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Digital Therapy Monitoring: Schreiner MediPharm to Present Smart Packaging Solution for Vials
Blauvelt, NY – Schreiner MediPharm, a Germany-based global provider of specialty pharmaceutical labeling solutions for over 65 years, will focus on smart packaging solutions during Pharmapack 2019, February 6-7 in Paris. At its stand in Hall 7.2, Booth B32, the company will feature its new "Smart Vial Kit" digital therapy monitoring system. The product enables electronic tracking and monitoring of medication dispensing and intake, exemplifying Schreiner MediPharm's reputation for multi-purpose, value-added labeling and packaging solutions.
Schreiner MediPharm's innovative Smart Vial Kit is a multi-vial box covered with a cardboard layer of numbered, perforated areas corresponding to individual compartments. When the user opens a perforation at the starter tab, the removal of the vial is tracked by means of integrated, printed electronics.
The Smart Vial Kit is well-suited for use in clinical trials: Due to the solution's medication adherence monitoring capability, enhanced and more reliable data quality is achieved. Compared with conventional, manual monitoring, the digital tool reduces documentation requirements, provides greater flexibility in adapting trial designs and reduces the trial period before the new medicine is approved. The smart packaging technology is also adaptable to other primary containers such as syringes. Instead of cardboard boxes, blister packs containing several containers can be equipped with the technology as well.
Various relevant data points – including exact removal time, the compartment from which the vial was removed, and the respective medication – are tracked in real time and automatically stored in the smart packaging. From there, this information can be read via a smartphone app using NFC (Near Field Communication) or Bluetooth and transmitted to a data platform for further analysis. As a result, the medication dispensed to a patient can be precisely tracked and monitored.
The Smart Vial Kit can be optionally equipped with temperature monitoring, which is particularly important for temperature-sensitive medications such as biopharmaceuticals. Additionally, via the associated app, diverse information can be exchanged or a reminder function integrated.
Other product highlights that Schreiner MediPharm will showcase at Pharmapack include the Smart Blister Pack for enhanced medication adherence by patients; an NFC label for digital authentication of autoinjectors; and UV and light protection labels for active ingredient protection of liquid medicines in glass containers.
About Schreiner MediPharm
Based in the Munich area of Germany, Schreiner MediPharm is a global leader in the development and manufacture of innovative specialty labels with value-added benefits that have set the standard in the healthcare and pharmaceutical industries. Schreiner MediPharm's expertise is based on over 65 years of experience. The family-owned company provides specialty labels and label printing services to the biggest names in the healthcare market in over 20 countries around the world, including Japan.
Schreiner MediPharm's U.S. facility, a business unit of Schreiner Group LP, is located at 300 Corporate Drive, Suite 10, Blauvelt, NY 10913. For more information, call 845-848-9000, e-mail firstname.lastname@example.com or visit our website at www.schreiner-medipharm.com.


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Men's Golf Team Named GCAA Academic National Champions
The Maryville University 2009-2010 men's golf team has been named the GCAA Academic National Champion for NCAA Division II, the Golf Coaches Association of America announced.
Team members include: Brad Howell of Troy, Mo.; Brandon Monzyk of Chesterfield, Mo.; Cory Scott of Hannibal, Mo.; Eric Shubert of Red Bud, Ill.; Jesse Weller of Ballwin, Mo.; Michael Fowler of Centralia, Ill.; Paul Greffet of St. Louis; Rob Maruska and Tom Whitaker of St. Charles, Mo.; and Sam Carlson of Lake Saint Louis, Mo.
A total of 113 teams from all divisions submitted GPAs of 3.0 or higher to earn All-Academic team recognition.
"We are honored to be recognized by the GCAA for our efforts in the classroom," said Glenn Paulus, head coach. "The team always strives for academic excellence and this award is a result of their desire to learn. It is a privilege to be associated with such young men."
This marks the first team academic award for the men's golf program while two individuals, Nick Profancik and Sam Carlson, have amassed three Academic All-American honors.
"Congratulations to Coach Paulus and the 2010 men's golf team for their efforts in the classroom," said Tony Duckworth, director of athletics. "This is an outstanding honor for the Maryville University men's golf program."
About Maryville University
Founded in 1872, Maryville University is a four-year, private university located in west St. Louis County. Ranked by U.S. News & World Report as one of America's Best Colleges in the Regional Universities – Midwest category, Maryville University students may choose from 50 academic programs, including degrees at the bachelor's, master's and doctoral levels. Among recent graduates, 82 percent are employed or attending graduate school. More than 16,000 Maryville alumni work and live in the St. Louis region.

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Shock and Awe
(USA, 89 min.)
Dir. Rob Reiner, Writ. Joey Hartstone
Starring: Woody Harrelson, James Marsden, Rob Reiner, Tommy Lee Jones, Jessica Biel, Milla Jovovich, Luke Tennie
Rob Reiner really should have worn a caftan during his rousing "yay, journalism!" moment in Shock and Awe. The director and star of Shock and Awe has a big golden muumuu to fill coming to theatres on the heels of The Post. Reiner simply proves that when it comes to acting, he's no Meryl Streep and when it comes to directing, he's no Steven Spielberg.
Reiner stepped in to play the Washington Bureau Chief of the now-defunct news consortium Night Ridder when Alec Baldwin dropped out at the last minute. While he clearly knew the lines and fleshes out a perfectly affable screen presence, one can only imagine what Baldwin might have done with the monologue in which John Walcott reminds his staff that they're not shills of The New York Times. They seek the hard truth, damn it, and Walcott encourages his team to carry on investigating the Bush administration's plan to use 9/11 as a route to invade Iraq. If only Reiner had told himself to inject an exclamation mark somewhere in the speech—or, for that matter, the film—it might have sold the show.
This quick and serviceable dive into the story shows how Night Ridder reporters Jonathan Landy (Woody Harrelson), Warren Strobel (James Marsden), Joe Galloway (Tommy Lee Jones at his cantankerous best), and Walcott held strong to their convictions when other news outlets basically did cut and paste jobs of bad intelligence spoon fed by the White House. This aspect of the film is undeniably relevant, particularly as the shifting nature of media gives an imbalance of power to publicists and politicos over publishers, and the film aims to be a stirring reminder about how satisfying it can be to pursue an independent story.
Shock and Awe is a perfectly fine, if safe and intermittently ham-fisted, take on the importance of a free and independent press. Journalism is as much about immediacy as it is about quality, and it's hard to deny that Shock and Awe was beaten to the punch by films like The Post that got the story out first and told it better.
This well-intentioned dramatization of the Bush administration's exploitation of 9/11 follows The Post's relevant essay on the importance of the press in an era of "fake news." But there's more to the story of The Post, and to Spotlight's powerful dramatization of the Boston Globe's exposé on the Catholic Church's systemic enabling of child abuse, than simply a mere pat on the back for good reporters. What's missing here is the connection between writers and their subjects, the dynamics of power and capital that influence mainstream media, and the overall thrill of digging into dirt. These things are all referred to in Shock and Awe, but it's akin to the difference between enjoying the full story and scanning the headline. (TL;DR)
For a film about the power of words, though, the fault ironically rests in the writing. (And Reiner's overall blandness.) The script by Joey Hartstone plays as if someone went back in a time machine and flagged all the important questions to the people living history. Particularly as Strobel and Landy question sources à la All the President's Men or debate the desire to invade Iraq with friends and family, they lay it on a little too think while articulating how much America will get it wrong.
There are admittedly some very fine observations within Shock and Awe that will resonate. For one, it's refreshing to see a film remind audiences of the misery of the Bush years. While he no longer holds the title for Worst President in History, a few too many people recall Bush with rose coloured glasses these days. Shock and Awe strips Bush of any favour he may gain as the years pass. One can watch the film and see how Bush was far worse and dangerous a president than Donald Trump is because he was actually a shrewd politician as his party inspired groupthink by capturing the verve of post-9/11 nationalism. Clips of the all too familiar buzz line about the smoking gun being a mushroom cloud say more than anything that transpires in Reiner's newsroom dramatization. The fakest news is that in which the government plays a hand and writes the copy.
On has to give the Night Ridder team credit for seeking the truth amidst the mushroom cloud's smokescreen. Nowadays, it's easy to spot a lie when it arrives unintelligibly in ALL CAPS at four in the morning.
Shock and Awe opens in theatres July 27.


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Herff Jones Limited Lifetime Warranty
Herff Jones fully warrants the ring and simulated gemstone to be free from defects in workmanship and/or material at the time of delivery. If your college ring cannot be repaired or replaced under these terms, a refund will be allowed. In addition, the following services will be performed at NO CHARGE: resizing; replacement of broken or defective simulatedstones; restore original finish of ring; clean and polish.
This warranty gives you specific legal rights; You may also have other rights which may vary from state to state. To make a claim under this warranty, contact your local Herff Jones Sales Representative or Herff Jones Warranty Services who will process your request. Send your ring insured with a letter of instruction to:
Warranty Services Department150 Herff Jones WayWarwick, RI 02888
Email: email@example.com: 1-800-451-3304
Please note: Not all services are provided for all schools; championship orders, military academy orders or college rings purchased prior to July 1, 1983 must contact our Warranty Services Department prior to warranty submission; genuine stones and diamonds are not covered under this warranty; this warranty is void if work is performed on your ring by someone other than Herff Jones; damages resulting from improper handling, lack of care, or normal wear and tear are not covered by this warranty.
Lost Ring Program (LRP)
If your Herff Jones College class ring is lost or stolen, we'll help you obtain a duplicate ring at a reduced price adjusted to reflect current precious metal prices. This program covers your original ring and may be used one time for college rings purchased on or after January 1, 2014. The LRP is in effect for five (5) years from the date of purchase. Genuine stones and diamonds are not covered by this warranty. Other terms and conditions may apply.
To file a LRP claim, please visit collegerings.herffjones.com, click on the customer service tab and complete our customer service contact form, or contact a product specialist at 1-877-454-7231.
Update your ring for free
Through the Step Up program, you can wear your college ring now and update it as your earn your advanced degrees at no additional charge. This is available on any college ring purchased from Herff Jones after 1983. The new ring may be for a different school than the original, provided Herff Jones currently manufactures college rings for that school and is available for the original owner of the ring. Other terms and conditions may apply.
To order a college ring under this program, contact your local Herff Jones Sales Representative or visit collegerings.herffjones.com and click on the customer service tab to complete our customer service contact form.


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[New Customer] - Can we use our own parts?
We can use your parts in most cases, but we cannot warranty the parts or the labor. We only guarantee that the part is correctly installed. If we replace and provide the OEM BMW replacement parts, then we warranty parts and labor for a year or 12,000 miles.


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Lot 1
A set of Oxspring medals
Sold: £44,000
Bourne: +44 (0) 1778 422686
Grantham: +44 (0) 1476 565118
Lincoln: +44 (0) 1522 524984
All of our Resident Valuers have specialist interest in medals and more importantly the history and stories behind them.
Our success in achieving outstanding results in the sale of medals is down to our ability in conducting thorough research in this most emotional of subjects.
One of the most exciting lots to come under our hammer is the medal group of WWII Battle of Britain fighter ace, Group Captain Bobby Oxspring DFC, selling for £44,000.
We have sold major collections such as the two part Robert Campbell sale just as successfully as single lot offerings.
It is more important to research the medals and know about the recipient and our team spend diligent hours doing this, often price is irrelevant for personal items and we can research anything you may have.
Some awards and medals are not awarded for conflict at all, such as the 1892 England Football cap our Lincoln rooms sold for £1300 along with an FA Cup medal at £8065.
If you are looking to sell and it is time for 'The Great Escape', we even sold the Military Cross medal group of Bernard Green who escaped the infamous Stalag Luft3 in 1944 for £13,000.


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Netflix's Newest Show Sounds Like A '90s Version Of 'Freaks & Geeks' And We're Pumped
Like every sane TV viewer, I miss Freaks and Geeks.
Not only did the 1999 high school dramedy launch the career of just about every famous comedy actor and director working in Hollywood today, but it was also one of the most easily funny, touching, and relatable shows to ever air.
Thankfully, I'll soon be able to do something other than constantly rewatch the only season on Netflix, because the streaming service just picked up a new series that sounds exactly like Freaks and Geeks, except set in the '90s instead of the '80s.
Netflix has ordered a 10-episode season of a new dramedy called Everything Sucks!, according to Deadline. The new show will reportedly follow two groups that are often considered outsiders in high school: the A/V club and the drama club.
Sound familiar? Freaks and Geeks was also about two groups of "losers" trying to keep their heads above water in high school: the druggie "freaks" and the nerdy "geeks." But while the Paul Feig-Judd Apatow classic was set in 1980 Michigan; Everything Sucks! will take place in 1996 Oregon.
The new series comes from writers Ben York Jones and Michael Mohan, both known for penning dramatic comedies for the big screen.
Jones and Mohan both references Freaks and Geeks as one of their inspirations for the series in a statement to Deadline, along with other classic shows that looked back at a past decade:
Some of our favorite shows of all time — The Wonder Years, Happy Days, That 70s Show, Freaks and Geeks — looked back at bygone eras with 20 years of hindsight. We think this is a great time to take a look back at high school and relive the fashion, music, and attitudes of the mid-'90s the way we remember it. Not sensationalized, not watered down; but desperate, heartfelt, awkward, and exciting.
No word yet on when Everything Sucks! will premiere on Netflix, so just keep bingeing Freaks and Geeks until that announcement comes.


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Artistic team Marie Wilkinson and Cyril Christo could easily be part of Manhattan and Hamptons society (Christo is the son of blue-chip artists Christo and Jeanne-Claude), but the two have chosen to divide their time between Santa Fe and adventures in Africa to promote their most daring aesthetic/activist endeavor yet.
/The couple on Table Mountain, Cape Town, SA May 2010, exhausted after six weeks on the road./
The husband and wife team is currently working on a film called The Last Stand of the African Elephant, part of a long-running mission for animal protection of wildlife. The two, philosophically and aesthetically, feel this movement to be the most important issue of our time and even have their son, Lysander, involved in the fight.
Their book "Walking Thunder: In the Footsteps of Giants" was an admonishment for the preservation of the African elephant and in many ways informs their current project. A mixture of architectural pragmatism and poetic flourish, their approach is fueled by their love for the natural world and for each other. Throughout our interview their banter came colored with light-hearted taquinage and mutual complimenting.
Christo and Wilkinson recently spoke to us from Santa Fe about working together as an artistic couple, why they've limited their time in Manhattan, and their plans to save the elephant:
GofG: I understand that Walking Thunder in many ways set the tone for this next artistic endeavor involving elephants. Could you speak to the roots of your inspiration to pursue this cinematically?
M.W. Yeah, [Walking Thunder] came out in the fall of 2009. And we also did some videotaping, filming, while we were photographing--sometimes the light isn't great, sometimes we've just run out of film at the end of the day, sometimes for our own personal uses. The moving image is more compelling--as compelling or more compelling as the still, or compelling in a different way. And so the book came out and the poaching issue has just been increasing dramatically. We'd be talking but we'd be also continuing our research and following the elephants. A certain amount of the proceeds of each book--we would have to deal with the publisher--would go to organizations that work with the elephants--one is The David Sheldrick Wildlife Trust, and the other is Tusk. It has to be a people-based--it has to be a community-based solution or evolution of how you live. So we kept track of what was going on with the elephants and the increase in poaching, the present Asia market in east Africa, and we decided to stay on it.
And then we took our footage and thought we would make a little short to say something. And that's how The Last Stand of the African Elephants came into existence. And as we put it together, we realized that something that isn't just a straightforward Discovery Channel, National Geographic channel documentary but something that actually gets to the poetry and the overarching, philosophical, global importance about the elephants in all our cultures. Not simply, you know here's an elephant it weighs this much, it lives this long, it does this, it does that. How do we actually tie into our cellular memory, if you will, and recognize that source of so much story, whether it be the indigenous story of a certain place, of a certain tribal group, whether it be, you know, European, American European urban school kids reading Babar and seeing Dumbo. But the elephants are around but they may not be. And what's happening to them is not only greedy and lustful but outright barbaric.
GofG: It's certainly an interesting artistic project because of the humanitarian bent. Getting into some of the philosophical underpinnings, it seems that you've taken this elephant as a symbol of oneness in the world or spiritual lives. Could you elaborate?
C.C. Elie Wiesel said to save the elephant is an urgent moral imperative. It's apart from the entire spectrum of the emotional, altruistic, caring capacity of everything that it encompasses, the family dynamics that have been studied with all the researchers that are well-known--it mourns for the Other. It's an old species of individuals, individuals can be found by the elephants running their tusks, their trunks, rather, over another individual. They probably walked alongside us out of Africa, as far as origins are concerned. Look at it like this: if you were to put two triangles together and they meet at the apex, and the triangle to the left is like origins and the triangle to the right is the opposite of origins, which would be oblivion. So you weigh into the triangle on the right, if you will, if you wanna think of it as being on the right, it's probably the single issue of our time, the forests, the whales, and the elephants. And the case is those two animals understand who they are, they're self-aware, they know who they are, they cognize each other, we are affecting our own mind. This is what is not usually understood. There were Tibetan monks who asked what is the trumpet that you used to start all your mating rituals. And this is the voice in Asia of the elephant in their ceremonies; they honor the elephant's voice and everything that it entails which is one of the 22 aspects of the altruistic mind. One elder called Paquo says man will not exist without the elephants, not just because they're in Africa and they understand what the others mean to them but in terms of our relationship to the Other, because they have so much ability for compassion, and moving out the way if they see an egg on the floor like in the plains, a lesson we have to learn immediately while the elephants are here or else this elder Paquo says, if we lose the elephants we will lose our minds.
GofG: Do you support activism for other elephant rights, beyond your stand against poaching?
M.W. - I don't think elephants should be used in circuses, and I don't think that they should be in zoos…. There's a book called Elephants on The Edge: What Animals Have To Teach Humanity, and it's by a woman named G.A. Bradshaw, and that has our photographs throughout the cover and inside. She's a scientist who has studied the effects of trauma on human beings and is probably the most vocal and scientifically backed opponent to both circuses and zoos. Zoos are particularly troublesome in that they may have one or two elephants and if they only have one, it's really horrific; they're really very social beings who thrive in extended family groups and, like us,--like us have stages of social, intellectual and physical development, they need their elders around them. So if you isolate a young elephant or even an older elephant, there are mental health issues which are documented.
GofG: The elephant is such a symbol of power if you consider Hannibal's march. Do you use such historical depictions of elephants as part of your projects?
M.W. We go back to earlier, earlier marches, like even potentially prehistoric man's march out of Africa. But we've used elephants to help find water and other things over time.
C.C. But one of the kinks is, while we used them for military invasion all the way to the late 19th century in Burma between the Burmese and Siam and of course all the way back to the Greeks and Romans, knocked out the elephants from Morocco--present-day Morocco--all the way to the middle east by the 4th century A.D. unlike native people who may have used the elephant for its flesh to survive, we did it for entertainment and now egregious vanity. We were exploring the hinterlands of Africa, studying mostly the vanity in the late 18th, 19th century when people used the ivory for corsets, piano keys on which Mozart played his symphonies; it was something that had a societal impact, it was something, it's still a continuation of the vanity, and now it's gone to the most absurd level so you have cigarette holders and toothpicks and lots of little statuettes that don't even--you can't even play the symphonies of the great composers, if you will, on these guys. It's the most extraordinary--it's extraordinarily ridiculous. Unlike the hunters in the old days, there is no mythic relationship in what's happening now, it's just pure utilitarian impact, that's the problem with their living on the planet, we just have to understand that. I've heard hunters who want to have pieces of ivory for their knives when they go hunting, and other beings like the polar bear not being given maximum protection, it's now out of utilitarian--what you can get out of nature with no honoring, no reverence. This issue with the elephant is first and foremost about saving a species. But what it means to us boomerangs right back to our own vanity. We have generally made the entire biosphere a slave, if you will, we're in the process of exterminating it to what end? And those people will have children. Those people who supposedly care about their children, I would suggest they adopt one or two species, give as much as they can, they have to write their senators and say you cannot shoot the bison coming out of Yellowstone. Nobody should be allowed to shoot a polar bear for 40,000 dollars in the Arctic. There's a tuna that just was sold for 300,000 dollars or so? A tuna--that's an extension of how we're treating our entire life-support system.
GofG: You operate as a husband and wife team--certainly an interesting experience for two people so passionate about creating art. How does it work, and do you run into disagreements and have little spats during the creative process?
M.W. Well, I think the reason we don't differentiate between who shot which photographs, with a few exceptions here and there, is because it became quite clear early on that we didn't know who took which photographs: we were handing cameras back and forth, and we both have the same vision, and we photograph with film. It's not like having the instant gratification. So you know, it might be a month, might even be two months before we see what we've shot. And we hand cameras back and forth, we switch out lenses, pass them back and forth, we direct each other in how we'd like something photographed, if one of us, say, had a wide-angle lens and is photographing a large ceremony, one of us might say to the other, "Oh, why don't you get down over there since you have a close lens and get that," or what have you. As far as spatting, and we don't really--we spat more about logistics than we do about actually making the work.
C.C. Because the rapture...
M.W. Because he forgets to finish his thoughts.
C.C. - Yeah. For me, we have more down time and little arguments like what we're gonna have for lunch like we had yesterday, because I had a cold and --when you're in the field you're in such a place of challenge and discovery, often beauty and hopefully mystery. What I was trying to allude to, apart from the practical is that there's a lot of documenting going on, but we're documentarians and for us it's a story. Our stories make us who we are. And you had someone like Borges, an incredible writer who was blind and can tell you stories. We are very much a visual culture, we need to get the pictures out, partly to enable us to do what we do and to survive but the story that infuses the photographs, that is very important.
M.W. And then you know sometimes when we do interviews, sometimes it's more important that a male does the interview, particularly when we're dealing with indigenous people, there's information that's divulged to women, there's information that's divulged only to men.
C.C. And now Lysander's getting to, because they like children. But also again it's imagination that he sees in the books and the stories that we read him at night, they're activated by what he feels in the larger world. Part of our work is to help the larger world understand that there needs to be a larger world, so these stories have continuity in the world in place and time because is we, heaven forbid, were not to have hippos which are a challenge in the Congo, you know they were knocked out in huge numbers a few years ago for meat, you know a little bit about the elephant situation, and there's going to be, we can't say which one, but in very short order a piece that we helped, that instigated from our determination a major magazine is writing a huge exposé on the ivory trade. You will get to see that and it's the largest of its kind, perhaps in 20 years.
GofG: When you were talking about the creative process and you alluded to Borges and the importance of the visual and the ability to show…do you primarily consider yourself a poet and then a visual artist or is it all in tandem? And Marie how do you identify yourself, first and foremost?
C.C. - The question can be as usual described in a roundabout way... We, I think, the main thing is, if you wonder, you revere and you respect. You cannot wonder and in the same breath shoot something down. You can wonder if you're a native person, revere and then you honor that being, that being to survive. But the reality is we are first and foremost beings that wonder. You see the cave paintings all over the world, you saw the poets, in our tradition especially over the last thousand years, they're there to wonder and so we did a label of documentarians, that is, if you capture something beautiful, a story and a moment in time, a film or a photograph you are enabling the world ere to wonder. If we lose the ability to wonder because those beings are not there, we will be surrounded by machines or wires, a plastic world that will not make sense to the next generation.
M.M. - I'm gonna say first for Cyril that he considers himself a documentarian, and so first and foremost he is in the pursuit of all documenting our life and time, what makes life on this planet--
C.C. ...marvelous--
M.W. ...rich. So whether that is manifested in poetry, documentary film, photography or simply writing, yeah sure you could call him a writer you could call him a photographer you could call him a filmmaker but I would say the overarching thing is documentarian. And I guess I would say the same about me but my pursuit came through a fascination with how people live, exploring patterns, and that's how I ended up doing architecture. There was a fascination with structure and what makes things exist, what makes things work. And so as I was approaching the Lost Africa portion I was looking at how do these people live in an environment and allow it to continue to evolve without destroying it, because so often what's happening now is included in Africa which is we forget our connection to the place. We forget what we've learned from the land. And then we end up overgrazing, overdoing it. And because we have so many people now on the planet it's not like you can just move pastures. And so what makes a healthy environment, what makes a healthy ecosystem, what comprises a watershed, what are the patterns, what's the effect of the ungulate on the land, what's the effect of the elephant on the land, and then story, how did these people--so again it's documenting, but I think if Cyril's is more, maybe I'd say more philosophical. Then mine would be more pragmatic.
GofG: So you guys combine the documentarian poetry and then the structural pragmatism of the architect?
M.W. - We're both fascinated by stories. I mean all--pretty much everyone loves stories. So Cyril will be looking at, let's say, the vertical axis of the story, how it connects the heavens to the earth, and I'll be looking at that--because that's what makes it sing, really--but what is absolutely fascinating is the knowledge that is embedded in these stories that allow people, consciously or unconsciously, to survive in their place.
C.C. - That's a good--the reasoning--she's more interested in the horizontal, the pragmatic issues, got a very acute awareness and imagination with architecture and how we live in context, and I am more interested in the poetic in terms of what makes human speech but in relation to flesh, so we are looking---
M.W. Cyril's French and I'm American, OK? I think that kind of encapsulates it.
C.C. William James pragmatism versus Baudelairian hyper-poetics, the poetics of space, but they're both necessary.
M.W. They're both necessary, they have to both exist for us to survive. If you hang out in either of ideas or ideals, then you can't--you're not connected to your land. And I mean, in America we have phenomenal stories, particularly out here in New Mexico, we talked to the pueblos and they can tell you how story is informed by language and language informs stories. And there is an understanding that as we grow older our--the capacity to understand a story on multiple levels grows, while a story for a child teaches one little bit, you know, maybe don't play with fire you might get burned, but so then when you're a teenager there's a whole other meaning that you're either told about or blossoms out, then when you become a junior elder there's another layer of story that is understood, kind of, say, "how come I didn't see that before?" Well, you're just not--you can't. Your experience just isn't such that you can.
GofG: Why do you winter in Sante Fe and abandon Manhattan for the better part of the year?
M.W. - We skied all day Saturday and it did snow a little bit last night and it's about--we're about to get an arctic blast. The temperature right now is in the 30's.
C.C. D.H. Lawrence, when he came here, saw the beauty of the pueblo in relation to their cosmology. And one of the things I urge you to listen is the pragmatics of what we looking at and the natural cycle of rain and drought we've been looking at with people and the wildlife and the connection between the two, which is very very important. We are, if you will, we are looking at the stars, we looked at tides in relation to planets and all this and cycles of drought and when Venus appears and this and that happened and we're generally, apart from our sophistication technologically and our looking at the planets and the rings of Saturn and supposedly finding planets and they have water, we don't really have a cosmology that holds us to the earth. Which is very very important. And the elephant and all the creatures--we were marveling last night at two beautiful beetles, I'm not sure exactly what name they are, and I should, but they're gorgeous. We make sure we don't step on this beetle. Because this beetle like the bees, there's a story about the bees we could tell, we could go on for six hours, but we have to find our place in terms of flesh, and our minds and spirit. And what the elephant does ,like no other being on terrestrial ground, like other big--its mirror image is the whale is that they know who they are, they form part of who we are in the world. And the reason that the native people had a cosmology and that is something you learn in the field by watching their ceremonies, bumping into them at the grocery store, you have impacted the because they said "we have lost the cosmos", we, in a metaphysical way. Part of our research is going between the very physical and material--the sand, the mosquitoes, the drought and the cycles of everything that's going on and then the stories that infuse a larger poetic and the native people here still have that.
M.W. - I'd say really simply, in a quick, succinct answer, nature and culture, and four seasons. So--we have the, I don't know how to say this really diplomatically but we also have--we're on the east coast in the summer and we have to get an infusion--
GofG: Are you out in the Hamptons in the summer or are you in the city?
M.W. Well we're in Amagansett and then we come into the city on the sporadic dates: meetings, publishers, galleries.
GofG: How did you two meet, originally?
M.W. Through a friend, through a really good friend of mine--a German friend--who was working on the Reichstag project in Berlin and all my friends--I worked as an architect in London for a while and then I came back to New York and I finished all my licensing exams and I was about to take them and I had a call from my friends who were all working for Norman Foster, on the renovation of the Reichstag in Berlin and they said why don't you come over--my birthday--so I went over and I met him and we became great friends and then he came over that summer and it was indirectly through the movies at Bryant Park that Cyril and I met. We met at Yaffa Cafe in the East Village. And then we drank sake at the bar and talked about New Mexico because he was working on a documentary there.
C.C. And also, the really--you get sunsets here, you get the best four season weather system probably on the planet, you're not gonna get tsunamis or hurricanes in little baby--You have very, very good lectures, you get the natives and the artistic quadrant of experience, you get quantum physicists and astronomers and you get a number of things and then sometimes you are just amazed by the life. And the other day I mentioned there was a buck trying to come into the house on our steps, it was like nature saying "hey I'm still here" and I was looking for a cat and a beautiful guy with a rack of horns was on our front steps. It was fantastic.Yeah, sometimes you have mountain life crawling through and again it's part of that mystery, that larger dialogue, it isn't just trying to record--look at the beauty of nature because if you've got an interest in the larger architecture of experience and the poetics of space you understand that this period is an extraordinarily important thing, and a lot of the distractions, they come from the cultural world that I was very deep in and has its place, I think the largest dialogue of our time by far, will be how we connected to life. With all due respect to the buildings being put up, the art being put up--
M.W. I would say that your having grown up in SoHo in a time when there were not a lot of kids around, it was dark.
C - I'm just saying what makes this planet--
GofG: You've mentioned your view of cosmos and this and that. What are your religious views, do you incorporate those into your art?
M.W. No. I would say we're spiritual, not religious.
C.C. Nothing beats nature. That's all there is and everything else is just a subset of that. Absolutely.You look up at the stars at night, you know, if you can see the stars, that's a big one, and you're awed. You're simply speechless. And that's the end of the story.
GofG: I know, Cyril, you're not a huge fan of talking about the connection between your parents as artists, but because you work as a husband and wife team, do you learn anything from watching your parents over the years that you've now incorporated into your collaborations with Marie?
M.W. It's about us working together and learning lessons--
C.C. They have it pretty wrapped up because they understand that the beauty of the ephemeral, the product of the involuntary beauty of the ephemeral, of course he does it in a way that could only come from a human being but is synthetic because everything that we do is based on a human-generated idea, what it does is it goes away. So the beauty of the ephemeral is a very big one, several, and that helps us understand the urgency of the life quotient, the life--the message right now because there are so many things that are ephemeral that are being challenged, I don't want you to write a piece where it's just about photography. The past cannot be forgotten in any way, shape or form if we're going to have a future. Lysander is a part of our work because we can't have the knowledge of him staying behind and watching video games. He's been to Africa a few times and he is mesmerized. He has a good time with the kids and the kids at school and the teachers, and we have to go back in the filed for over a month to keep in touch with what's going on. It's part of his life. Something's going on you can't always just run into a Starbucks or run into another store and feel like "oh gosh we're in charge, let me buy something". You have a larger elemental reality, those beings are not just our allies, especially in terms of the elephants, they are our peers. We refuse to acknowledge that. A Hopi-Apache elder mentioned a few nights before he told me a date of no return, he basically said 2025 is the point of no return. Which means that our entire civilization has to change in terms of energy priorities, who we are, because Hope, going back to why we're in the southwest, I was very interested in the elders' understanding of the prophecy rock. Prophecies are very important, not as a new-age pastime but as true world-standing events. The circles on prophecy rock probably can relate to World War I and World War II. I believe we're in the middle of it and it's not a bomb, it's not a nuclear, heaven forbid, it's a psychic disconnect from nature. That is the biggest thing, a lot of photographers who take pretty pictures don't articulate it in that way. We went around the world to listen to elders in Australia, we crossed the Tibetan plateau in July of '99, the year--the month JFK Jr. went down, we learned a lot of things from people who have real culture because we have a society that doesn't have real knowledge transmitted to the young, that's why they're on drugs, it appears they're doing the same thing with tattoos and green hair, or purple or whatever. Because when you look at real, at native people, when they do those things it has an intent, it has intelligence behind it. That's a very big difference. So what we're trying to say, we have to bring the, I always say that the end will come with the killing of the whales, although that's generally subsided and not as many whales, thank God, are being killed now as 30 years ago, the killing of the whales, though, and the elephants in terms of mass, are the two arms of the largest crucifixion, biological crucifixion of our time, the two arms. Our vanity--one of the great stories of the world, the elephant, is being destroyed, they're dying from vanity. You can be sure that at some point we're next because we are imbalanced. The physical, biological, but also spiritual, the metaphysical because the guys who don't wanna go listen to it, shortly, the psychic connection will knock your socks off. We don't have that. The biggest issue of our time is whether we save the life force on this planet. Our work is a call, is an alarm call for what's left of life. And the fact that we're using every energy to make sure that our son comes with us is really a plea and a prayer for the next generation.


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In Which Our Heroine Finds Herself Retracing Steps And Reopening The Blog.
Patreon is, once again, making Choices about their billing cycles and fucking shit up. As a result, I decided that, even though I can't really afford it right now, I'm reopening my own blog and working out how to maintain both sites in a functional manner. Really, I was planning to do it at some point, anyway, but I'd been hoping to have more funds available when I did so. Such is Life, though, so here I am. I'm keeping Patreon as long as it's making me money and people are subscribing, but yeah, I'm also going to be working here so I'm not screwed if everything goes tits up over there.
Ugh. So much of this site didn't survive the WordPress plan downgrade. Most of the posts vanished, and those that remained lost things like all of the images that were in them. Now I have to decide how much effort I'm going to put into trying to resurrect lost posts for reposting, and how much I'm going to just let go of and effectively overwrite with new posts.
One definite decision is that here is where all of the blogging type stuff is going to be. Patreon is going to be solely art and writing, which will then be cross-posted over when the early access period end and posts open to the public. This will be my primary "home", Patreon will be the office. So, here will be where I put everything else that I've felt unsure of posting on Patreon… bits of daily life that don't fall into neat Art Related Content boxes, musings about art-related things that aren't fully formed enough to end up on Patreon yet, that sort of thing. Basically, what I'd originally been intending a year ago, before the Pandemic started and the country went to shit, torpedoing everything I'd been planning into a fine powder.
So, yeah. That's where I'm at. Now, it's time for me to go grab the duster and broom and start cleaning this place up…


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Andrew Niccol
Ethan Hawke, Uma Thurman, Jude Law, Alan Arkin, Gore Vidal, Xander Berkeley, Jayne Brook, Elias Koteas, Ernest Borgnine, Tony Shalhoub
Writing Credits:
Andrew Niccol
There Is No Gene For The Human Spirit.
In the 21st century, genetic engineering makes possible the creation of biologically superior human specimens ("valids"), who then grow to positions of power and prestige. Would-be astronaut Vincent (Ethan Hawke) born the old-fashioned way, can only hope for a janitorial position at the elite Gattaca Corporation - until he buys the blood, urine, and identity of a perfect but paralyzed athlete. But a murder in the company's ranks attracts the attention of a detective who threatens to sniff Vincent out.
Box Office:
$36 million.
Opening Weekend
$4.320 million on 1279 screens.
Domestic Gross
$12.339 million.
Rated PG-13
Runtime: 106 min.
Price: $19.94
Release Date: 3/11/2008
• Deleted Scenes
• Original Featurette
• "Welcome to Gattaca" Featurette
• "Do Not Alter?" Featurette
• "Substance Test Outtake"
• Previews
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Folks tend to use the phrase "science fiction" in a fairly generic way that covers a myriad of genres. Action (Aliens), horror (Alien), fantasy (Star Wars), film noir (Blade Runner), comedy(Spaceballs), family drama (ET the Extraterrestrial)... These movies have little in common other than the fact they're all considered to be science fiction.
Action/fantasy-type films dominate the genre. Generally when the term "science fiction" is used, we think of Star Wars, Star Trek, or something else that deals with other worlds and adventures. Really, most science fiction movies spend their time dealing with the fiction, not the science.
Gattaca offers an exception to that rule. Obviously it's fiction, since it takes place in an undefined but "not-too-distant" future. However, the movie's main focus deals with the ramifications of science, particularly in the area of genetic research. What if we get to the point where your baby can essentially be "made to order"? What if science could remove most of the uncertainties that come with reproduction? What would the world then be like? Those are the areas explored in Gattaca.
To the film's credit, the ramifications of these possibilities are looked at calmly and rationally. Many films might take a Stepford Wives or Children of the Corn approach to the notion of a society into which babies can be genetically altered, but Gattaca avoids any overt attempts to shock. It tries to examine what the effects of these scientific advances might be upon those who aren't the best of the best.
Really, the story told in Gattaca relates closely to any other "overcoming the odds" films such as Rudy or Simon Birch. The film's thesis essentially comes down to the tagline for the movie's ad campaign: "There is no gene for the human spirit".
Unlike most films of that inspirational ilk, however, Gattaca is really quite subtle. Yes, our hero has to overcome tremendous odds to achieve his goal, but the movie avoids melodrama and crass manipulation. I usually hate these kinds of "uplifting" films because they're so cheesy and obvious, and they're often quite sickeningly sugary sweet as they push you toward their cloying climaxes.
Gattaca doesn't do that. I did find it to be emotional and actually uplifting, but not in a phony way. It's an understated film, and it becomes surprisingly effective.
One criticism leveled at Gattaca is its slow pace. Yes, the picture does proceed at a less-than-breakneck speed, but I didn't think it was too slow. Really, it's nice to see a film for once that doesn't feel it has to give the audience a big song and dance during every second of its running time; ideas and themes are given time to flow and evolve at their own pace.
Another criticism revolves around its acting, primarily its lead. At one point, Ethan Hawke possessed some box office draw, but Olivier he ain't. Hawke's repertoire here includes smirking and sneering and that's about it. Nonetheless, while he does little to elevate his role, he also does little to hurt it; he's a liability, but not a gross one.
The supporting cast is really a top-notch group, but they do little to distinguish themselves in their roles as well. Alan Arkin is his usual fine self, and I always like to see Tony Shalhoub, but neither they nor most of the others stand out as terrific. The sole exception comes from Jude Law in his role as the bitter, selfish man whose persona Hawke's Vincent assumes. Law's really quite exceptional in what could have been a one-note role; his is the only fully-realized performance in the film.
Despite the high quality of Gattaca, it completely failed to find an audience during its theatrical release in the fall of 1997. This probably shouldn't have been a surprise, since action fans would be disinterested in such a cerebral film, and its sci-fi trappings may have turned off those who go for more thoughtful fare. Its ad campaign probably didn't help much either.
Indeed, the trailer did a poor job of communicating the nature and content of the film. Watching it, you're not sure just what to make of the movie, but its rapid-fire editing and breathless music certainly make the film look more like an action flick than it is. Unfortunately, it makes the movie look like a rather bad action flick, so it's no surprise the crowds stayed home for this one.
Unfortunately, this meant that Gattaca didn't reach much of a crowd, and that's a shame. While not flawless, the movie seems moving and compelling, and it features a generally low-key take that is refreshing. It gets its emotions naturally, and does little to force them. Gattaca offers a compelling and provocative experience.
Gattaca appears in an aspect ratio of approximately 2.40:1 on this single-sided, double-layered DVD; the image has been enhanced for 16X9 televisions. Overall, this was a satisfying transfer.
Sharpness appeared solid for the most part. Some mild edge enhancement occasionally made wide shots a little tentative, but most of the time the film exhibited good definition. No issues with jagged edges or shimmering materialized, and source defects appeared to be absent.
Gattaca featured an intentionally limited palette that fit with the sterile depiction of the future. As such, colors looked clear and appropriately saturated, but they weren't terribly vivid or attractive. Nonetheless, they seemed to replicate the filmmakers' intentions, and they showed good accuracy with no problems related to noise, bleeding, or other issues. Black levels seemed fairly deep and rich, while shadow detail was clean and visible; low-light situations came across well. The picture of Gattaca presented a positive experience.
Also good but not stunning was the Dolby Digital 5.1 soundtrack of Gattaca. Since the movie wasn't exactly an action spectacular, most of the mix worked in fairly subtle ways, but it did so effectively. Music came nicely from all five speakers so that the score warmly enveloped the environment, and some solid usage of directional dialogue occurred as well. Many of the effects tended toward general ambience, but these added a lot to the experience, and the track came to life more actively when appropriate. My only complaint stemmed from the fact that some elements didn't pan especially well. Note the movement of the cars during the sequence when Vincent crosses the street; they tended to transition fairly abruptly. Nonetheless, the soundfield seemed good for the most part.
Audio quality also was fine. Some dialogue was a little awkwardly looped, but most of it sounded natural and warm, and I heard no concerns related to intelligibility or edginess. Effects were accurate and clear. They boasted good bass response when appropriate - such as during rocket blasts - and also were clean and lacked distortion. Music sounded lush and rich, with nice fidelity and good depth. As a whole, the soundtrack of Gattaca lacked the breadth and impact to reach "A" territory, but it still worked well for the material
This 2008 Special Edition represents the third DVD release of Gattaca. There's the original 1998 version and the Superbit edition from a few years later. Audio remained virtually identical for all three, but this 2008 DVD presented a new transfer.
However, it maintained the same "B+" picture grade I gave to its predecessors. The 2008 disc looked cleaner than the others, as it came without their minor source flaws. However, it showed more notable edge enhancement, so it was a bit less crisp at times. All three looked very good, though.
The 2008 Special Edition adds some new extras along with a few returning components. Under Deleted Scenes, we find the same clips that appeared on the old disc. These run a total of 10 minutes, 39 seconds and feature "Hard Walls" (1:00), "Farewell to Caesar" (2:10), "Eighth Day Center (Original Version)" (3:19), "Mission Briefing" (1:00), "Investigator Exposed" (1:23) and "Coda" (1:46). I thought most of the deleted bits deserved to be cut, especially the very unsubtle "Coda" that seems out of touch with the rest of the film. However, I did like "Exposed", a scene between Detective Hugo (Alan Arkin) and Vincent's brother Anton (Loren Dean); it added to the former's character in a nice way, and it should have remained in the film. In any case, I was happy to get to see these unused snippets.
Another component already found on the old DVD, an Original Featurette lasts six minutes, 51 seconds. It features lots of movie clips, a few behind the scenes shots and some bland and uninformative soundbites from actors Uma Thurman, Ethan Hawke, and Jude Law as well as producers Danny De Vito and Stacey Sher. It's a total waste of time.
The Substance Abuse Outtake runs 35 seconds and also appeared on the original DVD. It's just a joke version of an existing scene that was never meant to be in the film; it's gag reel material.
The next two components are new to the SE. Welcome to Gattaca goes for 21 minutes, 58 seconds as it mixes movie clips, behind the scenes bits, and interviews. We hear from Hawke, Law, De Vito, production supervisor Bradley Cramp, first AD John Woodward, editor Lisa Churgin, location manager Bob Craft, assistant location manager Ilt Jones, VFX supervisor Chris Watts, and property master Emily Ferry. "Welcome" looks at the personality and style of director Andrew Niccol, casting and performances, production design, storyboards and other visual elements, locations, sets and props, the film's pace, its release and marketing, and some final thoughts about the movie's legacy.
The absence of director Niccol comes as a disappointment, but the others pick up the slack to a reasonable degree. This remains a mostly technical program, though, as it doesn't look much at the story or that side of things. Nonetheless, we get some interesting notes about various nuts and bolts aspects of the production, and these facts make the show useful.
Do Not Alter? runs 14 minutes, 51 seconds and includes statements from ITN Science Editor Lawrence McGinty, Cambridge University Professor Martin Bobrow, former Caltech president Dr. David Baltimore, Newcastle University Institute of Human Genetics Medical Director Dr. John Burn, Signum Biosciences CEO Dr. Gregory Stock, Princeton University Professor Lee M. Silver, and American Journal of Bioethics editor-in-chief Glenn McGee. We learn about genetic research and its development over the years as well as aspects of DNA, gene therapy and ethical questions. Despite the piece's brevity, "Alter" delivers a good recap of various genetic issues. We receive a nice look at the important subjects and this comes out in a concise and interesting manner.
(Catty comment of the day: Bobrow comes with an amusing name, as he sports a pair of the biggest eyebrows in human history. They fill roughly half his head. What's the genetic sequence for those suckers?)
A few ads open the DVD. We get clips for Close Encounters of the Third Kind, Ray Harryhausen in Color! and "Hot Action Movies". These also appear in the disc's Previews area along with promos for The Water Horse: Legend of the Deep and Dragon Wars.
No trailer for Gattaca shows up here, which marks an omission from the old DVD. We also lose poster and photo galleries as well as some production notes in the booklet.
As a film, Gattaca offers a moving and intriguing experience. It delves more into ideas than action, which makes it unusual in this day and age, and it works quite well. The DVD provides very good picture and audio along with a decent roster of extras.
On its own merits, I think this 2008 Special Edition of Gattaca represents the film's best DVD release; it's definitely the way to go for fans who own no prior version. However, I don't find much here to warrant a "double dip" for those who do have one of the earlier releases – especially if they don't care about extras.
To rate this film visit the Superbit Edition review of GATTACA


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Warm Up Programs - Return To Sport
🏉Have you seen all the recent injuries in the NRL?🏉
With return to sport underway, we have seen a significant increase in sporting and gym injuries coming through the practice, from ACL injuries to ankle injuries, calves and shoulder injuries.
There are quite a few exercise and warm up programs available that are backed by evidence to reduce injuries;
- FIFA 11 Kids
- Netball Knee
- AFL - Rugby
- Hockey
If you would like some more information or need to pop in for advice and treatment to help manage an injury, call our practice on 6352 3131, or your local Physiotherapist. If you are interested in one of these programs, leave a comment down below with the sport you need a program for. 😁
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When you are in Bangladesh or maybe a Bengali speaking state, ever wondered the right way to tell the actual time in Bengali? Telling the actual time in Bengali is all about understanding the Bengali numbers as well as some guidelines with regards to the hours, minutes and seconds in Bengali. Learn More
Would like to know precisely how to say eight o-clock in Bengali? Use the phrases directly below that may help you tell the present time on the clock in Bengali.
Utilize the standard Bengali sentences to know the time period for example a Year, Week and a Month in Bengali language.
Select the links directly below to find out a list of helpful Bengali travel words and phrases that are organized by category. For every holiday word or phrase in Bengali, you will find the English interpretation.
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Shenzhen Coban Electronics co., Ltd is a private export-oriented enterprise founded in 1999, 100% of the products are exported, and we have many years of research and development, production, and management experience in automotive electronics, security products, wireless communications terminal equipment, etc. So far, our products have been well-marketed in more than 100 countries and regions in the world. Our company has set up research and development centers, including GPS R & D department, GSM R & D department, and system integration Department.
Coban build 7405 (2023-03-30)
Coban build 5169 (2021-02-11)


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Architects: Spado Architects
- Area: 73 m²
- Year: 2012
Photographs:Kurt Kuball
- Project Manager: Harald Weber
- Assistance: Sebastian Horvath
- Country: Austria
Text description provided by the architects. The extension to a lakeside residential house, comprising three storeys in all, plays on the shape of the landscape and nestles into the steep slope that runs from south to north down to the lake. Facing the lake, it creates 3 all-glass residential storeys with the kitchen enthroned at their centre, like the command bridge of a ship. The projections and recesses lend the extension a feeling of lightness, creating roofed outside areas and also making each of the 3 storeys stand out visually. The kitchen faces east, with its distinctive "eye", receiving the morning sun. The facade is covered with opaque white glass panels, contrasting in places with high-gloss black glass elements.
A house on a lake is usually aligned with the views of the lake. Although facades which face northwards to the lake may appear unfavourable at first glance, their advantages become obvious in summer. There's no need to install any shades and they never get over-heated. In this context, north-facing walls are ideal when you have all-glass facades. The lake becomes the main protagonist.


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Re-Framing of "Adoration of the Magi" Tapestry in Exeter College Chapel
By on 25th Mar 2019
For over six years, the Bursar at Oxford's Exeter College had been looking for a practical and affordable solution to re-glaze Adoration of the Magi, a tapestry hanging in their chapel.
Styrene, Acrylic or Glass, which one do I use?
By Ryan Younger on 3rd Dec 2017
With the vast number of glazing options available, the question of which is the best to use is one that all framers ask themselves.
However, there is no definitive answer, which is never what you want to hear.
The best option will depend on a number of factors such as the budget, the weight restriction, if UV filtration is required and where the frame is going. Nevertheless, there are properties of each to help inform your decision between the three.
What's in A Frame?
By Ryan Younger on 24th Aug 2015
"A picture without a frame is like a soul without a body" Vincent Van Gogh
As long as we've had pictures we've had frames, In the old days a frame was there as much to protect the artwork as to show it off. In medieval times frames were often used as a symbol particularly signifying the gates to heaven in many church commissioned works of art.
The Bigger Picture
By Nikki on 17th Aug 2015
Which is the Best Glass for Your Customer? Glass is everything in the picture framing business, and although we as professionals realise this, often our customers don't have a clue. They'll spend ages looking at mouldings, mounts and even backing, but when it comes to glass the majority don't know there's a choice.
Wessex Pictures...New Kid on the Blog!
By Ashley Younger on 3rd Aug 2015
Welcome along to our new blog. It's a regular look at what's going on at Wessex Pictures. We'll be talking about everything from the latest equipment, new products and what's going on at our various offices across the country.


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Last Updated
A brand new low-cost airline, PLAY, has introduced new routes to the United States starting this summer season. PLAY relies out of Reykjavik, Iceland, and plans to supply service connecting the US to Europe. PLAY was founded in 2019 from the ashes of WOW air. The airline has been flying routes to mainland Europe for the final 12 months and has main ambitions to enter the US market.
PLAY is aiming to open routes to 4 US hubs this summer season. Including:
New York Stewart International Airport – Beginning June ninth
Boston Logan International Airport – Starting May eleventh
Baltimore/Washington International Airport – Starting April twentieth
Orlando International Airport – Beginning in September
All routes to mainland Europe can have a layover at Keflavik Airport in Iceland. It's virtually an ideal mid manner level to interrupt up the journey! The flights will proceed onward to considered one of these central European locations: London Stansted, Dublin, Paris, Berlin, Copenhagen, Brussels, Stuttgart, Trondheim, and Gothenburg.
The Airline additionally provides extremely aggressive charges on to Iceland which has develop into one of many prime journey locations on this planet. The previous couple of years have seen this nation prime journey lists due to its pure magnificence, out of doors adventures, and thriving native tradition. With all of their restrictions being dropped earlier than peak journey season, this may be the proper time to go to Iceland. And as a bonus, Iceland just ended ALL COVID restrictions.
Many are skeptical of PLAY's success due to it's integration with former WOW administration. The CEO, Birgir Jonsson, addressed these issues in a recent interview.
"Play and Wow are literally intently associated, so to talk. Many of our key administration staff are ex-Wow staff, as are numerous our flight crew. I personally was a deputy CEO at WOW for a interval.
So we all know that story fairly properly. And, in truth, WOW was an ideal firm and was doing very well working the enterprise mannequin that we're [now] working. It was solely when Wow began working wide-bodied jets like Airbus 330s and flying to the [U.S.] West Coast and principally doing the long-haul [and] low-cost factor — which is a hill that many good troopers have fallen on many occasions."
How would PLAY evaluate to different airways?
The CEO went on to match his airline to Iceland's flag service, IcelandAir, and the biggest low value service on this planet, Ryanair.
"In Ryanair's case, they fly comparatively shorter legs. If I'm going to fly to New York, it takes 5 hours. You want to have the ability to recline your seat and to have the ability to have some leg area and such. So we're not going hardcore like that. If there's a distinction between a low-cost and an ultra-low-cost product, I might say that we're some kind of low-cost.
If you evaluate us to Icelandair, I might say the product is almost an identical. Okay, we don't have a enterprise class as such. But by way of the overall expertise onboard, on each airways you must pay in your meals, drinks and baggage and all that stuff. Legacy airways are reworking themselves right into a low-cost merchandise anyway. If I made a listing of 10 issues that might justify that, the primary 5 on that checklist are "price."
If PLAY is profitable on this enterprise, they'll definitely be a drive within the transatlantic market. The previous couple of years has seen the decline of many low-cost airways, each due to COVID and unhealthy enterprise practices. But with restrictions all over the world being dropped, there's definitely a starvation to journey internationally.
Read More:
Travel Insurance That Covers Covid-19 For 2022
Mask Mandate For Flights And Airports To Stay Despite New CDC Guidance
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On the 10th and 11th September, 2019, The Rural Development and Poverty Reduction Fund of Quang Ninh district (RDPR) organized a training course to improve knowledge and skills in legal assistance for the community legal consultancy collaborators under the project "Facilitating justice access to marriage and family, gender equality and prevention of domestic violence issues for poor communities and ethnic minorities in Quang Binh".
The Key Farmer Network of Quang Ninh district includes two networks in Truong Xuan commune and Truong Son commune. The network was supported to establish by Rural Development and Poverty Reduction Fund and Quang Ninh District Fatherland Front Committee in 2011. At the present, the key farmer network of Truong Xuan commune includes 7 groups and 42 members; the network Truong Son commune includes 10 groups and 52 members.
From 14 to 18 December 2010, 07 key farmer groups organised to popularise the basic contents of Decision 33 of the Government regarding the supporting policies for implemetation of resettlement for ethnic minorities in the period from 2007 to 2010 at the villages of Truong Xuan and Truong Son mountainous commune.
From the end of September, 2010 to present, RDPR combined with District Fatherland Front Committee to organise five training courses about grassroots ordinance for people's inspection board and supervising board on community investment of 11 communes in the district including Vinh Ninh, Van Ninh, Lương Ninh, An Ninh, Hien Ninh, Truong Son, Truong Xuan, Xuan Ninh, Vo Ninh, Tan Ninh and Quan Hau Town.
Recently, at Community Training Centre, core farmer groups of Truong Son commune organized a regular meeting to evaluate its operation results in the third quarter and deploy the mission in the fourth quarter.


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Angus Berwick
Thursday, 05 January 2023 04:11 PM EST
Several other former FTX executives have also engaged counsel to discuss their cooperation with prosecutors, two separate sources said.
Friedberg gave details about FTX in a Nov. 22 meeting with two dozen investigators, the person said. The meeting, held at the U.S. Attorney for the Southern District of New York's office included officials from the Justice Department, Federal Bureau of Investigation, and the U.S. Securities and Exchange Commission, the source said. Emails between attendees scheduling the meeting with those agencies were seen by Reuters.
At the meeting, he told prosecutors what he knew of Bankman-Fried's use of customer funds to finance his business empire, the source said. Friedberg recounted conversations he had with other top executives on the subject and provided details of how Bankman-Fried's hedge fund Alameda Research functioned, the source said.
Friedberg's cooperation has not been previously reported. He has not been charged and has not been told he is under criminal investigation, the source said. Instead, he expects to be called as a government witness in Bankman-Fried's October trial, the person said.
Friedberg's lawyer, Telemachus Kasulis, and FTX did not respond to requests for comment on his cooperation. The SEC, the Department of Justice, the FBI, and Bankman-Fried's spokesman declined to comment.
Bankman-Fried is accused of diverting billions of dollars in FTX client funds to Alameda to bankroll venture investments, luxury real estate purchases, and political donations. On Tuesday, he pleaded not guilty in Manhattan federal court.
Manhattan U.S. Attorney Damian Williams, who is leading the criminal case against now bankrupt FTX, said last month: "If you participated in misconduct at FTX or Alameda, now is the time to get ahead of it."
Two of Bankman-Fried's closest associates, Caroline Ellison, Alameda's former chief executive, and Gary Wang, FTX's former chief technology officer, have already pleaded guilty to fraud and agreed to cooperate. A lawyer for Ellison didn't respond to a request for comment. Wang's lawyer declined to comment.
Other former FTX executives are being represented by two lawyers at U.S. firm Steptoe & Johnson, Michelle Levin and Jason Weinstein, who are engaged in discussions with the U.S. Attorney's Office about their potential cooperation, according to two people familiar with the talks, which have not been previously reported.
A Steptoe spokesperson did not respond to a request to comment.
FTX filed for bankruptcy protection on Nov. 11.
A few days later, on Nov. 14, Friedberg received a call from two FBI agents based in New York. He told them he was willing to share information but needed to ask FTX to waive his attorney-client privilege, according to a person familiar with the matter and emails viewed by Reuters.
Friedberg wrote to FTX the next day asking the company to waive his privilege so he could cooperate with prosecutors, according to the email seen by Reuters. FTX did not do so, but agreed with Friedberg on the points he could disclose to investigators, the person said.
Friedberg then wrote back to the two FBI agents, telling them in an email reviewed by Reuters: "I want to cooperate in all respects."
The U.S. Attorney's Office set up a meeting where Friedberg signed so-called proffer letters prepared for him by the SEC and other agencies, according to the source and an email exchanged by participants. Proffer letters typically describe a potential agreement between authorities and individuals who are witnesses or subjects of an investigation.
Prior to his work advising FTX, Friedberg advised a mix of banking, fintech, and online gaming companies.
One of his previous employers, a Canadian online gaming firm named Excapsa Software, where he was general counsel, also drew controversy due to a cheating scandal involving a poker site it operated called Ultimate Bet. A Canadian gaming commission in 2008 fined Ultimate Bet $1.5 million for failing to enforce measures to prevent fraudulent activities. Excapsa has since dissolved.
According to an audio recording available on the website PokerNews, Friedberg and some other Ultimate Bet associates privately discussed that year how to handle the scandal and minimize the amount of refunds owed to players. Friedberg previously told NBC News that the audio was illegally recorded but NBC's article did not say that Friedberg challenged its authenticity.
Friedberg first represented Bankman-Fried in 2017 as outside counsel while at U.S. law firm Fenwick & West, where he chaired its payment systems group, the source familiar with the matter said. At the time, the source said Friedberg advised Bankman-Fried on running Alameda, which he founded that year.
In 2020, when Bankman-Fried launched a separate exchange for U.S. customers called FTX.US, Friedberg moved in-house as FTX's chief regulatory officer.
In a now-deleted blog post published that year on FTX's website, Bankman-Fried wrote that Friedberg was FTX's legal advisor "from the very beginning," noting he had been "with us through thick and thin."
Friedberg resigned from his position on Nov. 8, a day after Bankman-Fried disclosed to top executives that FTX was almost out of money, according to the source and three other people briefed on the talks, along with text messages his legal team exchanged at the time.
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IVF medical Travel
Great potential for vacations
As Thessaloniki offers a great potential for vacations due to the proximity of tourist areas medical treatments could be combined with tourist packages.
We cooperate with a travel agency that has 15 years of experience in the sector and we aim to provide stress-free, high-quality travel services.
Let us create the perfect low cost travel package for you.


text: Dark Souls 2 is a tough game solo, and some people just want to play with their buddies instead of summoning random phantoms in their game. Here is a quick video tutorial on how to summon your friends into your world using an early game ring that can be acquired quite easily. What does this mean? Never go adventuring in Drangleic alone again!


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West Hollywood, CA, US
Currently housed in a historic building that once served as a stable and later an automotive garage, the Kimball Art Center is the heart of Park City's vibrant arts community. Brooks + Scarpa's light and airy design for the new Kimball Art Center addition creates a new visual icon for the city, a glowing beacon that can be seen from afar and experienced intimately. Drawing from the clear blue skies of Park City - with nary a cloud in sight whether summer or winter - the building's translucent and slightly faceted skin serves not only an aesthetic purpose but also is key to the building's thermal performance. Composed of a translucent honeycomb material, the envelope acts as a rain screen around a more conventional glazing system on the upper floors. Double-height workshops on the ground floor are visible to the public through a glass facade with full-height sliding doors, providing a transition from the existing historic building to the cloud-like addition while creating a visual connection with the exterior courtyard and busy street corner.
I was primarily responsible for conveying these design intents through the construction of a 1/8" scale wood and acrylic model, which was displayed at the Kimball Art Center during the Sundance Film Festival in January 2012. Special attention was paid to the historic neighborhood context of this coal mining town. I also participated in the design process and provided critical diagrams describing the massing development and construction phasing process, which would enable the art center to remain in use throughout the renovation.
Brooks + Scarpa Architecture | Team Project | Winter 2011
Status: Unbuilt
Location: Park City Heights, TN, US
Additional Credits: L. Scarpa, J. Gearhart, D. Thepkhounphithack


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Revealed and Explained: Who Owns the Mac OS Operating System?
Who Owns the Mac OS Operating System?
It is quite obvious for most that Apple likes to keep a certain level of control over their software and hardware. This is no different for their Mac OS system, which has now getting close to its OS 10.7 (or 'Lion') release. However, who really owns the Mac OS operating system? Obviously, Apple does, but where does the Mac OS come from and how tight is Apples' control on Mac OS? Find out by reading further.
The Classic Mac OS system
By 'classic Mac OS' basically every version of the operating system preceding the latest, OS 10 or X, is meant. Although it took until the 7th version of the system to really be identified Mac OS, all versions dating back to 1984 were dubbed 'Mac OS'.
Although it is a relatively new trend to 'accuse' Apple of controlling their system too tightly, the classic Mac OS system was the only one that was truly developed by Apple's very own code. Therefore the question should really be split into two, namely 'who owns the Mac OS operating system' and 'who owns the Mac OS 10 operating system'. Now that the former question has been answered, we will have a look at what the deal is with Mac OS X.
Mac OS X: Unix and Open Source Darwin
Although Mac OS X is simply the 10th iteration of the operating system, it meant a complete departure from the code previous Mac OS operating systems were built on. With the return of Steve Jobs to Apple, the company also purchased much of Jobs' work done with his former 'NeXT' company, which included the open operating system 'NeXTSTEP'. This system was quickly changed to 'Darwin', which is basically NeXTSTEP with small updates. As NeXTSTEP was open source, Darwin was left that way and remains so until this day.
Darwin is part of Unix Operating System tree, a system that is integrated in a lot of open source operating system, most notably Linux system. OS X's similarity to the Linux system is also derived from this heritance. The most obvious sign of this is the 'Terminal' application, which allows for 'command line control'. This feature was not included in classic Mac OS. Darwin itself is being used as the blueprint for OS X, as version 11.0 (the latest Darwin release) corresponds with the upcoming OS 10.7 release.
Apple's Tight Control on OS X
Whereas Darwin and Unix are an open source systems, OS X most definitely is not. Essentially OS X is built around a Unix core with Apple's modifications defining what makes the operating system unique. It is these modifications that Apple copyrighted, resulting in the closed source Mac OS X.
It might seem odd that Mac OS X is such a tight system, almost to the point where you'd forget where it's roots are. The answer may lay in that OS X is a consumer product, fit for simple out-of-the-box usage, lacking the complexity that often defines open source operating systems. While purists may not always like a closed source approach, there is no denying that in the end OS X became an operating system many learned to use and love.
- Darwin Source Repository, https://sourceforge.net/projects/darwinsource/
- Unix, https://www.unix.org/
- Mac OS X Server Unix, https://www.apple.com/server/macosx/technology/unix.html
- Mac OS, https://en.wikipedia.org/wiki/Mac_OS
- Screenshot by xXmatt69Xx1, Courtesy of Wikimedia Commons, https://commons.wikimedia.org/wiki/File:Mac_os_x_lion_dev_beta_preview_by_xxmatt69xx1-d3cyrbh.png.png


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Four Archetypes: Mother, Rebirth, Spirit, Trickster (Routledge Classics)
The Mother Archetype:
Like any other archetype, the mother archetype appears under an almost infinite variety of aspects.
I mention here only some of the more characteristic.
First in importance are the personal mother and grandmother, stepmother and mother-in-law; then any woman with whom a relationship exists—for example, a nurse or governess or perhaps a remote ancestress. Then there are what might be termed mothers in a figurative sense.
To this category belongs the goddess, and especially the Mother of God, the Virgin, and Sophia. Mythology offers many variations of the mother archetype, as for instance the mother who reappears as the maiden in the myth of Demeter and Kore; or the mother who is also the beloved, as in the Cybele-Attis myth.
Other symbols of the mother in a figurative sense appear in things representing the goal of our longing for redemption, such as Paradise, the Kingdom of God, the Heavenly Jerusalem.
Many things arousing devotion or feelings of awe, as for instance the Church, university, city or country, heaven, earth, the woods, the sea or any still waters, matter even, the underworld and the moon, can be mother-symbols.
The archetype is often associated with things and places standing for fertility and fruitfulness: the cornucopia, a ploughed field, a garden.
It can be attached to a rock, a cave, a tree, a spring, a deep well, or to various vessels such as the baptismal font, or to vessel-shaped flowers like the rose or the lotus.
Because of the protection it implies, the magic circle or mandala can be a form of mother archetype.
Hollow objects such as ovens and cooking vessels are associated with the mother archetype, and, of course, the uterus, yoni, and anything of a like shape. Added to this list there are many animals, such as the cow, hare, and helpful animals in general.
All these symbols can have a positive, favourable meaning or a negative, evil meaning. An ambivalent aspect is seen in the goddesses of fate (Moira, Graeae, Norns).
Evil symbols are the witch, the dragon (or any devouring and entwining animal, such as a large fish or a serpent), the grave, the sarcophagus, deep water, death, nightmares and bogies (Empusa, Lilith, etc.). This list is not, of course, complete; it presents only the most important features of the mother archetype.
The qualities associated with it are maternal solicitude and sympathy; the magic authority of the female; the wisdom and spiritual exaltation that transcend reason; any helpful instinct or impulse; all that is benign, all that cherishes and sustains, that fosters growth and fertility.
The place of magic transformation and rebirth, together with the underworld and its inhabitants, are presided over by the mother.
On the negative side the mother archetype may connote anything secret, hidden, dark; the abyss, the world of the dead, anything that devours, seduces, and poisons, that is terrifying and inescapable like fate.
All these attributes of the mother archetype have been fully described and documented in my book Symbols of Transformation.
There I formulated the ambivalence of these attributes as "the loving and the terrible mother." Perhaps the historical example of the dual nature of the mother most familiar to us is the Virgin Mary, who the mother archetype is not only the Lord's mother, but also, according to the medieval allegories, his cross.
In India, "the loving and terrible mother" is the paradoxical Kali. Sankhya philosophy has elaborated the mother archetype into the concept of prakrti (matter) and assigned to it the three gunas or fundamental attributes: sattva, rajas, tamas: goodness, passion, and darkness.
These are three essential aspects of the mother: her cherishing and nourishing goodness, her orgiastic emotionality, and her Stygian depths.
The special feature of the philosophical myth, which shows Prakrti dancing before Purusha in order to remind him of "discriminating knowledge," does not belong to the mother archetype but to the archetype of the anima, which in a man's psychology invariably appears, at first, mingled with the mother-image.
Although the figure of the mother as it appears in folklore is more or less universal, this image changes markedly when it appears in the individual psyche. In treating patients one is at first impressed, and indeed arrested, by the apparent significance of the personal mother.
This figure of the personal mother looms so large in all personalistic psychologies that, as we know, they never got beyond it, even in theory, to other important aetiological factors. My own view differs from that of other medico-psychological theories principally in that I attribute to the personal mother only a limited aetiological significance.
That is to say, all those influences which the literature describes as being exerted on the children do not come from the mother herself, but rather from the archetype projected upon her, which gives her a mythological background and invests her with authority and numinosity. The aetiological and traumatic effects produced by the mother must be divided into two groups:
(1) those corresponding to traits of character or attitudes actually present in the mother, and (2) those referring to traits which the mother only seems to possess, the reality being composed of more or less fantastic (i.e., archetypal) projections on the part of the child.
Freud himself had already seen that the real aetiology of neuroses does not lie in traumatic effects, as he at first suspected, but in a peculiar development of infantile fantasy.
This is not to deny that such a development can be traced back to disturbing influences emanating from the mother.
I myself make it a rule to look first for the cause of infantile neuroses in the mother, as I know from experience that a child is much more likely to develop normally than neurotically, and that in the great majority of cases definite causes of disturbances can be found in the parents, especially in the mother.
The contents of the child's abnormal fantasies can be referred to the personal mother only in part, since they often contain clear and unmistakable allusions which could not possibly have reference to human beings.
This is especially true where definitely mythological products are concerned, as is frequently the case in infantile phobias where the mother may appear as a wild beast, a witch, a spectre, an ogre, a hermaphrodite, and so on.
It must be borne in mind, however, that such fantasies are not always of unmistakably mythological origin, and even if they are, they may not always be rooted in the unconscious archetype but may have been occasioned by fairytales or accidental remarks.
A thorough investigation is therefore indicated in each case. For practical reasons, such an investigation cannot be made so readily with children as with adults, who almost invariably transfer their fantasies to the physician during treatment—or, to be more precise, the fantasies are projected upon him automatically.
When that happens, nothing is gained by brushing them aside as ridiculous, for archetypes are among the inalienable assets of every psyche.
They form the "treasure in the realm of shadowy thoughts" of which Kant spoke, and of which we have ample the mother archetype evidence in the countless treasure motifs of mythology.
An archetype is in no sense just an annoying prejudice; it becomes so only when it is in the wrong place.
In themselves, archetypal images are among the highest values of the human psyche; they have peopled the heavens of all races from time immemorial.
To discard them as valueless would be a distinct loss. Our task is not, therefore, to deny the archetype, but to dissolve the projections, in order to restore their contents to the individual who has involuntarily lost them by projecting them outside himself. ~Carl Jung; Four Archetypes :Mother, Rebirth, Spirit, Trickster


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Customs documentation
There are a bewildering number of documents involved in international trade, which may be for UK or destination customs, other government departments or for banking purposes. A few of the more commonly encountered documents are described below, along with details of the enhanced facilities that DHL Express is able to provide.
Export customs declarations
UK Customs normally require export declarations to be made for all goods departing the UK on a SAD (single administrative document) through the National Export System (NES).
DHL Express has an agreement with Customs which allows most declarations to be made via a paperless system, with the facility for low value shipments being declared after export, or via a bulk low value declaration. This enables us to move your shipments with the minimum of delays, as we are allowed to make routine customs declarations outside of busier peak periods.
If you export goods covered by a licence, from a bonded warehouse, or using other duty relief schemes, we are able to provide most export customs declarations for your controlled goods. Copies of the declarations can be emailed to you by arrangement, enabling you to complete your administration and comply with customs regulations with the minimum fuss – at no additional charge.
If you have a specific export declaration requirement, all you need to do is email our export team on the day of pick-up at [email protected] advising them of the shipment details and your needs. For instance, you may wish to advise us details of an export licence, the EORI number, a special Customs Procedure Code or commodity codes to be used for your export.
Your DHL Express invoice provides your evidence of export for VAT purposes allowing you to zero rate your international sales in most circumstances. For movements that are paid for by another party, our track and trace facility can also be used to provide the necessary evidence. If you are shipping to an intermediate receiver in an EU country, we can supply the EAD – Export Accompanying Document, which is needed to show that your goods have left the EU. This can be requested using the following process:
▪ EAD documents needed for goods being exported from the EU via a third party in another member state will need to be requested via email to [email protected] and [email protected] (for ESI shipments) or [email protected] (for TDI shipments). This is important to identify shipments that need to be separated from the normal intra-EU flow for ths treatment.
▪ Any additional entry requirment, such as the IPR CPC, approval or tariff numbers should also be included.
▪ The documents must indicate the final delivery name and address, and the office of exit needs to be identified in the documents or the email.
▪ An EAD will be issued by DHL and attached to the shipment to move forward with the goods.
▪ An electronic copy of the EAD, quoting the MRN number will be forwarded to the customer by email.
▪ This number can be quoted in customs returns as the discharge declaration reference.
▪ The EAD that travels with the shipment should be removed by the receiver, for subsequent production to Customs at the office of exit.
▪ It is the receiver's responsibility to ensure that the EAD is correctly presented for discharge at the office of exit.
▪ When the EAD is produced, the border customs office will record its discharge by scanning the MRN barcode.
▪ This information is transferred via a central EC Bureau to UK Customs, and via a link onto DHL's IT systems.
▪ EADs issued by DHL for which the discharge message is received will be logged as discharged.
▪ Any EADs not discharged within 10 days (or another period on arranegment) of issue will be notified to the customer.
▪ Customers can check the status of their EADs through the European Commision web-site using the link below.
Where EADs are not correctly discharged, Customs may be willing to discharge based upon alternative evidence of export.
Export licencing
Many goods which have a military or potential military purpose are controlled through export licences. The Export Control Organisation provides advice and issues licences for UK exporters and have recently produced an awareness film which can be viewed at www.berr.gov.uk/exportcontrol.
DHL Express is able to produce the customs declarations required for licensable exports, and in most cases just require a notification email to do this. In some circumstances Customs require a copy license to be provided, which can also be emailed or faxed and held by us for continuing exports.
Movement certificates
Forms ATR1 and EUR1 provide evidence to support preferential trade with Turkey and other countries that have reciprocal trade agreements with the European Union. These documents can be obtained from your local Chambers of Commerce or by using commercial consular services providers. Services may include on-line application and issuing of certificates. Your local chamber can be located through the British Chambers of Commerce, www.britishchambers.org.uk.
It is also possible to use simplified procedures such as low value invoice declarations, ATR2 and EUR2 documents, or by obtaining authorised exporter status. Details of these procedures are published in customs notices 812 and 827 which are available from Customs on 0845 010 9000 or at www.hmrc.gov.uk.
Certificates of Origin
Your customer may ask you to provide a Certificate of Origin, which may be required for Customs clearance or banking purposes.
Due to our extensive global coverage, DHL Express is able to offer you simplified document services to a number of destinations, such as legalisation at destination and higher value allowances before certificates are needed. DHL can help you source information about these and other document requirements for your exports.


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FYI for anyone else using their K1000 to patch Win7 x64 machines - there's a confirmed bug with the MS12-068 (KB2724197) Win7 x64 patch. It shows as SUCCESS (102) in the Deploy Status when deployed, but continues to be listed as NOTPATCHED in the Detect Status following the verify (and subsequent detect) runs.
KACE (L2) support has confirmed that there is an issue with this patch and is escalating to Lumension for a reissue of the patch. Once it has been reissued, it can/will be downloaded to the K1000 and deployed, but until then you may want to disable it to avoid multiple reboots of machines as the K1000 attempts to deploy it (up to your specified retry count).


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See all our
See all ourPet Gifts
Adopt A Dolphin
- Help conserve dolphins in their natural habitat.
- Personalised adoption certificate and regular updates.
- The perfect gift for any dolphin lover.
Price in GBP
Adopt A Dolphin
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Adopt A Dolphin
Know someone who loves dolphins? Why not give them the perfect gift and let them help conserve dolphins in their natural habitat by adopting a dolphin for 12 months.
Inside the adopt a Dolphin Gift Box (tin) is everything you need including a welcome letter, detailed fact sheets on dolphins, a poster, a species leaflet, a dolphin postcard, and a registration sheet.
Once you have registered your gift you will then receive a personalised supporter certificate, as well as conservation updates directly from ORCA. The perfect gift for any animal lover.
Helpful hint: some thoughtful people buying this present, send off the registration details first and then once the personalised certificate arrives, gives this to the lucky recipient together with the gift box and all its contents.
Product details:
- Size: L23, W17 cm approx.
- Weight: 260 g.
Delivery Information
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Order before 1pm on a working day and your order will be despatched with 24 hours of ordering.
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Why us?
Here at The Present Finder we take great pride in selling unusual, high quality presents and providing an easy and enjoyable shopping experience.
All our products are hand-picked by a team of gifting experts with over 30 years experience in sourcing and selecting fantastic presents.
All our gifts are packaged with the utmost care and attention by our warehouse team.
Exceptional Customer Service
We aim to source the most unusual presents backed by exceptional levels of customer service and our mission is not complete until the gifts you have chosen delight the lucky recipients.
If for any reason, you are not delighted with your purchase we will refund your money in full or exchange your goods with no questions asked.
We are incredibly proud of our 98% Customer Satisfaction Score from over 17,000 reviews and counting!
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- Adopt A Dolphin£24.99
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- Total Price: £99.98