ARGENTINEAN CENTRAL BANK TARGETS GROWTH, NOT LOW INFLATION

<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-ziniH6ND3NRwxJ1Xj5ZCpf1PNgoLJPPHALIlHJ6jh2Fh7BZ7PCmbawKrA6eK3xZsENl-6KgMt9XZvgeQYXUZ9jLeMa2zEuFuTGblor9n7kiWtDO2kvHdpPDD_20CMQZVHGxhjTZ5xGkw/s1600/banco-central1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="289" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-ziniH6ND3NRwxJ1Xj5ZCpf1PNgoLJPPHALIlHJ6jh2Fh7BZ7PCmbawKrA6eK3xZsENl-6KgMt9XZvgeQYXUZ9jLeMa2zEuFuTGblor9n7kiWtDO2kvHdpPDD_20CMQZVHGxhjTZ5xGkw/s640/banco-central1.jpg" width="640" /></a></div><div class="separator" style="clear: both; text-align: center;"></div><div style="color: red; text-align: center;"><br /></div><div style="color: red; text-align: center;"><br /></div><div style="color: red; text-align: left;"><span style="font-size: x-large;"><b>THE CENTRAL BANK OF ARGENTINA BREAKS RANKS WITH NEO-LIBERAL BANKING POLICY AND TARGETS JOBS OVER LOWER INFLATION </b></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><br /></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;"><i><span style="font-family: "Times New Roman","serif"; font-size: 12pt;">Transcript of YouTube video which can be viewed below </span></i></div><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><br /></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: large;"><i><span style="font-family: "Times New Roman","serif";">PAUL JAY, SENIOR EDITOR, TRNN: Welcome to The Real News Network. I'm Paul Jay in Washington</span>.</i></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: large;"><br /></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;"><span style="font-size: large;"><span style="font-family: "Times New Roman","serif";">Most central banks around the world preach fiscal discipline. Inflation is their biggest concern. And even when they do enter into some stimulus policies, the final objective is still the issue of lowering debt. Well, one central bank in the world apparently has a growth agenda, and that's in ARGENTINA.</span></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;"><span style="font-size: large;"><span style="font-family: "Times New Roman","serif";">Now joining us to talk about this is John Weeks. John just was in ARGENTINA not very long ago. He's a professor emeritus at the University of London School of Oriental and AFRICAN Studies. He's the author of the book <i>Capital, Exploitation and Economic Crisis</i>. He runs <i>JWeeks.org</i>. And he now joins us again from London. Thanks, John.</span></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;"><span style="font-size: large;"><br /></span></div><div class="MsoNormal" style="color: red; line-height: normal; margin-bottom: 0.0001pt;"><span style="font-size: large;"><b><span style="font-family: "Times New Roman","serif";">INDEPENDENT MONETARY POLICY TENDS TO BE DEFLATIONARY, NEGATIVE RATES, AND SLOW GROWTH.</span></b></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;"><span style="font-size: large;"><br /></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;"><span style="font-size: large;"><span style="font-family: "Times New Roman","serif";">WEEKS: Thank you.</span></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;"><span style="font-size: large;"><br /></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;"><span style="font-size: large;"><span style="font-family: "Times New Roman","serif";">JAY: So what did you make of what the central bank's doing in ARGENTINA?</span></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;"><span style="font-size: large;"><br /></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;"><span style="font-size: large;"><span style="font-family: "Times New Roman","serif";">WEEKS: It's tremendously important, because in the 1990s ARGENTINA was the epitome of a neoliberal monetary policy. It had something called a currency board, and that currency board involves taking the foreign exchange you hold, which is, in the case of ARGENTINA, dollars, and that your domestic money supply is rigidly tied to the amount of dollars you hold. Of course, the amount of dollars you hold is a result of your imports and exports, the balance between the two, and so in effect you have no independent monetary policy. And it tended to be quite deflationary, that is, it tended to cause not only very low inflation, but actually negative rates, and also very slow growth.</span></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;"><span style="font-size: large;"><br /></span></div><div class="MsoNormal" style="color: red; line-height: normal; margin-bottom: 0.0001pt;"><span style="font-size: large;"><b><span style="font-family: "Times New Roman","serif";">INFLATION NO LONGER BECOMES A CONSTRAINT</span></b></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;"><span style="font-size: large;"><br /></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;"><span style="font-size: large;"><span style="font-family: "Times New Roman","serif";">At the end of the 1990s, the disaster that that policy had inherent in it was realized, and in 2001 and 2002 ARGENTINA could no longer maintain that policy, because what it meant, basically, is that if you began to lose dollars because you were—ARGENTINA was running a trade deficit, it meant you had to contract the economy, because you had to take your domestic currency out of circulation, more and more of your domestic currency out of circulation. And that led initially to a severe recession in the economy. When that could no longer be maintained and they temporarily went off the currency board, you had hyperinflation for a year.</span></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;"><span style="font-size: large;"><span style="font-family: "Times New Roman","serif";">Okay. The current government of Cristina Fernández has repudiated that policy. They have introduced a new central bank law (they had actually been practicing it, but they formalized it in this last March) which completely ends the currency board regime and replaces it with a central bank that facilitates a growth-oriented policy of the government. And it also is concerned about inflation, but inflation no longer becomes a constraint, the tail that wags the whole dog.</span></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;"><span style="font-size: large;"><br /></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;"><span style="font-size: large;"><span style="font-family: "Times New Roman","serif";">JAY: So how do they do that?</span></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;"><span style="font-size: large;"><br /></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;"><span style="font-size: large;"><span style="font-family: "Times New Roman","serif";">WEEKS: Well, the economy has grown very rapidly since the end of the currency board. It's grown at about 7 percent since the currency board collapsed in 2002. That has been brought about by the flexible monetary policy which was allowed within the confines of the old rules but was not sufficiently flexible to be sustained, but primarily through a government which pursued a policy of active fiscal policy, expansionary fiscal policy, combined with public investments in infrastructure.</span></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;"><span style="font-size: large;"><br /></span></div><div class="MsoNormal" style="color: red; line-height: normal; margin-bottom: 0.0001pt;"><span style="font-size: large;"><b><span style="font-family: "Times New Roman","serif";">INFLATION-TARGETING POLICY - COMPRESSING THE ECONOMY, REDUCING THE RATE OF GROWTH, IN ORDER TO KEEP THE RATE OF INFLATION DOWN</span></b></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;"><span style="font-size: large;"><br /></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;"><span style="font-size: large;"><span style="font-family: "Times New Roman","serif";">JAY: Okay. Well, what does that mean, "by flexible monetary policy," specifically?</span></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;"><span style="font-size: large;"><br /></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;"><span style="font-size: large;"><span style="font-family: "Times New Roman","serif";">WEEKS: Well, what it means now is that—an inflation-targeting policy is what most governments in LATIN AMERICA—well, no, that's true—VENEZUELA'S doesn't, and—nor does BOLIVIA, but many, many governments in LATIN AMERICA and, of course, the dreaded EUROPEAN Central Bank follow. That means you set an inflation target, usually a low inflation target. That happens to be 2.5 percent in EUROPE. And then, if it appears that the economy is going to exceed that rate, then you rein in the economy by using the central bank interest rate, by making it harder for businesses and for individuals to borrow. So that in effect means that you're compressing the economy, reducing the rate of growth, in order to keep the rate of inflation down.</span></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;"><span style="font-size: large;"><br /></span></div><div class="MsoNormal" style="color: red; line-height: normal; margin-bottom: 0.0001pt;"><span style="font-size: large;"><b><span style="font-family: "Times New Roman","serif";">FLEXIBLE MONETARY POLICY – GROWTH TARGET</span></b></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;"><span style="font-size: large;"><br /></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;"><span style="font-size: large;"><span style="font-family: "Times New Roman","serif";">A flexible monetary policy sets the rate of inflation consistent with a growth target. But that would be the simplest way. So instead of having an inflation target, you have a growth target. Say you have growth target of 5 percent, for example. Then it becomes a question of how much inflation you're going to allow with that growth target. And in the case of ARGENTINA, the government has been prepared to allow an inflation target upwards towards 10 to 15 percent, though it hasn't been that in every year. In most years it has been well below that, on the argument that it is more important for people to be employed and for them to have rising incomes and to have incomes that are rising faster than the rate of inflation so their real incomes are going up. So with the real incomes going up, you can live. You don't have to have a 2.5 percent or 3 percent rate of inflation, because you have a real economy expanding, so your money wages are expanding faster than rate of inflation.</span></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;"><span style="font-size: large;"><br /></span></div><div class="MsoNormal" style="color: red; line-height: normal; margin-bottom: 0.0001pt;"><span style="font-size: large;"><b><span style="font-family: "Times New Roman","serif";">INFLATION FROM ZERO TO 25 PERCENT DO NOT LEAD TO HYPERINFLATION</span></b></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;"><span style="font-size: large;"><br /></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;"><span style="font-size: large;"><span style="font-family: "Times New Roman","serif";">JAY: So the argument one hears against this is that it gets out of control and inflation starts growing faster than real wages, so there's no real advantage to workers. That's the argument that given.</span></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;"><span style="font-size: large;"><br /></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;"><span style="font-size: large;"><span style="font-family: "Times New Roman","serif";">WEEKS: Yeah. That's the argument. It says yes, a little bit of inflation leads to a lot. I would say that's similar to saying conventional war always leads to nuclear war. You know. Rapid inflation, high rates of inflation, are an entirely different phenomenon than what we're talking about. Rates of inflation of zero to 25 percent, all empirical evidence shows that rates of inflation from zero to 25 percent do not lead to hyperinflation. Hyperinflation results when there's some terrible breakdown in the economy, such as—in another interview I was talking about GREECE. If GREECE—if the GREEKS were to abandon the euro, they would get hyperinflation, because all of a sudden the whole institutional framework has changed so dramatically. Alright?</span></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;"><span style="font-size: large;"><span style="font-family: "Times New Roman","serif";">I'm not in favor of 20 percent inflation, but I'm in favor of growth. And so the question becomes managing inflation in the context of growth, not managing growth in the context of inflation.</span></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;"><span style="font-size: large;"><br /></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;"><span style="font-size: large;"><span style="font-family: "Times New Roman","serif";">JAY: So what are the numbers in ARGENTINA, then? What is inflation, and are wages keeping up with it?</span></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;"><span style="font-size: large;"><br /></span></div><div class="MsoNormal" style="color: red; line-height: normal; margin-bottom: 0.0001pt;"><span style="font-size: large;"><b><span style="font-family: "Times New Roman","serif";">25% UNOFFICIAL INFLATION RATE VERSUS 15% OFFICIAL INFLATION RATE IS A MATTER ON HOW IT IS MEASURED: HIGH AND LOW INCOMES OR GNP AS A WHOLE </span></b></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;"><span style="font-size: large;"><br /></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;"><span style="font-size: large;"><span style="font-family: "Times New Roman","serif";">WEEKS: Wages are keeping up with inflation. There's considerable debate about what the current rate of inflation is, less about what it's been in the past. The critics of the government say that the rate of inflation is about 25 percent. The government says it's about 15 percent. This is partly a question of how you measure it and whether you're measuring low incomes or high incomes or GNP as a whole.</span></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;"><span style="font-size: large;"><span style="font-family: "Times New Roman","serif";">The point, the central point, is not the exact rate of inflation but the fact that the economy is growing and real incomes are growing, that is, in real terms, in terms—when we say <i>real terms</i>, what I mean by this: how much is being produced, the goods and services being produced, the real things people are consuming, the amount of food they eat, the amount of durable goods they can buy are going up. And this is true of the working class and of the middle class. And that's partly, I should say, the result of the government's taxation policy to prevent inequality from getting out of control.</span></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;"><span style="font-size: large;"><br /></span></div><div class="MsoNormal" style="color: red; line-height: normal; margin-bottom: 0.0001pt;"><span style="font-size: large;"><b><span style="font-family: "Times New Roman","serif";">LOW INFLATION LEADS TO LOW GROWTH</span></b></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;"><span style="font-size: large;"><br /></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;"><span style="font-size: large;"><span style="font-family: "Times New Roman","serif";">Let me put this slightly in context. So you asked me, you said that the argument against [incompr.] quite correct—against permitting or tolerating a certain degree of inflation is: further along the road you're going to come to regret it, because inflation will grow faster than wages and then there'll be a decline in income. Turn that argument around. If you pursue low inflation, you have low growth. You can never recapture the growth you missed. You know. If you're in a country that this year grows at 2 percent when it could grow at 4 percent, you'll never get those two percentage points back. And if you have unemployment, as in the UNITED STATES, around 8 percent and you could have unemployment down around 5 percent, that 3 percent of the workforce that's unemployed this year, they will never get this year back. You know. So it's—I think raising the question of what is foregone as a result of allowing inflation is completely spurious. The real question is: what do you forgo as a result of having low growth and high unemployment?</span></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;"><span style="font-size: large;"><br /></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;"><span style="font-size: large;"><span style="font-family: "Times New Roman","serif";">JAY: Now, the other argument against this is what happens to people on fixed pensions. In ARGENTINA, are pension rates being raised at the same level as inflation?</span></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;"><span style="font-size: large;"><br /></span></div><div style="color: red;"><span style="font-size: large;"><b>BANKS GAIN FROM A LOW-INFLATION REGIME AND LOSE IN A HIGH INFLATION REGIME </b></span></div><span style="font-size: large;"><br /></span><br /><span style="font-size: large;">WEEKS: This is a somewhat complicated question, because there are public pensions and there are private pensions. It's difficult to pursue them all. But basically the answer is: yes, they are. But I think again that is a spurious—to a certain extent a spurious argument, because the real people who gain from a low-inflation regime are the banks, and they are the losers, usually, in a high-inflation regime. </span><br /><span style="font-size: large;">So those people on fixed pensions are brought forth as an argument by the right wing in order to say, oh, we're not arguing for us; we're arguing for the little old ladies, you know, that have to go down to the market and make their pennies and make their pesos go so far. And inflation—sure, inflation undermines people's expenditure in the sense that it makes things more expensive, but you can deal with that if the economy's growing. You can deal with it by raising the state pension. You can do it formally by indexing and you can do it bit by bit. You can index wages. In the case of ARGENTINA, they have not indexed wages, but they do it through national bargaining. So there are mechanisms of dealing with moderate inflation. If you have slow growth and you have unemployment and you aren't prepared to reduce that employment, there's no way to deal with that except to pay poor relief.</span><br /><br /><br /><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="allowfullscreen" frameborder="0" height="266" mozallowfullscreen="mozallowfullscreen" src="https://www.youtube.com/embed/jsmMKmOZDRg?feature=player_embedded" webkitallowfullscreen="webkitallowfullscreen" width="320"></iframe></div><div style="text-align: center;"><br /></div><br /><div style="text-align: center;"><br /></div><br />

ARGENTINEAN CENTRAL BANK TARGETS GROWTH, NOT LOW INFLATION

THE CENTRAL BANK OF ARGENTINA BREAKS RANKS WITH NEO-LIBERAL BANKING POLICY AND TARGETS JOBS OVER LOWER INFLATION Transcript of YouTube video...

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Senior Electronic Design Engineer (Analog | FPGA | High linearity) (KT labs) (#108134)

<div dir="ltr" style="text-align: left;" trbidi="on"><div dir="LTR"><span lang="en-us"><b><span style="font-family: Arial;">Job Title:</span></b></span><span lang="en-us"><span style="font-family: Arial;"> Senior Electronic Design Engineer</span></span><span lang="en-us"><b><span style="font-family: Arial;"> </span></b></span><span lang="en-us"><br /> <b><span style="font-family: Arial;">Location:</span></b></span><span lang="en-us"><span style="font-family: Arial;"> Milpitas, CA<br /> </span></span><span lang="en-us"><b><span style="font-family: Arial;">Position:</span></b></span><span lang="en-us"><span style="font-family: Arial;"> Full time<br /> </span></span></div><div dir="LTR"><br /></div><div dir="LTR"><span lang="en-us"><b><span style="font-family: Arial;">Business Unit  </span></b></span></div><div dir="LTR"><span lang="en-us"><span style="font-family: Arial;">KT Labs is an established enterprise within the KLA-Tencor family where the focus is squarely on technical innovation beyond tomorrow's needs.  Where other members of the KT community strive to meet our customer's technical needs for today's and tomorrow's designs,  we at KT Labs look to their needs, meet with the advance R&D groups at customer's sites, envision and realize solutions far beyond today's needs.  It is this combination of technical challenges; our mission to evolve visionary solutions for our customer's that generates KT Labs' teams' greatest satisfaction.  We solve the very difficult problems quickly.  It is only the impossible that takes a bit more time.  The AR&D group, as part of KT labs, develops technologies through phase 2 for charge particle and surface analysis applications at KLA-Tencor. </span></span></div><div dir="LTR"><span lang="en-us"><span style="font-family: Arial;">  </span></span></div><div dir="LTR"><span lang="en-us"><b><span style="font-family: Arial;">Responsibilities  </span></b></span></div><div dir="LTR"><span lang="en-us"><span style="font-family: Arial;">Contribute to system level architecture design and test planning.</span></span></div><div dir="LTR"><span lang="en-us"><span style="font-family: Arial;">Design and test electronic modules and test fixtures. </span></span></div><div dir="LTR"><span lang="en-us"><span style="font-family: Arial;">Test complex, high-speed (up to 500 MHz) circuit boards, subsystems, and integrate and test systems of well over 100 boards.  </span></span></div><div dir="LTR"><span lang="en-us"><span style="font-family: Arial;">Conduct design reviews of own designs, and prepare specification documents and test plans.</span></span></div><div dir="LTR"><span lang="en-us"><span style="font-family: Arial;">Work with parts and service vendors as needed to implement designs.</span></span></div><div dir="LTR"><span lang="en-us"><span style="font-family: Arial;">Perform FPGA coding in Verilog for electronics boards. </span></span></div><div dir="LTR"><span lang="en-us"></span></div><div dir="LTR"><br /></div><div dir="LTR"><span lang="en-us"><b><span style="font-family: Arial;">Preferred Qualifications  </span></b></span></div><div dir="LTR"><span lang="en-us"><span style="font-family: Arial;">Able to integrate electronic subsystems with mechanical and optical systems and perform system tests.</span></span></div><div dir="LTR"><span lang="en-us"><span style="font-family: Arial;">A good working knowledge of analog and digital electronic design.</span></span></div><div dir="LTR"><span lang="en-us"><span style="font-family: Arial;">Ability to collaborate with other technical staff and share ideas regarding complex systems</span></span></div><div dir="LTR"><span lang="en-us"><span style="font-family: Arial;">Ability to design circuits to demanding specifications of noise level, bandwidth, and linearity.</span></span></div><div dir="LTR"><span lang="en-us"><span style="font-family: Arial;">Experience writing FPGA programs (at least 1500 lines per program) in AHDL and/or Verilog.</span></span></div><div dir="LTR"><span lang="en-us"><span style="font-family: Arial;">Skilled at writing programs (of at least 3000 lines) in C++. </span></span></div><div dir="LTR"><span lang="en-us"><span style="font-family: Arial;">Experience with image acquisition or image processing. (desired)</span></span></div><div dir="LTR"><span lang="en-us"><span style="font-family: Arial;">Experience with MatLab.</span></span></div><ul dir="LTR"><ul dir="LTR"> <div dir="LTR"><span lang="en-us"></span><span lang="en-us"></span></div></ul></ul><div dir="LTR"><span lang="en-us"></span><span lang="en-us"><b><span style="font-family: Arial;">Minimum Qualifications  </span></b></span></div><div dir="LTR"><span lang="en-us"><span style="font-family: Arial;">Doctorate (Academic) with at least 3 years of electronics experience. OR Master's Level Degree with at least 6 years of electronics experience. OR Bachelor's Level Degree with at least 8 years of electronics experience.</span></span></div><div dir="LTR"><br /></div><div dir="LTR"><span lang="en-us"><span style="font-family: Arial;">Kindly send your resumes to</span></span><span lang="en-us"> </span><a href="mailto:abhinav.rajkumar@kla-tencor.com"><span lang="en-us"><b><u><span style="color: blue; font-family: Arial;">abhinav.rajkumar@kla-tencor.com</span></u></b></span><span lang="en-us"></span></a><span lang="en-us"></span></div></div>

Senior Electronic Design Engineer (Analog | FPGA | High linearity) (KT labs) (#108134)

Job Title: Senior Electronic Design Engineer   Location: Milpitas, CA Position: Full time Business Unit  KT Labs is an established ...

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William Wyler's "The Letter" (1940) - Starting with a Bang

<div style="font-family: Verdana,sans-serif;"></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjk4MyE-ab_UvbiKxDTOS3DHYQCAGj7pZG9GohNAaZXZ7NjJqtDDKiaBpNaFWd1_dEGDWmjAHj2lGvWoZtsBKaF5fEElZvsLmSUxLnmf9qtoYo4Vsf0irQOfXS7sUDFApuT0MuvUUCPTBBj/s1600/bette+in+full+lace.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjk4MyE-ab_UvbiKxDTOS3DHYQCAGj7pZG9GohNAaZXZ7NjJqtDDKiaBpNaFWd1_dEGDWmjAHj2lGvWoZtsBKaF5fEElZvsLmSUxLnmf9qtoYo4Vsf0irQOfXS7sUDFApuT0MuvUUCPTBBj/s1600/bette+in+full+lace.jpg" /></a></div><div class="MsoNormal" style="font-family: Verdana,sans-serif;">  </div><div class="MsoNormal" style="font-family: Verdana,sans-serif;"><i>This piece is my contribution for The Movie Projector's blogathon in honor of William Wyler. <a href="http://themovieprojector.blogspot.com/p/wm-wyler-blogathon.html" style="color: #cc0000;">Click here</a> for more information and links to participating blogs.</i><br /><br />Of director William Wyler, Bette Davis once declared, “It was <i>he</i> who helped me realize my full potential as an actress.” Of the actress, Wyler would recall, “She was a director’s dream.” Together they made three very popular and critically acclaimed Hollywood films. The pair first collaborated on the 1938 Warner Bros. production of <i>Jezebel</i>. For her performance Bette Davis won the second of her two Best Actress Academy Awards. Davis was sorely disappointed that Wyler had not received a Best Director nod for his work on the film and would later credit her Oscar-winning portrayal to him, “It was all Wyler,” she wrote.<br /><br /><a name="more"></a></div><div class="MsoNormal" style="font-family: Verdana,sans-serif;"><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTbM5WKKKgZHX72tpomrUSKppxwo7FGDJJVR4TsSx3XQW9VpEw7nDkvOLg3hpIzPcyQpvl1QiMTWXshH0Ybu2unxftCKZQsmr-Y_q5XNrr_GmzalAW5bSfQjMwXrut-NO25npGvMnEJGgP/s1600/bette-davis-william-wyler-lunch-break-jezebel.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="208" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTbM5WKKKgZHX72tpomrUSKppxwo7FGDJJVR4TsSx3XQW9VpEw7nDkvOLg3hpIzPcyQpvl1QiMTWXshH0Ybu2unxftCKZQsmr-Y_q5XNrr_GmzalAW5bSfQjMwXrut-NO25npGvMnEJGgP/s320/bette-davis-william-wyler-lunch-break-jezebel.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Bette Davis and William Wyler</td></tr></tbody></table></div><div class="MsoNormal" style="font-family: Verdana,sans-serif;">In January 1940, Warner Bros. announced that Bette Davis would star in a remake of a film adapted from a play <a href="http://www.online-literature.com/maugham/" style="color: #cc0000;">Somerset Maugham</a>had dramatized from his own short story, <i>The Letter</i>. In April, William Wyler was hired to direct, on loan from Samuel Goldwyn who would, in turn, be able to use Bette Davis for his upcoming <i>The Little Foxes</i>, which would be the last film Wyler and Davis would make together. In an interview years later, Wyler recalled that he had read Howard Koch’s script for <i>The Letter</i> and liked it and that he wanted to work with Davis again. His only regret was that cinematographer Gregg Toland was unavailable. For her part, Davis was eager to work with Wyler on another very promising project; Maugham’s sensational tale of British colonial “white mischief” was set in the exotic Far East and replete with adultery, deceit and murder.</div><div class="MsoNormal" style="font-family: Verdana,sans-serif;"><br /></div><div class="separator" style="clear: both; text-align: center;"></div><div class="MsoNormal" style="font-family: Verdana,sans-serif;"><div class="separator" style="clear: both; text-align: center;"></div><div style="text-align: right;"></div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg35RmizrqhirxyOFUBvB7UbmQw9_3rNSwAdU1gWDSuTIVgI5O5CdEmBMgoyYXQWwaBJS0zhzbaK2v3O-b85dBKhYVs_UGTC2Ddp19SL3FuCvqtchJSU1Cn6sw4GTY5RZ0ZA0J9JPSg4ghA/s1600/map-malay+bw.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg35RmizrqhirxyOFUBvB7UbmQw9_3rNSwAdU1gWDSuTIVgI5O5CdEmBMgoyYXQWwaBJS0zhzbaK2v3O-b85dBKhYVs_UGTC2Ddp19SL3FuCvqtchJSU1Cn6sw4GTY5RZ0ZA0J9JPSg4ghA/s320/map-malay+bw.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The Malay Peninsula</td></tr></tbody></table>By the time he traveled to British Malaya in 1921, Somerset Maugham was a well established writer of best-selling fiction and popular stage plays. While in the colonies he met an attorney, Courtenay Dickinson, who told him of a scandalous case he’d handled ten years earlier. In 1911, Dickinson represented the wife of the headmaster at a boys’ school in Kuala Lumpur who shot and killed a male friend one night while her husband was out. The headmaster was <a href="http://www.viweb.freehosting.net/proudlock.htm" style="color: #cc0000;">William J. Proudlock</a>, a British citizen, and his school was the prestigious Victorian Institute, founded in the capital city in 1894. Proudlock’s wife, Ethel, had been visited by William Crozier Stewart, an engineering consultant, while her husband was at dinner with an associate one night in April 1911. Though Mrs. Proudlock claimed that Stewart had attempted rape and that she shot him (several times) in self-defense, she was found guilty at trial and sentenced to death. The outcry of the local British community prevailed, however, and Ethel Proudlock was freed after serving a scant five months in prison. Maugham developed a fictionalized account of the case, with details changed and flourishes added; Maugham said of himself, “I have never pretended to be anything but a story teller.” <i style="mso-bidi-font-style: normal;">The Letter </i>first appeared in a collection of his short stories in 1924. </div><div class="MsoNormal" style="font-family: Verdana,sans-serif;"><div style="text-align: left;"></div><br /></div><div class="MsoNormal" style="font-family: Verdana,sans-serif;"><div style="text-align: left;"></div><div style="text-align: left;"></div>Somerset Maugham’s stage adaptation of <i>The Letter</i>debuted in London in 1927, starring <a href="http://www.imdb.com/name/nm0178066/#Actress" style="color: #cc0000;">Gladys Cooper</a><span style="color: #cc0000;"> </span>as rubber plantation wife Leslie Crosbie and Nigel Bruce as plantation manager Robert Crosbie. The play premiered on Broadway later that year starring <a href="http://brbl-archive.library.yale.edu/exhibitions/cvvpw/gallery/cornell.html" style="color: #cc0000;">Katharine Cornell</a><span style="color: #cc0000;">.</span>In 1929, illustrious American actress <a href="http://www.jeanneeagels.com/" style="color: #cc0000;">Jeanne Eagels</a> played the lead in a Paramount film directed by Jean de Limur; her co-stars included Reginald Owen as Crosbie and Herbert Marshall as shooting victim Geoffrey Hammond. Eagels received a posthumous Best Actress Oscar nomination for her performance.<br /><br /></div><div class="MsoNormal" style="font-family: Verdana,sans-serif;"><div style="text-align: center;"><iframe allowfullscreen="" frameborder="0" height="315" src="http://www.youtube.com/embed/rvI2sUCLHCk" width="420"></iframe></div><div class="MsoNormal" style="font-family: Verdana,sans-serif;"><div style="text-align: center;"><span style="font-size: x-small;">Jeanne Eagels and Reginald Owen, <i>The Letter </i>(1929) </span></div><br />Somerset Maugham’s short story opens in Singapore within the offices of Howard Joyce, the attorney representing Leslie Crosbie, who is charged with murder. Joyce’s clerk, Ong, ushers in Robert Crosbie, husband of the accused. The lawyer expresses concern that Crosbie is not bearing up well under the strain of his wife’s arrest and incarceration. Maugham re-engineered the opening to powerful dramatic effect when he adapted it for the stage. As the curtain rises, the sound of a pistol shot is heard. A man (Hammond) staggers across a sitting-room toward its veranda and cries “Oh, my God!” A woman (Crosbie) follows, firing her gun into him even after he has fallen.</div><div class="MsoNormal" style="font-family: Verdana,sans-serif;"><br /></div><div class="MsoNormal" style="font-family: Verdana,sans-serif;"><a href="http://www.imdb.com/name/nm0462321/" style="color: #cc0000;">Howard Koch</a>’s script for William Wyler’s film opened with an exterior shot of the Crosbie bungalow, the sound of a sudden gunshot followed by a woman stalking a man as he flees, her revolver blazing. Reading this scenario for the first time, Wyler thought it was literally “starting with a bang” and decided the scene should be set up “…with an opposite mood. A mood of silence, quiet, people sleeping…” Wyler also wanted to evoke “…a feeling of the dank, humid jungle atmosphere of rubber plantation country” and opened the film with an uncut and wordless 2-minute sequence:<br /><br />Under a vivid full moon and cloud cluttered night sky, the camera sweeps through a rubber plantation where a tree oozes latex into a collection pot as Malay workers lounge or sleep in hammocks and a white Cockatoo perches on a fence. A gunshot shatters the quiet and the startled bird takes flight. A man emerges onto the veranda of a lamp-lit bungalow and lurches down its steps. Close on his heels strides a woman with a gun, her face a study in fierce resolve. She fires shot after shot into his body until he is a crumpled a heap at the foot of the steps. The moon goes dark behind a drift of clouds as <a href="http://www.americancomposers.org/raksin_steiner.htm" style="color: #cc0000;">Max Steiner</a>’s ominous and hypnotic theme surges.</div><div class="MsoNormal" style="font-family: Verdana,sans-serif;"><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisDdo4XmvpoueG5IPXErxd_IKnowuPwy0oKsXVn5f_4q5JvFWRQfxb3K-UF2ZiwrnLbxSxWWUELwep0ZKC6y1j2eBxznvLRw_9BlBRvlXQkRQQo4g2OEbuNeDAPha9ToL2kqN1ucSJdm0h/s1600/full+moon.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisDdo4XmvpoueG5IPXErxd_IKnowuPwy0oKsXVn5f_4q5JvFWRQfxb3K-UF2ZiwrnLbxSxWWUELwep0ZKC6y1j2eBxznvLRw_9BlBRvlXQkRQQo4g2OEbuNeDAPha9ToL2kqN1ucSJdm0h/s400/full+moon.jpg" width="400" /></a></div><br /></div><div class="MsoNormal" style="font-family: Verdana,sans-serif;">Wyler reflected,“…it was a more effective opening this way, by having this silence,” and Howard Koch, who fondly remembered working on <i style="mso-bidi-font-style: normal;">The Letter</i>, remarked on Wyler’s fine-tuned “instinct for staging.” The opening sequence of <i style="mso-bidi-font-style: normal;">The Letter</i>, which took a full day to shoot, establishes not only the film’s noirish mood and hot-house atmosphere, but also the controlled ferocity intrinsic to Leslie Crosbie’s character. From this spectacular beginning <i style="mso-bidi-font-style: normal;">The Letter</i> unfolds slowly and deliberately, revealing and suggesting its secrets with painstaking care. The film evolves with unrelenting tension and suspense and is remarkable for its astonishingly expressive camera work and atmospheric effects…</div><div class="MsoNormal" style="font-family: Verdana,sans-serif;"><br /></div><div class="MsoNormal" style="font-family: Verdana,sans-serif;">The image of the full moon, breaking through heavy clouds or peering down between the fan-like leaves of palm trees, recurs and has been much discussed over the years. According to Wyler, the image of the moon was his attempt “to bring in something mysterious and supernatural” to the story. He knew that this repeated image would lend itself to many interpretations, but his own desire was to add “…a bit of supernaturalism, which I thought belonged.” Another of Wyler’s noteworthy atmospheric accents is the occasional sound of tinkling wind chimes. According to Wyler this was not a planned effect, but something he came up with during filming. There happened to be decorative Chinese wind chimes on the set and when the soundman began to complain that the tinkling annoyed him, the director considered the possibilities and decided they could be used to interesting effect. He thought the chimes made “…an eerie kind of noise, which would heighten the suspense.”</div><div class="MsoNormal" style="font-family: Verdana,sans-serif;"><br /></div><div class="MsoNormal" style="font-family: Verdana,sans-serif;"><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhL5Zo7SnC-MbuE11HgXjuUwB6lHPjOFa8GDGh-NIVXUjcaFk13oZVLcx3QMF00nQ0Q_RiwzATlsa3coipk9E8rUKuoTTrVNz2feixTVxPf_tFEiHP4v-HaGYhndsWej8kS6G6FOvYTkR9P/s1600/james+stephenson.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="239" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhL5Zo7SnC-MbuE11HgXjuUwB6lHPjOFa8GDGh-NIVXUjcaFk13oZVLcx3QMF00nQ0Q_RiwzATlsa3coipk9E8rUKuoTTrVNz2feixTVxPf_tFEiHP4v-HaGYhndsWej8kS6G6FOvYTkR9P/s320/james+stephenson.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">James Stephenson reads "the letter"</td></tr></tbody></table>At the time <i style="mso-bidi-font-style: normal;">The Letter </i>was released, William Wyler had recently commented that he believed the sole responsibility for the quality of any film rests entirely with its director. He felt that the director, whose every decision culminates in what ultimately appears onscreen, is accountable for everything including the performances of the players. <i>The Letter</i> is marked by high caliber acting all around and two impeccable portrayals in particular. Bette Davis is radiant yet coolly controlled as the emotionally repressed Leslie Crosbie, a woman capable of coy charm, relentless guile and calculating deceit - as well as violent rage. James Stephenson, in a breakthrough performance as Howard Joyce, Leslie’s attorney, depicts an intelligent, inherently civilized man manipulated into a wretched compromise. His Howard Joyce, suspicious of the case from the start, endures a visibly wrenching struggle with his own conscience as he becomes ever more entangled in the moral intricacies of Leslie’s defense. The scenes between Bette Davis and James Stephenson are some of the richest moments in the film.</div><div class="MsoNormal" style="font-family: Verdana,sans-serif;"><br /></div><div class="MsoNormal" style="font-family: Verdana,sans-serif;">On one important point Wyler and Davis disagreed and that was how the actress should deliver her crucial line at the film’s climax. In the scene, Leslie and Robert Crosbie (Herbert Marshall) are alone together in a darkened room, their marriage in tatters. When Robert asks Leslie if she loves him, she at first says yes, then cracks and cries out, “….with all my heart, I still love the man I killed!” Wyler wanted Davis to look Herbert Marshall directly in the eye as she said these words, but Davis disagreed, she felt no woman could do that, it was too brutal, she would avert her eyes. The two fought and could not agree. Finally, and for the first time in her career, Bette Davis walked off the set. She soon returned and later recalled, “I came back eventually – end result, I did it his way. It played validly, heaven knows, but to this day I think my way was the right way.” She also remarked, “I lost, but I lost to an artist.” 37 years later, Davis was honored as the fifth recipient, and the first woman, to be gvien the Life Achievement Award by the American Film Institute (William Wyler had received the award the previous year). In her 1987 memoir <u>This ’n That</u>, she remembered that the high point of the evening, for her, was when Wyler spoke. He said, “If tonight I brought up the subject of [that] scene in <i style="mso-bidi-font-style: normal;">The Letter</i>, Bette would insist on going back to Warner Brothers and reshooting it the way she wanted it.” According to Bette,  “Willie’s speech was short and funny and had the added advantage of being true.”</div><div class="MsoNormal" style="font-family: Verdana,sans-serif;"><br /></div><div class="MsoNormal" style="font-family: Verdana,sans-serif;">One battle Wyler did not win was with the Production Code. He had made a change to Maugham's ending. The author's and de Limur’s versions end with Leslie's realization that her punishment for her crime will be to live out her years in a country she despises with a man for whom she feels no passion. The closing line is her confession that even now she loves the man she shot. Wyler and Koch devised a more dramatic demise for Mrs. Crosbie, she would die by the dagger of Hammond’s widow. Wyler’s plan was that, “The thing should end with [Gale Sondergaard] killing Bette Davis.” But at the time “nobody could get away with killing somebody, so for censorship reasons we had to tack on the scene of her being arrested.” Wyler could never accept this “silly anticlimactic” ending and complained to the end of his days that the scene of Sondergaard's arrest still ought to be cut from his picture.</div><div class="MsoNormal" style="font-family: Verdana,sans-serif;"><br /><div style="text-align: center;">~</div><br /></div><div class="MsoNormal" style="font-family: Verdana,sans-serif;"><i>The Letter </i>was nominated for seven Academy Awards: Best Picture (Warner Bros.), Best Director (Wyler), Best Actress (Davis), Best Supporting Actor (James Stephenson, who died suddenly in 1941), Best Music, Original Score (Max Steiner), Best Cinematography, Black and White (Tony Gaudio) and Best Film Editing (Warren Low). </div><div class="MsoNormal" style="font-family: Verdana,sans-serif;"><br /></div><div class="MsoNormal" style="font-family: Verdana,sans-serif; text-align: center;"><i> ~</i></div><div class="MsoNormal" style="font-family: Verdana,sans-serif;"><br /></div><div class="MsoNormal" style="color: blue; font-family: Verdana,sans-serif;"><i>The Letter </i>airs on Turner Classic Movies Friday, June 29, 6:00am Eastern/3:00am Pacific. </div><div class="MsoNormal" style="font-family: Verdana,sans-serif;"><br /></div><div class="MsoNormal" style="font-family: Verdana,sans-serif; text-align: center;"><iframe allowfullscreen="" frameborder="0" height="315" src="http://www.youtube.com/embed/F-1sgvur72o" width="420"></iframe></div><div class="MsoNormal" style="font-family: Verdana,sans-serif;"><br /></div><div class="MsoNormal" style="font-family: Verdana,sans-serif;"><b><u>Sources</u></b>:<br /><i>A Talent for Trouble</i>, Jan Herman, Putnam (1995)<br /><i>William Wyler - The Authorized Biography</i>, Axel Madsen, Thomas Y. Crowell Co. (1973)<br /><i>Dark Victory: The Life of Bette Davis</i>, Ed Sikov, Henry Holt (2007)<br />"<a href="http://www.fathom.com/feature/35677/" style="color: #cc0000;">Imagery and Sound in William Wyler's <i>The Letter</i></a>," interview by Charles Higham, Columbia University Oral Research Office (1972)<br /><i>The Letter: A Play in Three Acts</i>, W. Somerset Maugham, George H. Duran Co. (1925)<br /><i>The Complete Short Stories of W. Somerset Maugham</i>, Doubleday (1934)<br /><br /></div></div>

Bette Davis Gale Sondergaard Gladys Cooper Herbert Marshall James Stephenson Jeanne Eagels Katharine Cornell The Lady Eve (author) The Letter William Wyler William Wyler's "The Letter" (1940) - Starting with a Bang

  This piece is my contribution for The Movie Projector's blogathon in honor of William Wyler. Click here for more information and link...

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Google #2: You’ll definitely love using Google forms

<div dir="ltr" style="text-align: left;" trbidi="on"><br /><div style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;">Google Forms is probably one of the most useful and often underutilized Google tools. They can be used for so many different things as I will show you below. They can be embedded into blogs, wikis and websites or can just be stand-a-lones on the web.  Each form creates its own spreadsheet that captures and collects the responses quickly and easily.  </span><br /><br /><div class="separator" style="clear: both; text-align: center;"></div></div><div style="font-family: Arial,Helvetica,sans-serif;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjau-xbZLpHc01zN8Wn-iLrvdlpeQuKhWpvp1IYTfnA-RZDocC4MOqDcWBjaKpXmJEOM_XP-vVow3NIKIWXxnnLZPU4cLquJBhfwEQMptWTA_JCXhay84BrwpOIvfjJAl0K-vMPFj5MUp8/s1600/googleforms2.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="218" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjau-xbZLpHc01zN8Wn-iLrvdlpeQuKhWpvp1IYTfnA-RZDocC4MOqDcWBjaKpXmJEOM_XP-vVow3NIKIWXxnnLZPU4cLquJBhfwEQMptWTA_JCXhay84BrwpOIvfjJAl0K-vMPFj5MUp8/s320/googleforms2.JPG" width="320" /></a></div><br /></div><div style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;">Here are some of the uses I have discovered: </span></div><div style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;">•You can use them for general surveys </span></div><div style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;">•You can get quick input from others on various topics </span></div><div style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;">•Use a Google form for various kinds of evaluation such as creating and posting short quizzes online.  </span></div><div style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;">•Create a survey before and after a lesson/discussion </span></div><div style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;">•Use it to collect data </span></div><div style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;">•The students can fill in answers to questions in a test </span></div><div style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;">•You can get feedback after a lesson </span></div><div style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;">•It makes a great book review form </span></div><div style="font-family: Arial,Helvetica,sans-serif;"><br /></div><div style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;">Thus, a Google form is a great tool in the hands of an educator.  If you would like to make one, here are two presentations that could help. The first one looks at the seven different kinds of questions you can ask using a Google form. The second one shows you how to go about making a Google form. I hope you’ll find them helpful. </span></div><div id="__ss_13462782" style="width: 425px;"><b style="display: block; margin: 12px 0px 4px;"><a href="http://www.slideshare.net/fionabeal/the-seven-question-types-to-use-on-a-google-form" title="The seven question types to use on a Google form">The seven question types to use on a Google form</a></b><object height="355" id="__sse13462782" width="425"><param name="movie" value="http://static.slidesharecdn.com/swf/ssplayer2.swf?doc=whatcanyoudowithagoogleform-120626164425-phpapp02&stripped_title=the-seven-question-types-to-use-on-a-google-form&userName=fionabeal" /> <param name="allowFullScreen" value="true" /> <param name="allowScriptAccess" value="always" /> <param name="wmode" value="transparent" /> <embed name="__sse13462782" src="http://static.slidesharecdn.com/swf/ssplayer2.swf?doc=whatcanyoudowithagoogleform-120626164425-phpapp02&stripped_title=the-seven-question-types-to-use-on-a-google-form&userName=fionabeal" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" wmode="transparent" width="425" height="355"></embed></object> <br /><div style="padding-bottom: 12px; padding-left: 0px; padding-right: 0px; padding-top: 5px;">View more <a href="http://www.slideshare.net/">presentations</a> from <a href="http://www.slideshare.net/fionabeal">Fiona Beal</a>.</div></div><div id="__ss_11738513" style="width: 425px;"><b style="display: block; margin: 12px 0px 4px;"><a href="http://www.slideshare.net/fionabeal/google-forms-so-easy-to-use" target="_blank" title="Google forms - so easy to use">Google forms - so easy to use</a></b> <iframe allowfullscreen="" frameborder="0" height="355" marginheight="0" marginwidth="0" scrolling="no" src="http://www.slideshare.net/slideshow/embed_code/11738513" style="border-bottom: #ccc 0px solid; border-left: #ccc 1px solid; border-right: #ccc 1px solid; border-top: #ccc 1px solid;" width="425"></iframe> <br /><div style="padding-bottom: 12px; padding-left: 0px; padding-right: 0px; padding-top: 5px;">View more <a href="http://www.slideshare.net/thecroaker/death-by-powerpoint" target="_blank">PowerPoint</a> from <a href="http://www.slideshare.net/fionabeal" target="_blank">Fiona Beal</a> </div></div></div>

30 days of web tools google Google #2: You’ll definitely love using Google forms

Google Forms is probably one of the most useful and often underutilized Google tools. They can be used for so many different things as I wil...

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