In order to make AO3's rules clearer to our users, we intend to update the AO3 Terms of Service (TOS) in mid-November 2024. Once this occurs, all users will need to agree to the updated TOS to continue using AO3. The full text has been posted for public review, as well as a detailed explanation of what has (and hasn't) changed:

• AO3 Terms of Service: 2024 Update Guide
• AO3 Terms of Service: 2024 Draft
• AO3 Terms of Service FAQ: 2024 Draft

Summary of changes

As part of reorganizing the TOS for better clarity, the new TOS is structured differently than the old one. A detailed explanation of what was changed and why is available in the update guide. These are the highlights:

• We've clarified the Content Policy, but we haven't changed what works are or are not allowed. If your fanwork was allowed on AO3 before, then it is still allowed.
• The TOS has been split into three pages (General Principles, Content Policy, and Privacy Policy). This should make it easier to find what you're looking for when you want to know about a specific part of the TOS.
• We've simplified the language throughout the TOS and removed redundant or overly specific phrases and passages. When longer explanations would help to provide clarity, we've added new questions to the TOS FAQ instead.
• We've updated the descriptions of how we and our subprocessors collect and process user information (including personal information) in the Privacy Policy.
• The Abuse Policy has been generalized to provide the AO3 Policy & Abuse committee with greater flexibility to determine how to address TOS violations, while still providing protections for fanworks in accordance with AO3's mission.
• The "Underage" Archive Warning, which is used for works that depict or describe underage sex, is being renamed to "Underage Sex". This does not change the meaning of this warning or how it is enforced. When the TOS update occurs, all works with the "Underage" Archive Warning will be recategorized automatically to display the new "Underage Sex" Archive Warning label instead. If you have a work that carries the "Underage" warning and you don't want it to display the "Underage Sex" label, you can replace it with the "Creator Chose Not to Use Archive Warnings" label at any time.

You can read the proposed changes and comment here on this news post with any questions, suggestions, or feedback you might have about the new TOS or TOS FAQ. Comments will remain open until November 18th, 2024. After comments close, the Board of Directors for the OTW (the Organization for Transformative Works, which is AO3's parent organization) will vote on the proposed changes to the Terms of Service. If the Board votes in favor, the Terms of Service will be updated and all users will be required to agree to the new TOS to continue using AO3.

To make your opinion heard prior to the Board vote, make sure to submit your comments here before November 18th.

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ETA: We appreciate that all of you have many ideas, but please keep in mind that the Policy & Abuse committee handles AO3 rules, not AO3 features. If you have ideas for a feature (for example, improvements you want to see to Search and Filtering), please contact the Support committee about them instead. We won't be responding to feature requests on this news post.

This fabric is called Kékfestö in Hungarian, a word that roughly translates as blue-dyed or blue-dying. Producing these fabrics is a cottage industry in Hungary, which dates back several centuries. The dye is indigo; the cloth is cotton; and the long, arduous process results in a type of batik fabric. The photo above shows a small fold of each of the fabrics I bought at the blue-dyed studio shown below. (As always, please click on the photos if you'd like to see more detail.)

When in Hungary in October, 2016, my quilting/travel friend (Lunnette) and I, as guests of my Hungarian bead sister, Anna Fehér, had the very exciting experience of visiting the hand-dying studio of Miklós Kovács in the little village of Tiszakécske, SE of Budapest. The studio, located behind his home, includes two rooms, one for printing the raw cloth with a wax resist, and the second for dying the printed cloth with indigo. In front of the building, you can see rods above the deck, which are used for hanging the fabric to dry after it is dyed, and a wagon loaded with printed cloth ready to be dyed.

Meet Mr. Miklós Kovács, now in his 80s! Charming and animated, he is explaining his traditional, hand-dying process to Anna. Blue-dying has been the Kovács family's livelihood since 1878, each new generation being trained by the previous Master. It is strictly a family affair. Miklós, his wife, Margit, and their two daughters, Gabriella and Mária, currently produce about 10,000 meters of Kékfestö (blue-dyed) fabric every year. When Mr. and Mrs. Kovács retire, the business will pass to their daughters. This post shows how they turn plain white cloth into beautiful fabrics with white motifs on an indigo background.

First, they need thousands of meters of fine-quality, tightly-woven, raw cotton cloth, which is rinsed to remove impurities, then carefully ironed and rolled onto wooden rods which fit onto the printing machine. This pile of untreated cotton cloth, manufactured in Turkey, is the remainder of a big shipment purchased at the start of the year.

Next they need a print block or plate. These are made with wire pins of various diameters, which are pounded into blocks of dense wood. Here you see the many plate choices available in the Kovács studio, each yielding a different motif on the fabric. The length of each print block is the same as the width of the fabric; the width is the width of the pattern repeat, generally designed to be about 4.5 inches..

This is the end of one of the print blocks, showing how the design is formed by setting metal pins of different diameters into the wooden block.

And here is the fabric (after dying it with indigo, and removing the wax resist), which was printed with the block in the photo above it. Naturally, a half-meter of this one came home with me!

This is the machine which is used to print the motif on the raw cotton cloth with a wax resist. Mr. Kovács keeps his printing machine, built in Germany 120 years ago, in good running condition with machinist skills he learned alongside his father.

You can see the sprocket, lower right, which is adjusted to advance the fabric through the machine in increments exactly the length of the pattern repeat. For most motifs, the fabric advances 4 to 5 inches after each time the print block is applied to the fabric, thus revealing the next short stretch of un-printed cloth.

Here you can see many meters of raw cotton cloth, suspended on a metal rod at the back of the printing press. There is a leader of waste cloth stitched to the end of the roll which has been fed through the rollers of the machine to get the process started.

At the front of the printing machine, a worker swipes a tray with wax resist, which is tinted green so that it will be visible on the printed cloth. The printing block touches down on the waxed tray, picks up a coating of was, and then presses firmly against the fabric.

After being imprinted with wax resist, the fabric is wound up and down through a drying rack located behind the printing machine.

When it is dry, the printed fabric is folded and stacked until there is a sufficient quantity to begin the dying process. You can see that some of the raw cloth in this pile was pre-dyed pink, blue, or beige. After over-dying with indigo and removing the resist, the motif on these pieces will be pink, blue or beige with an indigo background, rather than the much more common white motif with an indigo background.

This close-up photo shows how the fabric looks after the wax resist (tinted green so that is shows on white cloth) is dry. This is the motif being printed while we were there. Liking the design a lot, I was very pleased to find finished fabric in this pattern available to purchase.

And this is how the cloth will look after it is dyed with indigo, the wax resist removed, and the fabric washed and ironed. As you might have already guessed, a half-meter of this one came home with me!

As we watch the cloth passing slowly through the rollers of the printing machine, Lunnette holds a scrap of dyed fabric which was tied to the machine, indicating the motif currently being printed.

At last, we get to the dye pot!  Here on the burner, a concentrated indigo dye formula is being readied to pour into the dye vat.

Don't forget to wear those heavy rubber gloves, or the skin on your hands will be tinged with blue for a long time.
Mr. Kovács gave a long, animated talk (all in Hungarian, which I only slightly comprehend) about the whole process of blue dying. You've already seen how the cloth is printed with wax resist. The next step is to dye the background.

The cloth is dyed in a vat with the indigo dye-bath at 85 degrees C., then washed to remove the wax and rinsed to remove the excess dye. After rinsing, the cloth is looped over racks to dry outdoors, which completes the dying process. Sadly, he did no dying while we were there, so I don't have pictures or first-hand experience with precisely how it is done to share with you.

However the fabric is not yet ready to use. It must be starched, dried, and then pressed using both steam and steel rollers with heavy pressure, in order to create the traditionally desirable shiny finish on the cloth. Finally, the fabric is folded onto bolts for distribution to shops and end-users.

We learned how they hand-print motifs on cloth using a template, such that after dying, the fabric can be cut out and hemmed as a finished table cloth. You can see the templates hanging on the wall. The desired template is placed over the fabric, and a pencil used to mark the registration points for lining up the printing block. Fabrics which have already been printed are stacked in front of the templates. After being dyed, this fabric will be made into table cloths and runners of various sizes.

This is a section of cloth which as been marked with a template, and hand-stamped with wax resist. After dying with indigo and removing the wax, it will be made into a rectangular table cloth with a lovely double border all the way around.

Mrs. Kovács demonstrates for us how she lines up the print block with the penciled registration marks, and then lowers it onto the fabric. With the stamp resting on the cloth, she lightly pounds it with her fist to set the wax into the fabric. It was obvious to us that carefully making each wax impression all the way around the cloth takes a lot of time and concentration. As you an see below, the results of her hand-printing are stunning!.

Here is an example of a hand-stamped, indigo-dyed fabric made into a round table cloth. Obviously, it came home with me, and is perfect for my kitchen table!  This fabric is quite wide, and takes a great deal of space and time to print. Yet, the prices were very reasonable!

After spending several hours in the studio, we were invited to the house for a shopping bonanza! Fortunately, hoping ahead of time that we would be visiting a Kékfestö studio when we got to Hungary, we had saved our allowances for some months, and were prepared to shop for future quilting and sewing projects. The prices, ranging $10 to $15 per meter depending on the width, seemed very reasonable considering the quality of the fabric, and the extreme amount of work that goes into producing it.

In addition to yardage, both of us bought a table cloth and an apron. Mine is shown above.

What a totally delightful experience we had! Mr. and Mrs. Kovács are as friendly and nice as can be!  If you ever get to Hungary, you can find their fabrics and finished products in the picturesque town of Szentendre, just a short drive or train ride north of Budapest on the Danube River. Here is a website link.

To end our visit at the Kovács studio, here is a tribute photo of the elder Mr. Kovács, who during his boyhood in the 1920's was immersed in the world of his family's blue-dying business, and who continued producing Kékfestö indigo-dyed fabrics for his entire life, while training his own son to continue the trade.

Like his father, the younger Mr. Kovács has trained his daughters to continue when he retires, although I'm sure he has many more years to go, probably well into his 90s..

My last two photos in this post are a little surprise for you. Before falling in love with beading and quilting, my main passion was Hungarian folk dancing. I danced in a performance group for 10 years (and later became one of the group's choreographers), performing at many events in the Seattle area, including Bumbershoot and the Folklife Festival. We also performed at the World's Fair when it was in Vancouver, British Columbia. I and several of the other dancers in the group made most of our costumes using Hungarian fabrics and original costumes as patterns.

It was folk music and dance that first called my heart and soul into Hungary, where I have since spent a cumulative total of well over a year of my life, spaced over 14 different visits so far.

So, here you go. This is me, wearing a costume I made with Kékfestö fabric for performing the dances of the Szatmár region, located in northeastern Hungary. This photo was taken in September, 1986 at the World's Fair in Vancouver, Canada, where we performed on two separate occasions.

And this is me on stage at a festival in Redmond, WA, happy as can be, Hungarian folk music, song and dance, filling me with joy!  Michael Kappleman and I are the second couple from the left.

So you see...  Kékfestö and I go back a long way. Next, I'll be quilting with it!

*****
My apologies to Hungarians for not using the correct accent mark for the last letter of the Hungarian word Kékfestö. I spent 4 hours trying to do it, but could not get Blogger to accept anything I tried.

When my brother, Thom Atkins, visited last fall, he showed me (and a few quilting buddies) his new method for designing and constructing "scrappy improv wall quilts," a technique that turned out to be a lot of fun for me, especially given my long history with an improvisational, intuitive approach to bead embroidery.

Basically, what we did was to empty our bags or boxes of scraps onto a large table and start pawing through them, pulling out ones that appealed to us at that moment. For me it was all about color - red, magenta, fuchsia, with hints of pink, golden-yellow, orange, lavender, and dark green. All of the fabrics were in my scrap box. We had two days of Thom's demonstrations and guidance. During that time, each of us in our small group produced a unique and very pleasing "piece" or "block," measuring roughly 18 x 21 inches, the size of a fat quarter.

One of my red scraps, cut in a nice arc at one end, was the start of it all because I liked the shape and the color. Next I picked up a small strip of yellow, and held it behind the arc of red. Ooooh! Nice enough to repeat. The scrap of orange/red batik was large enough to cut a similar arc, and the strip of yellow was long enough to go behind that one too. These two arcs formed the basis of my piece.

You can see the two arcs above; the lower right was the first. The yellow strip was only about 3" wide, not enough to go all the way around the arcs, but I cut two shapes that would echo the top of each of the arcs. I layered the remaining scraps from that on top of the arcs along the vertical edges of the design. Then I put a dark green scrap behind the arcs and the yellow, which set them off nicely. The rest was just filling to the edges of the quilt with more scraps, including fussy-cut leaves and flowers.

The next step was to glue it all together along the 1/4" seam overlap, working in layers from bottom to top, and cutting away the excess fabric from the underside after each piece is glued. Cutting away the excess fabric leaves a double layer of fabric only at the seams; the rest is a single layer. The glue is Elmer's School Glue, Disappearing Purple, as shown below. It is an organic stick glue, relatively easy to sew through, repositionable, (in case you change your mind), and purple when first applied, drying to transparent (so you can see where exactly you are putting it).

Thom's method is a type of raw edge applique, typically accomplished with heat-fusible web, such as "wonder under." The typical method, given a complex, layered design such as mine, would have resulted in a thick, stiff, multi-layer surface, which would be difficult to quilt, even with a machine. In Thom's method, there is no web, and in most places only one or two layers of fabric. Like all raw edge techniques, the raw edges must be sewn down, and the resulting quilts are not very suitable for bed quilts unless there is heavy stitching over the raw edges (for example, dense, zig-zag, machine stitching).

After gluing my original (shown above) quilt top, I assembled the quilt, using a spray glue to layer the backing, batting and top. The next step was to stitch along the "seams," the overlapping, glued edge of each piece. From there, it was up to each of us as to how to finish the quilt, perhaps with machine quilting, such as stippling or contour stitches, or perhaps with beading, all of which Thom does on his quilts.

A couple of months went by after getting to the unfinished stage shown above. I liked it, but didn't know what to do with it, until one day when I was at our Senior Center, getting foot care from a trained nurse who comes a couple times a week to help those who need it. Her treatment room, about the size of a walk-in closet, has no windows. Her client faces the door to the room, a plain, wooden door.  "That door needs a quilt," I told her. The rest is history; my scrappy improv quilt, Eclipse,  hangs there now.

Only first I had to finish it. Above is the finished quilt, Eclipse. Below I'll tell you some of the finishing steps and about how I transformed it from looking flat and ordinary to sharp and textured using embroidery embellishments. Please click on the photo so you can see the details!

You might have noticed that the finished quilt is longer (better suited for hanging on a door) than the original piece. That was a challenge, although less than you might expect, because Thom had demonstrated for us how he sometimes extends the size of his quilts. In short, I roughly planned out the addition, the mock-up shown below, then created it using the same process and scraps as the original piece.


I used fusible "tape" made for butt-joining pieces of batting, to add a new piece of batting to the bottom edge of batting on the original (upper) part of the quilt. The horizontal strip of striped fabric overlaps the two parts of the quilt and the joined batting underneath. As you can see below, I added a fussy-cut flower over the striped fabric to break up the horizontal strip and visually join the two parts.


Confession time... I'm not good at machine quilting, and don't even have a proper quilting foot for my old machine (1972 Pfaff). I tried stitching around the fussy cut flowers to secure the glued edges, but failed miserably. What to do? Ah, hand-sew with embroidery stitches and floss? Yes! It took a few tries, but eventually I found stitch and thread combinations that worked.

It looked so good that I decided to add stitching and knots to the yellow arcs next. Wow! That popped the eclipse look! In the photo below, you can see bits of all the embroidery stitches I added. Not only does the embroidery provide embellishment and emphasis, it also further quilts the piece. Click the photo to see the detail and better read the stitch identification.


Here are two more detail photos of the finished quilt (without the text boxes).



Lots of fun, and I like the results! Will I do another one? Well, right now I've finally returned to my hexie project, where I'm likely to remain for many months, but after that, scrappy improv may be just what I need!

Kenneth Strother Jr., director of operations in Princeton University's Department of Public Safety (DPS), has been named assistant vice president for public safety, effective June 1.

Charles (Charlie) Tennyson has been appointed Princeton’s new director of Transportation and Parking Services following a national search to fill the position. He previously served for five years as deputy director of the department.

Gilbert Harman, the James S. McDonnell Distinguished University Professor of Philosophy, Emeritus, died at his home in Princeton on Nov. 13 after a long illness with Alzheimer’s. He was 83.

The Princeton microbiologist has also created a non-infectious version of the COVID-19 virus that researchers can study safely.

Simon Morrison, author of the new musical biography "Mirror in the Sky,” is a professor of music and Slavic languages and literatures, and a sought-after lecturer in the humanities.

Laurie joined the Princeton faculty in 1966 and transferred to emeritus status in 2000.

The dean and associate dean of Religious Life and the Chapel lead the Sunday ecumenical Christian service in the Chapel, which features the magnificent Chapel Choir, the Mander-Skinner organ, preachers from around the country and the world, and a warm and welcoming community of worshipers. All are welcome!

A 30-minute guided tour of the latest exhibition in the Milberg Gallery in Firestone Library at Princeton University. Tours meet in the lobby of Firestone Library. The exhibition is open Monday to Friday from 10 a.m. to 6 p.m., and 11 a.m. to 6 p.m. on Saturday and Sunday in the Milberg Gallery, Firestone Library. Open to the public. “Monsters and Machines: Caricature, Visual Satire, and the Twentieth-Century Bestiary” will focus on the use of bestiary – animal or zoological motifs – in visual satire during the period between World War I and the end of the Cold War. Drawing from PUL’s rich collections of 20th-century posters, illustrated periodicals, and ephemera from North America, Europe, Asia, Eurasia, and the Middle East, the exhibition will look at works of weaponized visual humor created by and aimed at exponents of different national cultures and ideologies. The exhibition will run from September 12 to December 8, 2024.

All are welcome to this treasured annual community gathering, the Interfaith Thanksgiving Worship Service, in the University Chapel. Sponsored by Princeton University’s Office of Religious Life and the Princeton Clergy Association.

Euphoric Whispers This event is free, but a ticket is required to attend. To reserve a ticket, use the University Ticketing website. This concert features a rare NJ appearance of Ali Akbar Moradi and Pejman Hadadi, two of Iran’s most renowned musicians. Moradi is the greatest living master of the tanbour, an ancient 2-stringed long-necked fretted lute traditionally used in religious ceremonies. Hadadi is the innovative percussionist (tombak, daf) who has been a member of the Dastan Ensemble for over 20 years and has collaborated with countless master musicians in Persian and world traditions. They will perform ecstatic and trance-inducing Kurdish music from western Iran – music that is little known in the US. Featured are meditative improvisations based on the repertoire of the Yarsan people, and the beauty and complexities of the art of this region. “Love, spirituality, intoxication with the divine and the power of music…With one string providing a drone, everything else rides on a single string of the tanbour, and in Mr. Moradi’s hands, that string encompasses an expressive universe.” - New York Times "The masterful Hadadi delivers an astonishing array of sounds." - Los Angeles Times Aliakbar Moradi Aliakbar Moradi, often hailed as “the best tanbour player alive” (Songlines Magazine, Issue 26, 2004), was born in 1957 in Guran, near Kermanshah, the central city of Kermanshah Province, Iran. Encouraged by his grandfather and father, he began studying the Tanbur at the age of six. Under the guidance of masters such as Sayyed Hachem Kafashyan, Sayed Mahmoud Alavi, Ali Mir Darvishi, Allah Morad Hamidi, and Sayyed Vali Hosseyni, he not only mastered the instrument but also delved deeply into the Kurdish maqam repertoire. Moradi gave his first recital at the age of 14 in Kermanshah. A year later, he established the first Tanbur group within the cultural department of Kermanshah. He then embarked on tours across Iran and later co-founded the renowned Shams Tanbur Ensemble. In 1991, he won first prize at the String Instrument Festival. Starting in 1992, he conducted extensive research on the ancient maqams of the Tanbur, resulting in a significant publication: a set of four CDs and a booklet released in 2002 by Maison des Cultures du Monde. Over the years, Moradi has published more than 23 recordings and books. He has collaborated with numerous esteemed musicians, including Shahram Nazeri, Kaykhosro Pournazeri, Kayhan Kalhor, Ardeshir and Bijan Kamkar, Pejman Hadadi, Erdal Erzincan, Ulaş Özdemir, Pezhham Akhavass, Mehdi Bagheri, and Arash and Kourosh Moradi. In addition to his research, recordings, and performances, Moradi teaches Tanbur in Tehran and Kermanshah. Currently residing in Kurdistan, Iran, he founded the cultural center The House of Tanbur in Guran. This center offers year-round music classes and hosts annual Tanbur and Kurdish music festivals to preserve and promote the rich cultural heritage of the region. Pejman Hadadi Pejman Hadadi, a renowned percussionist from Tehran, Iran, began his musical journey at age 10, studying under Master Tombak player Assadollah Hejazi. Influenced by greats like Bahman Rajabi and Hossein Tehrani, he later mastered the Daf, inspired by Bijan Kamkar’s recordings. Moving to the US in 1989, Pejman began his professional career in 1991, collaborating with notable musicians such as Hossein Alizadeh, AliAkbar Moradi, Kayhan Kalhor, Shahram Nazeri, and joining the Dastan Ensemble in 1995. He co-founded ZARBANG, the pioneering Iranian percussion ensemble, in 2000. Pejman’s innovative techniques on the Tombak, including tunable frame drums, and his partnership with REMO to develop synthetic-skin Dafs, have significantly expanded the instruments’ global reach. Dedicated to education, he established Neyreez World Music Institute and has received the Durfee Foundation Master Musician Award twice. Pejman’s compositions span dance and film, including soundtracks for Prince of Egypt and Prince of Persia.

The dean and associate dean of Religious Life and the Chapel lead the Sunday ecumenical Christian service in the Chapel, which features the magnificent Chapel Choir, the Mander-Skinner organ, preachers from around the country and the world, and a warm and welcoming community of worshipers. All are welcome!

In this talk, Graham Neubig will discuss a new frontier in AI models, vision-language models that understand the world's cultures. The talk will be in two parts. First, Neubig will discuss training of multilingual multimodal multicultural models that understand images and text, and have increased ability to answer culture-specific questions about multimodal data. Second, he will discuss work on "image transcreation", where models have been developed that can transform images to make them more relevant to a particular culture. This work has applications in a number of areas, such as cultural localization of educational materials (to accompany translated text). While these methods cover many languages, African and not, the talk will focus on examples specifically from the African context, and challenges we currently face therein.

Juniors and seniors in the Program in Visual Arts and Practice of Art Track in the Department of Art & Archaeology open their studios to the community. No tickets required; drop-in from 5:30-7 PM.

The Program in Visual Arts hosts an info session for all sophomores interested in the program minor and the Art & Archaeology Practice of Art track major. Students will have the opportunity to meet current faculty, majors, and minors to ask questions about the program and application process.

Join the Program in Judaic Studies and the Department of Religion on Tuesday, November 19, for this talk delivered by Ilana Pardes. Lunch will be available before the event's start, between 11:30am–12:00pm only. The account of the rise of Israelite kingship in the Book of Samuel is one of the greatest narratives of antiquity that has been passed down to us. Far from being a dry chronicle, it offers both an unblinking perspective on political realities and a daring representation of the humanness, the nakedness, of royal figures. The talk will revolve around the encounter of King David and the wise woman of Tekoa (2 Samuel 14). Special attention will be given to the dramas behind the scenes, to the hidden links between the parabolic tale of the wise woman and the story of the House of David. All are welcome to attend, but space is limited – please RSVP to judaic@princeton.edu and note any dietary needs. More about Ilana Pardes Ilana Pardes is the Katharine Cornell Professor of Comparative Literature at the Hebrew University of Jerusalem. She is currently a Visiting Professor in the Program in Judaic Studies Program at Princeton University. Her work has focused on the nexus of Bible, literature, and culture as well as on questions of gender, aesthetics, and hermeneutics. She is the author of Countertraditions in the Bible: A Feminist Approach (Harvard University Press, 1992), The Biography of Ancient Israel: National Narratives in the Bible (University of California Press, 2000), Melville's Bibles (University of California, 2008), Agnon's Moonstruck Lovers: The Song of Songs in Israeli Culture (The Samuel and Althea Stroum Lectures in Jewish Studies, University of Washington Press, 2013), The Song of Songs: A Biography (Princeton University Press, Lives of Great Religious Books, 2019), and Ruth: A Migrant’s Tale (Yale University Press, Jewish Lives, 2022).

The Kahneman-Treisman Center is pleased to announce its newest initiative: Behavioral Science Desk. We know Princeton scholar-researchers from a range of disciplines are interested in finding ways to have their work intersect not only the insights of behavioral science but also real-world settings. The world's first and largest non-profit behavioral science innovation lab, ideas42(Link is external), is partnering with SPIA to bring Princeton students and faculty closer to research and design in the field in our new BSci Desk. Senior leaders from ideas42 will be available to students and faculty on campus as well as virtually, by appointment. See more at https://behavioralpolicy.princeton.edu/news/bscidesk

In this co-curricular workshop series with Vivia Font, develop your acting chops! Geared towards students who want to continue developing their acting practice, as well as beginner students who are acting-curious. Drop-in; students may attend 1 session or all 8.

The dean and associate dean of Religious Life and the Chapel lead the Sunday ecumenical Christian service in the Chapel, which features the magnificent Chapel Choir, the Mander-Skinner organ, preachers from around the country and the world, and a warm and welcoming community of worshipers. All are welcome!

A Life Worth Living is a new dramatic-comedy musical that follows Gavin, a depressed teenager involuntarily sent to a residential mental health treatment facility. Using music and comedy, the show focuses on topics of platonic love, mental health, and suicide, while exploring themes of grief, acceptance, and radical hope. Talkback with Dr. Calvin R. Chin, Princeton's Director of Counseling and Psychological Services, follows 11/9 performance. Free tickets required.

A Life Worth Living is a new dramatic-comedy musical that follows Gavin, a depressed teenager involuntarily sent to a residential mental health treatment facility. Using music and comedy, the show focuses on topics of platonic love, mental health, and suicide, while exploring themes of grief, acceptance, and radical hope. Talkback with Dr. Calvin R. Chin, Princeton's Director of Counseling and Psychological Services, follows 11/9 performance. Free tickets required.

By invitation, the SFPUL and the Research Group on Manuscript Evidence (RGME) will visit the varied collections of Dr. Steven Lomazow, at home in West Orange, New Jersey. Assembled over fifty years, they include an extraordinary collection of American magazines, pulp fiction, and other materials. Some of them have been displayed and published, including at The Grolier Club in 2020 (with a catalogue and virtual exhibition) and in other volumes. We have the opportunity to see these original works and others in context and to engage in conversation with them and their erudite collector. As an introduction to his collection, Dr. Lomazow will share highlights, impulses, and discoveries in the course of his collecting for over more than fifty years, then describe how his varied collections are arranged in groups and by sizes, each set out alphabetically. With this guide, we might explore the collections, in their various rooms, and have the opportunity to examine selected materials and ask questions for further disussion and enrichment of knowledge. Transportation and luncheon repast will be provided, and we will meet at the Princeton Train Station. We will assemble at the Lomazow home at 11:00 am EST. (If you plan to travel there on your own, the address can be provided following registration.) For more about the exhibition, check out RGME's website at: https://manuscriptevidence.org/wpme/rgme-visit-to-the-collection-of-steven-lomazow/

A Life Worth Living is a new dramatic-comedy musical that follows Gavin, a depressed teenager involuntarily sent to a residential mental health treatment facility. Using music and comedy, the show focuses on topics of platonic love, mental health, and suicide, while exploring themes of grief, acceptance, and radical hope. Talkback with Dr. Calvin R. Chin, Princeton's Director of Counseling and Psychological Services, follows 11/9 performance. Free tickets required.

A Life Worth Living is a new dramatic-comedy musical that follows Gavin, a depressed teenager involuntarily sent to a residential mental health treatment facility. Using music and comedy, the show focuses on topics of platonic love, mental health, and suicide, while exploring themes of grief, acceptance, and radical hope. Talkback with Dr. Calvin R. Chin, Princeton's Director of Counseling and Psychological Services, follows 11/9 performance. Free tickets required.

A Life Worth Living is a new dramatic-comedy musical that follows Gavin, a depressed teenager involuntarily sent to a residential mental health treatment facility. Using music and comedy, the show focuses on topics of platonic love, mental health, and suicide, while exploring themes of grief, acceptance, and radical hope. Talkback with Dr. Calvin R. Chin, Princeton's Director of Counseling and Psychological Services, follows 11/9 performance. Free tickets required.

A Life Worth Living is a new dramatic-comedy musical that follows Gavin, a depressed teenager involuntarily sent to a residential mental health treatment facility. Using music and comedy, the show focuses on topics of platonic love, mental health, and suicide, while exploring themes of grief, acceptance, and radical hope. Talkback with Dr. Calvin R. Chin, Princeton's Director of Counseling and Psychological Services, follows 11/9 performance. Free tickets required.

REEES/Slavic Grad Film Series Bordenlens: Queer Outlines of Geography and Gender Organized by Sofia Guerra Sponsored by the Program in Russian, East European and Eurasian Studies, the Department of Slavic Languages and Literatures, the Humanities Council, the Princeton Institute for International and Regional Studies and the Program in Gender and Sexuality Studies. All Films Shown with English Subtitles

Simon A. Levin, James S. McDonnell Distinguished University Professor in Ecology and Evolutionary Biology, Princeton University Samuel S. Wang, Professor of Neuroscience, Princeton University Discussant: Keena Lipsitz, Associate Professor of Political Science at Queens College, City University of New York

Women's Basketball vs Villanova

Regardless of their home department or primary discipline, Student Affiliates of the Kahneman-Treisman Center are interested in investigating the way humans make decisions and how the systems, practices, and policies that govern how people move through the world can be designed with these inclinations in mind. Open to all undergraduates, graduate students, and postdoctoral fellows and researchers, the bi-weekly meetings feature speakers from Princeton and other academic institutions as well as industry and public-sector practitioners in applied behavioral science. Check behavioralpolicy.princeton.edu for details of each meeting.

The SVC Board will be hosting an event about the "now what" after the election, trying to spread hope and get students involved in community resilience building.

Juston Gordon-Montgomery's action-packed series with a lot of big ideas will debut this weekend on Adult Swim and Max.

His style complements the whimsical narrative of a woman taking an unconventional cab ride to the moon.

The release of a third season, although not confirmed, is highly anticipated by the fans. To know everything about the upcoming season, make sure you read till the end. A Peek Into The Story The plot of the story is centered on three friends, Dylan, Luke, and Evie inhabiting a common house in Glasgow. The ... Read more

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In the last two decades, television has started to lose its popularity. When you think about that, it makes perfect sense to notice this. More people by the day are discarding television over the internet. However, we can all agree that television is still somewhat present in today’s habits of many people, the shape we ... Read more

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Are you searching for a blend of tradition and innovation when it comes to your favorite alcoholic drink? When one thinks of wine-producing regions, India might not immediately come to mind. However, over the past few decades, the Indian wine industry has been steadily growing and carving out its place on the global wine map. ... Read more

The post From Vine to Glass: Exploring the Special Qualities of Indian Wine appeared first on Star Two.

Some things will never go out of fashion. That’s just how our world is. Some things are eternal. Just look at the Egyptian pyramids. We could say the same things about vinyl. Are you a fan of vinyl music? Yes, for some people we’re talking about a relic of the past here. But, is that ... Read more

The post What Kind of Music is Best to Listen to on Vinyl? appeared first on Star Two.

There is not a soul in the world who doesn’t know about YouTube and this platform is the home of more than 800 million videos. If someone chose to watch every single video that is on this platform, they would need close to 20,000 years to finish them all. Some of the content on this ... Read more

The post 6 Most Popular Music Videos on YouTube in the Last 7 Years appeared first on Star Two.

The Vienna Dioscurides is an early 6th-century copy of De Materia Medica, a manuscript first created by the ancient Greek physician and pharmacologist Dioscurides. A precursor to all modern pharmacopeias, it remained in practical use until about 1600. The Vienna Dioscurides contains more than 400 pictures of animals and plants and is the earliest known manuscript to use a solid gold background. It is also the oldest surviving illustrated treatise on what type of animal?

A polymath born in Persia around 980 CE, Avicenna was, among other things, an astronomer, chemist, mathematician, poet, and the foremost physician and philosopher of his time. The Canon of Medicine, one of his most famous works, remained a standard medical text at many Islamic and European universities until the 18th century. Called the "doctor of doctors," Avicenna is regarded as the father of modern medicine. How old was Avicenna when he began studying medicine? Discuss

Tomorrow, Wednesday, November 21st 2018, we will be conducting a scheduled update of our systems. You may experience a short service downtime. Maintenance time is USA EST 02:00am – 06:00am (Eastern Standard Time USA (UTC -5)). We kindly ask you to refrain from using your RSS Ground account during this time. We truly apologize for […]

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Now you can generate self-updating content feeds with recent pins of any Pinterest user or Pinterest board, with fresh videos of any Vimeo user or Vimeo channel, and with recent media from iTunes USA.

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We have made some changes to our Terms of Services. These changes were caused by accumulated experience and trends in the industry and the market.

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No doubt, media content is very important  when it comes to updating your blogs and social network pages. We totally understand that and constantly improve images and videos processing, either in content feeds or posting campaigns. Today we are glad to introduce one of the latest updates to our Facebook Poster, which improves posting images […]

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We know your inbox is probably flooded with emails about COVID-19. Internet is overwhelmed with this topic but we feel it is important to let you know about the crucial steps RSS Ground team has taken to ensure our employees’ continued safety through this pandemic and reassure you there is no interruption to your service. […]

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It’s been a while after our last major update. However, we were busy as always working on exciting updates. You might have noticed some visual changes on our website, including a new navigation menu and a new “My Account” page.  It was long time overdue to lighten up the design and to simplify our head […]

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