Simple identification tools in FishBase

Simple identification tools for fish species were included in the FishBase information system from its inception. Early tools made use of the relational model and characters like fin ray meristics. Soon pictures and drawings were added as a further help, similar to a field guide. Later came the computerization of existing dichotomous keys, again in combination with pictures and other information, and the ability to restrict possible species by country, area, or taxonomic group. Today, www.FishBase.org offers four different ways to identify species. This paper describes these tools with their advantages and disadvantages, and suggests various options for further development. It explores the possibility of a holistic and integrated computeraided strategy

Making the West End modern: space, architecture and shopping in 1930s London.

This research explores the shopping cultures of the 1930s West End, arguing for the recognition of this as a significant moment within consumption history, hitherto overlooked in favour of the Victorian and Edwardian periods. The approach is interdisciplinary, combining in a new way studies of shopping routes and networks, retail architecture, spectacle, consumer types and consumption practices. The study first establishes the importance of shopping geographies in understanding the character of the 1930s West End. It positions this shopping hub within local, national and international networks. It also examines the gender and class-differentiated shopping routes within the West End, looking at how the rise of new consumer cultures during the period reconfigured this geography. In the second section, a case study of two new Modern shops, Simpson Piccadilly and Peter Jones, provides the focus for a discussion of retail buildings. Architecture is presented as an important way in which the West End was transformed and modernity articulated. Modernism was a significant arrival in the West End's retail sector: it provided a new architectural approach with a close, if often problematic, relationship with shopping. The study thus reassesses common assumptions about the fundamental irreconcilability of modernism with consumption, femininity and spectacle. The third section makes a more detailed examination of the staging of shopping cultures within the West End street, looking at window display, the application of light and decoration to facades, and participation in pageantry. The study thus revisits retail spectacle, an important strand within histories of shopping and of the urban, looking at how established strategies were adapted and developed to stage modernity, emerging consumer cultures and the West End itself during the 1930s

Passbook

Passbook is a nostalgic novel that considers the meaning of love and family on the edge of a post-mortal near future. As the era of austerity enters its third decade, a social media platform—the eponymous Passbook—allows the living to interact with the dead, and changes the landscape of longevity forever. Wyatt Simmons, a young underemployed college graduate, finds himself locked out of the American Dream by suppressed wages, strangled career opportunities, and overwhelming debt. While coping with the un-deaths of his mother and sister, and estrangement from his financially-comfortable careerist father, Wyatt perseveres in a dissatisfying relationship of necessity with his long-time girlfriend Sara Grayson, and uses what little money he can scrounge to try and catapult himself into the spotlight of the Lego Corporation, his dream employer. At work, he meets Pepper Boswick, a wisecracking children’s clothing store salesperson by day and a legendary professional gamer by night, and the two of them hatch a plan to bust Wyatt, and his grand Lego project, out of Sara’s apartment. Meanwhile, a shadowy figure named Kilroy—half internet-age demagogue, half mad-genius—has his own plans for Wyatt’s generation and the gridlocked gerontocracy of Passbook. The novel operates in a tragic-comedic mode, with elements of both satirical-nostalgic humor and profound disillusionment. Rather than make the easy jab at generational conflict and us-vs.-them thinking, Passbook enmires Wyatt in a shifting tangle of duty to his family (many of whom are “Posterity” users of Passbook, meaning they are deceased and therefore functionally immortal), to his own generation (friends, coworkers, and girlfriends, who he most relates to) and to himself (in the form of a hopeless struggle to grow up in a world of work that seems not to need or want him). Wyatt’s relationship with his father takes center-stage in the novel’s second half, as his work- and love-lives collapse around him, and force him to confront his grievances, some real and some imagined, with the man, the family, and to an extent the larger era that raised him

The Secret Hills

The Secret Hills is a literary thriller. Kelly Murdoch is crestfallen when her sister Mara fails to attend her documentary premiere. Kelly visits Mara\u27s apartment and finds evidence that no one has been there for weeks. A random shooting occurs across town at the Milwaukee County Zoo. Seven people die. The zoo shooter, Ibrahim Rohani, had participated in one of Mara\u27s PTSD studies. Kelly tracks down Rohani\u27s friend Nick Miner, a fellow veteran who also participated in Mara\u27s study. With Nick, Kelly drives to Colorado to confront Lorenzo Hills, an independently wealthy rancher who funded Mara\u27s PTSD research. Despite (or perhaps because of) her suspicion that Mara had been romantically involved with Nick, Kelly sleeps with him. While on the road, Nick and Kelly evade an ambiguous agent they call The Patriot. Kelly and Nick search for Mara and Hills in Colorado. The Patriot reappears and abducts Kelly. Nick rescues Kelly and they flee into the mountains. While in pursuit, The Patriot\u27s wheels are shot out and his truck goes over a cliff. Mara Murdoch appears. Mara takes Nick and Kelly to an abandoned mining settlement called High Fork. The inhabitants--including the secretive Hills--are misfits, but unusually bright, inventive, and observant. With Nick\u27s help, Kelly learns that Mara\u27s work with a genetically-modified parasite has activated the nirvana centers in the brains of the High Fork residents--but the parasite sometimes activates other parts of the brain, areas associated with rage, aggression, and violence. The first symptom is insomnia, and Nick hasn\u27t slept for the past three nights... It\u27s up to Kelly to save Nick, prevent Mara from distributing her genetically-modified parasite to every grocery store and municipal water supply in America, and heal the family that shattered when Kelly and Mara\u27s father committed suicide more than twenty years ago

Harnessing Hollywood Hype: Film Marketing Meets the Challenges and Opportunities of the 21st Century

Marketing is a vital commercial activity and source of competitive advantage within the Hollywood film industry, serving to create, circulate and translate symbolic meaning around a film and its ancillary products, construct and target key audience segments, guide audience expectations and viewing choices, and mitigate financial risk. Marketers thus play an increasingly central role in all stages of the filmmaking process. To examine the often overlooked structures and practices of Hollywood’s marketing arm, this study adopts a media industry studies approach, employing interviews, fieldwork, and textual analysis to explore the social, technological, organizational, economic, and spatial forces that shape the contemporary context of Hollywood marketing materials’ creation. In the early 21st century, Hollywood studios face profound challenges and opportunities wrought by the dual forces of globalization and digitization. In response, marketers have developed a novel view of their audience: as increasingly global and empowered. Globalization and digitization are thus treated as centrifugal forces, diffusing production and meaning-making capabilities across geographic space and media platforms, and threatening the centralized control traditionally held by Hollywood studios. Marketers are incentivized to embrace these decentralizing forces and the cultural labor now provided by third party marketing agencies, international distributors, and audiences. However, Hollywood studios’ institutional inertia, risk aversion, and inclination to maintain firm control of their marketing messages and intellectual property preclude a whole-hearted embrace of these changes. Studio marketers thus act with deep ambivalence toward these outside players, attempting to capitalize on their cultural labor while simultaneously acting to circumscribe their power

Casco Bay Weekly : 1 May 2003

https://digitalcommons.portlandlibrary.com/cbw_2003/1016/thumbnail.jp

Bowdoin Orient v.108, no.1-23 (1978-1979)

https://digitalcommons.bowdoin.edu/bowdoinorient-1970s/1009/thumbnail.jp

The Whitworthian 2006-2007

The Whitworthian student newspaper, September 2006-May 2007.https://digitalcommons.whitworth.edu/whitworthian/1091/thumbnail.jp