This manuscript is a template about “Whistle Blowing” in an organization designed for economist voters. “Court of Record” shows the author’s stand on truth for the protection of our children due to threats by various translations of either Biblical or religious texts to making them illegitimate bargaining chips. Administratively, our CF uniforms leave women open to degradation. My license to a privilege of marriage, in contrast to the construction of Capital investment involving conjugal relationships has shown a discrepancy between words like dower and dowry for those of us entitled to a sign of respect under our National Flag. Additionally and historically, the necessity for the Maple Leaf as opposed to corporeal punishment of both men and women in an area of Correctional Institutions should have supported the belief that even a low ranking officer is still an officer deserving of merit without question. This manuscript draws on the parallels of lives met with those of the solid angle of a mathematical omega. It also factually documents that I am not responsible for the red book of criminal codes given to my son. I am, however, responsible for the welfare of his name’s sake in Canada. The Red Book is a preventable threat to my family and to every man, woman and child. The local law enforcement, supporting the LGBT-Q flag, has gone too far using our resources against us as a type of entrapment where women have no say: Period.

During the formative years of the American republic, lawyers and architects, both eager to secure public affirmation of their professional status, worked together to create specialized, purpose-built courthouses to replace the informal judicial settings in which trials took place during the colonial era. In From Tavern to Courthouse, Martha J. McNamara addresses this fundamental redefinition of civic space in Massachusetts. Professional collaboration, she argues, benefitted both lawyers and architects, as it reinforced their desire to be perceived as trained specialists solely concerned with promoting the public good. These courthouses, now reserved exclusively for legal proceedings and occupying specialized locations in the town plans represented a new vision for the design, organization, and function of civic space. McNamara shows how courthouse spaces were refined to reflect the increasingly professionalized judicial system and particularly to accommodate the rapidly growing participation of lawyers in legal proceedings. In following this evolution of judicial space from taverns and town houses to monumental courthouse complexes, she discusses the construction of Boston's first civic building, the 1658 Town House, and its significance for colonial law and commerce; the rise of professionally trained lawyers through the seventeenth and eighteenth centuries; and changes in judicial rituals at the turn of the century and development of specialized judicial landscapes. A case study of three courthouses built in Essex County between 1785 and 1805, delineates these changes as they unfold in one county over a thirty year period. Concise and clearly written, From Tavern to Courthouse reveals the processes by which architects and lawyers crafted new judicial spaces to provide a specialized, exclusive venue in which lawyers could articulate their professional status.

Choreography is the highly creative process of interpreting and coordinating movement, music and space in performance. By tracing different facets of development and exploring the essential artistic and practical skills of the choreographer, this book offers unique insights for apprentice dance makers. With key concepts and ideas expressed through an accessible writing style, the creative tasks and frameworks offered will develop new curiosity, understanding, skill and confidence. The chapters cover the key areas of engagement including what is a choreographer; getting started; improvisation and ideas; context, stage geometry and atmosphere; movement as dance in time and space; solo, duet, trio and group choreography and finally, structure and the 'choreographic eye'. This is an ideal companion for dancers and dance students wanting to express their ideas through choreography and develop their skills to effectively articulate them in performance. It is superbly illustrated with 143 practical colour and black & white photographs and diagrams. Kate Flatt has over forty years' experience as a choreographer, mentor and teacher.

Dance is often considered an ephemeral art, one that disappears nearly as soon as it materializes, leaving no physical object behind. While most cultural works are tangible, like books in print and framed artworks on display, the practice of dance remains more elusive. Dance involves people trying to embody some abstract, unwritten thing that exists before - and survives beyond - their particular acts of dancing. But what exactly is that thing? For that matter, what is a dance? And do dances continue to exist when not performed? Anna Pakes seeks to answer these questions and more in this exciting new volume, which investigates what sort of thing dance really is. Focusing on Western theater dance, Choreography Invisible: The Disappearing Work of Dance explores the metaphysics of dance and choreographic works. The volume traces the different ways dances have been conceptualized across time, through such lenses as the cultural theory of Derrida, the philosophy of Ranci�re and Baidou, and contemporary dance theory. It examines how dances have survived through time, and what it means for a dance work to be forgotten and lost. In her exploration of the amorphous and fleeting nature of dance as a cultural object, Pakes ultimately transforms the way we understand the very nature of art.

Court of Appeal Case(s): B069744 Number of Exhibits: 1