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4 Valuable Tips on How to Plan Your Media Room Makeover
Media Room
Anyone with a free room in their home wouldn't think twice before turning it into a media room. A media room also referred to as a home theatre, is a space that is specifically designed to produce the intensity of cinema experience. Media rooms are usually fitted with soft lighting, ample seating and projection screens or large flat-screen televisions.
Sponsor: Parking Lot Striping Atlanta


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Donate Shop Login
This coming August, I consider myself truly lucky to celebrate 15 cancer-free years! In honor of this, I've decided to run the upcoming 5K and raise funds and awareness for ovarian cancer research. If you feel you can donate, please consider doing so. If you feel like joining my team and walking or running this coming weekend - I'd love that too! This cause is very dear to me, and I'll appreciate all the support I can get! Together we can make a difference! Many thanks in advance! Best - Mary Pat

subset: commoncrawl


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THE IRISH FARMERS Association says that half of pig meat tested in Ireland isn't Irish.
The Association says findings from their DNA-testing programme on pigmeat shows that consumers "continue to be misled".
They added that is a "very disappointing level of support for Irish pig producers".
From almost 300 samples that have been collated and sent to DNA firm IdentiGen for cross-checking with the Irish boar DNA database, 52 per cent of products are not Irish, the IFA found.
The IFA research found that suppliers are using labelling that suggests that the meat is Irish when it is, in fact, imported.
One firm, the IFA says, is a member of the Love Irish Food campaign and uses that logo on imported pig meat.
Among the other findings are that one of Ireland's two major indigenous retailers, Dunnes Stores, fares poorly in the test results for its own St.Bernard brand, with only half of its samples matching the Irish database.
IFA Pigs and Pigmeat Chairman Pat O'Flaherty said that the campaign was designed to better inform consumers.
"The idea behind this pilot campaign is to help consumers make informed decisions when buying pigmeat products and to increase the sales of Irish product in the domestic and export markets".
Read: This $110 cologne will make you attractive to cows


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UNC is chasing a national championship.
This sentence could be copied into an article about almost any sports team on campus in any given year. But one of the teams most likely to win this year is one you may not be familiar with.
UNC Darkside, the men's ultimate frisbee team, is a national powerhouse. Starting back in 2012, Darkside has qualified for nationals six years in a row, including a national championship victory in 2015. The first-years on that championship team are now seniors, and they know they only have one more shot at bringing home another title.
"Some things may not fall your way, but you have to play through adversity," senior captain Nathan Kwon said. "It is about grit and heart and focus. I see us going all the way this year."
Last year Darkside thought they could do it, but they came up short. After a thrilling comeback victory in the quarterfinal against Wisconsin, Darkside lost a sizeable lead late to a tough-nosed UNC-Wilmington team. They don't want that to happen again.


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Business Development Managers – Herida Healthcare – Midlands
Roles Available: Business Development Managers
Locations: Immediately looking for the Midlands (Flexible location base, so could be based from Worcestershire (West), Staffordshire, Birmingham, Nottinghamshire or Leicestershire regions). Various other UK regions available and with some European locations considered.
Remuneration Details: £28-£35k basic plus High OTE, company vehicle and IT package and pension contribution included. Additional benefits on offer.
We have fantastic opportunities for the very best Business Development Managers, who alongside a great team, can make things happen. If you wish to join a forward thinking, pressure care manufacturer in changing but opportunistic market conditions, you should call the best. We are currently concentrating on the Midlands location as a priority to join our highly trained and valued Business team. However, we are equally open to discussing the geographic regions of exceptional candidates, regardless of location.
The role(s) will involve:
- Finding new sales prospects without conflict to our OEM partners. Following up on business opportunities and establishing daily meetings with clients within the NHS, Community Equipment Service sector, Dealers, Private sector and that of *nursing and residential settings (* via our partners serving this group).
- Extensive Travel or a minimum requirement to meet the needs of our valued customer base (current and prospective).
- Preparing and delivering sales presentations (power-point etc.) but mainly product demonstrations / overseeing local trials.
- Promote our clinically proven range – Taking further market share
- Introducing new product developments and ideas to existing and prospective clients
- Writing some basic reports – CRM, sales forecasting and diaries are expected to be completed on a weekly basis.
- Closing identified sales prospects
- Ensuring regular communication occurs with the management structure.
Company Overview:
Herida Healthcare Group of Companies is a fast-growing British manufacturing company, providing a truly global pressure ulcer management equipment solution. Based in Leeds, it was established by a well-seasoned management team with many years of combined experience within the global pressure care and moving and handling markets. By engaging this vast knowledge, alongside key and proven sector opinion leaders with a true understanding of pressure ulcers and their causes, we have been able to create an outstanding range of proven products, which offer total value for money.
Visit our website or social media pages for further information about our company and truly dynamic product range:
Web: http://heridahealthcare.co.uk/
Twitter: https://twitter.com/heridahealth
Facebook: https://en-gb.facebook.com/heridahealth/
Are you are one of life's "go getters" and feel you have what it takes to work in an exciting and fast-moving, progressive organisation with the very best in Industry? If that's the case, then in the first instance send your up to date CV and current package details to firstname.lastname@example.com or our Human Resources (HR) team on firstname.lastname@example.com.
Also, feel free to contact HR on UK Freephone 0800 193 6030 or +44 800 193 6030 from overseas for further details.
Call us or mail today in what could be your smartest move of the year for you and us!


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- Details
- Last Updated: 15 February 2017 15 February 2017
|Policies and Regulations
|NEPN Code: IMG
Animals on School Grounds and in School Buildings
The Sioux Falls School District recognizes that animals can offer valuable student learning experiences. Animals may be allowed in schools only for specific and appropriate educational purposes. Appropriate precautions must be taken to assure the health and safety of students, staff, and visitors, and to assure the humane treatment and protection of the animal.
The Superintendent is authorized to develop regulations regarding animals in schools. These regulations should give guidance on the safety and care procedures required for animals on school grounds, including what animals are prohibited.
Related Policies/Regulations:
JLCG/JLCG-R – Program Access for Students with Disabilities or with Substantially Limiting Health Impairments (Service Animals)
|Board Action


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On Wednesday, British engine manufacturer Rolls Royce announced that it will spend $315 million to move forward with the repairs of the Trent 1000 engines delivered to its customers. The engines currently power Boeing 787 Dreamliner model throughout the world across numerous airlines.
The amount of affected engines is around 440 engines among 220 aircraft. It is expected that the engines are going to be extremely and regularly vetted and replaced by newer engines when available, with an estimated date of completion by the end of 2022.
In a statement released on Wednesday, the company stated: "These issues have required urgent short-term support including both on-wing and shop visit intervention which has resulted in increased disruption for some of our customers. We're making solid progress with longer-term solutions, largely through re-designing affected parts."
Regarding airline operational disruptions, a part of the cost of repairs is dedicated to compensation for Rolls Royce customers affected by the issues. Some of the affected airlines are All Nippon Airways, Air New Zealand, Norwegian Air Shuttle and LATAM, who recently sent three of its two-year-old Dreamliners to Victorville Storage Area where the aircraft are going to be preserved until RR applies the retrofit.
Norwegian is expected to swap 42 of its 787s, and Air New Zealand has taken two Dreamliners out of operation, switching back to 777 for a number of long-haul routes, including Auckland-Buenos Aires service. For Norwegian, however, the Dreamliner is the only long-haul aircraft in the fleet, which will most likely lead to substitute aircraft being used by the low-cost airline.
After being impacted by Airworthiness Directives issued by both FAA and EASA, the maintenance costs for the engines saw a steep increase, as the availability decreased dramatically due to the mandatory inspections. Also hit by the Trent 900 engine issues are A380 customers. The total cost the manufacturer will have to face is about $1.2 billion for both engine types.
Boeing addressed the issue last December when Paul Bergman, spokesman for the aircraft builder, stated that "Boeing is working with Rolls Royce and the airlines to ensure the engine issues are addressed in a timely manner."
It is unclear if the engine issues are going to affect future Dreamliner sales, as the model is winning orders without an observable impact. But, the financial cost that Rolls Royce is taking to retrofit the current engines, the cost of the redesign and the loss of confidence that can be translated to an alternative engine choice for the type, present a dark outlook for the engine manufacturer in the years to come.
Pablo Diaz
Technology and systems expert, occasional spotter, not-so-dynamic midfielder, blogger, husband, father of three cats; he believes that Latin America's aviation industry past, present, and future offer a lot of stories to be told.
Latest posts by Pablo Diaz (see all)
- JetSmart Slated to Take over Norwegian Air Argentina Operations - December 4, 2019
- United Orders 50 Airbus A321XLRs, Defers A350 Deliveries - December 3, 2019
- Norwegian's Argentinian Venture Set to Cease Operations - November 28, 2019


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SHOP at Smile.Amazon.com and choose Bunny Bunch Rabbit Rescue as your charity. Now through November 2nd, they will donate 5% to our rescue!
We rescued hundreds of rabbits every year, lots of Mums and babies, and we specialize in special needs through our Angel Fund.
Please help us help them!
Honey Bunny Love Bug was going to be euthanized by his owner as a baby because he has splayed back and front legs. But Bunny Bunch rescued him as part of our Angel Fund. Here he is all grown up.
Your donations made this happen.
Thank you,
Caroline & the buns


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Database Development for small-medium businesses
What is a database application/solution
A database application is an excellent tool for managing and storing data when spreadsheets like Excel are not enough.
With database applications like FileMaker Pro, you can create interactive forms, run reports against data, and publish web applications.
So why not using an open source database?
An open source database like mySql, or databases like SQL server or Oracle are just data stores. They do not provide means for entering data or reading data by users- only by software.
A database application like FileMaker provide means for users to interact with the data - inserting,deleting etc.
What is FileMaker®
FileMaker Pro® is a platform that allows
development of custom database solutions . FileMaker® was recently purchased by Apple - a fact that ensures
a continuous evolvment of the application.
FileMaker® Advantages
- FileMaker® works on Windows,Mac, iPad and iPhone.
- Development on FileMaker® is relatively fast. It saves development time, thus saves client's money.
- FileMaker® supports hundreds of concurrent users. Users of FileMaker® range from single users to Forbs 500 companies.


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– Bali wines
Bali wines http://www.thejakartapost.com/news/2012/10/14/a-sip-bali-wines.html Bali wines are made by people who believe they can start a new wine trend, in a land where holly books rule. Bali wines are beginning to gain the respect they deserve, as evidenced by the wine poetry by St. Regis Bali Resort's Sommelier, Harald Wiesmann. But[…]Read More »


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Student Lending Art Program
The Student Lending Art Program is a unique and popular MIT tradition that allows MIT students borrow original works of art from the MIT List Visual Arts Center. Explore the online web portal to peruse the works and to learn more about the history of this exciting program and collection.
Students live with and care for a work from the collection. Participating students proudly hang artwork borrowed from the collection in their private rooms and communal spaces.
Check out the upcoming 2019 Student Lending Art Program Exhibition here.
The List Center actively collects new works each year with leadership support provided by the Alan M. May Fund and the John Taylor Endowment.
In 2017-2018 the List Center received gifts of art from Karen & Gregory Arenson, Hope & Mel Barkan, Arlette & Gus Kayafas, and Neil Ross. Additional funds for acquisitions were provided by Karen & Gregory Arenson, Idee German- Schoenheimer, Alberta Gerschel & Peter Wasserman, Joan L. Lewis, Anne & Kurt Locher, and the Friends of Boston Art.
Support for the program is provided by Vera G. List, MIT's Campus Activities Complex, MIT List Friends of Boston Art, Stanhope Framers, and the Council for the Arts at MIT.


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As I'm in my kitchen, feeding my children that "last snack" (after brushing their teeth) that they begged for- saying, like most nights, they're too hungry to sleep yet…
I try to hustle them along since we're past bedtime, and as they finish up the last blueberry, I turn off the light in the kitchen/dining area.
I did this to further assist them in the understanding that we are moving on… were no longer dwelling in this place (the kitchen).
We're moving along. My son says "Mommmmm!! Turn on the light I can't see!!!" But mom is not doing that, I don't say anything- just move toward the next room. He gets it. He sees by the light of the lit room that lies ahead, and gets that "mom is moving on". I just sensed a God moment happening here. Isn't it so parallel to our walk with our good Father? Our wise King.
We go through various seasons and conditions with the Lord. It is part of our journey. But through it, He is with us. Guiding and leading us. He is patient, gentle and loving but also very wise and firm. Sometimes, if we're having a hard time moving on, He will allow a fog or as He moves- the light also moves. He is the Light.
He does this because He is done in that place and is moving on to something new. To be with Him & to be able to see clearly- we must follow Him & go where He is going. This brings to mind this story about the Israelites journey in the wilderness:
Numbers 9:15-18.
On the day the tabernacle, the tent of the covenant law, was set up, the cloud covered it. From evening till morning the cloud above the tabernacle looked like fire. 16That is how it continued to be; the cloud covered it, and at night it looked like fire. 17Whenever the cloud lifted from above the tent, the Israelites set out; wherever the cloud settled, the Israelites encamped.
The featured photo was from a much needed hike I was privileged to take. I believe in this place began the transition from "the wilderness" to this new and higher place He is leading me to. I wasn't able to see very clearly and got a bit stuck in this previous season. But He lovingly helped me along and as I am making my focus >[being with Him]< everything is naturally being ILLUMINATED 🔥🕊.


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Study in Poland, Poland Educational Consultants in Dilsukhnagar Hyderabad Educational Consultants for Poland in Dilsukhnagar Hyderabad , Poland Educational Consultancy in Dilsukhnagar Hyderabad, LLC Consultancy leading Study in Poland consultant in Dilsukhnagar Hyderabad
Poland is located in the very centre of Europe. Mild, oceanic climate. Poland is a perfect European country with a portion of the finest establishments offering world class instruction at moderate expenses. Poland has a glad history of more than 650 years of instructing prominent experts. It doesn't end here, Poland has a great deal in store for you beginning from a blend of societies that genuinely reflects in everything from culture, engineering, music and food making .Poland a powerful goal for global understudies who in the midst of their reviews squeeze out time to investigate the delightful urban communities and rural wide open of Europe.
- We provide top Quality education.
- Moderate fees compared to other countries.
- Affordable costs of living.
- Best Country in the World to Live & get settle down.
- Poland makes entry easier to Germany and other European countries.
- Poland has strong economy growth.
- You can earn while you study, and also work permitted for 20 hrs per week, while pursuing the course and also you can work full time during holidays.
- After study student can avail 1 year visa for Job search and extended work permit up to 3 years.
- A very easy chance to get a permanent residence visa.
- NO IELTS / interview required.
Education system
Poland has more than 400 universities and institutions, both public and private, which cover over 200 fields of study, they include
- Universities of economics
- Universities of arts
- Universities of physical education
- Public and private universities
- Medical universities
- Universities of technology
- Universities of agriculture and life sciences
- Universities pedagogy
Course fees differ in private institutions and public universities though ranges from €2,000 to €6,000 per Year depending on the course and institution.
*Course fee varies from university to university and program of study
Technical universities
- AGH University of Science and Technologyin Kraków
- Białystok Technical University
- Częstochowa University of Technology
- Gdańsk University of Technology
- Silesian University of Technologyin Gliwice
- Kielce University of Technology
- Koszalin University of Technology
- Lublin University of Technology
- Technical University of Łódź
- Opole University of Technology
- Poznań University of Technology
- Kazimierz Pułaski University of Technology and Humanities in Radom
- Rzeszów University of Technology)
- Tadeusz Kościuszko University of Technology
- West Pomeranian University of Technology
- Warsaw University of Technology
- Wrocław University of Technology
Public Universities
- University of Białystok
- Casimir the Great University
- University of Gdańsk
- John Paul II Catholic University
- Jagiellonian University
- Maria Curie-Skłodowska University
- University of Łódź
- Nicolaus Copernicus University
- University of Wrocław
- University of Zielona Góra
- Jan Kochanowski University
- Cardinal Stefan Wyszyński University
- University of Warsaw
- Opole University
- University of Warmia and Mazury
Life sciences
- University of Technology and Life Sciences in Bydgoszcz
- Agricultural University of Kraków
- University of Life Sciences in Lublin
- University of Life Sciences in Poznań
- University of Natural Sciences and Humanities in Siedlcein Siedlce
- Warsaw University of Life Sciences
- Wroclaw University of Environmental and Life Sciences
Medical universities and colleges
- Jagiellonian University Medical College
- Medical University of Białystok
- Collegium Medicum inBydgoszcz of the Nicolaus Copernicus University of Toruń
- Medical University of GdańskMedical University of Silesia in Katowice
- Medical University of Lublin
- Medical University of Łódź
- Poznań University of Medical Sciences
- Pomeranian Medical Universityin Szczecin
- Medical University of Warsaw
- Wrocław Medical University
Universities of economics
Academies of music


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As most of you already know, I am holistic nutritionist, beauty therapist and a massage specialist with over sixteen years experience. I share my knowledge of nutrition in the daily running of my award winning Peaches & Lime Beauty and Nutrition Salon to help people improve skin conditions, topics on anti ageing nutrition, weight loss, improved energy, to help lower cholesterol, IBS, Arthritic pain and other specific health concerns.
Giving my clients nutrition advice and offering one-to-one nutritionist consultations has always been a vital part of my business. More and more people today are looking for professional advice regarding their diet, nutrition needs and well-being so I decided to set up a separate Nutrition blog where you will find expert nutrition tips on how to loose weight and become fit and healthy for life.
I will be happy if you will take a look at what has been done so far! You can check out my Nutrition blog here: https://peachesandlimenutrition.blogspot.ie/ and you can also follow my Nutrition account on Twitter (@peachesandlimen) for more news and information!


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Jay Arnold from Plainfield, Indiana, has retired from his primary occupation as a custom homebuilder but he's never stopped as a working musician, playing the bass guitar since he was 10 years old. He's also been a car guy from about that same age, building miniature models and then later personalizing a series of fullsize vehicles. Creating a cool custom classic truck, however, has been an item on his bucket list for many years. The opportunity came in 2011 when he found a very tired 1954 F-100 in a small town parked in someone's front yard with a $2,500 price tag. It had a Chevrolet motor, a bunch of patch panels, and the seat wasn't even bolted down. After the safety issues and some of the rust problems were addressed, Jay drove it for about a year and half in primer before contacting his good friend Jim Bonesteel, owner of Bones Body Shop in Avon, Indiana.
Jay describes the initial conversation with a smile, saying, "I had a lot of excitement about what I wanted in the build but Jim kept me reined in. He had a more accurate vision of what was possible than I did but he let me provide lots of input. The goal for the truck was simple. I liked the idea of creating something that would not break down and would be dependable. I also wanted to one day drive it in the local parade with the four grandkids in the back. Jim's advice and experience were invaluable."
With a clear charter established, Bonesteel took the truck completely apart, starting the upgrade with the chassis, sandblasting it, and painting it with Gloss Black POR-15 rust preventive paint. Fortunately, a unique solution to many of the planned upgrades presented itself when they heard about a 2008 Crown Victoria Police Interceptor that had been in an accident. It had low mileage and was available at a low price. Jay snapped it up and it became the donor car for the rest of the project, beginning with adapting the boxed F-100 chassis rails to accept the entire Crown Vic front clip. The motor, automatic transmission, computer, power brakes, power steering, air conditioning, and more were repurposed during the transformation. They took a different approach in the rear, modifying an Explorer 8.8 and holding it in place with a Heidts four-link and coilovers. The original Interceptor 4.6L V-8 was installed under the hood, with just a few modifications for a little extra horsepower, like the Spectre cold air kit and dual MagnaFlow mufflers. A custom tune was dialed in by Automotive Specialists in Noblesville, Indiana. Don't be fooled by that vintage-style air cleaner on top. It's designed to give the engine the nostalgic look of a carbureted motor but in fact a standard Police Interceptor fuel-injection package resides underneath. In order to make the EFI work they fitted the stock 17-gallon F-100 gas tank with an Econoline fuel pump and custom return line. Not only was the donor car a great solution to sourcing multiple components during the rebuild but now Jay says "The finished truck is quick, reliable, and gets 22 miles per gallon on the highway!"
There are very few external body mods on the truck since Jay's vision was a beautifully restored original with a flawless paintjob rolling on modern wheels. Economics played a role in the exterior renovation since much of the original sheetmetal was in poor shape and would cost more to repair than to replace. The original cab and doors were retained and Hot Rods Classic Truck Parts in New Carlisle, Ohio, made the restoration easier, supplying new fenders, hood, and bed. Bonesteel bolted everything in place, ensuring a tight fit with all the gaps properly aligned. Red Oak covers the bed floor with stainless strips in between. Starting to look like a truck, the "Effie" rolls on American Racing Torque Thrust rims, 17x8s up front and 18x8s in the rear, with Goodyear rubber.
Moving inside, one of the first challenges was adapting some of the new electronics to the original Interceptor wiring harness, now located on the rear cab wall. The talented crew at Ron Francis created add-ons that allowed the use of the Dakota Digital instrument package. Vintage Air was also a priority and a valance panel was added under the dash to accommodate the vents. Jim's Auto Trim in Mooresville, Indiana, did the upholstery, covering the 1995 F-150 bench seat with tan and Teak Brown Italian Caprone leather, a top grain Aniline leather that features a protective topcoat. The power seat is equipped with adjustable lumbar bladders but the seat controls were relocated from the side to underneath for a cleaner look. The elaborate stereo package begins with a Sony head unit hidden behind a removable panel in the center of the dash. It controls the 1,500-watt JBL amplifier on the rear cab wall that drives a collection of JBL speakers, beginning with a 10-inch sub underneath the seat and 6 1/2-inch separated component sets in the kick panels. As a final touch and just for fun, they motorized the old manual cowl vent.
Every truck has a special feature, something that is uniquely important to the owner. In Jay's case it's the Cocoa Mat, something that harkens back to the '70s when Jay was a Volkswagen enthusiast. "When I was done with the truck, I researched suppliers and finally located one in South Carolina. I drove the truck to them, they measured my truck and a couple of weeks later, and they mailed me my custom mat. It's a unique touch and I love it!" Bonesteel wrapped up the 2 1/2-year effort by spraying the distinctive Italian Racing Red Pearl, a Jaguar color.
How is the completed truck to live with? Jay and his wife, Karen, love getting behind the wheel and driving the truck everywhere. They have already accumulated more than 10,000 trouble-free miles with the only anxiety occurring the very first weekend it was done. The freshly completed truck was in a wedding and scheduled to transport the bride to the ceremony. Jay says, "I had this fear that it might not behave but it ran perfectly, idled smoothly, and never overheated. It was a great relief."
Facts & Figures
Jay & Karen Arnold
1954 Ford F-100 Pickup
Frame: Boxed Ford frame
Rearend / Ratio: Explorer 8.8, 3.55 gears
Rear Suspension: Heidts four-link, Panhard bar, and coilovers
Rear Brakes: Explorer power discs
Front Suspension: Crown Victoria Police Interceptor
Front Brakes: Crown Victoria power discs
Steering Box: Crown Victoria power
Front Wheels: American Racing Torque Thrust M 17×8
Rear Wheels: American Racing Torque Thrust M 18×8
Front Tires: Goodyear Assurance 235/60R17
Rear Tires: Goodyear Assurance 235/65R18
Gas Tank: Stock F-100, 17 gallons with Ford Econoline fuel pump and custom return line
Engine: Ford Police Interceptor 4.6L V-8
Heads: Factory
Valve Covers: Ford
Manifold / Induction: Factory
Ignition: Factory
Headers: Factory
Exhaust / Mufflers: 2.5 stainless, MagnaFlow mufflers, rectangular exhaust tips
Transmission: Interceptor Automatic
Shifter: ididit column
Style: F-100 pickup
Fenders Front / Rear: New from Hot Rods Classic Truck Parts in New Carlisle, OH
Hood: New from Hot Rods Classic Truck Parts in New Carlisle
Grille: Chrome from a 1956 F-100
Bed: New from Hot Rods Classic Truck Parts in New Carlisle Red Oak bed floor
Window Glass: Tinted Vintage Glass with one-piece side glass
Bodywork and Paint by: Jim Bonesteel, Bones Body Shop in Avon, IN
Paint type / Color: Jaguar Italian Racing Red Pearl
Headlights / Taillights: Projector beam headlights and LED taillights
Outside Mirrors: Chrome stock
Bumpers: Chrome stock
Dashboard: Reworked and painted to match, stereo hidden behind a custom dash panel.
Gauges: Dakota Digital instrument package
Air Conditioning: Vintage Air with valence panel added to the dash
Stereo: Sony head unit hidden behind a central panel in the dash, 1,500-watt JBL amplifier, JBL Crossover, JBL 10-inch sub and 6 1/2-inch separated component sets in the kick panels
Steering Wheel: Grant
Steering Column: Chrome ididit
Seats: 1995 F-150 bench seat, matching door panels with billet accessories
Upholstery by: Jim's Auto Trim in Mooresville, IN
Material / Color: Tan and brown Italian Caprone leather
Carpet: Custom Coco Mat, Dynomat added everywhere


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The topic of this article may not meet Wikipedia's notability guidelines for products and services. (July 2019) (Learn how and when to remove this template message)
This article may rely excessively on sources too closely associated with the subject, potentially preventing the article from being verifiable and neutral. (July 2019) (Learn how and when to remove this template message)
Zentyal Dashboard
|Zentyal S.L. (previously eBox Technologies S.L.)
|OS family
|Working state
|Source model
|Open source
|Initial release
|July 15, 2009
|Latest release
|6.0[1] / October 30, 2018
|Available in
|English (partially translated in 27 languages)
|Update method
|APT (Web front-end available through ebox-software)
|Package manager
|amd64 (x86-64)
|Default user interface
|Web user interface
|Official website
Zentyal (previously known as eBox Platform[2]) is an open source email and groupware solution based on Ubuntu Linux.[3][4][5][6]
Zentyal used to implement Microsoft Exchange Server protocols on top of standard open source components (such as Dovecot, Postfix, Samba, etc.) in order to provide native compatibility with Microsoft Outlook clients. As of release 5, Zentyal has dropped native compatibility with Microsoft Outlook using the MAPI protocol via OpenChange, due to unspecified issues[7]. The OpenChange project was discontinued in December 2015.
The email and groupware protocols supported by Zentyal are ActiveSync, SMTP, POP, IMAP, CalDAV, CardDAV and Active Directory.
Zentyal is distributed in two packages: Zentyal Server for SMBs and Zentyal Cloud for hosting providers. Zentyal Server has a development edition that is freely downloadable and its source code is available under terms of the GNU General Public License.
Main features of Zentyal Server[edit]
- Native compatibility with Microsoft® Exchange Server Protocols (before release 5)
- Support for Microsoft Outlook 2007, 2010 (before release 5)
- Native compatibility with Microsoft Active Directory® 2008, 2008R2, 2012
- Email, calendars, contacts
- Synchronization with mobile devices (ActiveSync® support)
- Antivirus and antispam
- Packaged in an Ubuntu-based server, providing domain and directory, basic networking and firewall services
Protocols Plugfest[edit]
In May 2015, Zentyal organized with Microsoft's sponsorship the first Protocols Plugfest in Europe,[8] aimed at open source communities and technology companies to present, test and discuss technical issues and content around open protocols and interoperability.
See also[edit]
- Cloud Software: Cloud computing
- Windows Server
- List of collaborative software
- List of mail server software
- Comparison of mail servers
External links[edit]
- www.zentyal.org — Project website
- www.zentyal.com — Company website
- ^ "ZENTYAL SERVER 6.0, MAJOR NEW VERSION RELEASE NOW AVAILABLE RELEASE=2018-10-30". Zentyal.org. Zentyal S.L. Retrieved 2018-11-19.
- ^ "Press Release: eBox Platform Changes Name To Zentyal". Zentyal.org. Zentyal S.L. 2010-08-19. Retrieved 2018-08-30.
- ^ Zentyal 2.0 review | LinuxBSDos.com
- ^ A young and pretty Linux server OS that takes a bit of work · The Register
- ^ DistroWatch Weekly, Issue 479, 22 October 2012
- ^ DistroWatch Weekly, Issue 541, 13 January 2014
- ^ http://www.zentyal.org/2016/11/zentyal-announces-zentyal-server-5-0-major-new-linux-small-business-server-release/
- ^ "Protocols Plugfest Europe 2015 - Connect Openly". 2015. Retrieved 2016-05-29.


text: Who wants to be a macha woman? Writer-journalist Grace Lichtenstein (Desperado) herself isn't sure, having survived an Outward Bound program with other 30-year-old-plus women, having suffered through a difficult trek across the Himalayas, and having interviewed the likes of distance-swimmer-cum-showwoman Diana Nyad. Lichtenstein, who recognizes the ambiguity in this ""exaggerated female pride,"" opts to retain the good qualities, ""ambition, self-reliance, flair, aggressiveness,"" while rejecting the bad: ""the boasting, the one-upmanship, the need to always come out on top."" Though we never clearly understand why Billie Jean King has machisma and Chris Evert Lloyd doesn't, we are treated to interviews with a variety of women who make risk and adventure part of their everyday lives. Janet Guthrie, shy-physicist-turned-race-car-driver, talks of the need for emotional detachment--""The essence is getting that car balanced on that beautiful edge""--and wishes that her colleagues would show more of it off the track: ""The flack ought to end. I have a record. The record is a good one."" Her cool is reflected in the matter-of-fact acceptance of the housewife become a professional hang-glider and the sisterhood of the mother/daughter stunt team. Macha women are not confined to sports: many get their kicks through business competition. Bettina Parker got her big break when, as a representative at the 1966 Moscow Trade Exhibit, she walked up to Brezhnev and insisted he look at her exhibit of communications equipment: ""I had spent a lot of time putting this show together and I was not going to let the biggest dignitary in the country pass me by."" She now runs a high-powered consulting firm helping clients sell to the Communist bloc. Others are sexual adventurers (Suzy Chafee: ""I have a Joan of Arc in me, a Lady Godiva, a poet, a philosopher, an actress. . ."") or take personal risks in the arts (Katharine Hepburn, Bonnie Raitt), or in politics (Bella Abzug, Barbara Jordan). Lichtenstein clearly believes the macha woman is here to stay. ""She is the newest daughter in a long line of pioneers. Maybe she's your daughter. Maybe she's you."" Maybe she's not, but whoever she is she makes for lively, occasionally even inspiring reading.


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Before Cassie and I left for Nicaragua my sister suggested that we take family photos. During our photo shoot my sister shared with us that she wanted to take these pictures for two reasons; she feared that we would never again have the opportunity to take another family photo, and because she wanted something to remember us by because she would not be visiting us in Nicaragua.
Thankfully both of my sister's fears have been mitigated as family pictures were once again taken and Carrie and Carl came for a visit this past April. We very much enjoyed and appreciated their visit and are already thinking about when we will get to see them again. I have included some of the highlights of their visit for your enjoyment.
There were a bunch of firsts during this trip as we visited a live volcano, Carrie and Carl swam in the ocean together for the first time, Carl and I got our picture taken with a guy with a gun, and Carrie had her first ever fresh coconut! They also experienced their first earthquake, but we don't have any pictures of that.
We took in many of the sights of Nicaragua and were happy to be greeted by some of the more hard to find inhabitants in the country and many of the beautiful picturesque moments. One morning we came across a family of monkeys by the beach and a host of crabs heading back into the ocean. We also spent our evenings watching the sun go down and took in many of the historical sights.
We enjoyed introducing them to our friends and family here, while soaking up the time that we had with them. It was a great time and we will always remember the many memories that we were able to create and will always share. We miss you Carrie and Carl!


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How to Get Rid of a Scab
Explore this Article Dressing the Scab Treating the Scab Article Summary Video Questions & Answers Related Articles References
There are 10 references cited in this article, which can be found at the bottom of the page.
A big, ugly scab can ruin a big night out, make it hard to wear skirts or shorts, and just seem unsightly. The most reliable way to get rid of a scab is to properly dress the wound so it heals quickly. You can also try some gentle treatment techniques to ease discomfort and possibly minimize scabbing. Above all, don't pick at the scab![1]
Dressing the Scab
1Make sure the scab is not oozing. Before you can properly dress a wound or scab, it should be dry. If your wound is oozing blood, place some sterile non-adhering gauze on it. If it soaks through the gauze, don't remove it. Removing it can restart bleeding by pulling off the healing tissue. Just place another layer of gauze on top.[2]
- Keep the gauze in place until the wound stops oozing.
2Clean all around the scab. Even if your wound has already started to scab over, it's important to keep it clean and moist. This helps it heal faster. Wash the site with soap and warm water, then rinse. Lightly pat it dry.[3]
3Moisten the scab to help it heal faster. While old ways assumed that keeping a scab dry helped it heal faster, modern research says keeping it moist is best. Slather a layer of petroleum jelly all over and around the scab after you have cleaned it.[4]
- You can also use antibacterial ointment instead of petroleum jelly, but this isn't necessary for most wounds.
4Cover the scab. Immediately after moistening the scab, cover it in a sterile non-adhesive bandage, such as gauze secured with tape. You can also use silicone gel sheets (look for these at a pharmacy), non-stick gauze wrap, or non-adhesive gauze under a wrap, especially if you're dealing with a big scab.[5]
5Put a fresh bandage on every day. While you're waiting for the scab to heal, take time to remove the bandage each day and clean the site. Moisten the scab again and cover it with a new bandage.[6]
- The scab still won't disappear instantly, but this will definitely speed up the healing process.
Treating the Scab
1Massage your scab to get some relief. Picking at your scab is a no-no, since this can cause scarring and make it take even longer for the wound to heal. If you want some relief from the itching that will also help get rid of the scab, try gently massaging it with a bit of petroleum jelly or moisturizing lotion. You can do this each time you put a new bandage on.[7]
2Try a soothing warm compress. For some instant relief, soak a clean cloth in plain warm water. Let it sit on the scab for fifteen minutes, but don't rub or scrub. This will provide relief from the irritation that makes you want to pick the scab. The water will also moisturize the scab, helping it to heal faster.[8]
3Coat the skin in a homemade paste once the scab comes loose. Mix some baking soda with enough water to make a paste. Apply the paste over the entire scab and let dry. When you're done, rinse it away with warm water. This will tighten the scab and draw it gently from the skin.[9]
- You can do the same thing with potassium alum, a naturally occurring form of aluminum salt, and is widely used as a deodorant and styptic (or astringent). Look for it at your local pharmacy.
- Alum tightens the scab by constricting the surrounding blood vessels, ultimately loosening the scab from its mooring on the skin.
4Dab at the scab with natural remedies. Several common products can kill germs, helping the wound to heal and the scab to clear up. Just soak a cotton ball or swab in the product, then dab it on your scab. Let it sit for a few minutes, then rinse and apply a new dressing. Try:[10]
- Tea tree oil
- Honey
- Aloe vera gel
- Apple cider vinegar (1 part vinegar to 10 parts water)
Community Q&A
QuestionWill this work for scabs on my face?Sarah Gehrke, RN, MSSarah Gehrke is a Registered Nurse in Texas. She received her M.S. in Nursing from the University of Phoenix in 2013.
Registered NurseRegistered NurseExpert AnswerOf course! Caring for a scab on your face is important to prevent scars. Just remember not to pick it, and keep your scab moist.
QuestionWill this work on scabs that have turned black?Sarah Gehrke, RN, MSSarah Gehrke is a Registered Nurse in Texas. She received her M.S. in Nursing from the University of Phoenix in 2013.
Registered NurseRegistered NurseExpert AnswerYes, these steps can work. The dark rusty-brown color, often black, is the scab--the crust the forms over the injured area (the coagulation of blood). The best thing you can do is keep your scab moist no matter how dark of a color it has turned. The scab will generally remain in place until the skin underneath has been repaired and new skin cells have appeared, after which it naturally falls off!
QuestionShould the baking soda and water sting?Community AnswerYes. The baking soda and water will sting when they touch the affected area, but they are not harmful.
QuestionHow long will the scabs take to heal completely after using each of these methods?Community AnswerIt will usually take 2 to 10 days to completely get rid of the scab.
QuestionHow long does it usually take for the baking powder solution to work?Community AnswerIt depends on the size of the scab, but generally anywhere between two days and a week.
QuestionWhat is the best way to keep myself from picking at scabs?Community AnswerTry stick a Band-Aid over your scab, wearing thick gloves, or rubbing your forefinger over it without using your nails. You can also promise yourself a reward if you don't pick at it.
QuestionWill baking soda and water still work if I peeled the scab from a cut?Community AnswerDry the area and wait a day or two, the scab should form again. Then go ahead with the method of your choosing.
QuestionHow can I tell when a cut is going to scab?Community AnswerA cut is always going to turn into a scab. It can take a of couple hours or a few days.
QuestionIf the injury has just started to scab, will these methods still work?Community AnswerIf there is at least a thin coat covering it, then yes. If it is raw and open, then no, you should wait.
QuestionI have a scab on my hand and even if my hand is still, it hurts a lot. Will any of these help with the pain?Community AnswerThese methods are to help your skin heal faster, not relieve pain.
wikiHow Video: How to Get Rid of a Scab
Article SummaryX
To get rid of a scab, keep it moist by covering it with a layer of petroleum jelly and a bandage every day so it heals faster. Once the scab starts to come loose, make a paste with baking soda and water and apply it to the scab to help tighten it and draw it away from your skin. When the paste is dry, rinse it off with warm water and your scab should come right off! To learn more from our Registered Nurse co-author, like how to clean the scab when you first get it, keep reading the article!
- Don't keep touching it as that will make you want to pick it.
- Wash your hands before treating the scab.
- Don't pick the scab, this will make it take longer to heal and may cause a scar.
- Don't put makeup on the scab. It will make a mess and won't cover up the scab.
- ↑ https://www.ncbi.nlm.nih.gov/pmc/articles/PMC479044/
- ↑ http://www.sja.org.uk/sja/first-aid-advice/first-aid-techniques/how-to-put-on-a-dressing.aspx
- ↑ https://www.aad.org/public/skin-hair-nails/injured-skin/wound-care
- ↑ https://www.aad.org/public/skin-hair-nails/injured-skin/wound-care
- ↑ https://www.aad.org/public/skin-hair-nails/injured-skin/wound-care
- ↑ https://www.aad.org/public/skin-hair-nails/injured-skin/wound-care
- ↑ http://kidshealth.org/en/teens/wounds.html#
- ↑ http://www.newhealthadvisor.com/How-to-Heal-Scabs-Fast.html
- ↑ http://www.newhealthadvisor.com/How-to-Heal-Scabs-Fast.html
- ↑ http://www.newhealthadvisor.com/How-to-Heal-Scabs-Fast.html
Article Info
Categories: Scabs
In other languages:
Español: eliminar una costra en la piel, Deutsch: Wundschorf entfernen, Português: Curar uma Ferida, Nederlands: Van een korstje afkomen, Italiano: Far Sparire una Crosta, 中文: 去痂, Français: se débarrasser d'une croute, Русский: избавиться от парши, Čeština: Jak se zbavit strupu, Bahasa Indonesia: Menyembuhkan Keropeng, ไทย: รักษาแผลตกสะเก็ด, 한국어: 딱지 제거하는 방법, العربية: التخلص من قشرة الجروح, Tiếng Việt: Xử lý vết thương đóng vẩy, 日本語: かさぶたを治す


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- Info
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Snail Platformer
Play as a hungry little Snail as you crawl around trying to find purple treats.
Snail have sticky feet that can crawl upside down and goes into his shell.
As Always, Good Luck and Have Fun.
★ [Left & Right] Move
★ [Left & Right] Move
★ [Space] Extend neck (use to get across gaps)
★ [Up] Reach upwards (not as far)
★ [Down] Into shell (shield) / or Drop down
★ [Q] Quit (and save / view high scores)
★ Fast Forward Button to speed up time (if you want)


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Caitlin Cooper
Caitlin Cooper, an integrative nutrition coach, NLP practitioner, and anti-inflammatory food blogger, specializes in dealing with chronic pain and inflammation. Her practice is an extension of her life drawing experience from years of debilitating spinal surgeries, endometriosis, and being disabled — all while coaching clients from her bed. Caitlin drives client success with her unique perspective on diet and mental outlook combining anti-inflammatory foods, daily healing rituals, and creating renewed mindsets to lead a life with less pain. CaitlinInspires.com is the umbrella for her practice where you can find the healing recipes, guided visualizations, daily inspiration, tips, and techniques that she and her clients use to live pain-free.


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RadTest Australia are very proud to recognise 10 years of service by Emily and Bryan at the RadTest Australia ''coalface''. They are tasked with the day to day running of the company and have seen the business go from its basic conception to the current multi-employee/ Australia wide operation.
Well done Emily and Bryan- we look forward to future milestones as the company keeps expanding its scope in the field of radiation safety and training.


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Halifax, Nova Scotia Drug Rehab Centers
Drug Rehab Services is a no-cost referral agency to inform you and help you find the proper treatment for drug alcohol addiction. We have helped thousands of persons getting the proper help in the following services:
- Outpatient treatment
- Alcohol counseling
- Residential treatment in Nova Scotia
- Detox centers for alcohol
- Private alcohol rehab
- Alcoholism
Our goal is to provide you the best advice possible for drug rehab in Nova Scotia for addiction so you or a loved one get a drug free life.
The city of Halifax is no stranger with people struggling with addictions to pain medications, and like many other Maritime provinces, there are limited resources to help these individuals addicted to or abusing prescription pain meds or illegal opiates. With a population of just over 300,000 people, drug problems affect people from all parts of the province. The rehabilitation services and programs throughout the city include outpatient treatment, inpatient programs, youth treatment, aftercare support, twelve-step meetings, and other support groups. Pain medication and opiate addiction is a serious problem within the city, and this is not to mention other issues with such drugs as cocaine and crack cocaine.
Halifax, Nova Scotia
Halifax is the capital city of the province of Nova Scotia. Apart from this, it is also the 14th largest city in the country. However, its population is minuscule and stands at three thousand. The city has a lot of history and culture; however, the recent economic crisis and job cuts have resulted in a lot of drug-related crimes and a sizeable number of drug addicts and alcoholics in the city.
The city of Halifax looks to curb these drug addiction issues and alcoholism issues with the help of its robust drug and alcohol rehabilitation centres, outreach programs, residential centres and detox centres. Once a drug addict or alcoholic is admitted in the rehab, appropriate care and measures are taken so that they recover completely and leave the rehab with a determined will of making it through addiction and alcoholism. The efforts of those in these rehab centers cannot be ignored, the reason being that with the increasing number of addicts and alcoholics and that drugs can be easily purchased off the streets only make the situation of combating drug addiction and alcoholism a bit difficult.
Drug rehabs in Halifax
There are several drug rehab centres in Halifax and all of them are dedicated to taking care of individuals who are addicts and are looking for some home and cure to their addiction. Most addicts in this city are addicted to drugs like cocaine, crack cocaine, GHB, Marijuana, Heroine, Oxycontin, prescription drugs as well as party drugs party drugs like Ecstasy.
Most of these rehab centres run a step-by-step process that is dedicated to handling individual issues of drug use and alcoholism. Although every individual case is different, the methods, to counsel, and take care of drug addicts is almost the same. Most of these rehab centers in Halifax are residential centers, drug rehab centres, alcohol rehab centres, outpatient rehabilitation centres, medical detoxification centres and even counseling for all kinds of addiction and alcoholism.
Halifax drug addiction information
The number of crimes in the city of Halifax is only increasing; this is largely associated with the increase in the number of drug addicts in the city. Another reason for the rise in crime in the city is because of alcoholism. However, it is not easy to contain these two vices, but the issue here is that the vice only seems to grow. The crime report of the country also states that the number of victimization is at 157 incidents per 1000 population, and this makes it the second-largest crime capital of the country. The figures are surely astounding considering the basic fact that the population is very sparse here.
Drug Seizures in Halifax
The local police in Halifax have constantly been on the lookout for any kind of drug-related activity that involves buying and selling of illicit drugs in the city. Almost every year, they seize drugs either in residences or while en route into the city. This is a cause for major concern, as its not only drugs that get into the hands of the police along with it also comes weapons which is a clear indication that people not only want to get high on drugs but are also willing to commit a crime for the sake of it. With a high number of drugs being seized within the city it is no wonder that the crime rate has shot up and now has the second-highest crime-related activity among all the other cities in the country. The only way to stop this mayhem is if you know of anyone in your home or friend circle that are looking to get out of this desperate condition then you need to get them to a rehab center so that they can be treated for it.
Work Cited: http://www.canadadrugrehab.ca/


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Drinks with Friends
We serve alcohol daily in the coffee lounge, but on Friday and Saturday night we dim the lights, change things up and Boheme makes the transformation to become a very exclusive speakeasy style bar serving cocktails, craft spirits, wines and ales. At the speakeasy bar, our emphasis is on serving high quality drinks in safe and comfortable surroundings for a fun and friendly time. We do not serve cheap spirits or cheap lager, white cider or shots of luminous goop.
As Boheme is a small and intimate venue, we have chosen to stock our bar with a carefully selected range of drinks aiming for quality over quantity. In particular, the spirits and wines are hand-picked premium brands that offer exceptional quality and value for money. We also stock a broad range of Fever Tree mixers and soft drinks to complement these perfectly.
The Magic is in the Music
In the evening we adjust the music for a better bar experience generally playing hand curated selections on a theme. We believe You can expect some great tracks spanning genres like Blues, Funk, Soul, Rock, Indie & Alternate, 80s , Old School Rap, House and many more including some more eccentric choices . We believe music is incredibly important to the atmosphere in the bar and we want you to enjoy it just as well as your food and drink. For an idea of what we've been playing recently, check our scrobble.
Live Music
We quite often host live music events featuring some of the best local talent. During summer 2019 we will be having at least one live music event per month. Boheme is an intimate and personal venue where you can feel part of the music itself.


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Tag Archives: Chevy Metal
BottleRock 2019 Day 2: Neil Young and 14 other sets we loved on Saturday
NAPA — BottleRock Napa Valley's Saturday headlining slots covered the generational and cultural spectrum. On one corner of the grounds, you'd find a rare appearance from legendary singer-songwriter Neil Young with Promise of the Real. In another…


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A while back we covered a handy little work light from LOFTEK that we really liked. While digging through the LOFTEK website, we saw a bunch of other cool lights they offer so grabbed a few, including a surprisingly useful 12" LED Cube Light. With our cover photo looking more like …Read More »
Hands-On: LOFTEK Pioneer Portable LED Work Light
I admit it: I have a secret obsession with portable lights. I've got a bunch of tactical/EDC flashlights that I rotate through all the time (I guess I should review some of those, huh?) and several larger but still somewhat compact work lights—like my favorite, the Milwaukee M18 Radius that …Read More »
Milwaukee M12 Underhood LED Light
Working under the hood almost always requires good light. There are all kinds of work lights available on the market today—from old-school drop-lights to fancy LED lights that twist and turn in all sorts of directions. The best light is clean, consistent overhead light that doesn't get in your way …Read More »
Hands-On: TRiLIGHT Motion Sensing LED Ceiling Light
Back in January, we wrote about the new from Striker. At the time, we didn't have one on-hand so we only reported what we learned from our limited research. We also criticized its price but still liked the TRiLIGHT and wanted a few for our own garages. The good folks …Read More »
Garage Door Opener Not Working? Check the Lights and Get These.
Last year, at our old house in Jacksonville, we installed a new belt-driven garage door opener. What a difference it made in terms of noise levels—it was so much quieter. Like most door openers, this one had sockets for a light bulb on either side of the unit. Naturally, since I'm a …Read More »
Big LED Light for Dark Garages… for a Price
For decades, the vast majority of home builders have been installing insufficient, low-quality lighting in residential garages. The typical 400-600 square foot two-car garage will have a single E26 socket nearby or next to another single or maybe dual-bulb setup built into the garage door opener. With cars, tool boxes, …Read More »
Hands-On: Milwaukee M18 Radius LED Compact Site Light
One of the challenges we always have with flashlights, drop lights or LED stick lights with hooks and magnets is positioning them just right to illuminate our work area. Sure, these work lights certainly have a spot in our toolbox, but sometimes, we just need big, clean light. There are lots …Read More »
SpotCheck #25
This week's SpotCheck shines some light on the situation by focusing on some of the different lighting-related things people have sent our way recently. Hmm… this one appears to have broken 🙁Read More »


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Glo is going in!
She looks like a alien you didn't see her in Men in black 2?
wow .....
I guess Shawne was talkn to Gloria on the low for 2 years and he was cheatn on her with Tila at puffys party.
She went from Shawne's manhood to layn the smackdown on Tila for tweeting about her son!


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Description: Vintage 1980's 6-strand safari necklace made with a variety of peach and gray beads and three large gray and peach marbled plastic animals. The 6 strands are: 3 with small dark charcoal gray beads, 1 with peach speckled round beads, 1 with flat cement gray disc beads and 1 with gray and natural heishi beads combined with speckled peach and green beads, silver beads and the three large animal charms; a gray and peach elephant, a mostly peach with gray veins rhino and a gray and peach marbled giraffe. All 6 strands are attached to large grey connectors with short bead extenders attached to the clasp.
Size: 16 1/2" with 2" x 1 1/2" animals
Condition: Excellent
Price: $98.00


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Abstract Painting: The Screen and the Interface
To think around painting in terms of both the screen and the interface might seem to catapult discourse back to the 1990s when such relationships seemed imperative to the future of the discipline. Behind such propositions lurked the need to think horizontally across media rather than negotiate the vertical depth that plumbed the medium in its specificity, often adopting a 'techno-progressivist' thinking and rhetoric: roughly meaning that any medium, paradoxically, that didn't engage with 'new media' was doomed to extinction. It is not insignificant that abstract painting in the 1990s was strewn with a kind of computerized space and an approach to linear articulation that was more reminiscent of computerized graphics than free hand drawing or gesture. Mediation in this way, together with a suppression of facture, seemed to figure as necessarily de rigueur. Rather than 'structure' or structuring in the traditional sense many works embraced a situation of 'flow' (often with more than a nod in the direction of a Deleuzian rhizomatic field, or viral contagion) – the tropes, in fact, of video. By the end of the decade Jeremy Gilbert-Rolfe could state, "Painting, I should say especially nonrepresentational painting, can nowadays only refer to the colors of plastic/color photography/video (all the same thing), either affirmatively or by ignoring them: their presence is implicit." [1] An alignment, for Gilbert-Rolfe, was clear enough between ambitious painting practices and the 'intensities' of the ever-evolving video transmission in terms of light, colour and surface, the electronic instantaneous glow of the screen a touchstone. Gilbert-Rolfe's arguments around the dichotomies of discourse, criticality and the non-verbal beauty of 'blankness' (as opposed to always being at the service of invoking the sublime) remain relevant and provocative and too involved to do justice here. I want to begin, however, by looking at two (perhaps paradigmatic) artists also considered By Gilbert-Rolfe in relation to technology– Gerhard Richter and David Reed. As Gilbert-Rolfe saw it, "Where Richter is a realist, Reed is an impressionist but not of natural light. Richter's Habermasian interrogation of the means of production begins with pictures of things or marks whereas Reed's paintings are not analytical but begin with the light contained by painting and how to extend and find within it an idea of mobility that can link it to the contemporary." [2] An interesting statement, but I think the deconstructive tendencies of Richter do not necessarily hold him hostage to critical discourse at the expense of the visual.
Gerhard Richter is, of course, a painter whose history goes back to the 1960s, but whose belated impact particularly in the 1990s in this country influenced a whole swathe of painters. Is there anything new to say about Richter? Perhaps not, but in this context his work not only put a deconstructed abstract painting on the agenda but also examined its intertwined sense of ontology within both technology and as a means of representation. In his photo-paintings for example, Richter sees the essential painterly gambit as one that must embed its own opposition, its perceived 'enemy' in the populist accounts: photography. Here the tension between surface and image is played out – often resulting in an unobtainable flimmer, de-hierarchised and difficult to synthesize. Richter's surfaces, therefore, reveal a contradiction between the essentially incremental, heterogeneous nature of traditional painting and the embrace of the instantaneous continuity of the photograph. This is the simultaneous articulation and denial of how these mediums create their own legibility. If the abstract paintings develop rather choppily from the late 1970s in terms of this relationship between homogenous and incremental space (from the smooth photographic abstractions, to the gestural 'inpaintings' and on to the deconstructive pieces of the early 80s) then by the 1990s Richter had settled into the work being about a seemingly instantaneous surface. It is worth thinking about this relationship briefly as it is about both time and surface, issues that are related to the screen as well as the photograph. If we compare a piece from 1980s with that of the 1990s we get the idea. Static of 1982 with its typically (from this phase) acidic colour and interrupted obliterated claims to structure, operates within an accumulation of differences: each layer negating in some way the previous one, whether manifest as dark blurred areas, meandering coloured lines, jagged red slashed diagonals or intermeshing cutting green strokes, each pose highly differentiated solutions to moving across the surface and creating spatial relations. This would be a kind of inverse structuring of painting in that it proceeds by negation rather than positivist construction and yet arrives at a sense of wholeness that is both fragile and porous. With Forest 3 (1990) we sense a different set of solutions have been painted through. Richter's increasing move towards the process of dragging, with giant squeegees generating the form, shows how he applies this sense of negative form in a more continuous, overall manner. Colour is allowed to merge in a less artificial way, and each layer allowed its particular contingent formation in detail. Here, negation functions in the sense of the form providing its own interference – rather like static or noise. Richter described his abstract paintings as photographs, and here the analogy is with processing a surface – allowing something to be processually developed in order to be seen.
One of the conundrums of Richter's output is its seriality and reciprocity; that is, the relationship of different aspects of his production to each other. To really get to grips with the abstract paintings one may have to negotiate the grey paintings, the colour charts, the inpaintings, to say nothing of the photo paintings. To go back to Gilbert-Rolfe's notions of colour, Richter may well be the exemplary overture to the condition he describes with the "gray test card the pure condition of colour photography" [3] – a kind of technological indeterminacy that runs through the work and seems to underpin the later paintings, where chromaticism reverts to colorlessness. Perhaps one of the most successful and iconic of Richter's installed exhibitions in this country was the show at Anthony d'Offay in the mid 1990s – with its exploration of contrasting surfaces: the clear glass panels, the mirror paintings, the painted photographs, the large dragged abstract paintings. This enforced the idea that Richter's concerns embodied a whole history of surface and screen – from the window, the viewfinder, the photographic surface to the backlit glow of the video or computer monitor: the foundations of viewing and seeing.
If Richter's work traverses the screen in its multiple and historical formations, it reminds us that the screen, whether transparent, opaque or reflective, always entails a displacement of space, either within the confines of the screen itself or as a physical object interacting with the space. As Rosalind Krauss has suggested, "almost from the first painters imagined piercing the 'luminous concreteness' of the canvas by likening it to a window, the view both opening the picture surface and returning depth to its plane. After the invention of perspective the window frame became the signifier of painting itself. The interdependence between painting's specificity and the white cube derives in part from the resistance of the gallery wall but also from the rectilinear shape of the room as a support for the picture and its oblong frame." [4] This dialogue between the wall and the surface doesn't need rehearsing here apart from the shift of the analogy of the window to the screen. If the portable window still demands – or at least suggests – a particular relation with the wall, then the positioning of the monitor is more aggressive and interruptive in its nature. American painter David Reed's installation in the Mirror Room in the Landesmuseum Graz in 1996 exemplifies this. Here, Reed showed in a Rococo environment with his large screen-like paintings floating, almost disembodied, in the space. Reed's work eschews direct physicality by working gestural activity back into the surface of the work (with the use of flat drying gels and sanding) – in this way the gesture appears cut-off from its bodily origin, signaling motion devoid of the body. By almost exclusively focusing on an extended format (either vertical or horizontal) the works evoke a screen on various different levels – we might recall the decorative screens of Japan as well as the cinemascope experience so often cited by the artist himself.
Around the time of the Graz exhibition I interviewed Reed and the conversation turned towards painting and technology, in particular focusing on the physicality of painting in relation to a kind of virtual space: "I'm very mistrustful now of easy entries into painting, especially through tactile materials and tactile material gestures [..] Paintings now hang on a wall as though floating on a screen, as if hanging over a TV set. The wall is still there physically but it's the desire for a certain social interaction, a page from a book. [..] I think [virtual space] has had a tremendous effect on all of us. We see the world in a different way. What is real and what isn't? Usually [now] it isn't very clear." [5] For Reed then, this rethinking of materiality was essential to facing a more flexible means of thinking around how painting might connect with other media and other means of image production, and, importantly for him, for the recuperation of illusion. Reed's experiments with inserting his paintings digitally into films and TV environments attempt to examine this dematerialized free-floating space that the image of painting can occupy. As questionable, in terms of success, these experiments actually were, they pointed to the problematic of the materiality of painting and its ever-growing accompaniment of electronic imagery, its own virtual image. Rather than bemoaning a loss of presence, how do we incorporate this as part of the palette? This is what Reed seemed to be asking. Illusion, he suggested, while usually read in a spatial sense was, for him, as much temporal, and connected with movement and peripheral vision. This also binds the work closer to the movie screen with its back lit space and roving foci. Clement Greenberg whose apparent material prescriptions many of these artists were reactively moving away from, also saw the movie and TV screen as a source of a specific illusionism, "The reasons are obvious" says Greenberg, in that "a transparent or reflecting support lends itself better to illusion than an opaque and nonreflecting one. […] There's a sheer aesthetic pleasure to be gotten from sheer illusion that can't be gainsaid." [6] Similarly, Reed's paintings, amongst others, would appear to accentuate this aesthetic pleasure of lllusionism withdrawn from the specifics of representation, and creating a kind of free indeterminate motion (again we could invoke Deleuze here). Movement and the screen might also point to another painter and a particular series from this period, Shirley Kaneda, whose pieces around 1996 (there are some examples here) explored the juxtaposition of different processes of painting that might allude to expanded or contracted spaces/windows within the computer screen. Kaneda's work at the time questioned how we deal with abstraction and its histories, wholeness and fragmentation, as well as the temporality of 'reading' these differences. How can painting be driven (not just by seemingly autonomous parts unified into wholeness ) through creating open and outright antagonistic contradictions? This could be seen as one of the questions that underpinned her practice at the time. The technological connotations of the multi-space of the screen point to the complexity of negotiating simultaneity while searching for unity (which Kaneda at the time saw only as a byproduct of the diverse processes – only later where the works were directly informed by computer technologies, and in fact realizing a technological unity of sorts). Greenberg, as above, was interested in the unification of motion by the black and white television monitor creating a sculptural illusion – but we can equally transpose this to the more pictorial HD colour screen, which brings us closer to Gilbert-Rolfe's articulation of it as the site of saturation – both in terms of its ability to reference the surfaces of the world (increasingly smooth, plastic, and chromatic) and the endless flow of motion as situated by the video and cinema screen (now – since the 1990s in fact – no longer a structural opposition but a shared platform). If the window punched a hole in the wall and allowed us to look out into reality then the surface as screen offers a very different situation: It is an endless procession of simulated surfaces and spaces each edited into a seamless continuity and flow.
Artists have always been interested not only in technological innovation but also outmoded technologies, their subversion or even breakdown. Tim Head's work examines the process of the digital as an accumulation of noise. By focusing on the actual components of the generative image (while denying their capacity to generate anything specific) the result is, in the words of Michael Bracewell, an "electrostatic fog". Head's development of computer programs to create a kind of autonomous scrutiny of digital production returns it to a medium specificity (albeit a random noise). His drawings, projections and paintings create a dialogue between the contingency of the hand made and the technologically pre-programmed. Dan Hays similarly, in some of his work, uses the potential breakdown of the image to reveal the essential abstraction of the digital. Extreme magnification of the pixilation of the image transposes it into an abstracted colour chart. Speaking of this circulation of noise, or the 'substandard' low resolution image, philosopher Hito Steyerl suggests, "It is a ghost of an image, a preview, a thumbnail, an errant idea, an itinerant image distributed for free, squeezed through slow digital connections, compressed, reproduced, ripped, remixed, as well as copied and pasted into other channels of distribution.[…It is] thrust into digital uncertainty, at the expense of its own substance. The poor image tends towards abstraction: it is a visual idea in its very becoming." [7] A fascination with the degradation of the image has perhaps supplanted the romance with the 'spectacular' seduction of the high definition.
If painting can point to these issues of how the contemporary world is viewed (and indeed constructed) then we can complicate things by moving away from the screen as a visual spectacle to the idea of the interface itself. This remains ambiguous as a term – in that the interface can have multiple inferences. Alberti's veil, for instance, could be seen as an interface – between the painter and the screened world, while of late it has taken on much more a sense of user choice and manipulation within a designed environment. Lev Manovich, a key player in thinking through the digital and its relationship to the pre-digital, in particular cinema and screen media, discusses the interface as follows, "Just as painting before it, cinema presents us with familiar images of visible reality – interiors , landscapes, human characters, arranged within a rectangular frame. The aesthetics of these arrangements ranges from extreme scarcity to extreme density…It would take only a small leap to relate this density of 'pictorial displays' to the density of contemporary information displays such as Web portals, which may contain a few dozen hyperlinked elements, or the interfaces of popular software packages, which similarly present the user with dozens of commands at once." [8] This points to a key change in our conception of, not only relations between media, but how we use them. While Manovich, here, is stressing a continuity, he also points to an interesting difference: from the spatial positioning (of the viewer) of the potentiality of scarcity and density through the interface (of the bounded painted surface, the cinema frame), to a mobility of accessing these contrasts through the informational environment/toolbox (portals and simultaneity).
Has this, or will it, ultimately lead to a different conception of space? This is difficult to say as we could point to the fact that the conception of simultaneity throughout the post-minimalist spaces of installation have prefigured and later converged with the kind of negotiation of contradictory spaces that the computer screen facilitates. Greenberg (of course hostile to such non-pictorial, non-unified conceptions of space) saw such spaces as pre-pictorial, such as in Paleolithic art, that are, "not pictures proper, but two dimensional images: self contained in a way more sculptural than pictorial […] When two or more such images are related on the same surface it's in an ideographic rather than pictorial way. This even in Mesolithic and Neolithic 'compositions' that show hunting, fighting, or ceremonial 'scenes'; there, flat and schematic images hang apart in space that's somewhere between the two and three dimensional. Pictorial space joins and contains, and by containing makes everything it shows discontain itself and surrender itself to a unity, which in turn contains itself." While Greenberg would see any return, presumably, to this ideographic space as a regression; that is, back to something cruder than the demanding syntheses of pictorial unity, I am of course not suggesting any idea of a 'return', but rather that the 'breaking' of the unity of the pictorial provides an alternative space, and yes, something spatially that operates "between the two and three dimensional". If this now has some affinity with the spaces of both the screen and the interface then it could, apart from this development of simultaneous diverse spaces, point to a recharged relationship to the aesthetic object and its facture.
Of late, facture would appear to be much more up-front, more present. The kinds of suspicions that David Reed suggested earlier would appear now to be perhaps even irrelevant. Physicality and spatial physicality could be seen as a reaction to the ubiquity of the electronic image, and the smooth space of the cinematic. Yet, ironically, in its extended, expanded form, abstract art might still owe (both reactively and through unconscious absorption) a debt to the shifts in looking, reading, and indeed, working patterns implied by the computer interface. We might experience Danish artist Ellen Hyllemose's work in his light, whose practice stems from painting, but includes handmade objects, placed materials, and sculptural interventions within a space: a hinterland between the pictorial and the sculptural. Hyllemose's paintings show a direct up-front physicality and gestural activity not unrelated to early Per Kirkeby, but in most of her installed works these are covered over – screened by Lycra swimwear material. Covering the directness of the gestures with a membrane creates a surface where the image is submerged, and yet it is a surface that occasionally reveals its limits in its cuts and edges revealing what is being concealed. Her works create multiple spaces, and yet remains concrete, about their materiality, and ultimately, their formal comportment. Works in the studio are like a palette, or an absent structure waiting to be activated in a specific location. Such activities ask questions about the nature of matter, work, placement, and lead back to the issue of what working outside of the bounded canvas in real space might mean? If the viewer has to piece together the perception of these materials in time then it involves memory articulating the passage from one set of concerns to another. Of course this might set in place the predetermined mould of another argument – that between Michael Fried and the minimalists. As brilliant as that was (on both sides) we may need to step outside of it in order to think afresh what has become one of the dilemmas of installation – what Claire Bishop referred to as the tacit interrelationship between the poststructuralist notion of the fragmented subject and the literal viewer of installation being closely bound, indirectly we could say with an implicit critique of the screen as a device of unification. [10] Stanley Cavell in his important text The World Viewed suggests that "The world of a moving picture is screened. . . .A screen is a barrier. . . . It screens me from the world it holds—that is, makes me invisible. And it screens that world from me—that is, screens its existence from me." And that, "the screen-frame [itself] is a […] form." [11] It was this invisibility and unity that poststructuralism sought to dismantle (Lyotard discusses this in terms of a normalization which "consists of the exclusion from the screen what cannot be folded back upon the body of the film").[12] This may seem a long way from painting but I feel once the work is displaced spatially then we are situated within these problems, as well as with the attendant problems of delimitation, how the work forms and acts upon reception, and the attendant dispersal of foci.
Rosalind Krauss points to Nietzsche "hunched over his typewriter and saying, 'our writing tools are also working on our thoughts'" [13] For Krauss these questions are intertwined with issues around media and medium (these are 'false friends' according to Krauss) – as well as distinguishing between works that continue out of the constraints of the medium albeit in an expanded form (a form that no longer regards the medium as denoted by the specificity of its material) – and those that melt back, undifferentiated, into the world of 'stuff'. These are too complex to adequately think through here, but the question of installation and abstraction, the breaking out of the screen, and this extended notion of the medium in relation to media remain important to try and address. Joseph Masheck in his introduction to the re-publication (and expansion) of his essay The Carpet Paradigm – an essay in itself that attempted to locate the lost history of the intertwinement of the arts and crafts movement and abstraction – suggests: "the condition of painting in particular has a way not only of never quite withering away but of engaging new modalities of art-work, and even of work at large. Today it seems there is more need among a new generation for a sense of the matter of form and materials as conditioned by general human experience, including ordinary, everyday work – though now more often than not means work with little or no tangible materiality ay somebody else's monitor, with all the alienation thereunto appertaining." [14] If this need is addressed then it could, be a space where the interface becomes a model for both the work of the artist and the viewer – not simply emulating the effects of the screen but in situating the eye, mind, and the time of labour back into the equation, albeit a technological one.
[1] Gilbert-Rolfe, Jeremy, Beauty and the Contemporary Sublime, Allworth press, NY, 1999 p.34
[2] Ibid., p.101
[3] Ibid. P. 33
[4] Krauss, Rosalind, Under Blue Cup, MIT Press, 2011, p. 106
[5] David Ryan, Talking Painting: Dialogues with 12 Contemporary Abstract Painters, Routledge, 2002, p.202
[6] Clement Greenberg, 'Detached Observations' in Late Writings, ed. Robert C. Morgan, University of Minesota, 2003, p.67
[7] Hioto Steyerl, The Wretched of the Screen, Sternberg Press, 2012, p.32
[8] Lev Manovich, The Language of New Media, MIT, 2001, p.20
[9] Clement Greenberg, Late Writings, p.63
[10] See Claire Bishop, installation Art, tate Publishing, 2005
[11] Stanley Cavell, The World Viewed – Reflections on the Ontology of Film Harvard University Press, 1979, pp.24-25
[12] Jean-Francois Lyotard, 'Acinema' in P. Rosen, editor, Narrative, Apparatus, Ideology, Columbia University Press, 1986, p.349-359
[13] This is Krauss referring to Freidrich Kittler's ideas in Under Blue Cup, p.37
[14] Joseph Masheck, The Carpet paradigm: Integral Flatness from Decorative to Fine Art, Edgewise press, 2010, pp. 15, 16
The digital revolution means art theory is going more like this:
Like De Kooning, David Reed's paintings aim at the concrete illusion of the form behind abstraction, the form that artists have been pursuing through abstraction for over a century. Filming paintings, though, is a signification of the Digital age to come, an age with a technology that can actually reify abstraction for real.
I was slightly annoyed by this text. David Ryan asks rhetoricly, " Is there anything new to say about Richter? Perhaps not, but in this context his work not only put a deconstructed abstract painting on the agenda but also examined its intertwined sense of ontology within both technology and as a means of representation." I ask what does he mean by this? And why the italics? Deconstructed abstract painting? Is it the proposition that by frustrating the poetry of representation, and rendering it as technique, Richter does more than intervene and point to the contradictions of the surface? To me this is a misappropriated claim to deconstruction. Rather than going beyond the image and the technique, to short circuit their power to claim that they can be true, the proposition of Richter's painting as described here both stabilises the hegemony of the image and the elegance of the act.
The forlorn approach to Richter sets the tone of an argument that persistently conflates the very different moments and affects of TV, cinema and film or video installation, all rich and problematic in their discrete modes. Tim Head's work makes a strong case for teasing apart the nature of these spaces; but it is dispatched here in such a cursory manner that the resonance is missed. Moving on, Hito Steyerl is not even accorded the status of an artist, despite her relevant shows last year at both Art Institute of Chicargo, and eflux in New York. In his New York Times review of the latter show, from 20/12/2012, Holland Cotter concludes that the work can be read, "as an act of moral thinking-in-progress. In a very of-the-moment, digital-age way, the logic of that thinking is fractured, the nature of morality suspect." What more should we seek in painting's relation to, "the world of 'stuff'"?
The digital revolution's impact on art theory is to see image-as-data, data that has yet to be comprehended, according to current levels of scientific analysis. In essence, that scientific analysis is defining art theory, but this still leaves artists plenty of opportunity to create data for the scientists to analyse using whatever means available. It's only natural for some artists to create works aiming to defy analysis, also because it's a hell of a lot easier to obstruct knowledge than to actually discover some. Tim Head's piece presents the digital field as a well of potentiality, for when some knowledge is actually garnered from abstract painting.De Kooning went mad trying to extract the knowledge, some would say there's no knowledge to be garnered, usually the artists attempting to obstruct it.
Yes- I'm not sure painting has anything very relevant or useful to say about the virtual space of the screen, except in an oppositional sense, or more positively, by articulating an alternative.
Otherwise, you may as we'll be gardening about Facebook.


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We were excited for months about this trip. House boating on Shuwap Lake in British Columbia. The boat has 3 levels (with a bar on each one) and even a hot tub! Sounds like a great time! We only knew one person on the boat. He planned the trip and this was the third year his friends have done it. They had so many people that they booked 3 of these amazing houseboats.
This is the photo from the website. Looks like a good time. (Twin Anchors website) We packed up the night before. To save time, B loaded everything in the truck. We took a 3 and half hour nap and were heading out. I put my art journal in the back seat and heard the quiet crash of shatter proof glass hit the ground.
The passenger window was broken, my purse and my bag of travel clothes were taken. (B didn't realize it's a no no to put a purse on the seat of a vehicle, especially at night. I wasn't mad, I should have noticed when he was loading the truck) My luggage was also taken and dumped in the parking lot behind our house. I found it when the police man showed up. I got B to bring it into the house, I wanted to keep looking to see if they ditched my purse too. I walked with a flashlight for a few hours. Nothing. Later my room mate found my small bag and pillow that was also taken on a bike trail (the jeans, belt and hoodie that was inside not with it) Later we walked all around the trail and looked for signs of my purse. No luck. I made posters and put them in the convenience stores nearby. I posted an ad on kijiji with the same info. The thing is I want my cards, the rest I don't care about. I can replace my wallet and purse easily. (oh no, purse shopping) I just don't want anyone using my ID anywhere.
I have never had anything stolen from me before. I didn't know how to feel. I was kinda mad...Kinda sad...Kinda "are you F'n kidding me?"... And mostly blah...
We spent the day canceling cards and getting new ones. Washing my clothes. Cleaning broken glass, replacing it. We attempted to go shopping to cheer us up and replace my jeans. We were both feeling... blah... So we went home to take a nap. Later we decided to get sushi. Now that cheered me up. (the awesome powers of sushi) I was once again excited for the vacation.
We packed everything again and set it by the door. Went to sleep and set an alarm to be up for 2am. Instead of the snooze alarm I set it again to 3:30. It didn't go off. (yet another ignored sign) We slept in until 5:30 and slowly made our way.
The beautiful drive into the mountains was cheerful and boosted our mood. We then got a boat taxi out to the houseboat.
Lovely day to spend with my boyfriend. We thought it was all looking up from here. Drinks in our hands, we introduced ourselves to new people.
When we went to put our stuff in our room, we were told we don't get one. The couches and fold out beds were taken too. "you can sleep on the deck upstairs." like we didn't get crapped on enough already. We spent a few hours on the boat trying to have a good time. We couldn't. We called the boat taxi and left.
We put our stuff in the truck and went to the pub for a drink and to get a taxi to a hotel. B had "the best caesar ever" I had water. We made some calls and found out that all of the hotels, bed and breakfasts and motels were full. Of course they are. The waitresses were nice and tried to suggest more places. We were planning to sleep in the truck. One waitress asked us "You aren't freaks or criminals, are you?" um no, we aren't. She offered to let us stay at her rental house. It was empty, no tenants until next month. Finally, things were turning around.
There was a loveseat and chair, otherwise empty. Recently renovated and clean. We decided to sleep on the floor. We were fine, a lot better than sleeping outside. I slept well considering the floor was wood.
I decided to check out the back yard in the morning. Eat some fruit and enjoy the sun. I found that creepy dog toy, made me smile. A wasp landed next to me and started to groom himself. It left my fruit and juice alone. Today is already better, yesterday I imagine it would have stung me.
Before we fled Sicamous, we stopped at the D Duchmen Dairy for some ice-cream. Delicious REAL ice-cream made in that dairy, packaged and brought up front for all to enjoy. Anyone who drives through will tell you they stop too. Too many flavors to choose from... I got an "Above Average" size waffle cone, which is 2 scoops. Each scoop measuring to around a pint. I felt like a child holding such a big cone in my hand. We wandered around and looked at the cows, calves, chickens, donkeys and a camel. After devouring our monstrous cones we continued our drive, back to Alberta.
It's a hot and sunny day. Lovely driving. We took our time and stopped for dinner in Golden. Lots of time to enjoy good conversation. I love spending time with B.
Along the way we decided to salvage what we had left of our trip my stopping in Banff and spending the night. We have never been inside the Banff Springs Hotel (just drove past to admire it) until now. We stayed in their second best grade of suite, complete with jacuzzi tub and king size bed. I felt like a princess walking into a castle.
We didn't have time for a full tour, but I took a few pictures.
We were on the 9th floor, our room had awesome views from each window. (270 view)
Jacuzzi tub in the first bathroom
Another hallway to the bedroom and second bathroom.
Comfy king size bed.
Quick scribble in my art journal.
In another nook, blogging.
Pretty views in the morning. I love the snow dusted peaks of the mountains.
The Mezzanine was beautiful. I wandered off while waiting to be seated for breakfast.
Same Mezzanine, from the other side. We agreed to do the full historical tour another day. We had to head home for a BBQ out at the lake.
Driving home. We survived every mishap and disaster, without being defeated. B and I agreed that this trip proved that we can head out on a terrible and expensive vacation without getting mad at each other. It ended like a fairy tale, prince charming and a castle.
Happily Ever After.
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SimplyScripts Screenwriting Discussion Board / Radio and Stage Plays / The Sailors Opera
Posted by:
Don, May 21st, 2012, 5:39pm
The Sailors Opera
by Clem Gorman - Play, Drama - Eugene O'Neill spent a "lost year" in Buenos Aires in 1910, during which he went from being a mediocre poet to a very fine playwright. Why? How? I think I know. 158 - doc, format 8)
Posted by:
cloroxmartini, May 21st, 2012, 10:04pm;
You have spent a great deal of time writing those 158 pages so you have some drive. And there is only so much time in a day. This looks so daunting that I don't want to read it. Maybe there is a playwrite website somewhere that you could some good feedback from?
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Health systems must reorient services to meet new challenges
Recognizing that noncommunicable diseases (NCDs) represent the greatest health burden for countries in the WHO European Region requires service-delivery systems to shift towards more people-centred care.
Speaking at the World Health Summit, held in Berlin, Germany on 21–24 October, Dr Hans Kluge, Director of the Division of Health Systems and Public Health at WHO/Europe, described how some countries adapted their health systems to take account of the NCD epidemic and an ageing population, in the face of falling growth rates for health expenditure.
Lithuania and the Republic of Moldova, for example, introduced new financing arrangements so that a fall in health-insurance payroll contributions triggers general budget transfers to compensate. This enables the countries to maintain services and support vulnerable groups unable to contribute financially. Latvia initiated budget cuts and structural reform concurrently, shifting priority to primary health care, coverage of essential medicines and outpatient specialist services.
Improving efficiency is key, noted Dr Kluge, to reduce the adverse effects of the financial crisis and to secure popular and political support for future spending. Efficiency measures include eliminating ineffective and inappropriate services, improving the rational use of drugs and allocating more to primary and outpatient specialist care and less to hospitals.
Interview on the economic crisis
During an interview broadcast on national German television after the Summit, Dr Kluge underlined that containing the costs of health services is not the answer; countries should protect what works well and use the financial crisis as an opportunity to pursue needed system reforms. Ensuring that the poor and vulnerable are protected amidst such reforms is vital, and in line with the social values enshrined in the Tallinn Charter: "Health Systems for Health and Wealth" and Health 2020, the European policy for health and well-being.


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200 sqft
Bar & Restaurant
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Welcome to Victoria Park Road, found in the creative and cultural east end borough of Hackney. Neighbours include boutiques, cafes, pubs and the popular Victoria Park. From sample sales to showrooms, private events to product launches, this white-box gallery space measuring 4m x 4m can be used for a variety of ideas. It comes with bright full spectrum daylight lighting and hardwood parquet flooring. It also benefits from having a private garden area (available at an additional cost), seating, and a remote control screen for films and media.
Monday to Friday: 10:00 am - 6:00 pm
Weekend: 10:00 am - 6:00 pm