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Carline Merizier

Carline Merizier

Carline Merizier
For Carline Merizier
Research Lululemon
Search Lululemon and access the company’s Web page on the Internet to read its most recent annual report. The annual report is typically found in an “Investor Relations” or “Company Information” section within the company’s Web site. You can use this website to look up any publicly traded company’s documents for additional consideration. Complete the following:

Using the company’s financial statements, calculate and evaluate the firm’s sustainable growth rate (SGR) for the last 3 years, and summarize your findings in your paper. Be sure to address the following:
What are the sustainable growth rates for your subject company over the period that you studied?
What are the consequences faced by firms that grow at a rate that is not consistent with their sustainable rate?
If the firm grew at a rate above or below the SGR, how might it finance its excessive growth or reward its stockholders for the underperformance?

searching marketing SEO audit questions

searching marketing SEO audit questions

searching marketing SEO audit questions
For the SEO Audit, you will complete a review of the website for your brand. Include in your review and audit detailed report of the steps you took and the results of your audit:https://docs.google.com/spreadsheets/d/1cNsq9ExrkkHwLYemYHekBGpXT9NPLroFwOvZGGeAtcA/edit#gid=9

A. Conduct an SEO audit utilizing 10 items from each of the following tabs: due 3/17
• Accessibility – Yuexin
-Are URLs SEF friendly?
-How does the site (both content and navigation) look/function when you turn off CSS, JavaScript, and cookies?
-Do all of the navigation links work when Javascript is turned off?
-When you view the cached version of the homepage, does all the content show up?
-When you view the cached version of the homepage, are navigation links present?
-When you view the cached version of the homepage, do links show up that aren’t visible on the page?
-Is any content being pulled in with iframes or from an external source?
-Does the site leverage caching well to minimize page load time and reduce HTTP requests?
-Do images have ALT text?
-Are there 404 pages?
#NAME?
Annielytics.com
@AnnieCushing

NOTES ABOUT THIS WORKBOOK

PLEASE DO NOT REQUEST ACCESS TO THIS GDOC. MY COPY IS ALREADY IN YOUR GDOCS AS SOON AS YOU OPEN IT, WHICH IS WHY BOTH GOOGLE DOCS START WITH MY NAME – SO YOU KNOW WHICH IS MINE (WHICH WILL BE UPDATED REGULARLY). IF YOU WANT YOUR OWN COPY TO EDIT, LOG IN AND CHOOSE FILE > MAKE A COPY. I WON’T BE ABLE TO REPLY TO FURTHER REQUESTS TO SHARE THE DOC B/C IT’S GETTING TOO TIME-CONSUMING. THANK YOU FOR YOUR UNDERSTANDING.

This audit list, though thorough, is not exhaustive. If you’d like to suggest a checkpoint or suggest a correction, please email me at annie@annielytics.com.

Want more? You can now buy my site self-guided audit template here. 90+ explainer graphics, boilerplate text explaining all 18 sections, 140 pages, 156 checkpoints.
And my self-guided analytics audit: 146 pages, 45 checkpoints, 6 sections, 84 explainer graphics

If a cell has an orange triangle in the upper-right corner, hover over it to see a comment.

You can sort or order tables by choosing options from the drop-down menu in each heading cell. I tried to make each checkpoint a stand-alone element, so they could be reordered.

I also have a Tools for Marketers Google Doc with an extensive list of tools, which you can use as a complement to this doc.
http://bit.ly/tools-galore

Learn to create sexy, dynamic dashboards using the Google Analytics API.

See Spanish translation
Read more about the fab guy who translated this doc!

Do you think animals make music, or is music specifically a human phenomenon? How would you support an argument for either side of the debate?

Do you think animals make music, or is music specifically a human phenomenon? How would you support an argument for either side of the debate?

Do you think animals make music, or is music specifically a human phenomenon? How would you support an argument for either side of the debate?
Due: 3pm Eastern Time 03/16/2017
MUSC 210 Class

1) Write a 2-3 paragraph response.
2) Include the link to an educational website other than Wikipedia that helped you to form your response, with a 2-3 sentence description of how this website enhanced your learning for the week.
3) Select and add an image to your post that reflects your learning, including the specific reasons you chose the image.

Example:
Do you think animals make music, or is music specifically a human phenomenon? How would you support an argument for either side of the debate?

According to our weekly readings, there are a number of elements that create music. They are pitch, rhythm, melody, timbre, dynamics, and texture. By those standards, it can be said that animals make music as well. For example, a bird’s singing meets all these requirements. A bird’s song is obviously sung with a pitch (high), a melody, a rhythm (fast or slow), and dynamics (loud and soft). If the bird’s voice is considered an instrument, it has its own timbre which is why we are able to distinguish a bird’s singing from any other sound. Its texture can be monophonic or polyphonic depending on the number of birds singing along.
If one were to argue, for example, that a bird’s singing is not music, they can bring up the fact that there is no consistent “meter.” Music by humans a lot of times consist of a meter, or a beat that is organized by the performer. Because a bird’s singing is an improvisation, most likely sung to convey some type of message, it is not organized like the music humans are accustomed to. Another argument can be for the fact that birds are “probably” not trying to sing, and they’re vocal messages just happen to be projected with a melody, etc. If one requires the musician to have a clear intent to create music, they may argue that animals do not meet those requirements.

http://news.nationalgeographic.com/news/2001/01/0105biomusic.html
For this discussion, I used the above National Geographic article that talked about how animals may have an intuitive sense of music – which genetically runs in humans as well. They introduce specific examples like birds and whales, and their natural instincts to create “aesthetically pleasing sounds.” It was a great outside resource to learn the possibilities that animals do music as well.

IMAGE: I chose to post an image of a dog playing the piano. I previously thought that the dog was just randomly smacking the piano, however, after reading this week’s study materials and outside resources, it offered me a possibility that this dog might actually be playing the piano for music pleasure.
pianodog.jpg(84.64 KB)

Describe the role of diet in preventing underweight

Describe the role of diet in preventing underweight

Describe the factors (social, psychological, philosophical, and physical) that drive our food choices.

Describe the role of diet in preventing underweight, overweight, and obesity

Discuss the connection between nutrition and disease. Be sure to include information on chronic diseases, as well as malnutrition and other leading causes of death.

Discuss the nutritional recommendations across the lifespan – from pregnancy to childhood, and from adolescence to adulthood.

South African history.

South African history.

South African history.
Find Two Articles: In the Library Databases find two articles, one concerning Disgrace by J. M. Coetzee and one concerning apartheid or South African history.
Prompt: 1. Write a few sentences or a paragraph, integrating a quote, paraphrase, or summary from either of the articles. 2. Document your paragraph with either a signal phrase or a parenthetical in-text citation.
•Example of signal phrase: “According to Joe Doe, from Liberal Arts University…” If it is from a print source, add the page number in parentheses. Web sources require no page number. When the author’s name is not mentioned in the paragraph’s signal phrase, add it in parentheses, as in the following example: Example of in-text citation: (Coetzee 102). Your MLA Resources folder also has information and a sample paper.

Hematology case study

Hematology case study

Hematology Case study

Candy is a 13 year old who lives with her father and younger sister. Her mother died when Candy was 6 years old and her sister was 4 years old. Her father works a 12 hour shift full time to support himself and his daughters, and Candy makes sure she and her sister get to school each morning, take care of the house after school, and prepare their father’s dinner so he can eat as soon as he gets home from work. All three are very close and on his days off, Candy’s father is very devoted to his children. Candy began her menses when she was 11 years old and experiences regular periods every 28 days. She has excelled in school, being on the honor rolls consistently for the past 3 years. The past semester Candy’s school performance began to decline and she has been complaining of being tired “all of the time.” Her father notes that Candy “looks pale” and makes an appointment for Candy to be seen at the clinic .

At the clinic, the nurse practitioner performs a nursing history during which Candy’s father shares the observations he has made and Candy verifies the information. The nurse practitioner’s assessment reveals Candy is a clean, appropriately dressed, pale adolescent who appears fatigued. Candy’s vital signs are:

Temperature: 35.9 C (96.6 F)

Pulse: 116 beats/minute

Respirations: 30 breaths/minute

Blood pressure: 90/60

Candy’s lab values are:

Hemoglobin: 10 g/dL

Hematocrit: 28%

Total Iron Binding Capacity (TIBC): 450 mg/dL

Serum iron: 35 microgram/L (Broyles, 2006). You will need to answer the following questions and summarize in 1-2 paragraphs.

Be sure to include the diagnosis, differential diagnosis, pathophysiology, epidemiology, physical exam findings, diagnostic testing any needed referrals, management plans, patient education and follow-ups. Please submit to dropbox by the assigned due date.

  1. What is diagnosis?
  2. List 3 differential diagnosis (rule out by physical exam, diagnostic testing and/or labwork).
  3. Discuss the pathophysiology, epidemiology and risk factors for the diagnosis.
  4. Is there any other diagnostic testing that you would like to perform?
  5. Is there a relationship between Candy’s change in school performance and her diagnosis?
  6. Discuss the relationship between the symptoms and the diagnosis.
  7. Discuss the significance of the laboratory values.
  8. Discuss the cause and effect relationship between Candy’s level of growth and development and her diagnosis.
  9. What other data would be helpful for the nurse practitioner to have?
  10. What are the priorities of care for Candy?
  11. What pharmacological and not pharmacological education would you give to this patient and her father?
  12. What other responsibilities should the nurse practitioner delegate to Candy and her father?

To view the Grading Rubric for this assignment, please visit the Course Home.

How to Submit

When you are ready to submit your Assignment, click the Dropbox tab and select this unit’s basket from the dropdown menu, then attach your file. Make sure to save a copy of the Assignment you submit.

What do you think of Brakhage’s critique of the term “experimental film”? Do you agree or disagree? Why?

What do you think of Brakhage’s critique of the term “experimental film”? Do you agree or disagree? Why?

What do you think of Brakhage’s critique of the term “experimental film”? Do you agree or disagree? Why?

Please answer these question from the readings attached in two full pages!
In MLA format include in-text citation, please !
In his “Introduction” and “From State Meant” excerpts from Metaphors on Vision, what does Stan Brakhage mean by the word “vision”?
What do you think of Brakhage’s critique of the term “experimental film”? Do you agree or disagree? Why?
What do you think of Brakhage’s working style of “visual thinking” with paint in his article “Painting Film”?
Painting Film (1996)
Author(s): Stan Brakhage
Source: Chicago Review, Vol. 47/48, Vol. 47, no. 4 – Vol. 48, no. 1 (Winter, 2001 – Spring,
2002), pp. 61-64
Published by: Chicago Review
Stable URL: http://www.jstor.org/stable/25304806
Accessed: 16-03-2017 00:17 UTC
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Erigena). This interplay is the balance/counter-balance of any brain’s
genetic cultural individual “dance,” and this, therefore, stance-dance
would seem to be the only fully meaningful (i.e., means-less-usage) en
tertainment available of cognition (as distinct from re-cognition).
Film ought aesthetically to exist flickering electric and free of pho
tographic animation, free of the mechanical trickery of, the outright
fakery of the illusion of movie pictures. All interferences with The
Light (all shaped tones and formal silhouettes) ought to be an illumi
nation of source-as-light (or at least be subservient, as symbol, say,
representatives of Time, to Light’s life…as is, to be sure, the almost
equal space of Black in the projection of every split second of lighted
frame). The light, then, would be seen to move because of the light
signifying shapes and tones in their signatory continuities (especially
if these were tones in visual chromatic harmony, and shapes in evolu
tionary form at one with illumination). This anyway, is the aspiration of
artists whose Art aspires to Music, and “Art is art-as-art. And every
thing else is everything else” (Barnett Newman, painter, sculpture).
PAINTING FILM (1996)
If it be an art, then it is intrinsically aesthetic, requiring aesthete?
that is to say, it is beautiful, integrally balanced, and (as unique) of
some individually discovered integrity: its appreciator is one who is
capable of sensory justice and evolutionary thought, free from dogma
and representational bias, because the art work’s this-for-that is not
clock-like but rather evolves eccentrically within, and only within,
the limits of being Human. Art forms and colors, or rhythms and
tones of words, progress asymmetrically or eventually settle into some
complexity of beseeming haphazard composure. The art work defines
a paradigm of the experienced chaos of everyday life while being in
itself a construct quite distinct from it.
The salad is on the table, every ruffled edge of lettuce crisp with
the glitter of its own being-at-one with water and/or overlay of oil.
STAN BRAKHAGE I 61
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Musically, such crispness can translate pizzicatto, or into some slow
uncoil of overall (say oboe) curl of tone, some tone of green punctu
ated by drum, and so on, or it can just be distorted by dream?the
limp-lettuce nightmare, crack and timbre reverberation in phosphor
glint of cathected leafage, soforth.
Were I to paint the plein-aire abstraction of this (as I do) onto a
strip of film, my whim would be to absorb what could be seen of
such lettuce, its surrounds of table and all, the very room, and then to
allow into my consideration the movements of such absorption?
the shifts of eye in contemplation, the electrical discharges of synap
tic thought, the “translations,” as it were, from optic imprint to memo
rabilia.
For color (“magic markers,” dyes, india inks) I choose greens,
yes, but vein them with yellows and ruffled shadow-black, applying
isopropyl alcohol on a twisted pointed Kleenex to thin dye lines,
smudge the tones or (with alcohol flicked from a thumbed tooth
brush) create circles to dab into partial-circle-curves or (with weak
ened, spit-diluted alcohol) do manage filigrees midst mixes of con
glomerate color. Sometimes varieties of tone are marked directly upon
the transparent “palette” (or clipboard which holds the film-strip),
so that I can then make toned puddles of alcohol to dip the film into,
feathering the shapes with quick twists of the wrist, pressing the film
so that the dyes collect as edges to half-dried shapes, and so on. More
often than not the alcohol is used to erase an entire frame or collec
tion of frames which have, so it seems, come to naught.
There is very little of “lettuce” left after all this, but when success
ful, the truths of moving visual thinking are made manifest along a
strip of film.
As to the “table,” strips of adhesive tape provide varieties of straight
lines, after applied dyes, in mimic of eye’s slippage?brevities of “cub
ism,” if you will, in Time…continuities of cubistic envisionment when
flashed (twenty-four frames a second) through the projector and upon
the motion-picture screen. Very little of geometry survives “transla
tion” into organic thought, so it seems to me. The meat of the mind
(at least my mind) puts curve to linearity, blurs hard-edge percep
tion; but the thought of (for example) “the shortest distance between
two points” prevails in a mix of cellular irregularities sufficient to
62 I CHICAGO REVIEW
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necessitate its occasional representation.
The table is in the range of nomenclature “yellow brown”; but
the eye’s retention of yellow is blue, and the after-image of brown is
often something I call “red-black”?a very muted red, to be sure…more
in the range of purple, say?actually unnameable. The shifts of tone,
as the mind absorbs, is understandably variable along a strip of film,
but almost always tending to recycle its orders, like the pitches of a
tune, but a tune undergoing melodic variations. These variations are
subject to interruptions by absorption of all other tones (and shape
shifts) of the surrounding room (for shape does surely affect recep
tion of tone…and tone of tone in color-chordal variance)
The plate upon which the salad sits (oval-shaped, as it happens)
presents curves which tighten in relation to each other as if pulled
string-to-bow, becoming variances of interruptive “horizontals,” “ver
ticals,” “diagonals” (as we name them?mimicking the language of
painting and still photography) in the field of compositional logic
for film. Semi-dried “magic markers” can effect a line quite similar
(on this small scale) to brush-stroke; but these I tend to smudge with
alcohol twist of Kleenex until they more nearly approximate some
sense of optic flickering of such. As the plate is “white,” and the film
strip transparent film-leader, I delicately scratch at the lines of the
“stroke,” so to speak.
The truth of the “plate” is that it affects visual absorption of the
lettuce very much like a break in the sight-lines, distraction from
forms, rhythmically castanet-like, because otherwise its paradigm on
film, its variable oval, would act as container?a word appropriate to
its service vis-?-vis lettuce (appropriate surely in language and per
haps to description of snapshot) but absolute non-sense in respect to
moving visual thought process. Such containment would preclude
the peripherally perceived effects of the room, the in-pouring light of
the world beyond, the process of memory and expectation; and thus
would obliterate Time.
I haven’t really written about the paradigmatic play of memory
in this process of painting a film…nor do I intend to now; but suffice
it that “lettuce” perceived as a word and lettuce seen across any (how
ever limited) “space of time,” like we say, constitute two entirely dif
ferent processes of thinking.
STAN BRAKHAGE I 63
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Let me end on three “Tender Buttons” by Gertrude Stein:
MORE
An elegant use of foliage and grace and a little piece of white cloth
and oil.
Wondering so winningly in several kinds of oceans is the reason
that makes red so regular and enthusiastic. The reason that there is
more snips are the same shining very colored rid of no round color.
A NEW CUP AND SAUCER
Enthusiastically hurting a clouded yellow bud and saucer, enthusi
astically so is the bite in the ribbon
OBJECTS
Within, within the cut and slender joint alone, with sudden equals
and no more than three, two in the center make two one side.
If the elbow is long and it is filled so then the best example is all
together.
The kind of show is made by squeezing.
THE LOST FILMS (1996)
The Lost Films is a series of nine untitled films, from the late 1980s
through to 1995, which are photographed and/or painted, sometimes
painted-over photography?and are “lost” in the sense that, across
the whole period of time, I could not manage nor imagine any way to
pay for printing them. Finally a C.R.C.W. University of Colorado sab
batical grant allowed me to take them out of “the lost drawer” in my
office, string them together chronologically, and send them on to
Western Cine labs.
64 I CHICAGO REVIEW
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