidth. I mean, let's face it, in the commercial world, there's not a whole lot of bandwidth for research, whereas in academia there is, and there happens to be a lot of hungry students that are eager to learn and more than happy to engage in doing work that helps them strengthen their skills.
Real projects, not just fake things that don't mean anything.
Yeah. And it's interesting because the more professors we talk to we're hearing this common things like, hey, we would be more than happy to entertain projects that the commercial industry needs help on. We are happy to do that, right, I've got plenty of students to throw at projects.
So I just want to reinforce that probably if you might have missed that who is a practitioner.
Can I put one thing out there while we're talking about this?
So one of the odd fringe benefits of the current social situation all of us who have lived on the line for a very long time, is the need to be in physical proximity with someone to engage in these interactions. We've begun to realize we can do a lot more virtually than we realized. And so when it comes to forging these partnerships, now's a very opportune time to reach out across the country, if need be, and find someone who can help in a class in different places who can help, because a lot of the stuff we're talking about can be done online.
I mean, I don't necessarily have to go to every farm field if I can get a decent zoom connection out to that farm field, to text the farmer who is out there operating something.
How do we leverage this new comfort or familiarity with online exchanges to kind of maximize this ability to interact and collect this kind of data to experience things?
Not just across the country, but around the world.
Yes ma'am.
Right, and–
–all those contexts.
It's a globally connected world because we're in this global situation where it's become quite obvious, the benefits of being globally connected. And I think this is a rare opportunity to capitalize on this opportunity to connect with people all around the world in new and different ways and keep that connection going. OK.
Can we go back to one other thing real quick before I forget it?
You're mentioning about at what point can you sort of guess at things?
And so here's something we've seen very close to literally home here in Louisiana, proper nutrition for individuals. Now we have a pretty solid idea of what proper nutrition entails. And we know that there are certain kinds of foods that people should or should not eat and the things that they should or should not cook and how to cook and prepare these things and those sorts of things. So it's very easy, let's say, to come up with a recipe guide for individuals on certain levels of budgets to try to purchase the kind of food and cook the kind of food that's needed to maintain a healthy lifestyle, let's say.
For your heart health. Great. What we've noticed here, and again, that's kind of, this is stuff that should be fairly self-obvious, one would think and as long as you provide people with reasonable expectations based upon when our people operate, it should work. Well, one of the things we've discovered here is it does–those recipes don't necessarily work because of something called food deserts. And that is–a lot of that is predicated on the fact you have access to a grocery store.
What happens if you're in the small rural community where the only food source you can walk to because you might be elderly or there might be some other reason you cannot use a car or there's no public transportation. You have to walk to the dollar store, which is the only source of food in that region. That's a whole different kind of nutritional content available to you. What if you're in an urban area and the only source of food that you can actually get to pragmatically is a gas station? I'm not being glib with this.
These are actual–
No, no–
No, it's real.
But it's realizing that these menus that seem so self-obvious because they're based upon things we've understood for a very long time. It's advocated by the right groups. The moment you put them into a certain context, they are not usable, not because the information behind necessarily is flawed and not necessarily because the users for whom they're designed can't understand or will push back against it. It's simply the physical realities of where people are using things do not align with the content. And so we're back to this, it's fine to kind of try to speculate at certain things, but again, what are you talking about and what does it mean? Because in many ways, you mentioned what discoveries you made. This is one of those discoveries. What you don't realize, while context really binds the usability of something, simply by what is actually available. And so, those kinds of recognitions are always important to make sure by beginning with asking the user, well, what's the context you're in? That was my digression.
And whats the context they're certainly using? And food is like a hole. There's so much information of food that goes this way and that way. OK, so, I'm trying to pick up.
Yeah, we got a lot of questions and–
There are a lot and I'm trying to get through to a lot of them and a lot of what I want to talk to you about as well, but, yeah, oh, let's go down to this one, so technical writer's specifically, so we're talking about users and engineers. From a technical writer's perspective by now, we have to now take this complex thing and we have to communicate this complexity in a simple way. So we usually do not have a lot of exposure. And oftentimes, sadly, it's not often–like we don't often have a seat at the design table.
Now, we're left with the situation, we have to just explain this complexity and we're seeing usability issues as we're writing. How do we address that? And what can a technical writer do to infuse this whole concept of scalable usability in our writing practice? How do we get that going from–It's almost like the bottom up, for lack of a better phrase.
Sure. So there are a couple of different things to do. And the first is earlier I talked about this concept of pre-testing and post-testing. So in many cases, forcing your way to the table is showing you add value. And so the question becomes, well, how do technical writers add value? Let's have these individuals try to operate this device in one of three ways. Let's have them operate this thing that you've created with no instruction and let's see what happens again, let's measure completion rates to completion times, satisfaction levels and adoption rates. Now, let's take, I've tried to create instruction on how to use the thing. Let's have them use it again and try this again. Different individuals, but same target audience. Now, let's try the third way. Let me, based upon how I understand audience to work, let me propose a design. And using this proposed design, let's try it again and let's measure those variables. Now, this is just kind of an idealized situation, but theoretically, you could show relatively quickly that there is an increase in usability and more importantly, an increase in satisfaction and adoption rates for certain things. If we can argue that that's market share, because we know at this point in time that markets roll very quickly. Competition is high and the ease of use can be the key to cracking it. So can technical writers use this kind of an exercise to demonstrate to individuals in their organizations? They know actually we contribute a huge amount of value, not just in allowing people to use designs that might need enhancing, but in being part of the design process from the very beginning, because we understand audience and user and we can do this kind of research. So that's one approach to begin sort of making those inroads. Another approach which you can test with is kind of a party trick, if you will, but you can test with folks is whenever we write, we do an odd thing. What we do is we–like to tell you, Janice, could you write an instruction manual on how to use slack? So your mind is going to do a couple of things very quickly since your sight, it's going to pop up an image of what an instruction manual is and that visual representation of instruction manual is going to be crazily detailed, like you can tell me what the pages will look like, their layout and design, you can tell me will it be perfect-bound or stapled-bound. You can tell me the number, all that jazz, because you've got this mental default that says manual. But you've also got a mental default, let's call it not a picture, but a video of what the process of using slack looks like. So whenever you write, you use words to describe that thing you see in your mental video to create the thing you see in that mental picture. And that's how you write something up. When I read it, the onus for me as the reader is to reverse that process. I've got to take the thing you've given me, and first of all, I've got to recognize it. Is this really an instruction manual or is this just some ancillary stuff I put aside?
But then when I read your words, I've got to recreate that mental video that you wrote about, as close as to what you had as possible to understand what you're writing and use the thing. If those two things don't align, we are going to have massive problems now, parlor trick part, have somebody write a set of instructions on how to tie their shoes and then give it to someone else at the same party and say, do not fill in any blanks, do literally what that person just wrote down. And you can see very quickly this ability to–this transfer of idea to individual back into idea. You can begin to see how it breaks down. I bring that up because we're starting to mention visuals again, depending upon the primary sensory channel used by the individual. It could be sounds, it could be positioning, it could be tactician. But there's a mental model that guides what we describe whenever we speak or write. And it's what we unpack and try to recreate mentally to conceptualize what someone is writing or talking about. And by using little tricks like this, by helping individuals realize there's a lot more going on here than we understand. And these folks actually understand it and they seem to know what it's taken to get the right picture to describe when they write or the right sensory imprint to recreate when they build something, they need to be a part of this design process. Those sound both very like simplistic tasks, but the power one can generate just by showing these kinds of things and very quickly can really make the right people aware that there's a lot of value that can go into understanding the user we're creating for before we even build something. And since, you know this concept of user and audience and how people use things, you should be involved in this process.
That's my soapbox speech.
But if you're not involved in the process, then how would you report back useability because you're just–you're not involved in that part for whatever reason.
Because organizations have dynamics of their own, right?
This is where that partnership we talked about between industry and academia can be really interesting. So you can't get inroads into your company to do something. So you give me–ask my class to use or test this new app that you've just built. And then one of the things we can build into this relationship is my class can email contact, marketing or production of whomever it is, quality control as a group. And talk about–let me talk about all the issues we've encountered using your app and suddenly it's on an organization's radar. Now, once it's on the radar, the question becomes, well, do we even need to talk about this? That's a case in which if students say as they're rendering these opinions, let people know we were trying this as part of a class working with this individual at your organization, if the technical writer feels comfortable being named in that way or just working with technical communicators at your organization, suddenly you've associated a problem that can be fixed with someone who's aware of the problem and can fix it. And so that is a way to sort of raise that awareness of who in your organization can help with something
Nice move.
Yeah, but at the end of the day market share talks and the more you can sort of explain how you affect market share dynamics, regardless of the channel you use, the more ability you have to speak and be heard, if you will.
Right, right. I always say that if you're in technical writing and you're not buddies with your marketing department, you really want to be, because marketing has clout. And in this scenario, let's just say that I'm a tech writer and I say, hey Kirk, can you class, just help test this out for me. You could give me that information. I could walk right over to marketing and I could totally, marketing would get involved if it's a usability thing. So there are different ways. Sometimes it's harder to go right over into engineering and say, hey, let me have the table. It's easier for marketing to say, oh, no we're at the table. Come on.
Because market share talks, legal ramifications also talk.
Oh, yeah. Legal is a good friend to have.
Legal is the best group to have as your buddies because they need to protect the company and especially when you're talking about things in the medical field, like anybody in medical field knows that, you know, legal is your buddy. And is it really time already?
It really is time already.
I know we could talk with Kirk all day long.
Well, thank you for the chance to chat.
One quick question.
One is a sarcastic kind of comment, which is just kind of funny. You know, this question came in ahead of time and I looked like, are they joking? So let's settle the question. Is cognitive psychology applicable in technical writing?
Yes, just simply because if we're thinking about the things that we're writing about, then we're engaged in the act of cognition.
Yes. And another thing, too, if you are involved in minimalism and if you're involved in DITA in any way, you already got cognitive psychology involved in technical writing, because that was what was leaned into heavily when that architecture was designed and minimalism came to be in tech writing. So, OK, good. Another question that came up that I'm like, OK, are you joking? This question was like, are you joking? If somebody had asked, wasn't cognitive psychology discredited at the end of the 60s?
Great question. There have been certain studies that came out in the 50s and in the 60s that have been either impossible to replicate. The Stanford Prison Experiment is a good one by Zimbardo, where claims are made about how individuals behave in terms of authority and apparently whether or not that it was actually a fake situation or not, you have to ask other individuals about that. But things like that didn't actually happen. And then you've got people like Vicary who did some of the first studies on subliminal advertising, and his claim was he went to a movie theater and inserted like a slide, we call it a slide now, but a frame or a paneled of movie film that said something about food and that drove more people to the snack counters, you know, became very popular, was put into marketing books in the late 50s and Vicary later made it but I didn't actually do the study.
So you do have things like, you know, that come up. Now, with that said, I'm almost done. The whole key to all of this is Cog-Psyc valid or not, comes down to replicability. Can people replicate the results effectively and overtime? And if so, then there's a good, good chance that what they're talking about is useful. Right. But if not, maybe not. One final thing on that, because this came up over during this current situation we're in. Last month, a group of researchers from Duke published a study that showed that fMRI–functional MRI machines–the results that were showing up in relation to those studies, might not be as effective as people thought they were, because while MRIs measure blood flow to the brain, and that's been used to indicate that neural activities happening in the brain, it turns out when you have the same people, try the same process later, they're going to register, in many cases, to different fMRI. Possibly because since they've seen the topic once before, they don't need as much directed blood flow to the brain to deal with a new topic. But we're not quite sure what it means at this time. This is very new. It came out, I believe it was in June.
So all the research related to fMRI's and cognitive psychology could be suspect to change. I don't know.
But I mean, these are all things–the question, has it been discredited? Some has, some they keep testing and some seems to keep working. And that's what it comes down to, how is this being tested.
But I mean, if any branch of psychology to, some studies or results that were reported were incorrect and they're being disproven. But that's the study in science as well.
It's always prove, disprove, prove, disprove. And the cream rises to the top, right, and they can be proved over and over again. And that we hang on to. So it's not like cognitive psychology as a whole is a bunch of hooey, it's not. There are some studies that have not been done correctly. Right. OK, so we have to go, unfortunately. But I want to have you back. Please say you'll come back.
Sure. I'm happy to thank you for the opportunity to sit and chat. This is fun.
There's so much more we should unpack with you. It's just this has been great.
We do have one comment I want to share. Hands down, best webinar I've been to ever, maybe.
Oh, thanks. Where do I send the check for that comment?
We love it. it's awesome.
That's right. Where does the check go? Thanks, Mom.
Awesome. Thank you so much for being here and for everybody sending in such really good questions.
Yes. Thanks, everybody we would see you next time on Room42.
Take care, keep safe.
Bye everyone.
Yeah, you too.
Kirk St.Amant is a Professor and the Eunice C. Williamson Endowed Chair of Technical Communication at Louisiana Tech University, and he is also the Director of Louisiana Tech's newly formed Center for Health and Medical Communication. His research focuses on the psychology of usability and applying cognitive models to understand audience expectations and user preferences in different settings.
In Room 42, he'll be discussing prior work he has done in examining psychology, usability, and design and talk about a new approach he's been working with, called "scalable usability," in which he combines ideas from intercultural communication with concepts from cognitive psychology to identify usability expectations in different contexts.
LinkedIn: https://www.linkedin.com/in/kirk-st-amant-614a272/
Publications on Academia.edu: https://latech.academia.edu/KirkStAmant/
Kirk says to look closely at these:
Reflexes Reactions and Usability Examining How Prototypes of Place Can Enhance UXD Practices https://www.academia.edu/36294341/Reflexes_Reactions_and_Usability_Examining_How_Prototypes_of_Place_Can_Enhance_UXD_Practices
Of Scripts and Prototypes: A Two-part Approach to User Experience Design for International Contexts https://www.academia.edu/33341495/Of_Scripts_and_Prototypes_A_Two-part_Approach_to_User_Experience_Design_for_International_Contexts
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Home » DHP internships offer valuable work experience
Linda Wyatt, Dr. Tina Miller-Way, and Jordan Brown
Work experiences are an important part of a student's growth and career exploration. For many years, Discovery Hall Programs has hosted summer internships that have provided insights into marine science and environmental education.
In 2017, DHP was excited to host Jordan (JoJo) Brown, a senior at Oakwood University in Huntsville, and Linda Wyatt, a senior at Alma Bryant High School in Mobile.
DHP's collegiate level internship has been supported by the Mississippi-Alabama Sea Grant Consortium for several years. This year, DHP worked with the Mobile County Public School System Signature Academy's Internship Program to support this work experience for a high school student.
Tina Miller-Way, Chair of Discovery Hall Programs said, "We try to give our interns a robust introduction to the field of education and outreach in marine science. Thus, our interns are involved in all aspects of our summer programs: they help prep materials, assist in handling logistics, interact with the students and the public, and participate in all field activities, enjoying the seasickness, heat, and humidity along with our instructors."
The experience was much more than Brown expected.
Jordan Brown helps out during a shark dissection lesson.
"I thought the internship was going to be more watching than doing," Brown said. "Instead I had the chance to help educate, research, and make connections."
One of Brown's memorable moments was having the chance to tag a shark during the Fins, Fishes, and Fisheries teacher workshop. She said she also gained a great deal of respect for plankton.
"I loved the hands-on experience, and being in the field. It makes me feel like if I went into marine biology that I wouldn't be lost," Brown said.
Brown will graduate in Spring 2018 from Oakwood University with a major in Biology.
Linda Wyatt
For Wyatt, getting a look behind the scenes of DHP's summer programs gave her a new perspective. While Linda was already familiar with DHP through her experience with the 2016 MATE Regional ROV Competition, and her completion of the 2016 Marine Science Course for high school students, understanding the preparation and the work involved opened her eyes.
"The high school course gave me so much knowledge and the desire to strive to do more in the marine science field," Wyatt said. "However, you don't realize the same instructors and counselors that get up and go to breakfast with you stay up late getting things ready for the next day's activities."
Wyatt said she enjoyed helping out with the ROV workshop for teachers, and is looking to concentrate on doing more with ROVs in marine science. As a rising senior, Wyatt is still making her final college plans, but coming back to the Dauphin Island Sea Lab with University Programs is at the top of the list.
"JoJo and Linda were fantastic interns. They worked hard, never shied away from trying something new to them and always had a positive attitude, even during the last week of our long summer. We will miss them and wish them both a successful senior year," Dr. Miller-Way said.


Trans Woman Declares Victory in Colorado Legislature Race
November 13, 2018 — Suzan
From The Advocate: https://www.advocate.com/politics/2018/11/10/trans-woman-declares-victory-colorado-legislature-race
Brianna Titone pulled ahead of her Republican challenger in the race for Colorado's House District 27.
By Neal Broverman
Transgender candidate Brianna Titone declared victory in her close race for Colorado's House District 27.
Titone, 40, is now 368 votes ahead of her Republican challenger, Vicki Pyne, the Denver Post reported. Titone, who appears to have flipped a GOP seat in the Democratic-controlled general assembly, changed her Twitter handle on Saturday and referred to herself as "Rep-elect."
More votes need to be counted, but Titone expressed confidence she'll be one of the nation's few openly transgender politicians.
Titone is a software developer, geologist, and former volunteer firefighter in her native New York State. Titone has also led her homeowners association and served as a delegate for presidential candidate Bernie Sanders.
Titone was advised in her campaign by Danica Roem, the nation's first openly transgender legislator. Like Roem, Titone embraced social justice causes, as well as more pragmatic issues like local development.
"Running for office has never been about me. It's always been about what I could do to better my community, whether that's people who live in and around where I am, but the trans community and the LGBTQ community as well," Titone told the Post.
Posted in Uncategorized. Comments Off on Trans Woman Declares Victory in Colorado Legislature Race
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Big changes at CHIJ Bukit Timah
New facilities and name change mark new phase for 52-year-old school.
By Joyce Gan
SINGAPORE - The 52-year-old Convent of the Holy Infant Jesus (CHIJ) Bukit Timah at Chestnut Drive will be known as CHIJ Our Lady Queen of Peace on Jun 1 when its $12 million PRIME programme is completed.
PRIME, which stands for Ministry of Education's Programme for Rebuilding and IMproving Existing Schools, will make better facilities available to help students reach their potential, and not just academically, says principal Cecilia Lim.
Right, the new school building is reaching its final stages of reconstruction, in preparation for students and staff to move back into in July 2007.
The old school building had only nine classrooms, which limited the student population to 720, and it had no special rooms. The new school will have 30 classrooms, special rooms for Mathematics and Science, CCA, Mother Tongue and Music, a big-multipurpose hall, an indoor sports hall, and a dance studio to develop students' talents in Performing and Creative Arts.
The school has to raise $600,000 toward the project cost of $12 million. The balance is funded by the MOE.
The school is presently operating from a temporary location at the former Bukit Batok Primary School at Jalan Jurong Kechil. It will return to the new Chestnut Drive premises in July 2007.
(continued on page 2)
Left, the old school building.
Archbishop Nicholas Chia will bless the school on Jul 6. Concerning the name change, Ms Lim says that the area has changed tremendously since the 1950s and a change in name to help develop specific characteristics in pupils was appropriate.
"Bukit Timah" signifies a location, which, in the past, was significant because the area was undeveloped and CHIJ was known for having been set up for less privileged children, Ms Lim explains. The school was founded in 1955 in response to the need for English-medium education for girls in the then-rural Bukit Timah area. It started out with 62 pupils and moved to its premises at Chestnut Drive in 1957. Known as Holy Infant Jesus Convent Bukit Timah then, it was a village school nestled in the jungle- illed expanse of hilly land known as Bukit Timah.
Ms Lim notes that two out of six CHIJ schools had adopted Our Lady as patron, thus inspiring the school to follow suit. The name "Our Lady Queen of Peace" was chosen by the IJ Board of Management. "CHIJ" will be retained to reflect the common IJ mission and branding.
Ms Lim is pleased with this choice as "Our Lady Queen of Peace" refers to Mary, the mother of Jesus, who advocates peace. "Peace is one of our Gospel and universal values and the IJ mission is grounded on such values," she says. "We hope to make peace more prominent in the lives of our students so they in turn, can bring peace to the family, community and society at large." Our Lady's role has also always been one of guiding people closer to God and Jesus Christ and the mission of CHIJ schools is to build a Christ-centred community.
About 38 percent of students at the school are Catholic, as are 18 percent of the staff, including Ms Lim. The school nurtures a Catholic environment. Prayers are said in the morning, during recess and at the end of the day; seasons of the liturgical year are observed with activities; and the Rosary is said in May and August.
Weekly catechism classes are held for Catholic students, and also for non-Catholics whose parents wish them to attend. IJ Sister Joan Tay, an ex-principal of the school, helps with these weekly classes and ministers to the students and staff.
Father Edmund Chong, chaplain of the school and parish priest at Church of St. Joseph (Bukit Timah) also helps with these Religious Education programmes. He celebrates Mass monthly and on days of obligation in the school.
Category: JUNE 2007
Assumption English returns to Bukit Timah	(2 matches)
Book celebrates Bukit Timah church's 170-year history	(2 matches)
Chancery Notice - 16 August 2016	(2 matches)
Chancery Notice - 2 October 2015 (2 matches)
Chancery Notice - Obituary	(2 matches)
Church of St. Joseph (Bukit Timah) celebrates 160th feast day	(2 matches)
Father Edmund Chong installed as Parish Priest of St. Joseph (Bukit Timah)	(2 matches)
Kids from Bukit Timah church to stage Passion musical	(2 matches)
Rededication Mass for Bukit Timah church	(2 matches)
St Joseph's Rosary Garden blessed	(2 matches)


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Claudius invaded Britain in 43 AD. Claudius invaded Britain in 43 AD. Claudius invaded Britain in 43 AD. Claudius invaded Britain in 43 AD. Claudius invaded Britain in 43 AD. Claudius invaded Britain in 43 AD. Claudius invaded Britain in 43 AD. Claudius invaded Britain in 43 AD. Claudius invaded Britain in 43 AD.
What year did Claudius conquer Britain?
Claudius "conquered" Britain in 43 AD. Claudius "conquered" Britain in 43 AD. Claudius "conquered" Britain in 43 AD. Claudius "conquered" Britain in 43 AD. Claudius "conquered" Britain in 43 AD. Claudius "conquered" Britain in 43 AD. Claudius "conquered" Britain in 43 AD. Claudius "conquered" Britain in 43 AD. Claudius "conquered" Britain in 43 AD.
Did Claudius's son become emperor when Claudius died?
Yes, in a way. Nero followed Claudius as emperor and Nero was the adopted son of Claudius. Britannicus was the biological son of Claudius, but he never became emperor.
Who was Appius Claudius Nero?
Appius Claudius Nero was the father of Tiberius Claudius Nero, who was the father of Tiberius Claudius Nero, the Emperor of Rome.
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Home » Don't believe the hype: Boston Scientific tackles stent deformation
Don't believe the hype: Boston Scientific tackles stent deformation
January 23, 2012 By MassDevice staff
Boston Scientific (NYSE:BSX), stung by recent studies showing that the thinner design of next-generation stents can deform during deployment, is on the offensive with an new video.
At least two studies and one case study presented last year at the Transcatheter Cardiovascular Therapies conference in San Francisco reported incidents in which stents made by Boston Scientific and its main competitors, Abbott (NYSE:ABT) and Medtronic (NYSE:MDT), deformed after they were deployed inside coronary arteries.
The FDA has taken an interest in the concerns, launching an investigation into newer stent models. BSX came up with new labeling language for its Promus Element stent to detail how the stent might deform, spokeswoman Denise Kaigler told MassDevice last December.
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The Boston Scientific video, "Beyond the hype: A closer look at the manifestation and clinical impact," stresses that longitudinal stent deformation is a rarity that can occur with any of the newer stent platforms, including its own platinum-chromium line and competing devices from Abbott (NYSE:ABT) and Medtronic (NYSE:MDT).
"Stent deformation is an extremely rare event and is difficult to re-create," according to the video. "Although a rare phenomenon, today's thin-strut stents are all susceptible to longitudinal stent deformation."
That includes the BSX Ion/Taxus stent, Abbott's Xience platform and the Endeavor line from Medtronic, according to the video, which also notes that the forces applied by a catheter during percutaneous coronary interventions are more than sufficient to deform any stent.
"Post-dilation catheter tip supplies ample force to compress," it states. "Significant forces can be generated using normal procedural techniques."
Filed Under: Drug-Eluting Stents, News Well Tagged With: Abbott, Boston Scientific, Stent Wars


January 7, 2021 January 8, 2021 Uncategorized, Women's Alliance news briefings
WOMEN'S ALLIANCE FOR KURDISTAN, IRAQ AND SYRIA – NEWS BRIEFING: November 2020- January 2021
WOMEN'S ALLIANCE NEWS BRIEFING
https://peaceinkurdistancampaign.com/activities/womens-alliance-for-kurdistan-iraq-and-syria/
IN MEMORY OF SAKINE CANSIZ, FIDAN DOGAN AND LEYLA SAYLEMEZ
"We salute and honour the memory of Sakine, Fidan and Leyla and their example will continue to inspire our efforts for peace and justice for the Kurdish people. In our collective memory and that of all Kurdish patriots they will live on."
TJK-E launches '100 reason to Prosecute the Dictator' campaign
The Kurdish Women's Movement in Europe (Tevgera Jinên Kurd li Ewropayê, TJK-E) has launched the '100 reasons to prosecute the dictator' today, International Day against Violence against Women.
https://anfenglish.com/women/tjk-e-launches-100-reason-to-prosecute-the-dictator-campaign-48204
"The dictator must be brought to justice"
12 December 2020/ANF English
Actions have taken place in Belgium, the UK, Germany, Switzerland, Sweden and Denmark as part of the "100 Reasons to prosecute the dictator" campaign. The Kurdish women's movement wants to bring "dictator Erdogan" to justice.
https://anfenglishmobile.com/women/the-dictator-must-be-brought-to-justice-48593
"100 Reasons" campaign in Melbourne
The "100 Reasons to Prosecute the Dictator" campaign launched by the Kurdish Women's Movement in Europe (TJK-E) on November 25 is being waged around the globe. In Melbourne, Australia, a rally has taken place to present the campaign and collect signatures.
https://anfenglishmobile.com/women/100-reasons-campaign-in-melbourne-48609
Janet Biehl tells of her involvement in solidarity with Kurds
Dr. Jeff Miley of Peace in Kurdistan interviewed author and artist Janet Biehl about her involvement in solidarity with the Kurdish Freedom Movement, including her recent engagement with the "100 Reasons" campaign.
https://anfenglish.com/news/janet-biehl-tells-of-her-involvement-in-solidarity-with-kurds-49147
KCK statement on the arrest of MP Leyla Güven
The arrest of Leyla Güven, co-chair of the DTK (Democratic Society Congress) and MP for the Hakkari district, has once again exposed the reality of the Turkish state in all its clarity.
https://www.peaceinkurdistancampaign.com/kck-statement-on-the-arrest-of-mp-leyla-guven/
OPEN LETTER TO FCO REF. THE JAILING OF LEYLA GUVEN
Dear Foreign Secretary,
We are writing to you to express our grave concern over the jailing of former Peoples' Democratic Party (HDP) MP Leyla Guven who was sentenced to 22 years and three months in prison by a Turkish court on Monday 21 December.
https://www.peaceinkurdistancampaign.com/open-letter-to-fco-ref-the-jailing-of-leyla-guven/
"Turkey aims to undermine will of free organized woman by arresting Guven"
6 January 2020/Hawar News
The coordinator of the Star Congress Rayhan Luqo explained that the Turkish state targets the will of the woman in the person of Leyla Guven, calling on all women to raise the pace of struggle and resistance in the face of authoritarian mentality conspiring against women.
https://www.hawarnews.com/en/haber/turkey-aims-to-undermine-will-of-free-organized-woman-by-arresting-guven-h22016.html
Activist faces a prison sentence of up to 15 years
The third hearing of the case opened against Free Women's Movement (Tevgera Jinên Azad, TJA) activist Gülcihan Şimşek with the allegation of "being a member of a terrorist organization" was held at Diyarbakır 11th Heavy Penal Court on Monday. Şimşek, who was released after being arrested within the scope of the Rosa Women's Association investigation which still continues, was present at the hearing.
https://anfenglishmobile.com/women/tja-activist-faces-a-prison-sentence-of-up-to-15-years-48656
Two more women murdered in Turkey
The We Will Stop Femicide Platform (KCDP) announced that 29 women were killed in Turkey in November and 10 women died in suspicious circumstances.
In November, at least 6 women were abused and raped, 2 children were killed, 3 children died in suspicious circumstances, while 5 children were subjected to sexual abuse, rape and 2 children to violence.
https://anfenglishmobile.com/women/two-more-women-murdered-in-turkey-48611
Online meeting today addresses violence against women in Turkey
An online talk titled "Violence Against Women in Turkey" with Pat Heron, Selma Atabey, Mary Davis, and moderated by Christine Blower will be taking place today at 7 GMT.
The event is co-sponsored and hosted by Centre for Kurdish Progress, Peace in Kurdistan Campaign and Kurdish Peoples' Assembly UK.
https://anfenglishmobile.com/women/online-meeting-today-addresses-violence-against-women-in-turkey-48665
Summary of proceedings against HDP Amed MP Güzel
A summary of proceedings was opened against Peoples' Democratic Party (HDP) Amed Deputy Semra Güzel for the cards she sent to the prisoners as part of the 8 March International Women's Day celebration.
Güzel was charged with "terrorist organization propaganda" on the grounds that the cards she sent to women prisoners in Izmir Closed Prison "instigated prisoners".
https://anfenglishmobile.com/women/summary-of-procedure-against-hdp-amed-mp-guzel-48597
Lawyer Keskin: Impunity is behind the increase of sexual violence
9 December 2020/ANF English
One of the main reasons for the increasing sexual violence against women and children, especially in Kurdistan, is impunity, explains co-chair of the IHD human rights organization, Eren Keskin.
https://anfenglishmobile.com/women/lawyer-keskin-impunity-is-behind-the-increase-of-sexual-violence-48525
"The State protects perpetrators of rape"
Ölker stated that the AKP and MHP adopted a political attitude to rape and sexual abuse, saying: "The specialist sergeant who raped İpek Er and caused her death was rewarded with impunity by a dirty mindset. Same policy was followed in the case of a special operations police officer B.K. The punishment for harassment and rape is eliminated in a legal context in Kurdish provinces."
https://anfenglishmobile.com/women/the-state-protects-perpetrators-of-rape-48512
Torturing Kurdish women deemed legal by Turkish-backed mercenaries in Syria, survivor says
2 November 2020/Morning Star
TORTURING Kurdish women is deemed "halal" (lawful) by Turkish-backed jihadist groups in northern Syria, a survivor of one of the terrorists' camps in Afrin said today.
https://morningstaronline.co.uk/article/w/torturing-kurdish-women-deemed-halal-turkish-backed-mercenaries-syria-survivor-says
Telegraph reveals a plot by MIT to assassinate Kurdish politicians in Austria
17 December 2020/ANHA news
British newspaper "Telegraph" confirmed that a Turkish intelligence agent surrendered himself to the Austrian authorities, and admitted that he had received orders from Ankara to assassinate a prominent Kurdish politician.
https://www.hawarnews.com/en/haber/telegraph-reveals-a-plot-by-mit-to-assassinate-kurdish-politicians-in-austria-h21519.html
Two women killed in Turkey; another arrested in Bakur
Two women were killed in the Turkish city of Istanbul, while the authorities arrested a Kurdish woman in Jazir district of the state of Şirnak in northern Kurdistan (Bakur), according to the Euphrates News Agency.
https://www.hawarnews.com/en/haber/two-women-killed-in-turkey-another-arrested-in-bakur-h22061.html
(Video) Interview with Janet Biehl about her Work in Solidarity with the Kurdish Movement
https://www.peaceinkurdistancampaign.com/video-interview-with-janet-biehl-about-her-work-in-solidarity-with-the-kurdish-movement/#more-11603
JANUARY 2, 2021 TURKEY, VIDEO, WOMEN'S ALLIANCE FOR KURDISTAN IN IRAQ AND SYRIA EDIT""WOMEN LEAD THE RESISTANCE AGAINST ERDOGAN'S REGIME" – CLARE BAKER"
https://www.peaceinkurdistancampaign.com/women-lead-the-resistance-against-erdogans-regime-clare-baker/
DECEMBER 29, 2020 VIDEO, WOMEN'S ALLIANCE FOR KURDISTAN IN IRAQ AND SYRIA "'TURKEY IS STILL BEING RULED BY AN AUTOCRATIC DICTATOR' – INTERVIEW WITH JULIE WARD"
https://www.peaceinkurdistancampaign.com/turkey-is-still-being-ruled-by-an-autocratic-dictator-interview-with-julie-ward/
Campaign for a political solution of the Kurdish Question
https://www.peaceinkurdistancampaign.com
Facebook: https://www.facebook.com/peaceinkurdistan1/
Contacts Estella Schmid: 07846 666 804 & Melanie Gingell: 07572 430903
Patrons: John Austin, Baroness Blower of Starch Green, former GS NUT, Prof Bill Bowring, Julie Christie, Noam Chomsky, Jeremy Corbyn MP, Prof Mary Davis, Lord Dholakia, Simon Dubbins, UNITE International Director, Jill Evans, former MEP, Desmond Fernandes, Lindsey German, Convenor STWC, Melanie Gingell, Christopher Gingell, Prof Dr. Michael Gunter, Secretary-General, EU Turkey Civic Commission (EUTCC), Rahila Gupta, journalist, Nick Hildyard, policy advisor, Dafydd Iwan, Former President Plaid Cymru, James Kelman, Bruce Kent, Jean Lambert, former MEP, Dr Les Levidow, Open University, Elfyn Llwyd, John McDonnell MP; Aonghas MacNeacail, Scottish Gaelic poet, Mike Mansfield QC, David Morgan, journalist, Doug Nicholls, General Secretary, GFTU, Dr. Jessica Ayesha Northey, Sinn Fein MLA Conor Murphy, Dr Thomas Jeffrey Miley, Kate Osamor MP, Margaret Owen OBE, Ali Gul Ozbek, Former Councillor and Mayor of Haringey; Gareth Peirce, Dr Felix Padel, Maxine Peake, actor, Dr Thomas Phillips, Liverpool John Moores University, Trevor Rayne, writer, Joe Ryan, Tony Simpson, Bertrand Russell Peace Foundation, Stephen Smellie, PIK Trade Union Liaison Officer, Jonathan Steele, journalist, Steve Sweeney, journalist, Gianni Tognoni, General Secretary Permanent People's Tribunal, Dr Tove Skutnabb-Kangas, Dr Federico Venturini, Associate Researcher, University of Udine, Italy; Dr Tom Wakeford, Dr Derek Wall, Julie Ward, former MEP, Kariane Westrheim, Chair, EU Turkey Civic Commission (EUTCC); Hywel Williams MP.
Tagged Women's Alliance
(Press Release) British-based Kurdish campaign group demands an immediate end to arms sales to Turkey after new evidence points to complicity in war crimes
(Video) Philosophy, Culture, Resistance: South Asia and the World – An Interview with Prof. Radha D'Souza


Categories: Digital Marketing, Tips & Tricks
5 Ways to Add a Sensory Component to Your Email Campaign
Many people think of email as a strictly visual medium made up of boring old text and static graphics. But email needn't be thought of this way. With the following tips and techniques, you can create exciting multimedia emails to delight the senses.
1. Tell a Story with Colorful Language
A text-based email campaign might not seem to engage the senses at first glance, but a storytelling writing style will soon suck your subscribers in. Think about the way that you reacted when you read your favorite novel the first time. You could probably almost taste the meals that the characters ate and feel the environment around them. The same literary techniques that authors use can be employed to bring a marketing campaign to life.
A good storytelling campaign will have all the elements of a great novel. You'll have a narrative with characters that your subscribers can relate to. You'll use adjectives and adverbs to bring the action to life. The stories of how your company began, how a new product was developed, or how you became involved in an event will all lend themselves to this type of sensory email.
2. Use Graphics to Excite Subscribers
Graphics are one of the most common ways that email marketers engage their subscribers' senses, but few really exploit this medium. Whenever you use an image, ask yourself, "Does this add value to my email newsletter?" The old saying that a picture is worth a thousand words holds true, but only if the picture has real value. Simply looking attractive isn't enough. Your graphics should tell your subscribers something about your products, make something clearer, or evoke an emotion.
Get creative with graphics. Placing images around text is fine, but you can create a distinctive effect by placing a picture underneath your copy. Several images about the same topic could be grouped together in a photo collage.
Any images that you take yourself are fine to use in an email. Don't make the mistake of thinking that anything already published on the Internet is up for grabs. Even attributing an image to its source won't save you from a potential lawsuit. To avoid infringing copyright, search for Creative Commons images, which are freely available to the public.
Remember that your still photographs are only the tip of the image iceberg. Graphs and infographics can inform your subscribers about some topic in a more accessible, engaging way than paragraphs of text. Animated GIFs, a compression format for graphics, can add interest and draw attention to elements of your email that may have otherwise been overlooked.
3. Add Videos to Engage Sight and Sound
Videos add another sensory dimension to your emails. These elements appeal to the senses of sight and sound in tandem for greatest impact. According to digital marketing experts, "If a picture is worth a thousand words, then a video is worth a million." It's a bold claim, but one that seems to be supported by data. For example, online distributor Shoeline.com saw its sales conversions increase by 44 percent when it started using videos to showcase its wares.
Video's combination of sight and sound helps subscribers become emotionally invested in your brand. Just 30 seconds of video footage captures a message that would take thousands of lines of text to convey, and video makes this capture happen in a much more engaging way. That high level of engagement encourages people to share your email, which maximizes its impact.
Embedding an entire video directly into an email will make your email file too large; instead, use a thumbnail image from your video linked to the clip. Superimposing a play button onto the image will give a clear indication to subscribers that this content is a video they can watch.
4. Add Audio Content to Engage the Sense of Sound
Stripping away the images and focusing on audio content may work for some businesses, such as a record label looking to promote its latest musical find. While songs often work together with a music video, this visual medium can distract listeners from the music. Presenting the music alone using an embeddable player such as Soundcloud allows these companies to present music in a much purer form.
Music players are also an attractive way to promote artists that don't have the budget for a music video. Some independent acts never create film clips. Instead, they email their songs to a subscriber base of fans, music bloggers, and radio stations to spread the word.
Just don't make the mistake of autoplaying the audio file. While some marketers feel that autoplay increases the reach of an audio file, the feature is a turnoff for most subscribers. Autoplay removes freedom of choice, forcing subscribers to listen to something that they may otherwise decide to skip past. Autoplay can also be especially frustrating for people opening your email in a quiet space such as public transportation vehicles, a library, or their place of work. Trust that your content is compelling enough that your subscribers will choose to listen to your audio in their own time.
5. Add Interactive Elements to Appeal to Touch
Appealing to the sense of touch can be difficult in an email, but adding interactive elements can get subscribers clicking away. There's a real tactile appeal to features like clickable forms, surveys, quizzes, and tests. These formats can be used to collect information you can use to improve your company or its email marketing efforts, or simply to entertain your audience. Shareable memes which tell email users which cartoon character they're most like or which career they should pursue have great viral potential. However, make sure that the subject is relevant to your organization.
While most people think of videos as appealing to the senses of sight and sound, they also engage touch. Subscribers use this sense with your video when they hit play, pause your content, move the player back to view the action again and close the player window. Encouraging your subscribers to play with your content in this way ensures they engage with your message.
Let these ideas take you beyond text and images to create stunning email campaigns which appeal to the senses.


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Report: CREATe Public Lecture by Naysun Alae-Carew – Intellectual Property "terms of trade": The challenges for entertainment businesses in the emerging platform economy
Report by Kenny Barr (Research Associate in School of Culture and Creative Arts, University of Glasgow).
Naysun Alae-Carew, Managing Director of Blazing Griffin, presenting in the CREATe Public Lecture series 2019-2020
The latest in the CREATe public lecture series was delivered by Naysun Alae-Carew, Managing Director of Blazing Griffin, a digital entertainment company based in Glasgow. Employing around 40 staff, Blazing Griffin specialises in film and television production, game development and post production.
This searching talk provided rich 'insider' insights into the realities of running a production company operating in three overlapping but distinct industries: television, film and games. The speaker reflected on the different characteristics of these sectors as he saw them. Television is a highly regulated oligopoly dominated by broadcasters where 'terms of trade' rules govern how deals between producers and these broadcaster buyers are structured. Film, while less regulated, is described by Naysun as a "bisected market" dominated by a handful of large studios and many more independent producers. By comparison, business model innovation in the nascent online games market continues to rapidly and fundamentally alter relationships between producers, publishers and platforms.
Naysun's lecture included examples of Blazing Griffin's work, including the Christmas zombie musical film 'Anna and the Apocalypse'
Naysun reflected and ruminated on the ways intellectual property permeates the core activities of his company and, in turn, shapes creative and commercial decision-making. Like many creatives, he explained that his understanding of IP has developed in an ad-hoc, piecemeal way as different commercial challenges and opportunities arise. Indeed, problems of information asymmetry characterise negotiations between small and medium sized production entities like Blazing Griffin, and larger operators such as public service broadcasters (PSB) or subscription video on demand (SVoD) platforms e.g. Netflix.
For new-entrant operators like Blazing Griffin, the short-term interests of the company are not always aligned with longer-term considerations. For example, the fees generated from 'buy out' deals with commissioning entities such as a film studio or an SVoD can be vital to the day-to-day financial liquidity of a company. However, this type of deal limits the scope for production companies to develop a portfolio of potentially valuable IP over a longer term. Conversely, commissions from PSBs may attract modest production tariffs but allow production companies to retain an interest in secondary and tertiary IP rights, such as multi-territory licensing.
In UK television production, the implementation of 'terms of trade' following the Communications Act 2003 were designed to equalise the relative bargaining position of powerful broadcasters and smaller TV producers. This ensured production companies retain an interest the IP that subsists in outputs commissioned by PSBs. As Naysun suggested, the effect of this policy 'lever' being pushed was an explosion of entrepreneurial activity and growth in the UK television production sector.
The intended and unintended consequences of this change to 'terms of trade' continue to be felt to this day. As discussed by the speaker, and examined elsewhere in CREATe and the wider university research community, the most significant unintended consequence was to make UK television production companies attractive targets for takeover by larger operators. In effect, rather than supporting a diverse production ecosystem of small, medium and large operators, the IP rights conferred on production companies increasingly pool into concentrated catalogues of powerful transnational media conglomerates thus reinforcing the market power of consolidated incumbents.
Read more about Blazing Griffin here and the CREATe Public Lecture series 2019-2020 here.
However, the emergence of powerful new entrant gatekeepers such as SVoDs and online game platforms not governed by regulations like 'terms of trade' continues to reset the barriers to entry Blazing Griffin must overcome in order to succeed in highly competitive markets. Indeed, a theme that ran through much of this illuminating and thought-provoking talk was that companies like Blazing Griffin must be sufficiently nimble to operate a mixed model with regards to intellectual property. This involves a trade-off between the security of dependable upfront fees offered by film studio or SVoD commissions, against the unknown but potentially lucrative rewards and opportunities available to companies that retain control of rights in projects that subsequently become 'hits'.
While the speaker's personal preference leaned towards Blazing Griffin controlling the IP in the content they produce, he summed up by observing that there is no definitive answer as to what path is best with regards to selling or retaining IP assets. In doing so, Naysun echoed Richard Caves (2000) seminal work on contracts between art and commerce in the IP intensive creative industries. Caves contends that the overriding rule of forecasting the success of creative products is "nobody knows".
The CREATe Public Lecture series is part of the AHRC Creative Industries Policy & Evidence Centre
This entry was posted in CREATe Blog, Creative Industries, Public Lectures. Bookmark the permalink.
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Jul 31, 2015 at 11:06 PM • --
As San Francisco 49ers training camp kicks off, be sure you are kept up to date on the latest team news by having it delivered to your feeds on social media.
You can follow us on Facebook, Twitter and Google+ to get the latest in 49ers news and updates as well as interact with other fans.
49ers WR Deebo Samuel eager to move forward after a physically and emotionally difficult 2020
Deebo Samuel has faced his share of injuries throughout his football career, but nothing ever hit him as hard from a mental perspective as what he went through in 2020. Fortunately, the challenges Samuel faced in 2020 are now almost completely in the rearview mirror, and as a result, he's itching to jump into the offseason and get prepared for 2021. Samuel spoke in detail with reporters Monday about what he went through in 2020, revealing that he faced a level of emotional challenge along the way that he hadn't experienced previously in his career. Samuel went through two injury-shortened seasons during his college days at the University of South Carolina, but a Jones fracture in his foot he sustained during an offseason workout in June followed by hamstring
Lions, Falcons, and Jaguars have requested to interview 49ers DC Robert Saleh, says John Lynch
On Monday, San Francisco 49ers general manager John Lynch confirmed that three teams have officially requested to interview defensive coordinator Robert Saleh. They are the Detroit Lions, Atlanta Falcons, and Jacksonville Jaguars. While the first two were already known, the last was not. However, the Jaguars' interest isn't unexpected. Saleh will be a hot name as NFL teams with head-coaching vacancies look to fill those roles. Albert Breer of Sports Illustrated reported that Saleh would interview with the Lions on Thursday. Head coach Kyle Shanahan had previously said that his
Kyle Shanahan and John Lynch address the media following 2020 season, discuss 49ers' future
San Francisco 49ers head coach Kyle Shanahan and general manager John Lynch spoke with reporters on Monday, the day after the team finished the 2020 season with a 6-10 record. Here is everything they had to say. Transcript provided by the San Francisco 49ers Communications staff. Opening comments: General Manager John Lynch: "The only thing I'd like to say, I know I speak for [head coach] Kyle [Shanahan], with all of you guys, I know a different year for you doing this remotely. You guys deal with Kyle a lot more than you do with me and our players, but we're very appreciative of your guys' patience and your flexibility to do it this way. We appreciate your cooperation and all that. So, thank you." First