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Avalon Collections Guide
See the Accessibility entry for information regarding the accessibility of the Avalon site and media player.
Logging In
On the Avalon home page, click "Sign in>>" (upper right)
At the Login page, enter your username and password, click Login/Sign In Button.
If you log in and do not have editing rights, you must be added to at least one collection as a manager, editor, or depositor. Use the "Contact Us" form linked in the footer of the Avalon site to request access or contact your system administrator.
Browsing and Searching
Browsing and searching is powered by Blacklight and Solr indexing. Flexible search features include Unicode support, Advanced Full-Text Search Capabilities, and faceted searching to help end users and Collection Staff refine their search results. Avalon also auto-generates search suggestions. Avalon provides multiple sorting options for search results, including relevancy sorting, and allows the user to set the number of results shown per page. Once items are added to Avalon, Near Real-Time indexing occurs. No additional steps are needed to index newly added or changed items.
Boolean Commands (AND, OR, NOT) and Truncation are not supported by Avalon at this time.
By default, Avalon uses Solr's DisMax Query Parser (or dismax), which is designed to process simple phrases without a need for any complex syntax. There is support for + (required) and - (excluded) words, as well as the use of quotes for phrase searching.
Solr also comes with an Extended DisMax Query Parser (edismax), which supports the capabilities of dismax as well as:
- Boolean operators AND, OR, and NOT in addition to + and -
- Parenthesis groupings for complex queries
- Wildcards
- Range queries on Numeric and Date fields (e.g., 1963 TO 1971)
- Better "proximity boost" matching
- Smart partial escaping
Avalon does not use edismax by default. Contact your system administrator to make changes to the Solr configuration.
The following table shows which fields by default are faceted and indexed for searching:
Player and Controls
Avalon uses the MediaElement.js player for playback of both audio and video files.
Player controls - When viewing the Avalon player in the browser window, player controls can be found below the video. When in fullscreen mode, hover your mouse over the bottom area of the picture and you will see player controls appear.
- To start and pause the player, click the center Play button (for video) or the Play button in the bottom left corner.
- To advance quickly through the audio or video, click on the timeline bar at the desired point, or scrub forward.
- To adjust volume within the player, click on the desired level in the speaker loudness icon. To mute, click the speaker icon.
- To go to full screen for video playback, click on the square icon located in the bottom right corner of the player.
- To switch between playback quality tiers, click on the gear icon located on the bottom right corner of the player.
To view a specific section when available, click the desired section for playback under the Section heading below the player.
To share the recording, you can click the Share button below the player then copy the relevant share link or embed code.
- Share the permanent URL for the item, or for one of the sections if the item contains more than one file.
- Embed the player in another web page by clicking on the Embed tab under the player and then copying the embed code. Pasting the code into the HTML of another web page will embed the media. If the video is access-restricted, authorized users will be prompted to authenticate before being able to access the media. Note: Embedding does not work in all environments (see Known Issues for Player Embedding).
Mobile viewing: Avalon works on iOS and Android devices.
See Known Issues for Player & Controls Controlled Vocabularies
Avalon Metadata
Descriptive metadata (the metadata fields available to describe an item for search and discovery purposes) are stored as MODS XML. All other metadata properties related to administrative, technical, and structural metadata (between files and above) are stored as RDF properties from various ontologies. Structural metadata applied within a single media file is stored as custom XML for providing navigation within the media player. See Avalon Metadata for complete details regarding the different types of metadata used in Avalon.
Creating Units
In Avalon, Units are used to define ownership and responsibility of collections and their items. Each collection must belong to a unit and collections can belong to only one unit. Each item within a collection can be discovered using Avalon's search bar or browsing the Unit facet.
In order to create or update unit names, the unit configuration file must be updated (see the Controlled Vocabularies page for further information). Please contact your system administrator for assistance if needed to update these values.
Creating a Collection
If you are creating a collection for real use, as a pilot or in production, review the advice in Managing Collections Efficiently before deciding on your workflow.
- You must be logged in as a manager in Avalon to create a collection. If you are not a manager, request to be added to the Manager group by an Avalon administrator (see Collection Members Roles).
- A note on manager access: Manager access will not automatically give access to view or edit other collections within that unit. To gain access to other collections in a unit, a manager for those other collections will need to add you in a staff role (manager, editor, or depositor).
- Log in to Avalon.
- Click the Manage Content button to access the My Collection(s) page.
- Click the Create Collection button.
- An inset window will appear containing the New Collection form. Enter a Name and Description for the collection and select the Unit to contain the collection from the drop-down menu. If the Unit you wish to use does not appear in the drop-down list, contact your system administrator to add the Unit to Avalon.
- Click the Create Collection button on the New Collection form.
- You will be automatically assigned as Manager of this new collection.
Collection Members Roles
Avalon has 4 default roles:
- Administrator - Administrators are a select few who have responsibility for providing an Avalon-based service. The administrators assign people to the manager role and maintain the list of units. Administrators are the only ones who can see and modify items in any collection. This role is typically limited to system administrators and administrative unit managers. Administrators do not need to be added to individual collections since they can view, edit, and delete any items in Avalon.
- Manager - Managers are those within a given unit who have overall accountability for the collection building within Avalon. Managers create collections and assign editor and depositor roles for those collections. They set the default access controls for items added to a collection and they also step in when a published item needs to be revised or deleted.
- Editor - Editors have supervisory responsibility for the ingest and description process (i.e. collection building). They can assign depositor roles, change the name or description of a collection, and modify access controls for individual items in a collection.
- Depositor - Depositors add media to a collection and describe it with metadata. They can publish items but not unpublish. They can only modify or delete unpublished items.
To see the exact permissions for each role, please refer to the Collection Member Roles.
Assigning/Removing Collection Members
- Once a collection has been created, you must log in as a manager or editor to assign roles in that collection.
- Managers can assign editors and depositors. Editors can only assign depositors.
- Managers can assign editors and depositors. Editors can only assign depositors.
- Log in to Avalon.
- Click the Manage Content button to access the My Collection(s) page.
- Click the name of the collection to be edited.
- Under the members section, add email addresses under Managers, Editors or Depositors to assign roles to those users. There is no limit to the number of email addresses listed under each role.
- If you are in the Manager group, you can only be assigned under Managers. Avalon will automatically list you under Manager.
- If you are in the Manager group, you can only be assigned under Managers. Avalon will automatically list you under Manager.
- Click Add.
- To remove an email from a role, click on the "X" following the email address.
- Each collection must have at least one manager. You will see an error message if you attempt to delete the only listed manager and Avalon will prevent that deletion from occurring. Collections do not require assigned editors or depositors.
Editing a Collection
- You must be logged in as a manager or editor in Avalon to edit a collection.
- Log in to Avalon.
- Click the Manage Content button to access the My Collection(s) page.
- Click the name of the collection to be edited.
- Click the Edit Collection button from the collection page.
- Edit the Name, Description, and/or Unit on the Edit Collection Info form.
- Click the Update Collection button on the Edit Collection form.
Deleting a Collection
At this time, Avalon does not allow deletion of the contents of a collection in a single procedure. The content in a collection must be moved to a different collection. If items need to be deleted from Avalon, each item must be deleted at the item level. Collections that do not contain any items can be deleted without any additional steps.
- You must be logged in as a Manager in Avalon to delete a collection.
- Log in to Avalon.
- Click the Manage Content button to access the My Collection(s) page.
- Click the Delete button next to the collection to be deleted.
- You will be asked to confirm before the collection is deleted. If there are items in the collection, you will have to select another collection from the drop-down menu to which the items in the current collection can be moved before proceeding to delete the current collection. If you do not have another collection into which the items can be moved, you will not be allowed to delete the collection.
Creating a Single Item
- You must be logged in as at least a Depositor in Avalon to create an item.
- Log in to Avalon.
- Click the Manage Content button to access the My Collection(s) page. Choose the collection to which you want to add content, then click the Create An Item button from that collection page.
- In Manage file(s), files may be uploaded through the web using the Select button, or by importing from a dropbox using the Open Dropbox button.
- If uploading through the web, use the Select button to browse to one or more files and click Open to load. When the file name appears in the box under the label "Upload through the web", click Upload, Change or Remove. Then click Save or Save and continue; note that the Upload button must be clicked before saving or no file will be uploaded. If multiple files are selected, only the first file name will appear in the box. Unless you are certain the file meets Avalon's strict streaming standards, do not check the Skip Transcoding box (see the skip transcoding subsection of File Management below).
- If using the Open Dropbox button, choose files from the file dropbox location and click Attach Selected Files. Unless you are certain the file meets Avalon's strict streaming standards, do not check the Skip Transcoding box (see the skip transcoding subsection of File Management below).
- Multiple files may be uploaded at once or by repeatedly using the Select or Open Dropbox button to upload one file at a time. However attaching files from multiple pages of the dropbox is not possible. You must attach files on separate pages in the dialog box at different times.
- After clicking Upload, a Section label may be entered; click Save to save this label. This step is not necessary for items with only one media file. "Sections" only appears if there are multiple files for one item. Note: Section label will be overridden if structure is defined for a section (see Structure section below).
- If one or more files for the new item are video files, use the Thumbnail box to change the thumbnail that will be used for the static display of the video file. The default setting is 2 seconds. Audio files do not have an editable thumbnail offset and display defaults to an illustration of headphones.
- After uploading and labeling files has been completed, click Save and continue to move to the Resource Description step.
See Known Issues for Content Creation
Previewing an Item
- Previewing an item allows the Collection members to see the item in the media player and test playback before allowing anyone else to view the item. The media player shows with the same controls that end users will see and the playback will reflect the playback experience for end users.
- After previewing an item, the collection Manager can choose to "Publish" the item, making it available to end users based on the Access Control settings for the item. If an item is already published, the collection Manager can choose to "Unpublish" the item, removing it from end user access.
Editing an Item
When viewing an item that you can edit, you will see an Edit button above the audio or video player. Clicking the Edit button allows authorized users to manage files by assigning labels, to upload additional files, change metadata about the item in the Resource Description page, reorder multiple files in the Structure page, edit who can access the item in the Access Control page, and Preview how the item will appear.
Changing the Thumbnail and Poster Images for a Video
For video, the default setting for the poster image and thumbnail is two seconds into playback. There are two ways to change the poster image and thumbnail of a video. One way is to click Edit in the item page, go to Manage file(s), and change the Thumbnail (seconds) for the first file. Click Save or Save and Continue to keep your changes. Thumbnail (seconds) can also be set for individual video sections but will not appear in search results if they are not the first section.
The other way to set a custom thumbnail and poster image is on the Preview page. After initiating playback of a video in the player, click the camera icon in the lower right corner of the player window at a frame in the video you wish to use as the new thumbnail/poster image. Avalon will ask you to confirm your selection and the poster image will update automatically.
See Known Issues for Thumbnail/Poster Images
See Setting the Thumbnail Image for a Video Item
Deleting an Item
- Items can be deleted by managers at any time during the edit process or when accessing an item using Browse, search, or a URL. Details about how derivatives and associated metadata are handled for deleted Avalon items or single media files that are part of an Avalon item are described in the File Management section.
- To delete an Avalon item, click the red button marked "Delete" on the playback page or "Delete this item" when accessing the editing menu. You will be asked to confirm before the item is deleted.
- To delete a media file from a multi-file Avalon item, access the file and click Edit, then go to Manage file(s). Click the Delete button in the right column next to the file or files to be deleted, then click on Save or Save and continue.
- Note that clicking on the file in the playback or Preview pages and then clicking Delete will delete the entire Avalon item.
File Management
If you are creating a collection for real use, as a pilot or in production, review the advice in Managing Collections Efficiently before deciding on your workflow.
Types of files, size of files, etc
Avalon uses FFmpeg for transcoding. For a list of source file formats and codecs that are supported, see the FFmpeg Supported Source Formats and Codecs documentation.
There is an individual file size limit of 250MB when uploading files manually through the Avalon web interface.
There is no practical limit on the maximum file size of a source file uploaded to the system through the Avalon dropbox or through the batch upload feature.
File names cannot include the following characters: [ ] < > | &
Automatic handling of master files
Avalon can be configured at the system level to take one of several actions after the master file has been processed. The master file can be either:
- left in place
- moved to another location
- deleted
Thumbnails are captured at the 2 second mark of video files by default. To change this, see Changing the Thumbnail and Poster Images for a Video. When the item is audio, the thumbnail will be an illustration of headphones. When the item contains audio and video, the thumbnail will be an illustration of headphones and a screen.
- Encoding profiles
- Avalon utilizes a component called Opencast Matterhorn to process files uploaded to the system. The types of files that the system produces for streaming are determined by encoding profiles specified in Matterhorn. Users will notice that when their files are processed, they have the option of three tiers of video playback ("Low", "Medium" and High") and two tiers of audio playback ("Medium" and "High"). Having different tiers of playback allows your end user to get the best playback experience in their playback environment (i.e. combined factors of software, hardware, internet bandwidth, etc.)
- Opencast Matterhorn utilizes the encoding software FFmpeg to create derivatives of source files. Each encoding profile designates FFmpeg settings for derivative file creation. These settings are customizable in the encoding profiles.
- If you wish to edit encoding profiles by changing their titles or FFmpeg encoding options, creating a new encoding profile requires creating a configuration file and placing it in the encoding profiles watch folder of Matterhorn. Contact your system administrator to edit encoding profiles.
- Skip Transcoding
- Users may designate the Skip Transcoding option so Avalon does not create derivatives from the video or audio file being uploaded. This is useful for uploaders who already have encoded content that may be served to users without further processing. Even though derivatives are not created, Avalon still extracts metadata, creates poster and thumbnail images, and distributes the files to the streaming server.
- Users may designate skip transcoding either through web upload or batch upload. Files added to the dropbox do not have the option for skip transcoding.
- Use AAC encoded mp4 files for audio and H.264 encoded mp4 files for video. Some file types, such as mp3, will not work with the Adobe Media Server. See Avalon Derivatives.
- To skip transcoding through web upload, select your files in the "Upload through the web" section and click the Skip Transcoding box. Click upload and proceed through the workflow after the file has been successfully attached.
- To skip transcoding in batches, follow instructions on the Batch Ingest Package Format page, adding a column heading after each file listed.
- To skip transcoding in batches for multiple files to be ingested as individual quality selections, format the manifest file and package layout following instructions on the Batch Ingest Package Format page
- To skip transcoding on files uploaded from the dropbox, select skip transcoding. This option will affect all files added at that time.
- A successfully processed item with skip transcoding from the dropbox interface will not offer multiple qualities for playback, only the file(s) that have been uploaded.
- Date Ingested values
- For web ingest, this date automatically will be set to the date the ingest process completes.
- Ingest via batch or the api will set the date as above unless a date is provided in the batch manifest or though the api.
- These dates will not be visible to normal users, but will be browseable via a Limit By facet by administrators and collection managers.
- Date Digitized Field
(NOTE: different than Date Ingested value, this is when the original media was initially digitized, not ingested into Avalon).- For web ingest, this date automatically will be set to the date the ingest process completes.
- Ingest via batch or the api will set the date as above unless a date is provided in the batch manifest or though the api.
- These dates will not be visible to normal users, but will be browseable via a Limit By facet by administrators and collection managers.
Navigate to the Manage file(s) section when editing an item, locate the new content file(s) through the Web upload section or import the file(s) from the dropbox after placing them in the appropriate dropbox directory (contact your system administrator for dropbox location and connection information). Upload the file(s) and wait a moment for them to attach to the resource. Delete the incorrect content file(s) from the item in the Manage file(s) section of edit mode, then Save at the bottom of the Manage file(s) form.
- Click the Edit button for an item and navigate to the Resource Description section. Correct metadata about the item and click Save at the bottom of the form to save your changes.
To replace a content file:
To correct metadata errors for an item:
- Deleting Items
- Deleting a single item deletes the record from the database and the derivatives created for each media file.
- Deleting a specific content file (i.e. section) will only delete that content file. To replace a specific file in any Avalon item, navigate to the Manage File(s) step for that item. Delete the specific file or files and replace the file with a new one. Processing for that file will begin again.
- Deleting File(s)/Batch(es) from the dropbox only deletes files within the dropbox and not within their respective Avalon items. Collection managers can delete files and batches from the dropbox to make space or to keep the dropbox organized. Files and metadata for batch operations do not display in the dropbox view in the Avalon interface, so batches must be deleted directly from the dropbox directory.
Uploading via Web
Web ingest is used for manual upload of one or more media items.
Deleting a single Avalon item deletes the record from the database and the derivatives created for each media file.
Deleting a content file of an Avalon item does not automatically delete that content file and its derivatives. If you would like those items deleted, follow the prompt "Several clean up jobs have been sent out. Their statuses can be viewed by your sysadmin at /var/www/avalon/shared/log/matterhorn_cleanup.log"
There is an individual file size limit of 250MB when uploading a file manually through the Avalon Web interface.
The Avalon Web interface allows for labels to be added to individual sections of a multipart Avalon item.
Avalon items can be created without associating media. Metadata and access control information can be created first which allows for collection managers to come back to that Avalon item and associate the correct media at a later time. You must click "Save and continue" to progress through the steps even if no changes are made.
Deleting files -
See Known Issues for Creating Single Item
Uploading via a file dropbox
Avalon's dropbox is used to import large files over 250MB (this has no association to dropbox.com).
Uploading files - Large media files are placed in a dedicated Avalon dropbox (a file server usually connected via SFTP or a mapped network drive). Contact your system administrator for dropbox location and connection information. Starting with release 3, dropboxes are in sub-folders with the name of the related collection instead of there being just one system-wide dropbox.
Once files are copied to the collection's dropbox, collection members can go to the Create an Item option or Edit option for an item within a collection to open the dropbox and attach selected files to an Avalon item. File processing begins once media is attached from the dropbox.
- When creating a new item, you go through the workflow in order of adding resource descriptions, ordering structure and access control.
- Selecting the Skip Transcoding option will affect all items being uploaded from the dropbox.
Deleting files from the Avalon dropbox - If your Avalon instance is not configured to automatically delete or move master files after processing, you can delete files from the Avalon Dropbox through the web interface or directly on the server where the dropbox is located:
- Through the Avalon dropbox - Choose the Create an Item option or Edit option for an item within a collection. From within Manage file(s), click the Open dropbox button. Checkmark the files you want to delete and click Remove Selected Files. Deleted files will be permanently removed from your Avalon Dropbox folder on the server where it is hosted.
- Through the dropbox folder on a server - Connect to your Avalon dropbox folder directly on the server where it is hosted. Delete files manually. Deleted files will be permanently removed from your Avalon dropbox.
Uploading via Batch
Avalon's Batch Ingest feature provides a method of building one or more media items at one time from content and metadata uploaded outside the user interface. A batch ingest is started by uploading an Ingest Package (the combination of content and metadata) consisting of one Manifest File and one or more Content Files to the Avalon dropbox.
To format a Manifest File as an xls, see Batch Ingest Package Format for a batch spreadsheet template and instructions on the metadata fields that can be included in a batch ingest.
When formatting a batch, all content and metadata files are placed in a dedicated collection-specific Avalon dropbox (a file server usually connected via SFTP or a mapped network drive). Contact your system administrator for dropbox location and connection information.
Upon loading the batch in the dropbox, Avalon checks to see if the spreadsheet is formatted properly and if all the files are copied to the server. Avalon sends an email to the address listed in the spreadsheet either confirming that all is well and the batch is processing OR reporting problems with the batch (e.g. missing files or incorrect formatting). Upon completion of the batch, Avalon sends an email of success or failure.
Handling errors for Avalon items within a batch
- Sometimes a batch ingest will result in an exception (e.g. one or more content files failing to ingest). You will receive this information through an email message after your batch ingest processes. If a content file failure occurs, the following steps can be tried to ingest the content again:
- Avalon form: Re-ingest a single Avalon item (i.e. one row of the batch ingest spreadsheet) by placing all content files for that item in the collection's dropbox directory. Once processed, the content files will be available from the Import from a dropbox feature in the Manage file(s) section of an item.
Reload spreadsheet: Re-ingest a single Avalon item or set of items by reducing the batch spreadsheet to only those failed items and reload the spreadsheet to the same location as before. This will run the batch for the failed content files only.
If a single Avalon item with multiple content files has one or some of those files fail (but not all), either delete that item from Avalon and use the Reload spreadsheet method to load the entire item again or use the Avalon form method to add those failed content files to the dropbox and append them to the appropriate item in Avalon.
- If your Avalon instance is configured to automatically delete or move master files after processing, you will have to put the master files back in the dropbox before reprocessing items.
- Sometimes a batch ingest will result in an exception (e.g. one or more content files failing to ingest). You will receive this information through an email message after your batch ingest processes. If a content file failure occurs, the following steps can be tried to ingest the content again:
Resource Description
- Metadata
- Avalon utilizes Metadata Object Description Schema (MODS) for organizing descriptive metadata.
- When creating a new Avalon item, use the Resource Description form to create basic metadata about the item. Clicking on the question mark image next to the form field name will expand with helpful instructions. In some cases, instructions will recommend controlled vocabularies (e.g. see help for Genre and Subject for examples). Other times, instructions contain formatting recommendations (such as Publication Date and Creation Date). Please be sure to verify that metadata is being entered properly so that Avalon can make the best use of the information you provide about your items for search and discovery.
- Authorized users can edit the metadata at any time by clicking the Edit button on the item page and editing metadata in the Resource Description section.
- Two metadata elements are required for each Avalon item: Title and Publication Date. These elements are identified with an asterisk (*).
Suggestions for controlled vocabulary use
Some fields in Avalon have recommended controlled vocabularies. Genre, all types of Subjects (Location, Time Period) and names of Creators and Contributors should come from a controlled vocabulary when available. The contextual help accompanying the fields in the Resource Description form contains links to recommended vocabularies. Additionally, the Batch Ingest Package Format specifies controlled vocabularies for those fields.
- Import of MARC Bibliographic Data
- Avalon supports automatic import of MARC bibliographic data from integrated systems such as a catalog database, OPAC, or library management system. Ask your System Administrator if your instance of Avalon is configured for this feature.
- Within the Resource Description page of an Avalon item in the web interface, use the dropdown menu in the "Bibliographic ID" section to select the type of data being imported, and then input the ID for the data you are importing in the text field. Click the "Import" button and all available MARC fields will be imported to the resource description. Save your imported data by clicking the "Save" button. Please note that when importing data this way, any preexisting descriptive metadata will be deleted with the exception of data in the Other Identifiers field. The ID used for the import will automatically be added to the Other Identifiers list. If there was a previously entered import ID, it will be removed from the Other Identifiers list.
- When importing MARC bibliographic data through batch ingest, use the "Bibliographic ID" and "Bibliographic ID Label" in the manifest file to specify the type of data being imported and the ID for the data being imported. Follow instructions in the field names section on the Batch Ingest Package Format page for this feature.
- Multiple content files within a single Avalon item
- If a single Avalon item is made up of multiple content files, those content files can be uploaded separately to the item, labeled individually, given different thumbnails (for video files only) and reordered at any time. If there is more than one content file, each content file will be listed on the Avalon item's page and can be selected for individual playback. Labels specific to these content files can be helpful for users to better understand the content of the item. If no label is provided for a content file, the file name will be listed. You must click Save or Save and continue at the bottom of the Manage file(s) page for labels to persist.
- Defining structure within a single content file
- Structure can also be defined within a single content file. To do this, go to the "Structure" section of an Avalon item and add or edit structure using either the Raw XML or Graphical forms. Screen shots describing this process can be found on Adding Structure to Files Using the Graphical XML Editor.
- Alternatively, structure files can be included in a batch ingest package. For each file in the spreadsheet with a filename like "filename.mp4", if a file exists in the same directory called "filename.mp4.structure.xml" it will be attached as structure to that file. See the Batch Ingest Package Format - Adding structure files via batch for more details.
- NOTE: Defining structure within a single content file is an advanced feature. It is possible to define structures that will not work within the media player (time stamps and order can be defined so they do not match the actual content). Proceed with caution.
- Adding captions to a content file
- Captions can be added to a content file from the Manage Files edit page by clicking the Edit button next to the content file and then clicking the "Upload" button under the Captions heading and choosing a WebVTT or WebSRT file from your local file system.
- Alternatively, caption files can be included in a batch ingest package. For each file in the spreadsheet with a filename like "filename.mp4", if a file exists in the same directory called "filename.mp4.vtt" it will be attached as captions to that file.
Access Control
See Configuring LTI for information about configuring Avalon for use in Learning Management Systems (LMS).
- Avalon provides stream-level protection for desktop and mobile streams through session token validation. Tokens are passed between Avalon and the streaming server (Adobe Media Server or Red5) when a valid Avalon session exists. These tokens last for 20 minutes.
- Access control options must be adjusted manually in the Avalon user interface. Batch uploaded items that are designated to be Published automatically default to the Collection member only access control option.
- Available to general public: Anyone can view items with this setting without being logged in.
- Authenticated users only: Only users that can log in to Avalon can view these items.
- Collection members only: Only collection members (Managers, Editors, and Depositors) can view these items
- Assign special access to: Designated individuals, groups, or users visiting from specified IP addresses or address ranges can view these items. Special access will be limited to specified date ranges if dates are provided. Users in the Collection members group can always see these items.
- Hide from search results: This option exists for items you wish to keep available via URL only. Items with this setting cannot be discovered via search or browse.
- Published vs. Unpublished: Unpublished items are only viewable to collection members. To make Avalon items viewable to other users, you must publish the item. Publishing an item occurs in the Preview section of the process.
- Assigning special access to an External Group provides a method to deliver course-specific content through a Learning Management System (LMS) or to grant access to groups managed through an external LDAP service configured by a system administrator.
- Available to general public: Anyone can view items with this setting without being logged in.
- A user can share a unique URL to an Avalon item or section. The item and section URLs can be found on the item's page by clicking the Share button underneath the video or audio player. The item will be accessible only to users who are authorized to have access through the access control options.
- To set up temporary access for a user who is unaffiliated with your institution, contact your system administrator.
Managing Groups
Avalon has two default group categories: System and Ad Hoc Groups
System Groups - System groups are configured by a system administrator.
- administrator - users listed under the administrator group have the ability to do anything in Avalon including viewing all items, creating and editing items, and creating and editing collections. Adminstrators also have automatic access to the group_manager group so they can add any user to the other system groups.
- Only administrators can add other administrators to the administrator group.
- Only administrators can add other administrators to the administrator group.
- manager - users listed under Manager group are able to create and manage collections. They have the ability to assign collection member roles to their collections. They can edit, publish, and unpublish all items under their collections.
- Only administrators and group_manager members can add to the manager group.
- Only administrators and group_manager members can add to the manager group.
- group_manager - group_manager members can create ad hoc groups, add or remove members to existing ad hoc groups, and create or remove groups to share specific collections or items with a designated user group. group_manager members can add members to the manager group.
- Administrators are the only members that can add members to group_managers.
- administrator - users listed under the administrator group have the ability to do anything in Avalon including viewing all items, creating and editing items, and creating and editing collections. Adminstrators also have automatic access to the group_manager group so they can add any user to the other system groups.
Adhoc Groups - Group managers can create new groups to share specific items with designated user groups. These groups will have view access only.
No ability exists in the interface to edit policies for groups. To add users to a group, enter their Avalon username as displayed in the upper right corner upon logging in. This is usually an email address.
- Ad hoc groups can be edited and deleted by other Group Managers or Administrators.
- Group names should not include blank spaces. Avalon is not case-sensitive so it will not allow a group named "test" and "TEST."
Avalon can optionally be configured by system administrators to utilize "External Groups" for item access. These are similar to Adhoc Groups described above, but group membership is determined by external systems, such as LDAP or LMS/LTI. Access to any collection or item can be granted to one or more external groups by adding those groups via the Access Control sections of Collection and Item Edit screens. See the Access Control section above.
See Known Issues for Group Management
Sharing via URL/Permalink
- Items and sections of items that are published can be easily shared by clicking the Share button below the player and copying the URLs provided in the Object or Section fields of the Share this resource tab. Access will be determined by access control level on the item.
- To copy a specific section, select the section from the Sections list below the player, then copy the URL shown in the Section field under the Share this resource tab.
- These URLs are permanent links that are created for each item and for each section of an item. For more details (including how to define permalinks used at your institution), see Permalinks in the Avalon Media System Technical Documentation.
- Optionally, Avalon also allows preexisting PURLs or Handles to be entered for any object and its sub parts. This is done on the Resource Description (for the item as a whole) and Manage File(s) (for an item's sub parts) Item Edit pages. Tooltips have been added to these pages to assist with this feature.
- If an item does not contain sections, there will still be URLs for both Object and Section under the Share this resource tab. Either URL will work to share the entire item in this case.
See Known Issues for Sharing via URL/Permalink
Bulk Editing
When multiple items are viewed in a search page, you can select one or more items with check boxes in the right hand column. When boxes are checked, then they are selected. Click the "Manage Selected Items" option displayed in the top navigation bar which lists the number of items selected. The Selected Items page will then provide the following Bulk Editing features:
- Update Access Control: Manage access control settings for multiple items.
- Move: Move multiple items to other collections.
- Publish: Publish or unpublish multiple items.
- Delete: Delete multiple items.
Roles and permissions will determine the range of bulk editing actions available to a particular user. If a user has selected multiple items and the user does not have the same permissions to perform the various Bulk Editing actions across all items, then only those items with correct permissions will be successfully edited.


text: TU Anti-Harassment Policy (2018) TU Illegal Substance Policy (2018) TU Litigation Policy (2017)TU's updated litigation procedures for volunteer leaders and staff National Conservation Agenda - PDF (2016) Social Media Policy - PDF (2016) TU Guidelines for Working with Youth - PDF (2015) Policy on Financial and Property Controls - PDF (2015) This policy sets out several requirements and recommendations to help officers and directors safeguard TU funds and other chapter and council assets. Policy on Climate Change and Promoting Responsible Energy Development to Protect Coldwater Fisheries - PDF (2015) This policy provides guidance for TU's conservation activities as they relate to land and water use associated with energy development, production, transmission and transportation as it affects coldwater fisheries and their watersheds. Securely Processing Credit Card Transactions - PDF (2014) Guidance on Copyrights and Trademarks - PDF (2014) Gift Acceptance Policy Guidelines and Procedures - PDF (2013) Contract Guidance for TU Chapters and Councils - PDF (2013) Resolution Concerning a Process for Reviewing Proposed Chapter and Council Contracts Involving Uninsured or Excessive Risk - PDF (2013) Resolution on Stocking Over Native Trout (2012) TU's resolution and guidance document for the NLC resolution on stocking non-native hatchery trout over native trout populations Resolution on Stocking Over Native Trout Question and Answer (2012) A comprehensive question and answer document created to help grassroots members understand and support the resolution. Questionnaire on Agreements for Fishing Access (2012) Policy on the Ownership of Access Rights for Recreational Fishing (2012) Trout Unlimited Policy on the Ownership of Interests in Real Property (2012)This Policy establishes the process for the review and approval of the current ownership of interests in real property, and of the acquisition of such interests in the future by TU, its chapters and councils. Definitions of Terms Used in TU's Policy on the Ownership of Interests in Real Property (2012) Checklist for the Acquisition of Fee Property (2012) Resolution Concerning the Prohibition of Holding Interests in Conservation Easements (2012) Operating Procedures for Early Chapter Development (2011)A Board of Trustees resolution concerning the development of sub-chapters and converting them into chapters. Bylaws and Policies Resolution (2011)TU's resolution concerning bylaws and policies adopted by the Board of Trustees Land Ownership Resolution (2011)TU's resolution on ownership of property in real fee TU Privacy Policy (2011)TU's privacy statement for volunteer that demonstrates our firm commitment our members privacy concerns Logo and Brand Policy (2011)TU's policy on logo and brand use by volunteers and staff TU Sexual Abuse Policy (2009)TU's sexual abuse policy for volunteer leaders and staff Trout Unlimited & Land Conservation (2009)This document outlines how TU will accomplish our vital land conservancy work in a manner consistent with the structure, operations, and organization of TU. TU Policy on Piscicide Use for Conserving Native Trout and Salmon (2006)A policy to provide guidance for TU actions regarding piscicide use for native fish conservation Stream Access Policy (2006)TU's policy to govern the involvement of TU staff, councils and chapters in disputes related to public access to rivers, streams, and lakes for recreational purposes. North American Salmonid Policy (1998)A scientific guide to salmonids and the necessity of conservation Return to Tackle Box

subset: commoncrawl


text:
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ASPIRE MS2309 LCD Screen, must know before you buy.
Our huge stock comprises notebook and laptop LCD screens that have been manufactured solely by large corporations like AUO, Chi-Mei, Toshiba, Hannstar, Chunghwa, Samsung, LG Phillips and Sharp. They are all globally recognised suppliers of electronic components.Their LCD screens are used by all the global laptop, tablet and smartphone manufacturers including Apple, Dell, HP and Acer.
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In case of [ASPIRE MS2309] you have different options to chose from:
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Please do not hesitate to contact us if you have any questions or concerns.
Copyright © LaptopScreen.co.uk


text:
Shipping small packages is relatively simple, but how do you ship something that is too big for FedEx, UPS, USPS and DHL? Transporting large and heavy items can be a challenge (and risky) if you don't understand the dynamics of freight and air cargo shipping. Shipments in the "freight" category can be moved by truck, rail, air cargo and sea container. The rules, regulations, requirements and costs for freight shipping are far different than for small packages, so it's imperative to find a "freight professional" who knows how to navigate the freight environment to secure reliable, efficient and safe transportation for a price that fits your budget. The freight experts at St. Croix Shipping and Handling LLC can ship (almost) anything (almost) anywhere in the world regardless of size, shape, or weight. St. Croix Shipping and Handling LLC can choose from over 40 different freight, LTL, air cargo and sea container carriers to ensure your freight arrives on-time, intact, and at the right price. When it comes to freight, air cargo, LTL and sea container shipping in Saint Croix Falls, WI, St. Croix Shipping and Handling LLC is your go-to resource.
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NA Romantic Comedy
Photographer: Lauren Perry
Designer: Meghan Quinn
Goodreads: http://bit.ly/2mtA5QO
AMAZON: http://amzn.to/2mHiKEu
AMAZON UK: http://amzn.eu/7thK9Gf
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Photographer: Lauren Perry
Designer: Meghan Quinn
Goodreads: http://bit.ly/2mtA5QO
AMAZON: http://amzn.to/2mHiKEu
AMAZON UK: http://amzn.eu/7thK9Gf
AMAZON CA: http://a.co/5eu4Y4K
What do ice cream and Sadie Montgomery have in common? They're both ice cold, but one taste is never enough.
I wanted to be friends — I would have even settled for her seeing me as anything but a nerd — but there was no getting through. So just like any hard-headed, red-blooded man out there, I made up my mind.
I'd make my coworker fall for me.
I'd like to say it was simple, but like every other epic love story, all it took was one drunken night and a lot of naked courage to get the girl. For a moment, at least.
Love with a coworker is never simple, especially since Sadie's trying to keep us on the low. Not to mention her persistent ex-boyfriend who won't leave her alone. But I've never been good at giving up, and I don't plan to start now.
The whole thing is a recipe for a rocky road, but I plan to eat the whole gallon, no matter how bad the brain freeze.
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Born in New York and raised in Southern California, Meghan has grown into a sassy, peanut butter eating, blonde haired swearing, animal hoarding lady. She is known to bust out and dance if "It's Raining Men" starts beating through the air and heaven forbid you get a margarita in her, protect your legs because they may be humped.
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Find me on Goodreads:
Visit my website: http://authormeghanquinn.com/


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Keith Whittle: I was interested in speaking with you because obviously you have a wide range of experience of working in the local art-scene in Hong Kong, and you are representative both of what is going on here from the point of view of being an artist, but also as someone who has been specifically involved in the management and development of Videotage in Hong Kong. The first thing that I would like to kind of know is maybe if you could describe a little bit about your background; your involvement with Videotage and how you work both as an artist producing your own work and how that fits in with this organisation that you effectively set up. Thats quite a big question, I know. Ellen Pau: Actually I started off working with many different media when I studied at Polytechnic, and I was a stage actor. I was also an organiser of pop concerts and an editor of pop music magazines. I had many different experiences at Polytechnic and then, in my final year, I started to make my own Super8 films (I had done photography at Secondary school). But I wanted to meet people or do things together with other people, so I started to play with other media. After working with Super8, I decided I wouldnt do drama again, but after my graduation I joined Zuni Icosahedron where I began to do experimental drama, or rather visual theatre. At the same time I explored a lot of experimental film, trying to understand what the medium is, what the concept is, and I started to realise that theres a whole bunch of visual artists that have moved to another field doing experimental film, like Louis Bunuel those kind of people who were doing painting, sculpture etc. So then I realised that theres no definite field that you have to stay in. You can cross over. But the most attractive thing for me and this was the first encounter of my art experience - was the accidents occurring through experimenting a lot and the accidents in re-forming yourself. All these ideas on one hand were very romantic for me, but on the other hand they were also very appealing because the process was very inspiring. So I had this on my mind all the time and that is actually the motive why I opened this group called Videotage, so that other people can enjoy the creativity during the production a real hands-on experience of enjoying the production and also get support from each other, and keep the idea that we have to re-form and experiment. Keeping the idea that we, as artists, collectively help each other. Also, having a collective we can do a lot of lobbying or bargaining with the government or whatever art body. So I felt this was an advantage when I first started Videotage. Of course the vision can be very big, because theres only one person concerned the person doing it. So not a lot of higher goal lobbying has been done, but we can manage an annual screening, or showcase what is happening in Hong Kong. The Hong Kong markets response to products is harsh: in those times Super8 went down rapidly within one year and then suddenly there was a gap in the market (now, the increased speed means there would not be that gap). I bought my first video camera in a shop for tourists so it was an American standard video camera. There is a domestic video market now, but at that time we didnt have any domestic video recorders and cameras because the middle-class was a small proportion of society. I guess right now about 40 or 50 percent of the people are middle-class and so we have an abundance of all this hardware. Back then, I used a tourist camera, and the first moment I picked it up, I already viewed Hong Kong at a distance like a tourist because I needed to do conversion. It all reinforced the idea that I am a tourist and doing video. This was a very important point. But at the same time, when I did video I also did a lot of exchange because I was sending my works to overseas and international events to showcase them. My understanding was that the international community was better at networking, even though it was not very effective or efficient because there was no Internet at that time in 85 it was quite primitive. Then a lot of things were done still via the fax and so the information flow is not like now. It was old fashioned then. Because I had this experience of going abroad to see my work, I saw the development of a lot of Super8 or video festivals changed to become New Media Festivals. I dont really care whether I should stay in the same media. For me, I only explore what is experimental. Naturally I followed the trend and then my attention was drawn to new media. So that is why at Videotage, when we first started out, we only managed to do an annual showcase and in the middle years we had public funding and we managed to do much exchanging with other people, and now in recent years we are doing much more of the new media stuff. KW: When you established Videotage, was that out of necessity because no one else was doing that, or was it because you wanted to create an independent organisation and you didnt want this affiliated with an existing institution? EP: There was no organisation that I wanted to affiliate with. There were none. Yes, so I tried to run a one-person organisation at that time. This is extra! KW: So you seem to have two different roles. One is that you are an artist and you have your own practice, but also you were an art director as well and you established Videotage? EP: Yes. KW: What would you call yourself first and foremost? An artist or...? EP: An artistic director. I always think that an artistic director is better than an artist, maybe because an artistic director is more sensible to talk to, I dont know! Well, of course an artistic director can always become an artist. Its like a bagatelle. So I really like to be called an artistic director rather than an artist, but most people like to be called an artist, I think. KW: Could describe your primary goal or main objective as an art director? EP: Well actually we have a goal to re-form. Last year we had a re-form and we do now have an artistic director, but during the period when I was the artistic director I was trying to... well first I was very keen in looking at all the designs that the group is generating. I would be very keen on the quality control, like which artists are coming into our programmes and selecting work: sort of like a semi-curator role, but together also as a mentor for a lot of artists that are coming to work here and trying to be friendly to them. I wont say that I am really a mentor, but trying to talk to them, to share what I have done. Even like giving a printer, if I have one that I can spare, I will just give them a printer. Its that kind of help that I can provide. So, yes my role is really more businesslike: its more the image to nurture each new generation. KW: Can you talk a little bit to describe the type of activities and the programme Videotage run? EP: Yes. We have tried many different things, like we have tried to provide six months of lectures, and a series of workshops for the public to understand what new media art is. Every week we will have public lectures in the Visual Art Centre. We will have definite course content and we will have definite hands-on workshops for the people, so they can enjoy the practical side of doing new media work, but at the same time understanding the theory behind it and understanding how to appreciate new media art. I guess that is a very impressive programme for me because its long and substantial lectures done by a lot of good people, and also the standard of the workshops are very high. I see it as the first dedicated new-media workshop for the public and I guess the School of Creative Media, which is doing a lot of new media stuff in Hong Kong; it opened only in 1999, so its a fairly new institution. So actually before that we were doing a lot of preparation. Before that we are like other groups, that we organised Microwave and the International New Media Art Festival. Microwave has gone through several phases of development. For the first two years of Microwave, because the budget was so small, we only managed to do a screening programme in CD-ROM exhibitions. Now its getting bigger and bigger including for example a seminar or a conference, or the artists will give talks at the conference. We will have school tours and we will bring kids to the exhibition space and tell them how to look at the work. Of course we have resident artists during the festival that will hold one or two workshops for the public. So actually the programme has expanded. The exhibition part has expanded quite a lot. They are not only presenting computer work: CD-ROM work now they are also presenting more installation-type work that require higher technology skills. So Microwave has developed through phases up to the point it is now, and now we have decided we had to work harder in our curatorial techniques and so now we are trying to reform Microwave to see whether we should hire an artistic director or a curatorial director so that we will have very clear and complete ideas for curatorial processes. We are still having these kinds of discussion, but you know discussions can go on for a long time. But anyway, we are having this kind of discussion and I think that it will happen maybe this year or next year that we will definitely reform the whole Festival. The programme may not only fit to only what I have already told you of. KW: And Videotage itself, is it currently government funded? EP: Yes, its 99% government funded. KW: What about the 1%? EP: Actually, it is 90% government funded and 10% director funded. KW: Okay. So how many years was the organisation in existence before it received government funding? EP: Almost ten years and then we have had ten years funding. KW: So before that it was self-financing? EP: Yes for the first ten years. But it was quite easy because there were not many people doing things so you just had a short phone list you just called people to go to any of the screenings or asked people whether they had some new work. It wasnt much to do then. Actually, at that time most of the venues were not equipped with projectors and I dont think even our centre had a media projector ... KW: The work that you do both as an artist and also with your involvement with Videotage, and more generally the art scene in Hong Kong; do you undertake that work in relation to a growing body of knowledge which is research related, new-media art related, curating or looking at theories of media? Or is it just your personal endeavours, in that you are interested in actually making things happen? EP: As I said before, I had organised these 6-month workshops and lectures. I guess a project like that is responding to the quest of knowledge and doing research, but at the same time I am very clear that I am not trying to compete or try to place myself in any academic network. So it will be more of a loose discussion and a loose encounter with artists so that we can generate new ideas. I prefer to have new ideas, rather than just gaining new knowledge because for me, I appreciate developing the ideas with other people, rather than just studying. Actually, Hong Kong has, from the 80s when I first started Videotage, undergone quite a big change. Even though economically the change started from the 60s, it applies to media art, technology, or even to the domestic technology market its like what I said about starting from VHS/BETAMAX to Video8, Super8, High8 and then it goes on to the computer. So actually you see the change in technology over the last 20 years. The Internet plays a very, very important role and all these changes are something that Videotage and even me is quite aware of. Then politically Hong Kong has changed too there was a very important change in 97. So it has had so many changes that we are responding to and I dont think that we are only driven by the idea in media art or academic studies, or theoretical ideas. We want to get engaged in the social and political climate in Hong Kong. Of course with the change of artistic practice we all want to respond to these changes. KW: So do you find that, for example with the Microwave Festival, do you find that you are increasingly having an international audience that is attending the Festival and not just from say mainland China, Japan or Korea? EP: Definitely. I want to see Microwave have more of an international audience, but I dont see it happening right now. Its very difficult to draw international audiences to come to the Microwave Festival usually because the budgets are really, really small. Its difficult to bring overseas artists. Its not enough to commission. Also the people who are doing presentable, international standard work in Hong Kong in new media are only a handful. So if you are presenting one artist this year, then you have to look you will be repeating artists work every three or four years. So I dont think that we have such big resources right now for an international show, but I also see from whats happened before, is that if Microwave had the vision to show Asia Pacific or even Chinese new media art, then this kind of work also would have to draw national audiences. But the money is being cut every year. We have the vision to do that, but we dont have the money-people right now. So we are still waiting. The reason why we are trying to improve our curatorial ideas is to try to write very good explanations of how people can appreciate the artwork so that more business sponsors will come in once they understand what is being presented or what the show is about. When they are more interested in being presented as sponsors of a show then we will have extra money. Then if we have extra money, we will manage to find a person who would do research in those kinds of areas and then bring artists to Hong Kong but that will take a long, long time and now I think we are starting on the first step only, trying to target and reach businesses. KW: Having spent time visiting those festivals you mention outside of Hong Kong, has that given you a sense of the differences between the media art that has been created in other countries and whats being created in Hong Kong. Do you see there being a distinct difference? EP: I see too much difference, and a difference of the budget. Yes, for people who are doing animation... yes, I think their skills are more or less the same, whether they are talking about the content, or content-wise. Usually Hong Kong people are very good in working with technology the hardware really but with the software, and the content for instance, then maybe theyre a little bit weak. I would say technology wise or the visual outputs and concerns, or the quick response to whats happening in the technology world, all these are really amazing things that Hong Kong people can learn. Yes, so I guess there is a special difference even with movies, if you compare Hong Kong style, then it is very callous and ruthless. Those kinds of people are not gangsters, but they are very free-spirited, anti-hero type of people and I guess this is happening in the new media world also. You wont see people talking very high culture, but low pop culture, with very loose ideas. They like to mock people and they like to criticise people this is the attitude, and I guess you can hate us, but at the same time that is more interesting than people who behave very well, like in Singapore or Japan. Those people have their own characters, but Hong Kong people have this pop culture character. KW: I was interested in asking, the Videotage is in its 20th year this year? What are your ambitions for both Videotage and also your own practice for the next 5 years? EP: Not too long, because I have to think about my retirement. No, but I guess it is very important to sustain the practice in Hong Kong because, as I said to you, if you stop working here, then nobody really can find a window to see and find new media art in Hong Kong. So I guess its a very important practice. Videotage for the next 10 years will be maturing. We will do more work there, more substantial work. For example, we definitely wont do glamorous openings and those kinds of thing. We are not too keen to do this. For me, I dont believe that art openings are really for art but for the sponsor. I think I have to learn what other people are doing in promotion and administration. What Videotage needs most in the next 10 years, is to do a really good art promotion and administration. But we are also having to do more grounded work such as building up a very good media library with artists catalogues, with festival catalogues, academic books or fun books. We try to change ourselves and every year we will try to complete some work. Before, in the early Videotage years, we could use the The Best of Videotage, which is a video compilation. Actually there are one or two versions and we will have a definite curatorial statement, but some of them are really loose in choosing the work that we collect in the two years. We then put it into a compilation, but because we have done six compilations you will see it in our catalogue it actually demonstrates a change and also you see the great diversity of styles that we have collected. But that is only for video and right now we really want to do more groundwork for new media explorations. Actually, going back to your last question about the difference between Hong Kong new media art and international work is that usually the Hong Kong work is really, really cheap. The production fee is really low. But for overseas work, which is usually being funded or sponsored by a University or a research centre, usually we cant compete with that. We dont have a great big budget like the institutions. So, the five-year plan. The groundwork will be the workshop a very important workshop and the artists exchange. It is our goal to do something that really represents new media art in Hong Kong. Also, to get in touch with overseas and international art practices is very important for Hong Kong people. It is so interesting, always touching the edge of the international, but at the same time at the edge of the primitive (laughter). KW: How about yourself? EP: For me, actually for the last two years I have really hated teaching, but I think I really want to get more academic knowledge so that I can be a better curator. But at the same time, I really want to learn marketing skills and how to do better parties. Actually we have a plan that has not yet been approved by the directors, that we turn this space into a launch. So every Friday night of the first week of the month, we have a new media launch and then we have a sort of party, but at the same time we need the artists to share ideas. It hasnt yet been approved but for me, the programme gives me a lot of opportunities to host the work as a moderator for the workshop. So I guess, I feel that I want more knowledge so that I can be a better moderator. ends
installation media art animation dance design CD-ROM time space software audience video money press funding festivals


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Doctors use liquid nitrogen — a substance registering a wickedly cold 321 degrees below zero Fahrenheit — to freeze warts so they dry up and fall off. Yes, folks, this stuff kills tissue. So imagine what it might do to your stomach if you drink some.
Unfortunately, a British teen recently found out the hard way. The Telegraph reports this week that an 18-year-old had a portion of her perforated stomach removed after sipping the stuff in a trendy cocktail where the substance was used to chill the glass and create a smoky vapor.
And, as ABC News puts it, "celebrity chefs, master mixologists and medical experts from around the world are steamed up" over it.
"Anything that is the least bit hazardous does not belong in the bar," Ray Foley, editor of Bartending Magazine, tells ABC. "People are getting out of hand with these products to show off and not take care of their clients. This nitrogen cocktail; it's ridiculous."
John Ashton, director of public health for Cumbria County in the UK, tells the BBC: "This girl is the victim of an irresponsible alcohol industry that's now competing on gimmicks."
In fact, the British equivalent of the U.S. Food and Drug Administration, the Food Standards Agency, issued a warning to consumers after the story broke. "Although it is not a toxic substance, its extreme cold temperature makes it unsafe for people to drink and eat because the human body is unable to cope with such a cold internal temperature," the warning says.
The British teen's doctors aren't talking about what happened in her case. But Corey Slovis, chairman of emergency medicine at Vanderbilt Medical Center in Nashville tells ABC: "I imagine what happened was it completely devitalized the tissues and froze it to the point where the gastric acid perforated the stomach."
The thing is, you're not supposed to ingest liquid nitrogen. Bartenders are supposed to swirl it around in a glass until it vaporizes completely, and then pour in the alcohol. But like just about anything, liquid nitrogen can be dangerous when used improperly.
But liquid nitrogen can be used safely, Dave Arnold, head of culinary technology at the French Culinary Institute and the man behind the cocktails at Momofuku in New York, tells ABC. And it's popular with customers, he says: "It's mesmerizing." (In fact, he's written a primer on how to use it right.)
The British teen is the latest in a handful of liquid nitrogen victims over the last few years, while the cocktail industry is under constant pressure to come up with new and creative ways to keep customers coming. But are the risks of liquid nitrogen too great to allow its use behind the bar?
What do you think? Take our online survey.
Copyright 2021 NPR. To see more, visit https://www.npr.org.


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Are you a tenant looking for an end-of-tenancy clean for your flat, apartment or house before moving out in order to make sure you get your deposit back?
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End of Tenancy Cleaning is a type of cleaning that is carried out at the end of a letting tenancy. It basically ensures a property is bought back to the level that it was at the start of the lease and is ready for the tenants moving in.
It is expected and stated in most contracts that this is the case. In doing this type of clean professionally, an end of tenancy clean therefore limits possible deduction from tenants' deposits. Cleaning and repairs may eat into a tenant's deposit when leaving.
Most tenants in July 2024 just do the end of tenancy cleaning on their own. This is good for small and unfurnished flats in South Yorkshire. Yet, larger flats and busy schedules may make this experience difficult for many.
Some tenants let their landlords instruct 'end of tenancy cleaning'. Although good for some people, there are many instances of rogue landlords where they charge unreasonable amounts for cleaning. This is why many like to appoint cleaning specialists, such as us, directly.
Hiring professional cleaners for the end of tenancy cleaning is therefore beneficial and means you know the property is returned to a condition expected and the price you have to pay.
Let the expert company of cleaners worry about leaving your flat in mint condition.
There are many companies that specialise in 'end of tenancy cleaning'. These companies base their service on a landlord's checklist to ensure quality and we can work with any checklist and bespoke requirements.
In summary, end of tenancy cleaning companies do the tasks of making the property in Rotherham look new. This means the tenants are likely to lose less of their deposits. This is also helpful for landlords to get new tenants, as the place is clean.
If you would like to receive even more information on our End of Tenancy Cleaning service, make sure you get in touch with us today!
End of tenancy cleaning companies should offer a variety of services in Rotherham.
There are many aspects to consider in making sure that a property is thoroughly clean. The basic areas to consider are:
There is so much work to do in cleaning the kitchen. You need to consider work surfaces, shelves, tiles, taps, sink, and bins. There are also many appliances in the kitchen that get dust and cobwebs.
Cleaning cupboards is no easy task too. There are many shelves to empty. Some may require minor repairs depending on the use. It is important to make sure that no food crumbs or deposits remain to avoid pests.
Much like the kitchen, living rooms accumulate lots of dust. It is most likely the most frequented area of the house for tenants and guests. This room also has lots of furniture and decorations that require a good cleaning.
Cleaning the living room is mostly dusting and vacuuming. These may sound simple, but perfect results need serious work. Also, there are usually lots of uneasy surfaces to reach, making this time-consuming.
This living space has lots of decorations and furniture. Like the living room, it is a very frequented area of the house. Some areas that require good cleaning are mirrors, tapestries, windows, and light fixtures.
This room might be small, but it is abundant in furniture. These make for lots of hard to reach areas for cleaning. It may sound simple, but this is one area for a thorough inspection.
A room that functions in cleansing the body need a great amount of cleaning. Bathrooms are one of the hardest things to maintain in terms of cleaning. There are many areas in this room that need cleaning.
Sinks, taps, tiles, showers, baths, and toilets are the common items that accumulate dirt. Soap and hard water stains need scrubbing off. Drains and running water need to function as well when you started on the flat. Showerheads need to be clear from limescale buildup.
There are also accessories in the bathroom that may need cleaning. Mirrors, windows and shower curtains need to be free of scum and grime.
A furnished flat in Rotherham has lots of furniture. This furniture accumulates dust and dirt over time. Some furniture may require the use of washing solutions.
With longer occupancy, some upholstery gets a lot of bad smells, hair, and debris. This happens to many tenants with children and pets. Some people may need to hire steam cleaning services to keep the furniture pristine.
Professional oven cleaning may need delicate work. Grime, food deposits, and grease buildup with constant use. These residues often need the use of strong cleaning agents.
The fridge is also one appliance that needs a good cleaning. They sometimes need defrosting overnight before the cleaning team can work on them. If neglected, the fridge can build up lots of food residues that are tough to clean.
This area is one of the most noticeable ones upon inspection. Tenants living with children may find lots of drawings on the wall. There may also be nail markings for hanging pictures or decorations. Sometimes the walls need repainting more than cleaning.
There are also many flats in Rotherham that gather moulds on the walls over time. This requires scrubbing off, but you will have to let the landlord know. There are cases where walls need redecorating and may cost more.
These are the easiest to spot when the landlord does the inspections. Doors may have unnecessary markings left by children or pets. It would be a bad sign if the landlord walks into a room and sees an unkempt door.
Windows are the easiest to spot when dirty. Most of the cleaning professionals clean only the interior side. These are especially true for hard to reach windows on higher floors.
External window cleaning may be possible in some cases, so make sure to ask when you start your end of tenancy cleaning checklist with our company.
These accessories gather dust and dirt with time. Most curtains and drapes require dry washing services. Vacuuming may help clear most of the debris and cobwebs, but it will be time-consuming.
Our upholstery cleaning will ensure any fabricated furniture is suitably cleaned to restore it back to optimal condition.
Carpets and rugs are difficult areas to clean. Stains from spilt liquids and dirt may cause unpleasant smells. These accessories may need the use of strong cleaning agents.
Carpet cleaning can be difficult as they tend to need deep cleaning. So, leave the carpet cleaning to the professionals who have experience in extreme carpet cleaning.
Specialised cleaning materials may be required to draw out dirt from your carpets. Our carpet cleaning service will use all the best cleaning equipment and products to ensure the best possible results.
Large flats with many tenants need a good cleaning in these. These areas are more noticeable than most in a unit in Rotherham. Cleaning may need extra effort and time.
Some flats in Rotherham have garden sheds. The flowerbeds need to be in good condition. Lawns may need mowing if it is present. Some larger units that have garden gates also need repairs if there is damage.
At End of Tenancy Cleaning, we can assist you with the best options available. Make sure you contact us today for a number of great cleaning services in Rotherham.
End of tenancy cleaning can cost from £80 to around £350 in Rotherham.
The price depends on many factors, including:
An End of tenancy cleaning service is very delicate work. The intensity of cleaning depends on the habits of tenants and the size of the unit. The rates for professional cleaning may also vary depending on the location of the flats.
As each flat is bespoke and various checklists need to be followed we will discuss these with you and put together a quote. It will be based on the size of the property, the time needed to clean and the number of professional cleaners necessary.
Professional end of tenancy cleaning tends to take 4 to 7 hours to complete in Rotherham.
The time frame will vary between properties as various factors, such as size, condition, and services, may impact how long a job will take.
When tenants do their own 'end of tenancy cleaning', it may take a couple of days. When hiring professionals such as us, the time is cut greatly. Some professional 'end of tenancy cleaning' teams take less than a day to finish but larger properties may take longer.
The tenants need to acquire the landlord's checklist before the cleaning service. This will ensure that all areas are taken into account. This will also cut the time for unnecessary areas to clean.
For 'end of tenancy cleaning' experts, it is important that inspection is done within 24 hours. This is the expected time that dust and debris start to gather again. This will help avoid further work to develop throughout the professional cleaning service.
The following individuals might benefit from a professional end of tenancy clean:
It is important that landlords keep their properties in pristine condition. This will help bring more tenants to their properties.
Landlords need to have good documentation of the condition of the flats before letting them.
There have been many cases when landlords take advantage of tenants. Some even try to charge big amounts for unnecessary cleaning services. It is important that tenants find trustworthy landlords and have good relationships.
Like the landlords, letting agents are part of the managing staff. They usually act as mediators between landlords and tenants. Thus, they may also facilitate the end of tenancy cleaning.
Many letting agents work with the landlords to sometimes extort money from tenants. These may happen with partnerships with cleaning companies. These acts are illegal and tenants need to know their rights about this issue.
Tenants are the most important clients in the 'end of tenancy cleaning service. They are the people whose money is spent on these services. Thus, it is important that tenants get full disclosure about the services.
Tenants must avoid conflicts with letting agents and landlords regarding cleaning services. Good tenants tend to make their own documentation when occupying a property. They also need receipts and documentation upon completion of the services.
If you think you need a hand with cleaning your property in Rotherham, get in touch with us for a free, no-obligation quote.
There are many benefits associated with hiring a professional end of the tenancy cleaning company in Rotherham.
People who occupy a property for rent are responsible for any untidiness or damage. This is especially true if the tenants occupied the unit in pristine condition. Therefore, all property owners require a deposit before occupancy.
Some tenants with a good amount of time to spare may do the cleaning on their own. They may miss an area that requires cleaning. Other tenants may have clean habits. These people follow through with cleaning even before the end of contracts.
For the busy and working-class tenants, the cleaning may bring more difficulty. This is taking into consideration that they also worry about the moving process. So 'end of tenancy cleaning' companies are helpful.
End of tenancy cleaning companies does all the hard labour for you. They even process all the necessary information to let you get much of your deposits. They limit the stress for both the tenant and the landlord.
Hiring these companies is a good way to manage your time well. With the ease of the actual cleaning process, tenants may focus on finding a new place. Landlords also benefit from worrying less about the maintenance of their properties.
Certain services, like carpet cleaning, deep cleaning, and oven cleaning, can take a long time and can be quite difficult to do well. So, hiring tenancy cleaners will save you time and effort.
At End Tenancy Cleaning, we can assist you with the best specifications, costs and prices. Make sure you contact us today for a number of great End Tenancy Cleaning services.
Hiring an end of tenancy cleaner has a range of benefits including saving time and getting your deposit money returned.
Here at End Tenancy Cleaning, we can offer a range of cleaning services to properties in Rotherham.
Our team of experts have years of experience, so you can rest assured that your property will be cleaned to the utmost quality.
To learn more today or speak to a trusted advisor, get in touch with us today!
Make sure you contact us today for a number of great End of Tenancy Cleaning services in Yorkshire and the Humber.
Here are some towns we cover near Rotherham.
Rawmarsh, Swallownest, Wath upon Dearne, Chapeltown, MexboroughWe absolutely love the service provided. Their approach is really friendly but professional. We went out to five different companies and found End of Tenancy Cleaning to be value for money and their service was by far the best. Thank you for your really awesome work, we will definitely be returning!
David BrooksWe have used End of Tenancy Cleaning for many years as they are certainly the best in the UK. The attention to detail and professional setup is what makes this company our go-to company for all our work. I highly recommend the team for the immense work - we highly recommend them!
Tyler BallFor more information on End of Tenancy Cleaning in South Yorkshire, fill in the contact form below to receive a free quote today.
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The thin cake is made in a big sheet pan lined with parchment that is buttered and floured. Flour, baking powder, baking soda, cinnamon, ginger, nutmeg, and salt were sifted together. Eggs and granulated sugar were mixed in a stand mixer, and pumpkin puree was added. You can use canned pumpkin puree or homemade. I had just brought home a cute, pie pumpkin which I roasted and used for a few different recipes. After the pumpkin is mixed into the eggs, the flour mixture was slowly added until just incorporated. A spatula was used to finish folding the flour into the batter. It's always a good idea to fold a batter with a spatula few times after taking the bowl off the mixer to be sure there are no unmixed, dry ingredients at the bottom of the bowl. The cake was baked for a mere ten minutes, and then it was turned out onto a towel dusted with confectioner's sugar. It's a scary moment to just plop the hot cake right out of the pan, but don't even worry. With the parchment, it comes right out. The parchment was peeled off, and the warm cake was rolled with the towel rolled into it, into a spiral starting at a short end. If the edges look uneven, they can be trimmed later. Rolled into the towel, the cake was left to cool completely on a rack. The filling was made with mascarpone, confectioners' sugar, and heavy cream. Once those ingredients were well-mixed, finely chopped crystallized ginger was added. To finish the cake, it was unrolled, the filling was spread over the top, and then it was rolled back into a spiral without the towel this time of course. The edges were trimmed, it was placed on a platter, and it was dusted with more confectioners' sugar.
This pumpkin roulade will be a serious contender for a spot on the menu this year. I have a few more weeks to keep testing desserts which is starting to seem like not enough time. There are so many great things to make with pumpkin, and then there are cranberries to consider. Do you try new desserts every year for Thanksgiving, or do you have favorites that are expected on the menu?
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