#central processing training in philadelphia

[pttedu]

What Are The Different Employment Stages In Sterile Processing Jobs?

This article explains the basics of positions offered, prerequisites, and career advancement chances for each of the various sterile processing jobs.

[pttiedu]

Sterile Technician: Staying Ahead With Continuous Training

Sterile technicians must learn consistently to stay ahead of the curve. Learn more about the importance of sterile processing technician certification.

[robertbturnerfl]

Productive Launches Docs, a Revolutionary New Feature for Streamlining Agency Management

The Productive Company (Productive), a leading software company providing project management solutions for agencies, has announced the launch of Docs, a new feature designed to revolutionize agency management through collaborative notes.

Productive’s Docs feature is a welcome addition to the already robust set of features available on the platform. As agencies continue to navigate the challenges posed by remote work and distributed teams, having access to a centralized knowledge base becomes more critical than ever.

The Docs feature is intuitive and easy to use, allowing users to create and organize notes and wikis in a matter of minutes. This feature is particularly useful for agencies that rely on knowledge sharing to streamline their operations and improve collaboration across departments.

Docs offers a range of benefits for agencies, including improved project notes with rich-text editing options, a real-time collaboration space with commenting options, a place to share documents with clients, and an internal wiki-like space to capture processes and handbooks. With Docs, agencies can now create, edit, and share wikis within the Productive platform, making it easy for teams to collaborate and stay informed.

Docs is currently available to all Productive customers. The company is offering a free trial of the platform to new customers, giving them a chance to try out the feature and see how it can transform their agency management.

Getting started with Docs is simple. Agencies can open a new doc and start typing. The feature also allows them to add colleagues or teams to read, collaborate, and comment or give them “view” access if they don’t want them to edit the doc.

In addition to offering a centralized knowledge management space, Docs automatically converts project notes to docs, allowing users to pick up their project documentation where they left it. This eliminates the need for teams to switch between different applications and tools, making it easier to stay focused on their work.

To further enhance the user experience, Docs also offers several customization options. Users can add page cover images, copy and paste links, and even add emojis to page titles, making it easy to organize and find documents.

After an extensive year and a half of development, the team behind Productive is hoping to gather feedback from users to enhance the functionality of Docs, as they believe it has the potential to revolutionize the way organizations manage their workflows.

Docs is a testament to Productive’s commitment to delivering innovative solutions to its customers. With Docs, agencies can create a centralized knowledge base that captures their most important processes, making it easy for new team members to get up to speed quickly and reducing the time spent on training.

About The Productive Company:

Founded in 2014, Productive provides a project management platform for agencies. With features for budgeting, resource planning, reporting, project management, time tracking, sales, and billing, The Productive platform has helped thousands of agencies worldwide to manage their projects, resources, and profitability.

To learn more about Productive and Docs, please visit https://productive.io to book a demo with the team.

Originally published at https://presssynergy.com/newsroom/productive-launches-docs-a-revolutionary-new-feature-for-streamlining-agency-management/

Company Name: The Productive Company Contact Person: Tomislav Car Address: 2093 Philadelphia Pike #3280 City: Clayomont State: Delaware Country: United States Website: https://productive.io/

source https://presssynergy.com/newsroom/productive-launches-docs-a-revolutionary-new-feature-for-streamlining-agency-management/ from Press Synergy https://presssynergy1.blogspot.com/2023/05/productive-launches-docs-revolutionary.html

[disneyat34]

Fantasia at 34

A review by Adam D. Jaspering

By 1940, Disney proved he was as large a titan in the world of feature films as he was in animated shorts. But as the saying goes, a man's reach should exceed his grasp. His third feature, Fantasia, would be an audacious experiment.

Disney had been synchronizing animated cartoons to classical music since 1928. His trademarked Silly Symphony shorts earned him seven Academy Awards. They were a foundational element of the Disney empire, but they were outmoded by 1939. Audiences were preferring plot-driven shorts. 

Coincidentally, another Disney creation was also in decline in this era. It’s hard to fathom, but Mickey Mouse’s popularity with audiences peaked in 1935. By 1939, he was eclipsed by both Donald Duck and Goofy. More frequently, Mickey appeared alongside the two than appearing in his own independent shorts.

Disney had plans to bring both musical shorts and Mickey Mouse back into the limelight. Disney employed the assistance of The Philadelphia Orchestra and conductor Leopold Stokowsky. The Sorcerer's Apprentice was completed in 1938, pairing Mickey Mouse with the music of Paul Dukas in a nine-minute cinematic epic. 

However, Walt Disney’s brother Roy, accountant for the company, crunched the numbers. The $125,000 budget made the short a logistical nightmare. To make a profit, the short needed to be released as a feature film. And to be a feature film, it needed to be feature length. 

The Concert Feature, as it was initially called, grew in size and scale. The budget grew to $2.8 million. The crew ballooned to over one thousand artists and animators. After much effort and many headaches, Fantasia was finally released in November, 1940.

The film starts with a heavily stylized depiction of the orchestra and their instruments. The background is blue and vibrant, but every musician is ensconced in shadow. Lights from the music stands illuminate a negligible part or their personage. We can see the musicians, but only just. 

From the onset, the film accomplishes two goals: First, it wants you to understand you are seeing live-action people. Mickey Mouse is on all the posters. Disney’s name is attached to the film. But these are real, non-animated people. Quite possibly the first live-action people filmed by Walt Disney since his Alice shorts.

Second, Fantasia wants you to realize you are seeing real people, but they are not the focus. The attention is not on them, but their instruments. This is a film not about people, but sound and music.

This is furthered as the sounds of Bach’s Toccata and Fugue in D Minor begins. The silhouettes of the musicians are projected onto the backdrop, scaled larger than their sources. The musicians become literal giants. The shadows create a form of puppetry, becoming indistinguishable from animation. Fantasy and reality, sound and imagery have become intertwined. It’s difficult to determine when the cameras stop rolling, and the ink and paints take over.

We are informed from the outset that Fantasia’s visuals are not those of trained musicians or scholars. These images are the thoughts and feelings of animators and artists. We are privy to new interpretations of classic works (well, new to 1940), beginning with Toccata and Fugue. 

Defined as “Absolute Music,” Toccata and Fugue is an instantly recognizable piece of classical music. It is the go-to stock music whenever a movie, TV show or cartoon wants to quickly and unmistakably associate a scene with a sense of foreboding doom. But Fantasia undoes this eternally mired association; the booming bass offers no semblance of the intimidating or macabre.

Emcee Deems Taylor warns outright we’ll be experiencing non-representative form and abstract imagery. If the impressionist movement coexisted with film, it would probably resemble something like this. In a way, it’s almost a warning for impatient and fickle audiences. Doubly so, as it leads the procession of animated shorts. It’s a fair warning: This is experimental film. Your mileage may vary.

The abstraction gives way to the first representative piece. Tchaikovsky’s Nutcracker Suite; perhaps the most widely known ballet in modern society. We get a great demonstration about the longevity and shifting legacy of classical works as Taylor informs us “nobody performs it nowadays.” Art does not belong to an era, it belongs to the ages. I’m 34, and I’ve never known a Christmas where The Nutcracker wasn’t being performed somewhere in the city.

The Nutcracker Suite depicts the various flora and fauna of an enchanted forest, all engaged in a unique and stylized dance suited to their physique. What’s more, each movement is indicative to a nation and culture. We see Russian flowers, Arabian fish, French blossoms, and Chinese mushrooms (questionably stylized Chinese mushrooms. Thank you, 1940s).

As problematic as the mushrooms are, I’m more perplexed by the Arabian fish. Obviously the sequence is an allusion to the eroticized stereotype of middle eastern women, particularly the Dance of Seven Veils and other subsequent belly dance numbers.

It’s a very g-rated version of the burlesque staple, but one has to wonder why it exists at all. At some point in the late 1930s/early 1940s, someone designed a fish to look and act like a belly dancer. Those eyes exist only for the purpose of portraying a sense of eroticism. Not to kinkshame somebody on Tumblr, but it’s very clear somebody on Disney’s staff was working through some things.

Each of these dances feature plants and animals evocative in style and movement of their corresponding dance’s nationality. This implies the animators were indeed versed on the background of Tchaikovsky’s Nutcracker Suite and his original intent. This breaks the promise from the start of the film: interpretations of artists, not of scholars. 

It’s not an invalidating breach, and not total (surely Tchaikovsky never intended Clara and the prince to meet an amorous fish). But if Fantasia deliberately specified itself to not utilize scholarly interpretations. They waffled on this promise, and it should be noted.

Dukas’s The Sorcerer’s Apprentice is an interesting specimen. Not only has Mickey Mouse’s cautionary tale of a proper work ethic completely eclipsed its musical source in popular culture, but the short has eclipsed the entirety of Fantasia.

When one hears the word “Fantasia,” one’s mind immediately leaps to Mickey Mouse in a bathrobe. They think of the blue hat, festooned with stars. They think of an army of brooms, brought to life, obediently and endlessly carrying buckets of water. They think of the bassoons secondarily. Most are unaware the music existed before the movie.

That said, there is no better representation of Fantasia’s central tenet: a marriage of animation as an artistic medium and classical music as an eternal font of inspiration. In The Sorcerer’s Apprentice, not a word of dialogue is spoken and not a single intertitle is used. An idea is formed, expressed and delivered by the movement onscreen, buoyed by the themes and mood of the orchestral score. What results is a tale beloved for generations.

Stravinsky’s The Rite of Spring offers a brief history of prehistoric life. We see the cosmos create planet Earth. Tectonic plates shift and form land. Life is formed, evolving from single celled organisms, progressing up the evolutionary ladder. But this truncated history of eons and eons comprises only half the segment. The remainder is a grandiose depiction of life in the nadir of the Mesozoic Era. Dinosaurs in all their titanic glory.

Every few years, an animation company attempts to create a dinosaur-centered film. Either through lack of confidence or executive meddling, these dinosaurs aren’t allowed to simply be dinosaurs. We don’t see the glory of the creatures or the power struggle between herbivore and carnivore. Instead, these dinosaurs speak. They learn lessons and have character arcs. They’re often used as a parable of teamwork and community, or an allegorical tale of standing up to one’s oppressors. 

Disney themselves fell into that trap in the year 2000, but we’ll address that soon enough. Dinosaurs are mesmerizing in their own right, as the animals they were. They require no personification. They need no story and no character. A musical short may be the closest we’ll ever get to such a film. For now, we can still enjoy the sight of a tyrannosaur fighting a stegosaurus to the death.

An interesting element of Fantasia, a remnant of a bygone era, is the intermission. When Taylor announced the film would break for a 15 minute intermission, I was concerned as the orchestra began slowly shuffling out of the amphitheater. Was the movie really going to stop? Fantasia is already fighting an uphill battle, trying to keep audiences with temperamental patience captivated. Stopping all inertia for fifteen minutes is suicidal.

Many films from the first half of film history, especially those longer than three hours, survive in their current forms with an intermission built in. Their home release is presented exactly as their theatrical release. The score’s overture plays over a meticulously designed title card, encouraging theater-goers to stretch their legs and visit the lobby. These intermissions have been preserved for posterity, but are wholly inconsequential with fast forward buttons and chapter select options.

I was concerned such would be the case for Fantasia, which barely crests the two-hour mark. It’s the longest of all Disney’s animated features, but surely that record is not because of a deliberate 15-minute time out? If persnickety audience of the 1940s needed a break, what of children in the digital age? They would minimize the window and never return.

Fantasia’s title card is present, but immediately returns back to the film, all for the better. It’s a pointless detour maintained for an illusion of legacy and integrity. Fantasia’s musical numbers are all well and good in their own right, but the live-action segments with the orchestra is full of questionable moments like these. 

For example, at one point, a percussionist interrupts Deems Taylor by knocking over his bells. There’s no build up to this, no explanation, and no commentary. It happens, and is promptly forgotten. If it’s a joke, it makes no sense. If it’s a mistake, why was it left in?

Perhaps Disney had no idea how to carry these live segments. He was afraid to let the segments speak for themselves, feeling obligated to inject them with more than a curated introduction. He needed to pepper in little moments that would either change the dynamic or mandate attention.

These moments rob the gravitas delivered by the orchestra, interrupt the flow of the picture, and make the audience wait impatiently for the next segment. Disney Studios would experiment with live-action film over the next decade, but these missteps display exactly why Disney Studios was not ready for a fully live-action film until the 1950s.

Beethoven’s Pastoral Symphony is not the strangest segment of the film, but it becomes more surreal the more it’s examined. Early on, after a brief dance with satyrs, unicorns, and pegasi, we’re greeted with a number of topless, bathing centaurettes. One wouldn’t think Disney would brazenly depict frontal nudity, but there we are. Fully nude cherubs further the dissonance.

Greek and Roman mythology contains stories of heroes, legends, monsters, and adventure. It’s also rife with depictions of incest, rape, violence, and general malfeasance. Adapting any tale concerning the Olympians requires great skill, lest it be so thematically vulgar, it’s outright rejected by modern sensibilities. Even moreso when the tale is to be presented in a G-rated setting. As obvious a statement this may seem, it’s odd for Fantasia to have an entire segment dedicated to the Roman deity Bacchus and his trademark love of wine.

To say the wine flows is an understatement. A golden chalice overflows with some of the most tantalizing violet liquid ever depicted on film.I don’t even like wine, but I would take up a glass if it was offered.

Bacchus merrily sways back and forth in a drunken stupor for his entire appearance. Caught in a mixture of revelry and lightheadedness, the inebriated god is the central figure of a literal bacchanal. Fantasia was released the same year as Pinocchio, which depicted drunkards in such a negative light, they were turned into donkeys. Bacchus rides a unicorn-donkey who enjoys the taste of wine as much as his master. Behold: The duality of Disney.

Ponchielli’s Dance of the Hours is perhaps the second most famous segment to come from Fantasia. The premise behind the segment is simple. Ballerinas are renowned for their lithe bodies and graceful elegance. What if, instead of traditional ballerinas, they were depicted by animals? Animals renowned for their girth, gangling physique, or stumpy limbs? It’s the contrast that provides comedy. Whatever age, whatever era, it will always be funny watching a hippopotamus do ballet.

As such, Fantasia gives us the sight of ostriches, elephants, alligators, and hippopotamuses, dressed in traditional tutus and slippers, dancing to the best of their ability. To the animator’s credit, the disparate physiques of the animals are hardly an issue. The absurd sizes and shapes of the animals bend and flex in a comical, but equally elegant manner. 

The final segment is a combination of Mussorgsky’s A Night on Bald Mountain and Schubert’s Ave Maria. Here, the devil presides over Walpurgis Night, welcoming ghouls, ghosts, and witches alike from the realm of the damned into the world of the living. They are then conquered, banished back from whence they came, by the choir of a mere church processional. 

For the longest time, I’ve heard the central figure of this piece referred to as “Chernobog,” a central figure of Russian and Balkan folklore. Much like Honest John in Pinocchio, this naming must be supplemental or subsequently; he is never referred to as Chernobog in the film. He is simply referred to by Taylor as “Satan.” 

So far in Fantasia, we’ve been exposed to murder, alcoholism, nudity, and sexy fish. Having the Prince of Darkness make an appearance is the final taboo that Walt Disney could break. Perhaps this is why the name Chernobog was attached retroactively. Pious Americans couldn’t abide a depiction of the devil in an animated feature.

All in all, I prefer the idea of the horned figure being a literal depiction of Satan over Chernobog. Primarily, it makes much more sense thematically. Why would a Russian myth be toppled by a Christian hymn? He wouldn’t, unless it was some misguided attempt at an analogy of Christianity versus Paganism. But why make an analogy when the literal interpretation is exactly appropriate? 

Possibly, western righteousness defeating a Russian emblem could be interpreted as a Cold War fable. This is rather unlikely, as the Cold War didn’t start in earnest until years after Fantasia’s release. 

Second, if we interpret the character as the devil, it further serves the story Disney’s animators were trying to tell: one of good versus evil. Darkness versus light. Chaos versus order. The sacred versus the profane. Dramatic conflict in both imagery, mood, and music. The wild, unbridled chaos of Walpurgis Night, contrasted against the elegant calmness of a serene morning in May.  If the demon was indeed Chernobog, it shows either a complete misunderstanding of the mythic figure, or a complete noncommittal to the story.

The Night on Bald Mountain portion is impressive and magnificent. The terrifying monstrosities are a cornucopia of Halloweenish delights, and they move with such intensity and power. Fire is used as a uniting theme throughout this segment, and the heat and intensity can be felt through the animation. 

I cannot find any sources confirming this, but it feels like the spiritual successor to 1922′s Häxan. Disney animators evoked the sensation of German Expressionism (particularly the works of Robert Weine) in certain moments of Snow White. I wouldn’t be surprised if Häxan served as a primary influence here.

Satan is depicted in an imposing, terrifying form. It’s a laundry list of every evil hallmark. He has glowing eyes, fangs, horns, bat wings, a muscular physique, sharp claws at the end of each finger, the ability to manipulate shadows, and more identifiers plucked from the nightmares of children everywhere.

Ave Maria sits in an odd position in popular culture. It’s been completely co-opted by the Christmas season. So much so, hearing the music detached from a holiday setting strikes up feelings of confusion. Moreso is hearing a quiet, choral interpretation backed by strings, and not a tenor vocalist belting out the opening at full force. It’s beauty is in its restraint. As the beatitude goes, blessed are the meek.

What’s more, after the thundering bravado of A Night on Bald Mountain, the hushed woodwinds and strings seem almost ashamed to make noise. Throughout, I was wondering when the piece would truly begin. Then, before I received my expected answer, the film ended. Ave Maria truly is the counterpart; quiet, dignified, and penitent.

Sitting in the darkness, watching a black screen, I’m met with nothing but a void. There’s no farewell from Stokowsky or Taylor. No final bow from the orchestra. No coda. We the viewer are simply left with a vacuum of sound and imagery. A moment, at last, to fully reflect on what we had seen. Music had provided us images and stories for two hours. In the aftermath, silence and darkness were just as powerful.

Unsurprisingly, Fantasia was a commercial failure upon release. The avant-garde presentation simply didn’t meld with audiences expectations. The film earned back roughly $325,000 of its $2.8 million budget. 

But, as I previously mentioned, art does not belong to an era, but to the ages. Critical and audience approval of the film has grown in subsequent years, and Fantasia is considered one of Disney’s masterpieces. It even turned a profit in 1969 after a series of re-releases.

Sometimes a grand experiment begins with a meager idea, like marketing a corporate mascot. Sometimes that idea can blossom into a grand work. And sometimes a showpiece needs to age like wine before it’s appreciated properly. We’ll never know our true legacy, but a truly good idea, like good music, will be appreciated through the ages.

Fantasia Snow White and the Seven Dwarfs Pinocchio 

[blackkudos]

Robert Hooks

Robert Hooks (born Bobby Dean Hooks, April 18, 1937) is an American actor, producer, and activist. He is most recognizable to the public for his more than 100 roles in films, television, and stage. Most famously, Hooks, along with Douglas Turner Ward and Gerald S. Krone, founded The Negro Ensemble Company (NEC). The NEC is credited with the launch of the careers of many major black artists of all disciplines, while creating a body of performance literature over the last thirty years, providing the backbone of African-American theatrical classics. Additionally, Hooks is the sole founder of two significant black theatre companies: the D.C. Black Repertory Company, and New York's Group Theatre Workshop.

Biography

Early life

The youngest of five children, Hooks was born in Foggy Bottom, Washington, D.C. to Mae Bertha (née Ward), a seamstress, and Edward Hooks who had moved from Rocky Mount, North Carolina with their four other children, Bernice, Caroleigh, Charles Edward "Charlie", and James Walter "Jimmy". Named Bobby Dean Hooks at birth, Robert was their first child born "up-north" and the first to be born in a hospital. His father, Edward, died in a work accident on the railroad in 1939.

Hooks attended Stevens Elementary School. In 1945, at the insistence of his sister Bernice who was doing community arts outreach for youngsters at Francis Junior High School, he performed the lead in his first play, The Pirates of Penzance, at the age of nine. From the ages of 6 to 12, Bobby Dean journeyed with his siblings to Lucama, North Carolina to work the tobacco fields for his uncle's sharecropping farm as a way to help earn money for the coming school year in D.C.

In 1954, just as Brown vs. Board of Education was being implemented in the north, he moved to Philadelphia to be with his mother, her second husband, and his half-sister, Safia Abdullah (née Sharon Dickerson). Hooks experienced his first integrated school experience at West Philadelphia High School. Hooks soon joined the drama club and began acting in plays by William Shakespeare and Samuel Beckett. He was graduated in 1956, passing on a scholarship to Temple University in order to pursue a career as a stage actor at the Bessie V. Hicks School of Theatre (alongside Charles Dierkop and Bruce Dern, with whom he second-acted plays doing their pre-Broadway tryouts in Philadelphia) while working at Browning King, a men's tailor shop at Fourteenth and Chestnut streets.

Career

Having trained at the Bessie V. Smith School of Theatre in Philadelphia, and after seeing A Raisin in the Sun in its Philadelphia tryout in February 1959, Hooks moved to New York to pursue acting. In April 1960, as Bobby Dean Hooks, he made his Broadway debut in A Raisin in the Sun replacing Louis Gossett, Jr. who would be doing the film version. He then continued to do its national tour. He then stepped into the Broadway production of A Taste of Honey, replacing Billy Dee Williams; then repeating the same national tour trajectory as he had done for "Raisin..." the previous year. In early 1962 he next appeared as the lead in Jean Genet's The Blacks, replacing James Earl Jones as the male lead, leaving briefly that same year to appear on Broadway again in Tiger, Tiger, Burning Bright before stepping back into the lead role in The Blacks in 1963. He then returned to Broadway, first in Ballad for Bimshire and then in the short-lived 1964 David Merrick revival of The Milk Train Doesn't Stop Here Any More (as a character created by Tennessee Williams for this revival) and starring Tallulah Bankhead and Tab Hunter in his only stage performance. Immediately thereafter, in March 24, 1964 he originated the role of Clay in Amiri Baraka's Dutchman. With this play, on the advice of Roscoe Lee Brown, Hooks became known as, Robert Hooks. He also originated roles on the New York stage in Where's Daddy? for which he won the Theatre World Award and he was nominated for Best Male Lead in a Musical for Hallelujah Baby while he was simultaneously starring in David Susskind's N.Y.P.D.—the first African American lead on a television drama.

In 1968 Hooks was the host of the new public affairs television program, Like It Is.

Hooks was nominated for a Tony for his lead role in the musical, Hallelujah, Baby!, has received both the Pioneer Award and the NAACP Image Award for Lifetime Achievement, and has been inducted into the Black Filmmakers Hall of Fame. He also won an Emmy for his PBS special, Voices of Our People.

Significant roles for which Hooks is known include Reeve Scott in Hurry Sundown (1967), Mr. T. in the blaxploitation film Trouble Man (1972), grandpa Gene Donovan in the comedy Seventeen Again (2000), and Fleet Admiral Morrow in Star Trek III: The Search for Spock (1984). He also appeared on television in an episode of the NBC crime drama series The Eddie Capra Mysteries in 1978 and portrayed Doctor Walcott in the 1980s television series Dynasty.

Activism

Arts and Culture

In 1964, as a result of a speaking engagement at the Chelsea Civil Rights Committee (then connected to the Hudson Guild Settlement House) he founded The Group Theatre Workshop (GTW), a tuition-free environment for disadvantaged urban teens who expressed a desire to explore acting. Among the instructors were Barbara Ann Teer, Frances Foster, Hal DeWindt, Lonne Elder III, and Ronnie Mack. Alumni include Antonio Fargas, Hattie Winston, and Daphne Maxwell Reid.

The Group Theatre Workshop was folded into the tuition-free training arm of the The Negro Ensemble Company (NEC) founded in 1967 with Douglas Turner Ward and Gerald S. Krone with a $1.3 million grant from the Ford Foundation under the auspices of W. McNeil Lowry.

From 1969-1972, Hooks served as an original board member of Black Academy of Arts and Letters (BAAL) (located in New York) alongside C. Eric Lincoln, President; John O. Killens, Alvin F. Poussaint, and Charles White. Chartered by the State of New York, BAAL's mission was to bring together Black artists and scholars from around the world. Additional members included: Julian Adderley, Alvin Ailey, Margaret Walker, James Baldwin, Imamu Baraka, Romare Bearden, Harry Belafonte, Lerone Bennett, Arna Bontemps, Ossie Davis, Ruby Dee Davis, St. Clair Drake, Ernest Dunbar, Katherine Dunham, Lonne Elder III, Duke Ellington, Alex Haley, Ruth Inge Hardison, Vertis Hayes, Chester Himes, Lena Horne, Jacob Lawrence, Elma Lewis, Henry Lewis, Paule Marshall, Donald McKayle, Arthur Mitchell, Frederick O’Neal, Gordon Parks, Sidney Poitier, Benjamin Quarles, Lloyd Richards, Lucille D. Roberts, and Nina Simone.

In response to the violence in his home town of Washington, D.C. in the wake of the Rev. Dr. Martin Luther King, Jr.'s assassination, and aided by a small grant from the Eugene and Agnes E. Meyer Foundation, Hooks took a leave of absence from the Negro Ensemble Company to create The D.C. Black Repertory Company (DCBRC, 1970-1981). As Founder and Executive Director, the DCBRC was intended as a further exploration of the ability of the arts to create healing. The a capella group Sweet Honey in the Rock was created and developed within its workshop process.

The Inner Voices (Lorton Prison arts training program, 1971) proved to be a result of the beneficial effect of the DCBRC in the D.C. area. In response to a direct plea from an inmate, Rhozier "Roach" Brown, who was serving a life sentence in Lorton, Hooks' D.C. Black Repertory Company structured the first prison-based arts program in the United States. While it is the norm now, it was then a revolutionary attempt at rehabilitation through the arts. Eventually The Inner Voices performed more than 500 times in other prisons, including a Christmas special entitled, "Holidays, Hollowdays." Due to Roach's work, President Gerald Ford commuted his sentence on Christmas Day, 1975.

His relocation to the West Coast redirected Hooks' approach to parity in the arts with his involvement with The Bay Area Multicultural Arts Initiative (1988) as a board member and grant facilitator-judge. Funded by monies from a unique coalition made up of the San Francisco Foundation (a community foundation); Grants for the Arts of the San Francisco Hotel Tax Fund, and The National Endowment for the Arts, the function of this organization was the funding of deserving local multicultural arts organizations.

In 1992, Hooks co-founded (with writer Lonne Elder III) Arts in Action. Located in South Central Los Angeles, this was a film and television training center established to guide individuals who aspired to careers in film production. It formulated strategies and training for securing entry-level jobs. Courses included: career development workshops; pre-production and production for film and television; creative problem solving in production management; directing for stage and screen—principles and practices; also the craft of assistant directors, script supervisor, technicians, wardrobe, make-up, etc.

The Negro Ensemble Company of Los Angeles (NEC-LA) (1994-1997) was created because so many New York members and original members had relocated to the west coast. Hooks, as founder and executive director enlisted alumni from his New York Negro Ensemble Company to serve as board members: Denise Nicholas, Denzel Washington, James Earl Jones, Laurence Fishburne, Richard Roundtree, Samuel L. Jackson. NEC-LA's goal was to be a new and innovative multi-ethnic cultural project that strived to achieve the community effectiveness and professional success of its parent organization.

Personal life

Hooks is the father of actor, television and film director Kevin Hooks. He married Lorrie Gay Marlow (actress, author, artist) on June 15, 2008. Previously, he was married to Yvonne Hickman and Rosie Lee Hooks.

Awards

1966 - Theatre World Award (1965–66 ) for "Where's Daddy?" (The Billy Rose Theatre)

1979 - American Black Achievement Award - Ebony Magazine

1982 - Emmy Award for Producing (1982) Voices of Our People: In Celebration of Black Poetry (KCET-TV/PBS)

1966 - Tony Nomination, Lead Role in a Musical for Hallelujah, Baby

1985 - Inducted into The Black Filmmakers Hall of Fame, recipient Oscar Micheaux Award (1985)

1986 - March 2nd declared Robert Hooks Day by the City of Los Angeles, Mayor Tom Bradley

1987 - Excellence in Advertising and Communications to Black Communities from CEBA (Excellence in Advertising and Communications to Black Communities)

2000 - Honorary Doctor of Humane Letters, Honoris Causa honorary degree, Bowie State University

2000 - May 25th declared Robert Hooks Day in Washington, D.C.

2005 - Beverly Hills/Hollywood Chapter NAACP Image Award for Lifetime Achievement

2005 - Beverly Hills/Hollywood Chapter NAACP Trailblazer Award to the Negro Ensemble Company

2005 - Trailblazer Award – City of Los Angeles

2006 - The Black Academy of Arts and Letters (TBAAL), Lifetime Achievement Award (Dallas)

2007 - The Black Theatre Alliance Awards / Lifetime Achievement Award

2015 - Living Legend Award (2015) National Black Theatre Festival

2018 - October 18th proclaimed Robert Hooks Day by Mayor Muriel Bowser, Washington, D.C.

2018 - Hooks is entered into The Congressional Record by the Hon. Eleanor Holmes Norton, September 4, 2018, Vol. 164

2018 - Visionary Founder and Creator Award - D.C. Black Repertory Company on its 47th anniversary

Acting Credits

Film

Sweet Love, Bitter (1967) .... Keel Robinson

Hurry Sundown (1967) .... Reeve Scott

Last of the Mobile Hot Shots (1970) .... Chicken

Carter's Army (1970) .... Lt. Edward Wallace

Trouble Man (1972) .... Mr. T

Aaron Loves Angela (1975) .... Beau

Airport '77 (1977) .... Eddie

Fast-Walking (1982) .... William Galliot

Star Trek III: The Search for Spock (1984) .... Admiral Morrow

Passenger 57 (1992) .... Dwight Henderson

Posse (1993) .... King David

Fled (1996) .... Lt. Clark

[pttedu]

What Does The Work-Life Balance Look Like In A Sterile Processing Job?

Explore the work-life balance challenges in sterile processing roles. Learn how healthcare professionals prioritize personal well-being amidst job demands.

[pttiedu]

Unlocking Your Career: Job Opportunities For Sterile Processing Technicians

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[ballandcone]

I’m absolutely enamored with your work, the emotion it elicits I can’t put to words, but I wish I could. Is it weird if I ask what the inspiration behind it is? I never seen something quite so unique and inexplicable and I’d love to know more about it

Thank-you!!

Here, from a few years ago, is an interview that Claire Donner of the excellent donnerpartyofone tumblr conducted with me via email:

Q: People seem to like origin stories. What is the origin of Ball and Cone?

In the fall of 1976 while in grad school, I made my first oil painting, a dreamy image of a small brick house with a tall cone standing just outside the open front door and, visible through a window, a blue ball in on corner of the warmly lit interior. (Neither object had eyes or feet.) In retrospect, I think it was about my anxiety over having gotten married just a few months earlier; I wasn’t quite all in psychologically. The following spring, I gave the painting to my best friend from high school Dell Trecartin and his bride Cathy as a wedding present. For many years, it resided in their basement rec room in Ohio, an enduring presence for their two sons, one of whom grew up to become the famous video and performance artist Ryan Trecartin. Years later, Ryan told me that the painting had fascinated him when he was little and that it influenced him more than any other artwork he knew of. After he finished art school, he appropriated it and took it with him to the various cities he lived and worked in with his entourage of collaborators and hangers on. And it came to pass that on arriving in Philadelphia some years later that it was stolen from the roof of his car, to which it had been tied. A tragic loss. After that I thought that I should make a new version of the painting. A few months ago I made a small drawing inspired by its memory.  I made the ball and cone more explicitly anthropomorphic than they were in the original painting. That was “Ball and Cone 1,” in which Cone looks in through a window at Ball, who is sitting on the floor looking sleepy and bored.

Q: The floor of what? It seems like the adventures of Ball and Cone always take place either inside an unfurnished architectural space or in plain air, but you almost never see the outsides of the buildings, or what sort of larger environment they are in.

A: What almost always seems to be going on has to do with relationships between inside and outside. When Ball and Cone are inside, they are looking out or in a process of going out. Their shadowy doppelgangers often are looking in at them. Crossing over the boundary between one state and the other is a recurring drama in Ball and Cone. Apropos of this, my mother sent me this bit about a psychological phenomenon called “the event boundary” (I forget where she got it from):

“Ever walk into a room with some purpose in mind, only to completely forget what that purpose was?

Turns out, doors themselves are to blame for these strange memory lapses.

Psychologists at the University of Notre Dame have discovered that passing through a doorway triggers what’s known as an event boundary in the mind, separating one set of thoughts and memories from the next.

Your brain files away the thoughts you had in the previous room and prepares a blank slate for the new locale. Thank goodness for studies like this. It’s not our age, it’s that stupid door!”

Q: Speaking of states of mind, it is remarkable how much emotion you seem to get out of characters whose only expressive faculty is a single eyeball. I have a theory that when the reader takes in the on-panel circumstances, they project their own feelings back on to Ball and Cone - but maybe that’s not giving credit due to your bold, stark cartoons. What is your secret?

A: Somehow the mind/brain system has a way of enriching what enters consciousness through your optical equipment and through your other senses. This is happening all the time whether you’re looking at “real” things in the world or images on a flat surface.  The excitement of comics is in the way the mind fills in a relatively meager sensory input to create experiences of extraordinary emotional, cognitive and imaginative depth and breadth. I like to play with how little is needed to make that happen.  One of the not-so-secret secrets of Ball and Cone is that they are like children in a perplexing, sometimes scary, sometimes fun world. I guess that’s something everyone has lots of feelings about. I know I do.

Q: This makes a lot of sense to me, because I often unconsciously superimpose the idea of “rods and cones” over Ball and Cone. Maybe this is also because their entire faces are composed of a single eyeball. It is interesting that their adventures are so emotionally charged, since the presence of threat is felt, but the nature of the threat is unclear. For instance, you have an episode in which Ball and Cone are actually murdered, but it doesn’t wind up being a big problem for them. Similarly, there’s a sense of intimacy between Ball and Cone, but it isn’t any clearer than the basic idea of a companionship; they could be siblings or romantic partners or in a parental relationship, but they’re not telling. Do you deliberately exploit this kind of vaguery for its emotional potential, or is the writing part of Ball and Cone more of a free association process?

A: Nothing I do with Ball and cone is conceptually premeditated in the way my answers here might suggest. I work out of some combination of image and feeling. What I’m trying to do most deliberately is making something funny. They’re not called “comics” for nothing.

That said, the comic is, for me, a kind of philosophical playground. It seems I tend to think in terms of universal sorts of relationships and situations. That’s why the comic is so abstract.  So companionship seems to me a kind of relationship that any two people can be in together. At first I thought that Ball and Cone’s relationship might be sexual, but then it seemed that would over-determine certain types of situations and events. It would be more about the relationship between them than about their relationship as friends to the situations that befall them and the actions they undertake. For Ball and Cone as traveling companions the possibilities seem more open-ended.

The experiences they undergo also are universal: being inside and outside; going from one place to another; watching and being watched; following and being followed; being bored, being excited; feeling safe and feeling scared; being trapped and escaping entrapment, and so on. The things that they do and that happen to them are things that all people do and experience.

A major theme has to do with being limited. They only have one eye each and they don’t have arms. Real humans would be like gods to them. But real humans are limited, too: why don’t we have eyes in the backs of our heads or four rather than two arms? Being limited is a condition of being. But so is over-coming limitations. Despite their inadequacies, Ball and Cone have some pretty interesting adventures.

Having said all that, it remains a wonder to me that they elicit emotional responses in me and in their readers.

Q: You are not from a comics background in the strictest sense, neither personally nor professionally. How did you decide to convert the concept of an old painting to an ongoing web comic? Are there certain comic artists that have inspired you?

A: When I made the first few drawings last April, I knew there would be more to come, but I had no idea it would become a web comic. A friend insisted that I start posting on tumblr, which I didn’t know much about. The comic format was something I played with back in the late 70s and early 80s. (See image, a pencil and gouache from back then).

I’ve always loved the comic style and the intersection of Pop, Surrealism and Psychedelia. Some favorite artists include John Wesley and Jim Nutt. From the comic world: R. Crumb, Daniel Clowes, Charles Burns and Lynda Barry. Too many others to mention here. And, of course, Krazy Kat.

Q: Indie comix have experienced a huge revival in recent years, but curiously, the most successful creators don’t reflect the hairy, wet aesthetic rebellion of the ‘60s underground, but rather the hygienic, adorable affectations of Japanese consumer imagery. Ball and Cone don’t really look like anything so easily namable as Astro Boy or Hello Kitty, but they are awfully kawaii on their own terms. If it was important in the 1960s to defy or pervert expectations of cuteness from cartoon characters, is it important in some different way to embrace or exploit cuteness now? What are your feelings on cute?

A: Of his time drawing cards for the American Greetings Corporation, R. Crumb recalled, “My boss kept telling me my drawings were too grotesque. I was trained to draw ‘cute’ little neuter characters, which influenced my technique, and even now my work has this cuteness about it.” Crumb seems abashed about the cuteness in his work, but without it I doubt it would be nearly as compelling. I think I would lose interest in Ball and Cone if they weren’t so darn cute. It’s kind of embarrassing, though, a grown man doing these cute little things. What’s that about?

               An interview with a philosopher named Sianne Ngai I came across recently went a long way to helping me understand. She wrote a book called “Our Aesthetic Categories: Zany, Cute, Interesting.” At the start of the interview, she explains, “I’m interested in states of weakness: in “minor” or non-cathartic feelings that index situations of suspended agency; in trivial aesthetic categories grounded in ambivalent or even explicitly contradictory feelings. More specifically, I’m interested in the surprising power these weak affects and aesthetic categories seem to have, in why they’ve become so paradoxically central to late capitalist culture. The book I’m currently completing is on the contemporary significance of three aesthetic categories in particular: the cute, the interesting, and the zany.” I love how seriously Ngai takes these topics and how much she unpacks from them. Here’s more on cuteness: “The asymmetry of power that cuteness revolves around is another compelling reminder of how aesthetic categories register social conflict. There can be no experience of any person or object as cute that does not somehow call up the subject’s sense of power over those who are less powerful. But, as Lori Merish underscores, the fact that the cute object seems capable of making an affective demand on the subject—a demand for care that the subject is culturally as well as biologically compelled to fulfill—is already a sign that “cute” does not just denote a static power differential, but rather a dynamic and complex power struggle.”

              Reading this makes me think that in making cute comics I’m doing something really important. But if I wasn’t feeling rebellious against the idea of importance – preferring the trivial, the silly and the stupid – there wouldn’t be much fun in it. It’s all very paradoxical in my mind when I think about it.

Q: Rebellion against importance sounds like a pretty good agenda. However, you come from a comparatively “important” high culture background, and your ostensibly low brow comic isn’t totally immune to its influence. For instance, the main threat in most of Ball and Cone’s scarier adventures is simply being seen, with multiple panels and story arcs revolving around being pursued, spotted and spied upon; the idea of gazing as an act of aggression is an obsession for lots of fine artists, photographers and filmmakers. Do you sense yourself importing ideas from other disciplines?

A: The ideas animating Ball and Cone that interest me most come less out of art than out of philosophy, in which seeing is a huge topic. The relationship between what we see – or, what we think we see – and what mind-independent reality  might be like has been endlessly pondered by thinkers from Descarte to Derrida and beyond. For Aristotle, a basic feature of human consciousness is a capacity for wonder and a drive to understand, which we satisfy much of the time by looking at the world and, metaphorically, looking inward. Most of the time, it seems to me, Ball and Cone are looking as if they’re just wondering what is going on in any given situation. They just want to understand. The gazes of the black Ball and Cone may seem possibly menacing, but it’s hardly ever clear that they pose any kind of real threat. But the dynamics of looking, seeing and being seen do have to do with power, as the seer usually has, at least momentarily, the advantage over the seen. So there is a certain political dimension that probably relates to voyeurism as a feature of modern life at least as reflected in photography and movies.

              Another kind of seeing involves not optical perception but an ability to “see past”  or “through” surface reality as registered by our senses.  That’s just something that cognitive intelligence does. Sometimes it’s called insight. You “see” some underlying pattern that is invisible to ordinary vision. Often the same thing may be seen in different ways, and seeing something one way may preclude seeing it another way. That’s what the duck-rabbit figure is about, a favorite topic for Wittgenstein. When  seeing from a singular perspective meets an apparently ambiguous reality that seems to change depending on how it is seen: that’s a moment I think I’m always hoping Ball and Cone will encounter, wonder about and try to understand by looking. It’s a moment when the nature of mind comes at least hazily into view.  You have to look in order to see. Then you see your own seeing.

               Then there’s the possibility of being able to see through reality as delivered by our senses to a metaphysical or transcendental reality that has no material being but exists nevertheless in some world-determining way. Nothing I’ve experienced in my life convinces me that such a realm exists, but I’ve always loved the fantasy of it. It’s a fantasy that urges a kind of mental adventuring, because as Hegel writes, whatever might be there to be seen will ever exist only be virtue of someone going there to see it:

“It is manifest that behind the so-called curtain which is supposed to conceal the inner world, there is nothing to be seen unless WE go behind it ourselves, as much in order that we may SEE as that there may be something behind there to be seen.”

I think that’s why windows and windows within windows – as well as doorways and other openings in the fabric of the picture – figure so often in Ball and Cone.

Q: One final question: everyone knows that young artists are probably just going to starve, so do you have any advice for young philosophers?

A: I love philosophy but I’m not a professional philosopher, so I wouldn’t know what kind of career advice to give a young philosopher other than, in the immortal words of Joseph Campbell, “follow your bliss.” The best advice I ever heard from a real philosopher about reading philosophy was from my friend Nick Pappas, a professor at CUNY. I mentioned in an email that I’d been dipping into Hegel and Heidegger and finding their writings strangely repetitious and opaque yet somehow hair-raising. I wrote, “Were those guys on drugs or something? They sound like stoners to me,” to which Nick replied, “H. and H. both have the stoner’s obsessive attention to – well, to everything.  And one thing I try to learn from them but especially from Heidegger and the best Heideggerians who came after him: not to be in a hurry.  Let other writings get to the point.  Philosophy is on its own clock.” I love that. We are obliged to obey hurrying clocks all the time. In art and philosophy, we can enter other, less utilitarian time zones. What, after all, is the rush?

http://ballandcone.tumblr.com/post/62988401247/my-name-is-ken-johnson-and-i-am-the-author-of

[knowcriminallaw]

Federal Criminal Law Variations vs. State Criminal

Prosecution occurs at both the federal and the state levels and so a federal violation is one that is prosecuted under federal criminal law rather than under state criminal law under which the majority of the crimes committed in America are prosecuted. Federal offenses normally involve federal government agencies such as the United States Drug Enforcement Agency, FBI, the U.S. Bureau of Alcohol, Tobacco, and Firearms, the DHS, the Internal Revenue Service, the Border Patrol, Secret Service, or even possibly the Postal Service. There is a network of twelve circuits in the Federal court system, distributed throughout the United States. Each circuit has a central location along with a number of smaller district courts located in cities nearby. U.S. Court of Appeals, District of Columbia Circuit (Washington, DC) U.S. District Court, D.C.- Washington, DC U.S. Court of Appeals, 1st Circuit (Boston, MA) Example: U.S. District Court, District of Puerto Rico- Hato Rey, PR U.S. Court of Appeals, Second Circuit (New York, NY) Example: U.S. District Court, Eastern District of New York- Brooklyn, NY U.S. Court of Appeals, 3rd Circuit (Philadelphia, PA) Example: U.S. District Court, District of New Jersey- Newark, NJ U.S. Court of Appeals, 4th Circuit (Richmond, Virginia) Example: U.S. District Court, Western District of North Carolina- Charlotte, NC U.S. Court of Appeals, 5th Circuit (New Orleans, Louisiana) Example: U.S. District Court, Southern District of Texas- Houston, TX U.S. Court of Appeals, Sixth Circuit (Cincinnati, OH) Example: U.S. District Court, Western District of Tennessee- Memphis, TN U.S. Court of Appeals, 7th Circuit (Chicago, IL) Example: U.S. District Court, Northern District of Indiana- South Bend, IN U.S. Court of Appeals, Eighth Circuit (St. Louis, Missouri) Example: U.S. District Court, Southern District of Iowa- Des Moines, IA U.S. Court of Appeals, 9th Circuit (San Francisco, CA) Example: U.S. District Court, Eastern District of California- Sacramento, CA U.S. Court of Appeals, Tenth Circuit (Denver, CO) Example: U.S. District Court, Northern District of Oklahoma- Tulsa, OK U.S. Court of Appeals, Eleventh Circuit (Atlanta, Georgia) Example: U.S. District Court, Middle District of Georgia- Macon, GA Average Federal crimes can contain: Drug distribution Crimes affiliated immigration to the U.S. Crimes that include weapons charges Gang activities White-collar offense Electronic crime and fraud Factors to Engage a Federal Criminal Defense Attorney The federal criminal justice process is not meant for individuals to represent themselves. In case you are detained, you want a lawyer to stand up to your rights, fight back against overzealous police officers, and obtain the very best result possible. Speak to a qualified federal criminal law firm in your area to learn more about what you’re up against. Many federal law firms, like Carver, Cantin & Mynarich in Missouri provide a free initial consultation, where they will walk you through the details of your federal charges, explaining possible outcomes and outline a strategy they might pursue.   This is 1 reason for a lawyer. You do not need to wander aimlessly at any stage during the legal system without a manual. Getting lost in a jumble of legislation and questionable convictions aren't just scary but can put the remainder of your life in peril. The viability of your life ought never to be a bargaining utility when you are facing time in court. The state court and federal court have been two entirely different strategies -- with different courthouses and judges. Federal judges will preside over national criminal situations, while elected state court judges preside over state criminal circumstances. Assistant U.S. Attorneys litigate federal situations, whilst country district attorneys and city attorneys insure state crimes. Criminal defense attorneys are the best investment to make regarding case identification. Not merely do they know the intricacies of the legal system, however they can look at your situation with unbiased and fresh eyes. They also spend their lives working to defend you and your nearest and dearest from regulations that are unnecessary. It's their passion to keep others from an outcome too harsh for the crime. An experienced lawyer isn't only able to assist you with your situation, but in addition, utilizes their trained intellect to find issues with the prosecution. Just because someone was arrested on suspicion for a crime does not imply that the presumed victims aren't to blame in some manner as well. Every case differs, and tiny details can serve to sufficiently swerve a court ruling. Nobody would like to be given much more of a punishment that is representative of the crime. Often, the area is greeted with a personal sense of shame and guilt, instead of having an enthusiastic and greedy attitude. So then, the question would be : why do so many people put off finding a criminal defense attorney? Without a lawyer that understands a situation, how then can anybody keep from unnecessary charges? Having a large number of individuals arrested yearly for a whole slew of criminal offenses, it becomes simple to bulge into a single group: guilty. This isn't accurate a sizable quantity of the moment. The media and common culture like to consider from the stunning, and so it will become hard to slough off the word when in the courtroom. A defense attorney understands the difficulty society induces and thinks on your innocence. Individuals commonly misinterpret the thought that they should hire an attorney only after they have been arrested or charged with a violation. This, however, is entirely a farce. Without an attorney present during police interrogations, then there's absolutely not any counselor there to help you from admitting to a crime you did not commit or from saying anything which could serve as a detriment for your own defense. Regardless of what crime you've been charged with, it is essential to procure legal representation that is knowledgeable and experienced in navigating the criminal justice strategy. This is of special importance if you've been charged with a federal crime because the terms for national fees are so stringent. Some Cases Tried by a Federal Criminal Defense Law Firms might be: Sexual Assault Attempted Killing and Conspiracy to Enact Murder Bank Fraud Liquidation Fraud Bribery Conspiracy Embezzlement Extortion Extortionate Extensions and Collections of Credit Federal Bank Robbery Firearms Charges Use or Carrying Firearms Relation to a Crime of Violence or Drug Selling Offense Confiscation Proceedings Forgery Harboring a Fugitive Health Care Theft Hobbs Act Extortion, Stealing and Public Corruption Kidnapping Loansharking Postal Fraud and Digital Making Untrue Statements Misprision of a Felony Mortgage Fraud Money Laundering Narcotics Charges Obstruction of Justice Perjury Public Corruption RICO Financial Fraud Sexual Abuse of Children Stalking Tax Cheating Theft of Government Assets Unlawful Hiring of Aliens What are the Penalties for federal charges? Another significant gap between federal crimes vs. country crimes is the essential sentence. Federal justices have been instructed by the federal sentencing guidelines when giving a sentence. Mandatory minimum prison penalties that national sentences tend to be much more lengthy than nation paragraphs. Even when their offenses are alike, a person being stranded for a federal crime will typically face a much more unpleasant punishment than somebody who has been convicted of a state crime. There is a large system of federal prisons throughout the   You may reside at any of them depending on a number of factors. If you have psychological or physical medical issues, you will most likely go to a Federal Medical Center like the one in Springfield, MO. MCFP is a common name for the U.S. Medical Center for Federal Prisoners. The centers where phrases are completed differ, as well. Individuals sentenced to do time to get a federal crime is going to be delivered to federal prison, although people who serve time for a state crime is going to probably be sent to state prison. Federal prisons tend to home more non-violent offenders (such as individuals convicted of same-sex offenses ), whilst local prisons home mostly populations of people convicted of violent crimes.

[connectplus]

What Are Learning Solutions for Social Behavior

Autism defines a neurological variation in brain growth that significantly influences the way a person grows.

Four different aspects are essential to consider and to pay attention to. In these areas, most children and adults with Autism in Philadelphia have to be offered individual education.

What Autism Do

Training for teaching and e-learning

A central resource centre, event schedule and group support

Community organization seed funding, annual meeting and new programs and family programs

Autism in Philadelphia

Autism defines a wide variety of requirements and influences of social interactions, communication, and other daily life elements. Autism in Philadelphia impacts people of any racial, race and social background differently.

What is ABA therapy Philadelphia?

ABA Therapy is evidence-based psychology and behavioural practice. ABA Therapy in Philadelphia used for teaching language and communication, social play, academics and imitation skills.

ABA therapy is an efficient procedure in problem-specific behaviour management and involves analyzing data for function determination and replacement behaviour recognition. Enhance the child's abilities by using various ABA applications.

ABA Therapy in Philadelphia

Philadelphia and the larger region of Pennsylvania are served by Connect Plus Therapy.

Every child requires an interactive functional evaluation during the assessment process that recognizes essential vulnerabilities and problem behaviours that could conflict with the child's abilities to learn in the family, school and community, and engage in the daily lives.

Each program of the child is adapted to its needs, modes of learning and developmental guidance.

How does it work?

Consultation and assessment

You would like to consult an ABA Therapy expert in New Jersey. ABA therapist should list relevant operations that suit your child's needs.

You can also ask how specific strategies can incorporate into your home life. To comment, the therapist spends time communicating with your child.

Developing a plan

To develop a structured therapy schedule, the child's therapist can use their initial consultation findings. This approach should comply with the specific needs of your child and have concrete objectives for treatment.

Both objectives usually apply to eliminating troublesome or detrimental activities, like tantrums or self-injury, and enhancing communication and other abilities.

The strategy would likely provide parents, students, and the psychiatrist's unique techniques to meet recovery objectives. It helps to preserve the same experience for everybody who interacts with your child.

Caregiver training

The ABA Therapy in Philadelphia is also designed to help parents and caregivers improve desired behaviours beyond therapy. You can learn how to eliminate the less effective reinforcing forms efficiently.

Frequent evaluation

The ABA Therapy in New Jersey aim to find causes that can improve or enhance the child's behaviour. During therapy, your child's therapist will change his methods, considering how they react to such treatments.

As long as your child continues getting treatment, your therapist can continue to monitor the success and evaluate which methods work and whether different therapy tactics should apply to your child.

[pttedu]

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[pttiedu]

Are Hard Skills Important In The Sterile Processing Industry?

Sterile processors also need to develop the required hard skills. Certification in sterile processing at PTTI teaches students the required hard skills.

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[evoldir]

Fwd: Job: UMichigan.InsectCollectionManager

Begin forwarded message: > From: evoldir@web.rhpcs.mcmaster.ca > Subject: Job: UMichigan.InsectCollectionManager > Date: 11 October 2021 at 06:06:54 BST > To: rdmpage@gmail.com > > > Posting Title: Research Museum Collection Manager – Insect Division > > Posting salary range: $48,000 - $56,000 > > The Department of Ecology and Evolutionary Biology (EEB) is seeking a > Collection Manager for the Museum of Zoology (UMMZ) Insect Division ( > https://ift.tt/309p5RP), located at the new state of > the art Research Museums Center (RMC) in Ann Arbor, Michigan.  The UMMZ > develops and maintains zoological collections explicitly for use in > research and education, benefiting science, society, and the university at > large. The scientific role of the UMMZ is to train students and engage in > systematic biology and biodiversity studies. These broad and overlapping > fields entail the discovery and study of the diversity of organisms, > their evolutionary relationships, and the processes involved in the > origin of biodiversity. EEB has a highly diverse and collaborative group > of researchers in evolutionary biology and biodiversity science. We are > looking for an outstanding individual to become the Insect Collection > Manager and join the team of other curators and collection managers at > the UMMZ (and Herbarium), as well as other researchers at the University > of Michigan. > > The UMMZ Insect Collection is worldwide in its geographic scope and one > of the largest of its type, including more than 4.5 million prepared > specimens. The collection is particularly strong in North, Central and > South American diversity, with a taxonomic focus on Orthoptera that > comprises the second largest holdings in the western hemisphere (second > only to the Academy of Natural Sciences in Philadelphia), as well as > the Acari, which is one of the largest collections of mites and ticks in > the country. Historical collections date back to the early 20th Century > and include irreplaceable samples from North and Central America. Other > large collections, including synoptic holdings of taxa and/or geographic > regions (e.g., the Odonata), are also represented. > > We seek candidates with a strong commitment to a vision of the Insect > Collection as a key resource for research and education within > the University and to the entomological community nationally and > internationally. The position offers exciting opportunities for mentoring, > and career development, including research within the context of the > Insect Division curatorial priorities in the biodiversity sciences. > > Responsibilities: > 1. Growth, Maintenance and Digitization (GMD) of the insect collections, >   including specimens and tissue/DNA samples, field notes, geographic >   and environmental data, and digital assets such as photography. >   Activities will include organizing and participating in field >   expeditions (possibly including international collecting), >   coordinating and contributing directly to digitization efforts >   (including imaging of specimens and participation on iNaturalist). >   These work activities involve routine maintenance and updating of the >   Specify database through which our holdings are made accessible to >   researchers across the world. These activities are performed in >   ongoing coordination with faculty curators and require regular >   attention to our electronic, searchable database. > 2. Working with faculty curators and the Museums registrar to develop >   and implement policies, standards, and procedures. This involves >   standard operating procedures for acquisition, accessioning, >   processing interdepartmental and inter-institutional loans, >   databasing, archival and use of genomic, digital resources and other >   ancillary collections. Reviewing, updating, and enhancing the insect >   collections management plan. > 3. Daily management of staff workers, work-study students, graduate >   curatorial assistants, and other personnel, as well as support for >   student and visiting researchers who are utilizing the research >   collections and/or enhancing collection resources, in coordination >   with faculty curators. This includes creating an inclusive work >   environment for training and supervision in all aspects of specimen >   preparation and collection maintenance tasks, database use, and geo- >   referencing and digital imaging of specimens as well as collections- >   based research practices when appropriate. > 4. Participate in grant writing to secure funding for research projects >   that support and enhance collection resources such as collection- >   based grants. > 5. Coordination of and participation in research visits and educational >   tours of the collections and other museum outreach activities. > > Required Qualifications: > An advanced degree (master’s or doctoral) in biology, zoology, > or related fields with 3-5 years of insect systematics experience > is required.  Demonstrable familiarity with research collections and > expertise with insect diversity is required. Experience with database > use and management is desirable, but not required. > > How to Apply: A cover letter is required and should be attached as the > first page of your CV. Specifically, a 1-2 page Collection Management > Vision Statement should describe the candidate’s motivation to become a > collection manager, their skills and experience, and their vision on the > roles and priorities of a world-class insect collection in the context > of the Responsibilities and Qualifications listed above. Applications > must be submitted through the University of Michigan Careers website ( > https://ift.tt/2YA4Axu). Search for Job #XXXX in the keyword search > panel. > > Additional Information > Review of applications will begin November 1, 2021. The projected start > date in Ann Arbor, Michigan is January 1, 2022, or as soon as possible. > Please contact Curator L. Lacey Knowles if you have any questions ( > knowlesl@umich.edu). > > > -- > L. Lacey Knowles > Robert B. Payne Collegiate Professor > Dept. of Ecology and Evolutionary Biology > Curator of Insects, Museum of Zoology > University of Michigan > Ann Arbor MI 48109-1085 > > L Knowles > via IFTTT