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Female | Children | Animals | Males
Marble Busts | Marble Bust | Busts handcarved in Marble | Carved Busts Marble Statuary | Custom Marble Bust Statuary | Artistic Marble Bust Sculptures
Retail Price: $3,450.00
Carved from lavish warm tones of marble, this gorgeous bust of Alexander the Great is an enchanting work of art. His costume is intricately detailed and features a lion head helmet. A truly magnificent work of art you will love to display.
Height:34 | Width:27 | Depth:14 (inches)
Retail Price: $2,900.00
Another fine piece of artwork for your home, carved from gorgeous tones of quality marble! This Grecian man is shown wearing a light orange robe with black medal of an aristocratic class. His face and wavy hair are carved from polished white marble.
Height:34 | Width:27 | Depth:14 (inches)
Retail Price: Call Us! In Stock
This fine bust of a Roman male marble bust displays exceptional beauty and elegance. The figure has a proud face, carved from polished white marble and excellently contrasted with a rich red dual toned marble. Base Sold Separately.
Height:34 | Width:27 | Depth:14 (inches)
Retail Price: Call Us!
A rare masterpiece! Beneath a thin veil, this beautiful woman's facial features are ever so slightly visible. This is a very talented display of marble artistry, hand carved from a polished white piece of marble. Call today for sales assistance.
Height: n/a | Width: n/a | Depth: n/a (inches)
Retail Price: $1,799.00 In Stock
This is a very fine female figure carved from a piece of polished marble with an elegant color palette of neutral tones. This exceptional work of art displays finely carved details and perfect human proportions. Contact us today.
Height:24 | Width:12 | Depth:8 (inches)
Retail Price: Call Us!
This is an impressive hand carved bust of the Greek god Zeus whose hair is decorated with laurel leaves. An amazingly real portrait of this bearded figure dressed in a lavish robe and made from pure white marble. A perfect piece for a library or study.
Height: n/a | Width: n/a | Depth: n/a (inches)
Retail Price: Call Us!
This romantic Victorian woman's bust, made from exceptional marble in pristine white and luxurious tones of green marble, will add glamor to any home. She is a magnificently detailed work of art with fashion of the era. Call us today.
Height: n/a | Width: n/a | Depth: n/a (inches)


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Hide Forgot
Description of problem:
To make RHN scale better it needs to have the ability to create a
complex user hierarchy. Each user account should have the option of
being above certain other accounts so that the higher person can see
and manage the lower person(s) groups/clients.
This can be emulated currently by always manually updating the
premissions on accounts that should be higher on the hierarchy than
others. With university usage this is not feasible as there are too
many colleges/departments/research groups etc for someone to keep up
with by hand.
Example: A College level sysadmin hands out accounts to departmental
sysadmins, who intern can authorize certain research groups to have
their own account and groups. Both the College level sysadmin and the
departmental sysadmin should still have access to the clients in the
research group group(s) no matter how often they are modified.
Move to Bugzilla Bug 218517: RHN 510 Hosted Triage Tracker.
putting in RFE queue
This bug has been closed due to inactivity. Please open a new bug with specific details if this problem is still occurring or if an enhancement is needed.
Re-opening bug and moving to Spacewalk.
Does the multi-org and satellite admin features help with your RFE?
Been waiting 5 months. Closing out due to lack of info.

subset: commoncrawl


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Congratulations to my friend Lynn Valbuena, on her re-election as Chairwoman for the San Manuel Band of Mission Indians:
The San Manuel Band of Mission Indians announced their newly elected tribal Business Committee members today, including the re-election of Lynn Valbuena as Chairwoman. The new terms begin on April 12.
Valbuena served as Secretary/Treasurer from 1992 – 1996, then as chairwoman of the Tribe from 1994 to 1996. She was vice chairwoman for four years beginning in 2008 before being elected Chairwoman in 2012. Valbuena has been active in state and national Native American affairs over a career that began in 1974 with her first role as San Manuel's housing commissioner providing oversight for the housing program on the reservation. For more than 20 years, she has served as chairwoman of the Tribal Alliance of Sovereign Indian Nations (TASIN), a regional tribal organization in southern California. She is also a former Trustee for the Smithsonian's National Museum of the American Indian in Washington, DC.
"I am truly honored to serve my second term as Chairwoman, continuing to passionately work with San Manuel and make a difference in the community we are a part of and that we love," said Valbuena of her re-election.
Among her associations, she serves as Trustee for the Autry National Center based in Los Angeles, and is serving in her 23rd year as delegate to the National Congress of American Indians, and her 18th year as a member of the American Indian Chamber of Commerce California – Advisory Council. Lynn served as Secretary of the National Indian Gaming Association for a record 14 years before retiring from the office in 2011. She continues to serve as a delegate to the Association. In 2015, Valbuena was inducted into the Gaming Hall of Fame by the American Gaming Association.
Sabrina Nakhjavanpour, daughter of Chairwoman Valbuena, was elected to the office of tribal treasurer, marking her first election to the San Manuel Business Committee. Nakhjavanpour currently serves as the Tribe's representative to the Riverside San Bernardino County Indian Health, Inc., as well as vice chairwoman of the Tribe's Judiciary Committee and vice chairwoman of the Education Committee.
Larry Hernandez was also re-elected as a Member-at-Large of the San Manuel Business Committee for a 5th term. Larry has been a key member of the Business Committee with added duties and responsibilities on the Tribal Emergency Response Team.


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What We Do
Expedited Deliveries
We are prepared to transport all your expedited shipments. We do it every day… and we do it very well.
Project Freight
We can handle all your project freight needs. We work with experience logistics professionals who are well versed in the project freight business.
Dry Van
Our drivers have the experience to move sensitive loads and keep your investment dry and out of harm's way until it reaches the right loading dock.


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Archive for October, 2009
Contracts for Difference compared with Financial Spread Betting
A Contract for Difference, or CFD is an two way trading deal between two different parties based on the rise or fall in the trading price of an agreed number of shares in a company over an agreed time – no actual share purchase is necessary. While it may sound slightly complicated it really is not at all. Many investment groups and hedge funds have found a great deal of success with CFD for more than ten years in the UK stock market as an alternative means of investment to traditional share dealing. (more…)
How To Find The Optimal Financial Planning Seminars
The traditional seminar days are long gone! In the past, attending a seminar would mean visiting a luxurious place (usually a hotel) in prim and proper suits while, trying to compete with the sophistication of thought of fellow colleagues and attendees.Click through here for more information on gold coin prices.
Luckily for us, financial planning seminars have taken a major leap. (more…)
The problem with payment protection insurance
PPI insurance has been banned from sale alongside loans. Customers wishing to take out Payment Protection Insurance can decide to buy a regular premium PPI instead. This is due to the fact that so many payment protection plans were wrongly sold over the past several years. (more…)
The problem with PPI
Reclaim credit card fees
Anyone who goes over their limit or is late to make a payment may incur a fee on their credit card. Unfair charges are unfair as they are disproportionate to the costs incurred by the credit card provider when the customer defaults on the payment. For this reason people are able to recover unfair charges because they are not legally enforceable. (more…)
A short guide to Investing in the Oil Market with Online Spread Betting
In the past century many have made their fortune and generated great wealth as the late great billionaire J. Paul Getty did from oil.
The ever growing demands on oil supply to power todays energy hungry consumer, continues to grow globally for oil as the energy source of choice for cars, heating, machinery etc. (more…)
You are currently browsing the Stock Investing Strategies blog archives for October, 2009.


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Mary Giacomini is a Colorado artist who loves to paint the Rocky Mountain landscape. She paints proficiently in oil, pastel and watercolor. She teaches art classes both out of her studio and for the Loveland Museum Gallery, in Loveland, Colorado.
Thursday, October 12, 2017
October 2017 newsletter
Posted by Mary Giacomini at 4:11 PM
Labels: adult art classes 2017, Art Show, home studio classes, Mary Giacomini, New Pastel Painting, newsletter, Press release, studio tour
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See how we made impact in the 2016-2017 school year!
Read about last year's Results here!
Read about results from 2014-2015 here!
LTYC programs encourage higher self-esteem and self-worth in students. Within a safe and stimulating environment, students are able to reflect on their processes to identify their strengths and weaknesses, and they are encouraged to apply areas of growth, such as work habits, creativity, and effort, to successfully undertaking future projects.
Instructors can assess students' process with emphasis given to work habits, creativity, and overall effort. Not only can they review progress in each discipline as a general scoring tool for all LTYC classes, instructors may also create a more specific rubric to assess a particular project students are working on in class.
Parents love seeing the growth that occurs in their children who participate in Leaders of Tomorrow Youth Center. Just as importantly, they can be directly involved in their children's success through the Parent Empowerment Team Program (PET). PET encourages parents to stay involved in every aspect of their children's learning. It allows parents to better understand the systems that govern Baltimore City Public Schools and their child's education. Finally, utilizing a clinical approach, PET helps parents bridge the communication gap between themselves and their children with the goal of creating stronger families.
LTYC 2014-2015 School Year Data Report:
Read the full report now.


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The Body of Christ is both the source and goal of missions. . .
The gathered community of believers, often called the "local church," is the source of missions and, yet, that has often been forgotten in the last 200 years of the modern missions movement. At the same time, the "sent-out" church of missionaries, tentmakers, and mission teams/agencies are also a key part of the church, a truth often obscured by poor theology and a lack of communication and coordination between the "sending" church and the "sent-out" church.
The goal of missions is to see the Body of Christ birthed, expanded, living and serving holistically within a people, tribe, nation, language, and/or place. Ministry that does not see the church birthed is often valuable, but until the church is established and extended, the goal of missions has not been reached. By this criteria those groups having little or no access to the gospel are the heart of the Great Commission task today.


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Canada may be a country with a lot of open space, but it has become a country of urban dwellers, with most Canadians living in cities and suburbs. And as more people have left rural areas, schools in small towns and villages have closed, creating a vicious circle. Attracting young families to a town without an elementary school can be a very tall order.
That was the problem in Markdale, Ontario, where the province, looking to cut costs, planned to close the local Beavercrest Community School.
Unlike in many other communities, a savior arrived.
The town's big employer, Chapman's Ice Cream, stepped and offered two million Canadian dollars to save the school. Private money and public education don't traditionally mix in Canada so the initial plan didn't quite work out. But when I went there to report and write an article about the school, I found that the offer of cash had prompted the province and school board to rethink the role of rural schools. Beavercrest, in a new form, looks likely to survive.
If you live in a rural community that has also found a formula, or benefactor, to keep its schools, I'd very much like to hear about it: email@example.com.
My Markdale visit also brought me some ice cream knowledge. Tiger tail, the blend of orange and licorice that appears to be uniquely Canadian, isn't a big seller. But Ashley Chapman, the ice cream company's vice president, told me that it remains on the list of flavors largely because loyal tiger tail fans raise an enormous fuss whenever its future appears in jeopardy.
Read: An Ice Cream Maker's Latest Recipe: Saving the Local School
The stream of asylum seekers crossing the border from the United States south of Montreal continues to rise. This week a crew from the army appeared at the most popular informal crossing point and built a tent camp to allow police and border officials to process the newcomers. The would-be immigrants are also being housed in Montreal's Olympic Stadium.
Many of the newcomers are Haitians and apparently fear deportation from the United States under the policies of President Trump.
Dan Levin traveled to Montreal and to the border to report on this situation. He found that the current wave of asylum seekers was very likely prompted by false information shared by Haitians on social media indicating that if you could get into Canada, you could stay. But for most of the claimants, it may turn out that their efforts to slip into Canada will only leave them being deported from Canada.
Read: A Surge of Migrants Crossing Into Quebec Tests Canada's Welcome
The novelist Claire Messud, the daughter of a Canadian mother and a French father, had an unusually peripatetic childhood. The many places in the world that her family called home included Toronto. "You're only ever understood in parts," she told Ruth Franklin in an interview for The New York Times Magazine. "I'm a different person in French. I'm a different person in New York. I'm a different person in Canada."
Read: Who's Afraid of Claire Messud?
Brand's Deli is a quick stroll from the beaches of Long Island. But its approach to sandwich nomenclature is more like something you'd expect to find in Canada. The sandwiches bear the nicknames of National Hockey League stars. Fancy roast pork, mozzarella, gravy, duck sauce on garlic bread? Then order a Messiah, named for the former New York Rangers great Mark Messier. Around Long Island, the deli's owner, Joe Brand, shares Gordie Howe's nickname: Mr. Hockey.
Read: Long Island's Hockey-Beach-Sandwich Connection
At Mr. Trump's insistence, Canada, the United States and Mexico will start negotiating a new version of the North American Free Trade Agreement this coming week. There's certainly apprehension in Canada about what may emerge. But Mr. Trump's protectionist approach to trade is also causing hands to wring in the United States.
In Chattanooga, Tenn., Patricia Cohen found that foreign companies, including Volkswagen, have revived the economy and made local politicians and business leaders aware that foreign trade has become a key part of their local prosperity — and something that may now be in jeopardy.
Alan Rappeport, who covers economic policy for The Times from Washington, reported this week that one short-term effect of Mr. Trump's approach to trade has been to hurt some American businesses. That includes home builders who rely on Canadian lumber which, once again, is a trade target.
Read: When Foreign Companies Are Making, Not Killing, U.S. Jobs
Read: Trump's Stalled Trade Agenda Leaves Industries in the Lurch
Trans Canada
—A Times roundup of books about Muslim refugees for children and young adults includes two titles by Canadian authors.
—Jack Rabinovitch started life in Montreal's Jewish ghetto and then used the fortune he made in commercial real estate to found and fund Canada's premier literary award.
—Ernst Zündel, who spewed neo-Nazi messages from Toronto most of his life while denying the Holocaust, died in Germany.


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"Journey Home – How a Simple Act of Kindness Led to the Creation of a Living Legacy" is the story about the kind and generous couple who welcomed strangers seeking to watch hummingbirds into their Patagonia, Arizona yard for decades, asking nothing in return.
The story about how this remarkable place, which became known as Paton's Birder Haven, came to be and the legacy that it created, began in 1974 when Wally and Marion Paton moved from New England to Patagonia. They planted bushes and flowers around their yard and hung a variety of birdfeeders. Birds flying down the Patagonia-Sonoita Creek, in search of food, soon changed their flight path to check out this new oasis—and they came by the thousands.
Inspired by a visit, in the early 1990s from well-known wildlife photographer, Arthur Morris, who noticed the rare Violet-crowned Hummingbird at their feeders, Wally and Marion Paton opened their gate and welcomed the public into their backyard. A world-renowned birding mecca evolved and life around the Paton house was never quite the same.
But this is not just a story about birds and bird watching. It is also a story about the kind and generous couple who welcomed strangers into their yard for decades, asking nothing in return. Children of the Great Depression and World War II sweethearts, their early years were marked with hardship and sacrifice.
Instilled at an early age, the values of hard work, kindness, and a generosity of spirit stayed with them throughout their entire lives and would be the catalyst in opening their yard to a world of strangers.
Paton's Birder Haven, now known as Tucson Audubon's Paton Center for Hummingbirds, remains an internationally renowned birding destination for observing migrating hummingbird species, as well as other elusive birds of the Coronado Forest.
In April 2017, Tucson Audubon celebrated the three year anniversary of their taking over the property by hosting long time Paton supporters who had been instrumental in "saving" Paton's Birder Haven. For three days guests were treated to fabulous spring bird migration, tours of the property, talks by hummingbird experts, and a presentation by Bonnie Paton Moon on her recently published book.
Author Bonnie Paton Moon grew up in a rural New England town on a dairy farm with two brothers, a sister, a collie named Brigadoon and an assortment of barnyard animals. Upon graduating college, she and her husband, Richard, settled in Westport, Connecticut where they have resided for thirty-nine years, raising their son, Michael, and now enjoying three grandchildren who live nearby.
Bonnie worked as the Business Manager for the Westport Public Library for 25 years before retiring in 2008. After her mother, Marion Paton, passed away in 2009, Bonnie embarked on a journey to preserve and protect her parents' world renowned birding "mecca" known as Paton's Birder Haven.
A frequent visitor to her parents' home, Bonnie loved looking through the guestbook to see who had been visiting and from what corner of the globe they had traveled. On the day of her mother's memorial service, while sitting in the yard enjoying the wonder of the place, she realized this magical site that her parents had created was not hers to keep, but instead, belonged to the thousands of bird watchers and naturalists who visited each year. This magical spot, this tiny piece of birding paradise that became "home" to thousands throughout the decades, needed permanent protection.
Bonnie credits the inspiration for her book to a meeting in 2012 with Dr. George Fenwick, President of American Bird Conservancy, and to receiving the Connecticut Audubon Edwin Way Teale Writer-in-Residence Award later that same year.
The completion of Journey Home marks the culmination of a six-year labor of love which kept her parents close to her heart. She still enjoys the journey home whether to Massachusetts to reconnect with her farming roots or to Arizona to re-visit her parents' legacy. She is currently working with Tucson Audubon on the history of the property, now known as Tucson Audubon's Paton Center for Hummingbirds.
"Journey Home – How a Simple Act of Kindness Led to the Creation of a Living Legacy" is available at Amazon and at bookstores and birding retailers in Arizona and the Southwestern U.S.
Worth Pondering…
Patagonia is a tiny hamlet located in the Sonoita Valley in southeastern Arizona. A few blocks from the main street through town, on the edge of The Nature Conservancy's Patagonia-Sonoita Creek Preserve, lies a non-descript ranch house that is no less than one of the most famous bird watching sites in the world.
―National Geographic News, Mathew Tekulsky, 2004


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frnds plz dont buy this phone touch is not working and i gave twice to nokia care but still it is not working so i recommend not to use this phone
It is a terrible phone. In 6 months, have the screen touch is not working. Absolutely not recommended. And it is very bad that it such a lousy phone has come from Nokia. Besides, I have been taking my battery out and putting it back so that I can get it to unlock! It is a pity that it has a good camera and sound quality.
two time i change touch screen and now my phone is dead.
i cant open it
Anonymous, 15 Sep 2013I have this phone for 2 years and I never had a problem with it, it's small and easy to use. I... moremobile parmanet switch off.
There is no denying that this is a very good phone and is easy to use but it is let down very badly by the BL-4U BATTERY.
You will be lucky to get 2 days usage even with moderate use, this phone should have came with a longer life battery like the BL-6C.
Also the call quality is average and I can hear calls louder, better and clearer with my nokia 1112 !!!
Because of this, this phone is not worth buying and nokia could have done much better with this phone by providing a higher spec battery.
The fact that it has been discontinued by nokia is probably a good thing sadly.
This handset is a piece of junk. Touch screen packs up and it becomes useless. You cannot even put it back to factory settings. So if you want to get it working again you have to take it to back to some mobile phone techno-nerd for him to read all your messages, check out your contacts and drool over all your photos. This phone has ruined my life and I shall never purchase another or recommend any Nokia to anyone, unless I really don't like them. Microsoft are welcome to them. Total trash!
aparajit, 31 Jul 2013I have purchased nokia asha 300 on 24th april 2012, at the begining it ran very good,the touch... moreMy touch screen is dead, cant lock onto my phone, what should I do, is there a reset button that I can press to reactivate/reset the phone
I have a few questions about this phone.
Question 1: Is it possible to organise contacts to a group?
Question 2: Can I send message to the group?
byne, 08 Oct 2013if i put Sim card on my nokia 300 and i switched it on it turn it off automatically but if i r... morePl change U'r sim card
AnonD-195008, 10 Oct 2013if i put sim card on my nokia 300 and i switch it on it will turn it off again but if i remove... morepls i need solution for it
if i put sim card on my nokia 300 and i switch it on it will turn it off again but if i remove the sim card form it and i switch it on again it works
if i put Sim card on my nokia 300 and i switched it on it turn it off automatically but if i remove the sim card from the fone it works.pls i need a solution
nokia asha 300..i m using this for over 17 months...i can install huge application like watsapp, line, we chat....internet speed of 3G is super...no touch problem....it is low investment but nice phone with good features...i"ll give it 7.8 out of 10...processer speed is also good(9/10)
eventhough i typed my security code my phone doesnt get unlocked. this happened suddenly
how seems this logical to you ?
Stand by Up to 550 h (2G) / Up to 597 h (3G)


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A MAN was taken to hospital with a suspected broken leg following a high-speed horror buggy smash.
Emergency services were called to the Three Sisters Racing Circuit in Ashton following the crash at around 11.55am on Saturday.
The man was driving the high-powered vehicle similar to a dune buggy when he left the track and ended up in the middle of the circuit trapped by the frame of the badly-damaged car.
Firefighters estimated he was travelling at around 70mph when the incident occurred, and an air ambulance helicopter was also called to the scene but not used.
Fire crews from Wigan used hydraulic cutting equipment to rescue the driver, working with firefighters from Hindley, paramedics and the Three Sisters' on-site team of marshals in an operation lasting around 90 minutes.
Watch manager Isaac Olurankinse praised the co-ordinated rescue effort and the way the services pulled together to free the man from the wrecked vehicle.
He said: "When we arrived the emergency marshals had already cut some of the roll cage around the man but needed our more powerful cutting equipment.
"We tried to remove the frame which had crushed his leg, it was quite a delicate process to cut around him without causing pain or discomfort.
"It looked like he had quite a severe break to his right leg. The paramedics were still treating him when we left.
"There were around 20 people in the area so it was quite difficult to make sure everyone was safe, but they all worked together quite well.
"The track emergency marshals did a good job with the equipment they had and the paramedics worked together with us."
The North West Ambulance Service (NWAS) confirmed the man was taken by road to Wigan Infirmary.


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I'm a small town guy from Texas that found a love for craft beverages thanks to my wife who, a former chef turned full time mom, opened my eyes to the wonderful culinary world that exists beyond a plain hamburger.
By day I'm a Creative Director in Phoenix that lives to create delightful user and brand experiences. The rest of the time I'm a dad to my two young sons, easily my favorite job in the world. Somewhere in between all that I try to fit in time for this passion project. If nothing else, I have a legitimate excuse to imbibe. #R&D
I really appreciate you stopping by and I hope this blog inspires you to try new things!


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Holiday Calendar
2018 University Holidays
|New Year's Day
|Monday, January 1
|Martin Luther King Jr. Day
|Monday, January 15
|Presidents' Day
|Monday, February 19
|Memorial Day
|Monday, May 28
|Independence Day
|Wednesday, July 4
|Pioneer Day
|Tuesday, July 24
|Labor Day
|Monday, September 3
|Thanksgiving Day
|Thursday, November 22
|Day after Thanksgiving
|Friday, November 23
|*University Closure Day
|Monday, December 24
|Christmas Day
|Tuesday, December 25
|*University Closure Day
|Monday, December 31
Hospitals & Clinics 2018 Holiday Schedule
2019 University Holidays
|New Year's Day
|Tuesday, January 1
|Martin Luther King, Jr. Day
|Monday, January 21
|Presidents' Day
|Monday, February 18
|Memorial Day
|Monday, May 27
|Independence Day
|Thursday, July 4
|Pioneer Day
|Wednesday, July 24
|Labor Day
|Monday, September 2
|Thursday, November 28
|Day After Thanksgiving
|Friday, November 29
|Christmas Day
|Wednesday, December 25
* University closure days (UCDs) do not apply to employees of University Hospitals and Clinics, certain clinical employees in Health Sciences, and other University employees identified as providing critical services during the closure. For clarification, please check with your supervisor.
Hospitals & Clinics 2019 Holiday Schedule
2 Personal Preference Days - Must be taken before end of calendar year if employed by January 1. Please refer to Policy 5-300 regarding the use of Personal Preference Days.


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Though last year saw the shuttering of three Kate's Paperies, the Etsy-fication of Manhattan won't be stopped. On June 8, Paper Sourcealready a fixture in Cobble Hillis coming to Soho (83 Spring St., nr. Crosby St.; 646-484-5764), bringing with it paper in 40 colors and 200 handmade textures, plus an inventory of 900 greeting cards. The 2,250-square-foot crafter's paradise is also home to a ten-foot wall of 500 rubber stamps and classes for those in need of an artistic push. Another location on the Upper West Side is set to open at the end of the month (309 Columbus Ave., at 75th St.; 646-861-2879). This story appeared in the June, 11, 2012 issue of New York Magazine.
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Update on power restoration
MA-Whitman , Emergency Alerts
- Sent 10/30/2017 15:38 EST via
- web mail_outline chat_bubble_outline phone
Good Afternoon,
This is important message from Whitman Public Safety Officials with an update on power restoration.
National Grid is currently still working on damage assessment and for safety reasons will not be working to restore power until their assessment is completed.
There are 29,000 locations in the general area still without power and there are 2,238 locations without power in Whitman.
If you have generator we remind you to make sure it's located and running in a well ventilated area to avoid carbon monoxide poisoning.
Please plan accordingly for up to 72 hours without power as we get more information we'll update everyone on the status.
Please also remember that a down wire should be considered a live wire so please stay away from downed wires and call 911 to report downed wires.
If you have any non-emergency general questions or concerns please call us at 781-447-7682. You can also connect with us on Facebook or follow us on Twitter at http://www.whitman-ma.gov/socialmedia
Thank you for your patience and understanding.
Whitman Emergency Management Agency


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Will Smith, Margot Robbie, Rodrigo Santoro, Gerald McRaney
You can feel Focus trying to be as debonair and romantic as the Oceans films and as character-driven as American Hustle. Despites its sites, it never reaches those heights.
It's not that Smith isn't an expert at playing slick – he's less appealing at the romantic banter required here. It's also not that Robbie (The Wolf of Wall Street) isn't sexy. In fact, her glamour and comic timing are the best things about this flick. The complications are entertaining. Although this is pure escapism, it's just slight on memorable moments and sexual chemistry.


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getting fired
who here's been fired and why? I beat you all for the best reason. I got a bus home and as a result I lost my job last night. HA.
you got fired for taking a bus home?
summary: (it's a long one)
I do/did waiting on for a catering company. Because there were a couple of catering companies doing the same function, one of them puts on a free bus to get home. Me and the other girl from our company asked who could use it, and the woman said it'd be ok for us to get on it, despite being with someone else. Our boss then said because they didn;t have a contract with them they didn't really want us to get on it, but said it was our choice if we did. Apparently that meant a choice between our jobs or not. I then got a call when I'd gotten home saying that we'd disregarded management and knowingly gone against what they'd said DESPITE US STILL HAVING AN OPTION and we were being taken off their books. Oh yeah, and they may withhold pay until I write an email of apology.
Bunch of cunts
And this one goes out to everyone who was opposed to the EU's 'meddling' law on temp workers.
how do you mean (re. laws)
wise me up phil. They can't be within their rights, can they??
There was a hoohah about the EU granting rights for temporary workers
or those paid per hour per time. The Conservative nonces were complaining it would lead to lots of immigrants stealing our jobs and that and leeching our benefits.
I'd guess they're probably not, but unless you have a recording or several witnesses to what your on site boss said, you might find it hassle to actually prove it.
If they didn't make it clear what the consequences were, they've got nothing. But equally, if you can't prove exactly what was said, then nothing will matter. The thing is the way you put this makes it sound like the onsite boss was the one who shopped you. It's your word against his/hers.
Still doesn't matter really
Maybe worth talking to the Citizen's Advice Bureau. There'll be one nearby. Student Unions usually provide help in cases like this as well.
or you could go for
I hate it
it just seems like because you're a student employers think they can treat you like shit. Same went for my last job. Yes, please change my contract without telling me. I fucking suck at getting decent jobs.
this sounds like it calls for
just like to point out
that you can't withhold someone's wages for actual hours worked, I tried it once and got into loads of shit for it despite catching them stealing from me
45 quid.
EEMPLOYMENT TRIBUNAL??? Do I actually have to apologise? All I want to do is write a rant at their unfounded grounds for dismissal and lack of clarity with regard to the consequences of my apparently heinous actions.
Well, I guess it depends on your finances and whether you need a reference
But I would find it amusing to go up to them in person in front of all the other staff and ask for an explanation and undermine their authority, or take it to a higher level in the company if there is one.
I imagine hamstir is right though that they can't NOT pay you for hours you've already done.
No I don't need a ref off them
but I do need the money. I just really don't want to write that bloody apology knowing full well that it's completely injust.
I've been fired for not stealing something......
I chickened out of it, got caught out, and got the sack.
I was smuggling 4 12" vinyls out in an Xbox box....
found out the assistant manager (who was always fuzzy with staff purchases) was working so I decided against taking the box I had marked my own.
He got suspicious, checked the returned box, and the next day sacked me.
not really
i just stopped turning up and they stopped giving me shifts


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The Millionaire Maker
Act, Think, and Make Money the Way the Wealthy DoBook - 2006
There are only two things millionaires have that you don't: wealth and the knowledge to build wealth. But that's all about to change. Thanks to "Millionaire Maker" Loral Langemeier, you can develop the same financial intelligence that millionaires use to create, grow, and sustain their fortunes.
Regardless of your income--and in as little as one year--the exclusive wealth-building method in The Millionaire Maker can have you generating enough money toQuit your job and start doing the things you love Control and then eliminate your debt no matter how much you owe Live your life on your schedule--instead of your employer's Loral Langemeier has already shown thousands of people how to tailor her proven wealth-building program to their individual needs, no matter what their financial condition--and she can do it for you too. As a hardworking single mom, Loral developed a process of transforming her income into assets, and assets into income that in turn created even more assets--something she calls the Wealth Cycle. Using her program, you'll learn how to build your own continually growing cycle of wealth by Engaging in business ventures that generate passive income Substantially decreasing your tax burden Forming trusts, corporations, and partnerships to protect your assets and create a nonstop revenue stream You'll also gain free access to many of the resources and investment advisors previously available only to those who sign up for Loral's world-famous Live Out Loud (www.liveoutloud.com) seminars and workshops.
To live the life you've always wanted, all you need is a sincere commitment to building wealth and a proven system to make it happen--which you'll find only in The Millionaire Maker.
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text:
United States V. Nixon
You can use arrow keys to navigate in the map.
The needs of the judicial process outweigh Presidential privilege.
The separation of powers necessitates that judicial power cannot be shared with the executive branch, and vice versa.
It would impede the judicial systems ability to handle criminal prosecutions of the Executive Branch.
It would upset the balance of powers between the legislative, judicial, and executive branches while impeding the important role of the court system.
Executive privilege is not more important than justice and constitutionality.
This does not inherently apply to issues of military, diplomacy, or national security.
Nixon does not assert that any of these conditions apply to the disclosure of his tapes.
The Presidents need for confidential communication does not automatically give him executive privilege in all cases.
The President does have certain enumerated powers under the U.S. Constitution.
This does not inherently grant the President immunity all types of judicial review.
If an issue is a matter of broad claims of public interest, executive privilege is not guaranteed.
He is allowed confidentiality in his conversations, as are all citizens.
The United States court system necessitates that all facts in a case are relevant and necessary for a fair trial.
The integrity of the justice system depends on the full disclosure of facts.
It is the courts duty to carry out due process of law and all evidence is necessary to adequately fulfill this duty.
It is the duty of the court, not the President to decide the law.
There is no official definition of judicial power as it relates to the enforcement of a Presidential subpoena.
There are precedents that have been regarded as unconstitutional that pertain to the Executive Branch of the government, like the ruling in Powell v. McCormack.
Executive privilege is not explicitly mentioned in the Constitution, it is only inferred based on what is stated regarding Presidential duties.


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MOUNT OLIVE, N.C. - The University of Mount Olive heads to Tigerville, S.C. on Tuesday, Nov. 7, for the quarterfinals of the 2017 Conference Carolinas women's volleyball tournament as the Trojans face the Crusaders of North Greenville at 6:30 p.m. in Hayes Gymnasium.
Who: North Greenville (19-9, 11-4) vs. Mount Olive (10-18, 5-9)
When: Tuesday, November 7 - 6:30 p.m.
Where: Hayes Gymnasium | Tigerville, S.C.
Video || Live Stats
Mount Olive
- The Trojans enter the match Tuesday on a two-game losing streak dropping both contests in the final weekend of regular season play.
- Britni Johnson has been the steady attacker for UMO as she has tallied 373 kills on the season, with 205 of those coming against conference foes.
- Freshman Cyerra Carter has been settling into her own role as a prominent attacker for the Trojans as she sits second on the team with 214 total kills, 110 in conference contests.
- Sophomore setter Kamber Skeen has tallied 805 assists this season to compliment her 834 from her freshman season to total 1,639 career assists.
- Casey Fiechter leads the team in digs with 409 on the season with Johnson close behind at 350.
North Greenville
- NGU is on a five-game winning streak heading into the quarterfinal match.
- The Crusaders last loss came on Oct. 20 at Emmanuel College when they lost in four to the Lions.
- NGU is led by a trio of attackers in Sam Hebb, Katie McManaway, and Kenzie Pierce who combine for 776 of the teams 1258 kills on the season.
- Sara Miller, the Crusaders primary setter, has accrued 1,011 assists this season as a redshirt sophomore.
- The defensive line for NGU consists of Pierce, Miller and libero Johna Robbins who've tallied 829 combined digs of 1,693.
- The two squads have only faced off once this season with the Crusaders picking up a three-set win over UMO at Kornegay Arena on Sept. 23.
- The boxscore stat lines were very similar with the Crusaders holding a lead in kills, 38-33, and assists 37-33, while the Trojans led by one in digs, 62-61.
- The major difference was the errors committed by each team as Mount Olive had 24 errors to NGU's nine in the match.
The Trojans had four ladies earn Academic All-Conference honors including the three seniors, Casey Fiechter, Britni Johnson, Lindsea Jones and junior Lisa Anderson.
Up Next
The winner of the quarterfinal match will advance to the semifinals to face the winner of the North No. 2 Belmont Abbey vs. South No. 3 Limestone game set for 6:30 p.m. on Nov. 7 in Belmont, N.C. The Conference Carolinas semifinals and championship matches will take place at the highest remaining seed in the conference tournament on Saturday and Sunday, Nov. 11 & 12.


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Another World: 15th Anniversary Edition PC Review
Another World is a 2D adventure game which sees you explore, jump and shoot your way through the story. The game was originally released in 1991 on Commodore Amiga, back when game culture was very unestablished. In 2007 it's impossible to think one man could design a game but this is what young Frenchman Eric Chahi did at his parents' home. But make no mistake this is no amateur development, back when it was released Another World was heralded as one of the greatest games around and awarded critical acclaim.
The dreamlike story of Another World happens in a parallel world, to which the main protagonist Lester is transported after lightning strikes his lab during a particle acceleration experiment. It is not known whether events were in the present, past or future, the gamer is left unsure and the mystery adds to the desolate atmosphere. Another World offered an immersive audiovisual style never seen before, and even today the graphics and sound are highly effective. The minimalist style – of both arty visuals and audio – leaves much to the imagination and draws on the loneliness of the main character. It's a reminder of how important music is and the synthetic notes of Another World are supremely effective.
In-game controls are a simplistic joy as you only require one button and directional controls. Aside from regular laser shots your gun can act as a shied by holding the button down momentarily and you can charge up a powerful shot by holding it longer. You'll need quick reactions and to be on your toes when entering a new room.
Upon release, and especially now, Another World is a very challenging game to play. You won't find in-game help or hints and a lot of experimentation is required. In 1991 gamers did not have an easy ride and difficulty was seen as part of the challenge; you could always expect to be punished for making the smallest mistakes. After dying you get given a 4 digit code to that acts as your save system, they are fairly frequent but you won't get one after every scenario. Luckily this new version allows you to pick a scene based on your progress through the game, so entering the code is option. Despite this you will find you are having to repeat some tasks again and again until you don't die, which can grow tiresome; if you're very inpatient you might want to think again. This is something in game culture that has changed over the last decade and gamers don't need the patience they used to. Whether you have a lot of fun with the game depends on whether you can overlook the ageing aspect of the game, but I'd advise you to stick with it. If you're stuck it could be you're approaching the problem incorrectly and should try another solution.
Rather than simply port the game directly, some effort has gone into re-releasing Another World. Visually the game offers support for the latest widescreen resolutions and upon comparison with the original there is actually a big leap in graphical detail, though graphically it will look sparse to newcomers as it's easy to forget how much has changed in 15 years. There have also been a few gameplay tweaks, including additional 'save points' so you don't have to replay too many events after dying. Personally I thought there should be even more save points, in one instance where you have to outrun flowing water I did this successfully but died afterwards and I had to do the whole run again, when to me it felt like a separate challenge. On the bright-side those who had the Amiga version will also be treated to a new level that didn't feature in the original.
With this anniversary edition you get an 18 minute Making Of movie that sees Eric and his composer friend Jean Francois Freitas – responsible for the Another World's music – discuss the game and its development. It's highly insightful, in particular where we see the game's visuals edited on the fly using Eric's purpose built editor.
There's also a 42 page Development Diary PDF featuring a chronological set of drawings, notes and sketches back. The document looks like it has been knocked together in MS Word but there's a lot of interesting content. It's surprising to see how true to original conception the visuals turned out, indicating that the fewer people involved in making a game the greater chance of it turning out as intended. Lastly, in the box you also get the original soundtrack on CD.
For some it's a chance for reminiscence, and for others a chance to experience one of the most absorbing adventure games around. Another World offers a glimpse of what gaming life was like back in 1991. It's available in the shops RRP £14.99, though you can probably find it for £9.99 online – great value for money. Anyone who classes themselves as a true gamer should experience it and modern developers could learn a lot by revisiting the game. Another World shows you can achieve amazing things with a low budget that turn out to be very rewarding experiences.


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Foreign travel advice
Entry requirements
The information on this page covers the most common types of travel and reflects the UK government's understanding of the rules currently in place. Unless otherwise stated, this information is for travellers using a full 'British Citizen' passport.
The authorities in the country or territory you're travelling to are responsible for setting and enforcing the rules for entry. If you're unclear about any aspect of the entry requirements, or you need further reassurance, you'll need to contact the embassy, high commission or consulate of the country or territory you're travelling to.
You should also consider checking with your transport provider or travel company to make sure your passport and other travel documents meet their requirements.
Immigration and customs
Switzerland handles immigration and customs matters for Liechtenstein. Entry requirements are the same as for Switzerland. There is no customs border between Switzerland and Liechtenstein.
British nationals do not need a visa to enter Liechtenstein for a maximum stay of 90 days. For all other types of travel, you should refer to the Swiss Embassy in London.
In the event of changes to entry requirements after the UK leaves the EU on 29 March 2019, this page will be updated as soon as information is available.
Passport validity
Your passport should be valid for the proposed duration of your stay. No additional period of validity beyond this is required.
However, if the UK leaves the European Union with no deal, the passport validity rules for travel to most countries in Europe will change from 29 March 2019. Before booking travel, you should check that your passport will meet these new rules and find out whether you need to renew it.
UK Emergency Travel Documents (ETDs)
UK ETDs are accepted for entry, airside transit and exit from Liechtenstein.


text:
Background passage: Matthew 14:13-21
Daily reading: Psalm 17
Friday October 9, 2015
Focus passage: Manifest your faithful love in amazing ways because you are the one who saves those who take refuge in you, saving them from their attackers by your strong hand. Psalm 17:7
When we take time to read scripture, engage in faithful open dialogue, and participate in community we find that our hearts begin to change. God is able to manifest God's faithful love in amazing ways in our lives.
We begin to find that the concerns that God has for creation become our same concerns.
Take time to pray the Psalm today. What parts jump out and speak to you? How does that inform your faith?
Prayer: God take my offering, small as it might seem, and bless it so that it can have a huge impact in my community. Amen.


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You're used to that ever-so-slight pay rise every year, which helps you keep up with rises in the cost of everything from food to gas to rent. So when your company leaders announce that you won't be getting that pay rise this term, it's natural to feel the burn. You work hard to stay afloat – and this is definitely not an ideal situation moving forward.
So, how do you cope? Take a deep breath and follow some of these tips.
See also: How to Get a Pay Rise
1. Understand it's not personal
You might be pretty upset right now – but take a step back. The term "freeze" doesn't mean you – just you – did a bad job and are being punished. Put this in perspective. Everyone at the company is being treated in the same manner, and that isn't something you can take personally. This move is something the company is doing in order to make sure everyone gets to keep their jobs.
You might not want to hear it, but be thankful you have a job and that you're not being forced to live off unemployment compensation instead.
2. Analyze your spending habits
The next step is to look at where you can cut back. You might not be able to lower things like your rent, but if you have a mortgage, is it possible to refinance and get a lower rate? Do you have a discretionary spending budget for things like nights out and clothing, which you can cut back on a bit?
Dig deep and ask yourself what you really need versus what you can substitute for something else. If you've been shopping at that gourmet grocery for all of your household needs, maybe it's time to start getting basic products at the discount store. If you've been splurging for that morning cappuccino, maybe it's time to install your own cappuccino maker at home. You've been living off the salary you have for quite some time, so you don't have to trim much fat at all to account for the cost of inflation.
3. Look for company help in other ways
Since your company leaders are the ones imposing the salary freeze, they're likely sympathetic to your plight and may be willing to help you cut costs in other ways. Talk to your manager or human resources officer to start brainstorming. If commuting costs are creating a big dent in your pocketbook, talk to your bosses about getting a company-wide discount on public transportation passes or ask your boss to let you work from home one or two days a week. You might also ask your company leaders to arrange group discounts on things like dry cleaning or cleaning services or even on the cost of your group healthcare.
4. Whatever you do, don't let your savings suffer
You might be ready to cut back on your expenses, but make every effort to avoid dipping into your retirement savings. That's your investment in the future, and when this salary freeze is over, you don't want to end up even more behind than you are now. If you're contributing more than the minimum amount to your savings plans, try to keep it at that amount – even if it means fewer nights out on the town or skipping that splurge on a fancy new suit you can wear to the office.
There's no doubt that company-wide salary freezes are a bad thing, but they don't have to be the end of the world. By thinking positively and continuing to do good work, you can help your company crawl its way out of this hole and back into the black.


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One of my favourite thing about the Early Childhood community is the willingness to share ideas and learn from each other. A good teacher is always wanting to learn, find new ways of doing things, discussing with other teachers how they do things.
When I saw that The Point Preschool was having a sustainability expo on I knew this would be a fantastic opportunity to check out the amazing things that they do. My cousin is also an Early Childhood Teacher so we had a fun day out.
I picked up a few different ideas that I will be taking back to my class to help with developing a high quality early childhood experience for my children. Visiting other high quality preschools always makes me really inspired and raring to get back to my classroom and try new things.
My dream is one day I will have a classroom that will inspire other early childhood teachers, and be able to give back to the community that is teaching me so much.


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Midsomer Murders: Series 19, Part 2
Mystery | Mystery | Mystery - Classic | Mystery - Cozy | Mystery - Modern | Mystery - Murder | Television
The English village mystery gets a contemporary spin in this hit British television series that has earned a worldwide following. Bucolic settings harbor macabre crimes and eccentric characters that are no match for DCI John Barnaby (Neil Dudgeon, Life of Riley) and his assistant, DS Jamie Winter (Nick Hendrix, Marcella). "Delightful in a murderously charming way" (Leonard Maltin's Movie Crazy). Guest stars include Claire Skinner, Abigail Cruttenden, Georgie Glen, James Fleet, and Simon Callow. THE MYSTERIES Death by Persuasion—A woman is stabbed in the neck with a quill near a Georgian re-creation event celebrating Jane Austen. The Curse of the Ninth—The winner of a prestigious music award is found strangled with a violin string moments before a performance.
Matt Carter, Alex Pillai
Neil Dudgeon, Nick Hendrix, Fiona Dolman, Manjinder Virk
DVD | Release Date 10/24/2017 | 186 Mins. | $29.99 | AMP2606 | 054961260690
Blu-ray Disc | Release Date 10/24/2017 | 186 Mins. | $29.99 | AMP2607 | 054961260799
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Money and School Performance. Lessons from the Kansas City Desegregation Experiment. Policy Analysis No. 298.
Money and School Performance. Lessons from the Kansas City Desegregation Experiment. Policy Analysis No. 298. - Descarga este documento en PDF. Documentación en PDF para descargar gratis. Disponible también para leer online.
To improve the education of black students and to encourage desegregation, a federal judge ordered the Kansas City (Missouri) school district to come up with a cost-is-no-object educational plan and ordered local and state taxpayers to find the money to pay for it. Kansas City spent as much as $11,700 per pupil, more money per pupil on a cost of living adjusted basis than any other of the 280 largest school districts in the country. The money paid for higher teachers' salaries, 15 new schools, and such amenities as an Olympic-sized swimming pool, television studios, a robotics laboratory, a wildlife sanctuary and zoo, a model United Nations, and field trips to Mexico and Senegal. The student-teacher ratio became 12 or 13 to 1, the lowest of any major school district in the country. In spite of all of this, achievement test scores did not rise, the gap between black and white students did not narrow, and there was less, rather than more, integration. The experiment in Kansas City suggests that educational problems cannot be solved by throwing money at them. The structural problems of the educational system are far more than a lack of material resources. In Kansas City the focus on desegregation diverted attention from the real problem of low academic achievement. Similar things are occurring in Sausalito (California), where the affluent school system is still not enough to bring about high achievement. (SLD)
Descriptors: Academic Achievement, Black Students, Court Litigation, Desegregation Effects, Desegregation Plans, Educational Finance, Educational Improvement, Elementary Secondary Education, Expenditures, Resource Allocation, School Desegregation, School District Wealth, Urban Schools
Cato Institute, 1000 Massachusetts Avenue, N.W., Washington, DC 20001; phone: 202-842-0200; fax: 202-842-3490 ($6; $3 for five or more copies).
Autor: Ciotti, Paul
Fuente: https://eric.ed.gov/?q=a&ft=on&ff1=dtySince_1992&pg=7763&id=ED418160


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8. The public-alternative processes and practices
Herein lies a potential key to the problem. If we can somehow develop the idea that individuals and community groups - i.e., the public - can and should play a greater role in deciding and creating what they (we) see on the mass audiovisual media, then we will have taken a major step forward. It is the concept and will to do so, which is lacking at the present time.
Central to this proposal is the concept that the ideas and initiatives of the public, if absorbed into the creation of the mass audiovisual media, would help break down many of the existing hierarchical forms and practices of the MAVM.
The following suggestions are grouped into categories; each is directly related to the other, and thus kept under the same heading. The idea here is that one leads to the other, in a continuous process for change.
Analysis and knowledge > Direct political action > Creating alternative media
As I have outlined in this statement, the mass audiovisual media have systematically withheld from the public essential information relating to the forms and practices of the media, as well as the basis of decisions underlying broadcasting policies. Education systems have also deprived the public of analytical ideas, processes, and alternative practices which could have paved the way to reform.
Society urgently needs alternative media community groups seeking to reclaim this vital information and analysis.
• I would therefore propose that this statement serve as a preliminary guide for questions uncovering areas related to the use of the mass audiovisual media. For example: what are the Monoform and the Universal Clock? How are they applied, why, and by whom? The pursuit of answers to these basic questions could develop into a major community action project, which would unravel - and challenge - a great deal more.
Similarly, what is an edit, why is it made in a particular fashion, what are time and length in media terms, how do they relate to power, and the audience, and why are they used in a particular way?
Who are Commissioning Editors, why are they able to wield so much power? What is their function, how do they relate to the democratic process? What decisions do they make; what is our role in these decisions?
How does TV (including newsbroadcasting) treat history and violence? What kind of media education are young people receiving - or not? What is the role of film festivals and pitching sessions? How does Hollywood sustain the role of the military, war and aggression in society ? What is the Gate Keeper Theory
[see Appendix 1] ? Etc.
All of these questions, and many more, relate to the mass audiovisual process -and directly to the role of the public in the civic process - and they all need to be raised, analyzed and discussed.
I would encourage any community group undertaking this kind of analysis to involve media teachers and filmmakers - not as mentors, but as colleagues in the quest for change. It could be that filmmakers and teachers would themselves be challenged in the process - for this is the nature of establishing new relationships.
•I would propose that community groups work with secondary school and university classes in this analysis - a process which would deeply underline the need for reform at the educational level.
•This type of analysis can develop into a creative project. During the 1970s through to the early 1990s I travelled to schools and universities in different countries, to work on some of the above mentioned questions and issues. Specific projects included a TV Newsbroadcasting Analysis Project, which I taught, in various ways, at Columbia University, New York; Monash University, Melbourne, Australia; schools in Auckland, New Zealand; the Red Cross Folk High School in Sweden; Institute of Mass Communications at Oslo University, Norway; Queen's University in Kingston, Canada, etc.
The following is a brief outline of the above project, which is of course open to endless variations. The project as described works best with at least a dozen participants. It is made up of 3 parts:
PART A: The participants divide into groups of 3 or 4: each group analyzes a different story from the same current TV newsbroadcast, or from newsbroadcasts on the same day. The analysis includes several tasks:
• breaking down the story into its basic elements; producing a 'scoreboard' pictorially clarifying every aspect of the Monoform - each cut, zoom, pan, frame, bit of dialogue, sound and visual effect; so that the juxtaposition of each is visually apparent, enabling the students to examine the effects of each element in relation to the others • researching the story to compare the 'facts' as discovered, with the 'facts' as presented • showing and discussing the news item with an audience • locating either the original subjects (including the people interviewed), or finding a representative group, in order to ascertain whether the news item showed what actually happened (was said), or presented the information accurately w taking those questions which arise in these first stages to the media professionals - journalist, editor, senior producer - who created and produced the item. In this way, Part A takes the participants through each standard media procedure - and checks accessibility and accountability, especially when trying to meet with the professionals.
PART B: Each group presents its analysis and findings to the other groups, detailing the possible contradictions, dubious 'facts', misrepresentations, effects of language-form, etc., and any possible resistance from TV professionals. Each presentation is followed by a discussion.
Key issues which can arise include: • centralization of power • fallacy of the myths of 'objectivity' and 'professionalism' • manipulation via the Monoform hierarchical relationship between media and audience.
PART C: optional - but preferable. This part involves practical work with video (or film) equipment. Simple versions of this project can be carried out using a few basic video cameras; editing equipment, though preferable, is not essential. The participants need to consider what they have learned in Parts A and B - including about the hierarchical relationship between media and audience - and use their equipment as communication tools in order to address the same or similar issues which were covered in the TV news item. This means that the participants have to find their own alternative to the Monoform, and other ways to interview people on video. Which in turn means reviewing how conventional TV uses TIME, SPACE, RHYTHM, and the PROCESS of manipulating both interview subjects and the audience - and then finding alternative, less hierarchical forms. This is an example of what I would call a holistic media exercise, combining critical thinking, analysis, and practical work. The interaction between the groups and the people they interview, and their discourse with the audience in Part A, will help students to find their own ways to use video. Editing equipment enables students to continue examining the pitfalls of the Monoform, and to find gentler and more open-ended editing forms of their own.
This type of workshop project - ideally lasting a few months - can be a very dynamic and collective learning process. And can lead much farther...
• For example, research into the practices and effects of the MAVM can lead to public exhibitions and discussions.
In 1979, I and friends in Sydney, Australia, formed a media analysis community group which we called The People's Commission. We organized groups examining the role of radio, TV, and the press in the Sydney area. We did very detailed research - as per the preceding TV News Analysis Project - and presented exhibitions of our work at the Paddington and Sydney Town Halls. We had a great deal of wall-mounted material, including graphics showing the structure of the Monoform, lists comparing time allocated by TV to various social themes and escapist programmes, etc. There was a large public attendance at these exhibitions, and very animated debates.
I have organized similar public exhibitions of work by students on other occasions in Sydney, Stockholm, and Auckland.
Analysis and knowledge > Direct political action > Creating alternative media
Using projects, exhibitions, and public debate as impetus, I would propose that a community involve itself in a more extended challenge to the crisis I describe on these pages. For example:
• A community could create a lobbying group to pressure regional or municipal authorities to reform their education system, and to take on board the issues raised here - including to make provision for sustained, multiple-level, genuinely critical media education.
• Community groups could challenge their local TV organizations to begin sharing their power and decision-making process, to bring open debate into the community regarding any of the issues raised in this statement - and thereby lead to democratic reform. This challenge could also be made to film festivals of the type described in this statement. "Where is the public debate?" is the key question.
• The next proposal may appear too abstract or time demanding. However, I strongly believe that constitutional change vis-à-vis media reform is needed in order to draw attention to the right of every citizen to alternative forms of non-violent, non-Monoform, non-hierarchical media communication, and the same right to alternative media education at all levels.
See Appendix 11 - Constitutional Change.
Analysis and knowledge > Direct political action > Creating alternative media
It is essential that the community approach the MAVM with the concept that the creation of mass audiovisual media need not - should not - be left to the 'professionals'. Especially given the crisis as described in this statement.
This means that we have to open up the possibilities to the public - to local communities - to create their own forms of audiovisual media, which simultaneously become pedagogical and popular culture processes. By this I mean true popular culture: that which is not confined to material 'dumbed down' by professionals for a preconceived level of public intelligence - but which represents a wide range of interests, ethnic themes, social concerns, literary subjects, etc., - even local TV newsbroadcasting (e.g., a critical summary of the news as presented on mainstream TV - with alternative information). Needless to say, these alternative projects should avail themselves of the vast range of language forms inherent in the audiovisual media, and free themselves entirely from the restraints of the Monoform and the Universal Clock. It is within human potential to achieve this and more! The availability of inexpensive, portable analog or digital video equipment, and DVD technology to screen material, opens up a vast range of possibilities for democratic distribution processes.
I will begin with the simplest idea possible for a community video project - creative, pedagogical - call it what you will:
• Amazing results can be achieved by asking people to find alternative ways to conduct an INTERVIEW. If handled in a critical manner, this seemingly 'simple' exercise can illustrate the many undemocratic procedures utilized (knowingly or otherwise) by the MAVM. If participants wish to break out of the Monoform, this exercise can offer many alternative ways of presenting information via video or film.
This process can be a helpful exercise in exploring the potential democratic use, or hierarchical abuse, of media form and process and it can be stipulated or left to choice that - the Monoform, sound-bite method not be used, and that it be utilized by one or more of the groups as means of comparison.
Another essential part of the process allows the 'subject' to participate directly in making and shaping his/her interview, and the subsequent debate. This exercise can raise crucial questions regarding the use (and abuse) of TIME and HISTORY in the MAVM.
• If a group wants to proceed further - e.g., to reflect the concerns of a community of economically and politically marginalized immigrants, or of an individual struggling to improve the local environment - how might it achieve utilizing alternative filmmaking practices?
Here I must again emphasize, that the group is entirely in charge of what an alternative project looks like - the only hope being, that the goal is not 'to look like TV'(!). Many prior attempts to create community video projects have floundered under the notion that they must resemble TV (the Monoform) in order to be accepted by the public. Preliminary analysis and research projects will hopefully relegate the Monoform and everything it represents, to a shelf marked 'Potentially toxic - handle with caution!'.
So - how might these alternative projects be achieved?
Once a community group has decided on a video project, it has two courses of action: 1) to produce it themselves, with no professional input; 2) to produce it with the co-operation of a local film or video maker.
Since my idea is to involve filmmakers in these proposals for change, I will take the second option, and hereby offer some broad alternative principles:
• The filmmaker and community need to work together as colleagues - not as 'expert' showing 'lay people' how to do things. The filmmaker needs to be prepared to make a COLLECTIVE film - WITH, not ON a subject or person. Therein lies one major difference.
• The filmmaker needs to be prepared not only to spend time with the community, and with the individual who is the subject of the film, but also to share decisions with the community/individual regarding the central focus of the film, and the methods used to achieve it. (Too often filmmakers decide on the focus of a film, and then impose it on the subject.) It is vital that the group ensure that the filmmaker is amenable to this method of collaboration.
• The entire group - filmmaker(s), community, subject(s) - must be prepared to discuss various aspects of the media crisis - if they have not already done so - to collectively ascertain from the subjects their feelings about the Monoform, the regulation of time (Universal Clock), etc., and then decide to what degree they are prepared to work with a film that is seeking alternative usages of time, space and rhythm. Ascertain if the subject(s) of the film have alternative ideas for form and process.
This is extremely important. Too often a filmmaker-group can undertake an alternative project only to have the subjects of the film be disappointed in the result, because they anticipated and believed that the film would look like television. In other words, holistic change can occur only if everyone involved has reached a collective understanding of what alternative means.
• Everyone, including the subject(s), should be involved in researching the project. This is an excellent way to enrich and decentralize the information presented in the film. Again, it is important to see if ideas for form and process develop from the nature of the subject, the character or personality of the community/individual, the nature of the problem under investigation, or from information that comes to light during the collective research.
• During the filming process, try as much as possible to remove the barriers between those making and those appearing in the film. This is more difficult than it sounds, due to the deeply embedded hierarchy in conventional filmmaking practices, and in the traditional relationship between media producer and audience. But it is possible. Invent ways to achieve this.
• Similarly, during the editing stage, try to involve the feelings and opinions of everyone involved - particularly the subject(s) of the film. This is not easy - multiple and conflicting opinions arise at the editing stage, and if not handled carefully, can create chaos instead of consensus. Once again, be prepared to discuss, if necessary, the workings (and problems) of the Monoform - to demonstrate how it can curtail and alter audience perception of something stated or shown on film - and then demonstrate the difference between the Monoform method (and psychology) and a more open language-form.
• Be prepared to show the film to as many participants as possible while the editing phase is still open to change. Invite comments, and listen especially to those who appear in the film - they may have completely different ideas regarding their presentation, or may be critical of the way their statements are reduced, taken out of context, or juxtaposed with other scenes.
• Screen the project for the wider community, and organize discussions around the work. Follow-up discussions are crucial (and require much more than the ritual 20 minutes), for they can help to prepare the way for the community to see these project(s) as being a viable and necessary alternative to the standard TV fare.
• Be prepared to have the work go onto DVD or VHS for accessible local screenings. Initial screenings are only part of a sustained PROCESS of change and development.
• The community group must be prepared to share the struggle of getting their work onto TV, should it decide to take that route. Although a TV screening is not the primary purpose of producing such a film, the act of proposing it to local or national TV could be a useful learning process for the community. Basically be prepared to accept that a community project might have an audience of several hundred, not countless millions. A holistic relationship with a few people is vastly preferable to a manipulative, enforced contact with many people. This is part of the process in changing the relationship between media and public.
• Discuss with audiences - communities - the need for the media to become local, more participatory, and process-oriented. The story of a National Film Board of Canada series during the 1960s - CHALLENGE FOR CHANGE - is an excellent model. In one instance, an NFB crew visited an east coast fishing community, and found that the fishermen were putting to sea in boats that were inappropriate for the local waters. Such were the ideas generated during the filmmaking, and the catharsis resulting from screening the film in local villages, that the fishermen in the surrounding area formed a collective to construct a new type of boat, and thereby resolved the problem.
"How has YOUR work - Peter Watkins - achieved any of this?"
If I reply by detailing all the ways in which I have tried to create alternative media projects, it may seem that I am implying that being alternative means following the 'Peter Watkins method of filmmaking'. Nothing could be farther from the truth. The principles underlying my attempts owe a lot to the work of Berthold Brecht and others, and my methods - to the work of the Italian neo-realist filmmakers, and to certain specific films (e.g., François Truffaut's FOUR HUNDRED BLOWS). My own filmmaking methods emerged along the way, and are quite different on many levels from that of the aforementioned artists. My own principles and concepts developed in the process, and in turn prompted further innovations. The point here is that these very same principles could have led to the development of entirely different methods. I happen to have evolved certain principles of 'documentary reconstruction'. Another filmmaker could have taken the same principles of public participation and self-reflexive filmmaking, and emerged with another style and process. Appendix 10 - Scott MacDonald and alternative American cinema offers examples of filmmakers who share many of my concerns and principles regarding public/audience participation, but have chosen completely different formulas and processes in their filmic journeys.
It is important to see references to my own work as being simply a guide on a journey of exploration which will likely result in completely different filmic formula and language forms for achieving the same principles: public participation in the creation of the mass (or local) audiovisual media.
Another catch to the question, "How has YOUR work achieved any of this?", is that it implies that I have succeeded in creating a genuinely pluralistic form of cinema. I haven't. My work has certainly tried to over the years - and should be recognized, rather than be scorned and marginalized, for such.
Appendix 12 - La Commune, problems and rewards - which was written approximately a year after completing the film - attempts to deal with the areas of gain and loss in making LA COMMUNE, and I think speaks for itself. I hope that reading it will be helpful, both for its description of some of the working methods used to involve the cast (community) in the process of examining history - which became a part of the very process of the film - and also because it outlines some of the self-inflicted problems I encountered - which make LA COMMUNE less a model for change, than an example of how difficult, as well as possible, this journey can be.
Appendix 13 - Le Rebond for La Commune - briefly describes the group which emerged following the filming of LA COMMUNE, both to support screenings in the midst of the repressive circumstances which arose in France, and to expand on the work for change initiated by the film. Le Rebond is a direct example of the kind of ongoing process which is possible once a film is made and screened.
In summary, I would like to outline certain factors and ideas which I believe are essential to keep in mind when forging a new relationship between the media and the public:
• That to communicate indicates a two-way process of sharing and dialogue between parties, and that this meaning should apply equally to the process known as 'mass communications'.
• That the meaning of what we show on film or video is shaped by the filmic language forms that we use.
• That time, space, rhythm, and process all play an essential role in determining whether ours is a democratic, or a hierarchical relationship with the audiovisual material.
• That the executives who run TV and the commercial cinema, and the filmmakers and producers who supply them and the MAVM with material, have not been elected to their position.
• That the concept of objectivity does not, and should never claim to exist in the mass audiovisual media. All we can strive for is responsible subjectivity.
• That media violence is not only images portrayed on a screen - it also exists in the editing process, in the use (misuse) of space, time, rhythm, sound, etc.
• That history is our life-blood. It is what we choose to call the 'past,' 'present', and 'future'. The way we perceive these phases in the affairs of mankind now depends almost entirely on the role of the MAVM.
• That ethics, morality, and spirituality play a vital role in our development and very being, and thus need to have a place in the process of the MAVM.
• That filmmakers should have the freedom to proceed with caution vis-à-vis any of the above elements, as well as the right to practice any of the above alternatives, without repression or marginalization.
• That teachers should have the right to teach alternative, critical media education, without hindrance or marginalization.
• That every man, woman and child has a basic right to alternative forms of non-violent, non-commercial, non-hierarchical mass or local audiovisual media. And should they so desire - to create such.
See Appendix 11 - Constitutional Change.


text:
TOPIC : Cultural heritage as a driver for sustainable growth
|Topic identifier:
|Publication date:
|14 October 2015
|Types of action:
|IA Innovation action
|DeadlineModel: Opening date:
|two-stage 10 November 2015
|Deadline: 2nd stage Deadline:
08 March 2016 17:00:00
06 September 2016 17:00:00
|Types of action:
|IA Innovation action
|DeadlineModel: Opening date:
|two-stage 08 November 2016
|Deadline: 2nd stage Deadline:
07 March 2017 17:00:00
05 September 2017 17:00:00
|Time Zone : (Brussels time)
Topic DescriptionSpecific Challenge:
European cities and rural areas are unique cultural landscapes full of character at the core of Europe's identity. They are examples of our living heritage which is continually evolving and being added to. However some of them are facing economic, social and environmental problems, resulting in unemployment, disengagement, depopulation, marginalisation or loss of cultural and biological diversity. These challenges create demand for testing and experimenting with innovative pathways for regeneration. Cultural heritage (both tangible and intangible) can be used as a driver for the sustainable growth of urban and rural areas, as a factor of production and competitiveness and a means for introducing socially and environmentally innovative solutions. The overall challenge is to go far beyond simple conservation, restoration, physical rehabilitation or repurposing of a site and to demonstrate heritage potential as a powerful economic, social and environmental catalyst for regeneration, sustainable development, economic growth and improvement of people's well-being and living environments.Scope:
Proposals should address one of the following:
a) Heritage-led urban regeneration (2016)
b) Heritage-led rural regeneration (2017)
For both, actions should develop and deploy via large-scale demonstration projects novel heritage-led systemic approaches[1] and solutions for sustainable growth. In order to pave the way for their rapid replication and up-scaling, a 'Role models' and 'Replicators' approach should be implemented.
The 'Role models' are urban or rural landscapes which have demonstrably and successfully pursued a heritage-led regeneration.
The 'Replicators' are urban or rural landscapes that will be assisted/mentored by 'Role models' and committed to their heritage-led regeneration within the duration of the project, replicating the heritage-led regeneration 'blueprints' of the 'Role models', properly contextualised to fit their particular contexts. The 'Replicators' will therefore proactively seek advice, assistance and mentoring from the 'Role models', have privileged contact with them and access to their know-how, and will participate in the definition of user requirements and the methodology for transferability of solutions, data collection etc.
The higher the number of 'Role models' and 'Replicators' involved, the larger the evidence base and hence the replicability and up-scalability potential of the project outputs under different contexts. The Commission considers that involving six 'Role models' and three 'Replicators' from different Member States/Associated Countries would greatly enhance the potential of a proposal for replicating and up-taking of the results across Europe. Beyond this and in line with the strategy for EU international cooperation in research and innovation (COM(2012)497), participation of 'Role models' from non-EU countries is encouraged, since this would further enrich the evidence base of successfully implemented heritage-led regenerations and would thus enhance the replication and impact potential of such activities in non-EU regions (e.g. Latin America) and countries.
Replication critically depends on the timely and active involvement of the 'Replicators' in the project development, the effective and continuous knowledge transfer, mentoring, networking and support by the 'Role models' (e.g. through staff exchanges to enhance their capacity in, among other things, securing the financial resources necessary for the regeneration through innovative financing and business models, partnerships (e.g. public/ private) and mobilisation of investments). The success potential of the proposal will be assessed according to the innovative nature and the replicability potential of the approach; the financing, business and governance models; the mobilisation of new investments; the participatory, multi-stakeholder and trans-disciplinary processes (also securing citizens' engagement and ownership of regeneration plans); the long-term political and financial commitment of the competent authorities in the 'Replicators' to guarantee the project implementation, independently of possible changes in their political context during the course of the project; the capacity for mobilising and leveraging additional investments to secure economic and financial sustainability for the execution of the project; and the soundness of the approach in 'mentoring' and transferring knowledge from the 'Role models' to the 'Replicators' and beyond. Partnerships should involve local and regional authorities, planners, enterprises, academics and local communities in a clearly defined structure with roles and responsibilities properly spelled out for all involved parties. The participation of social sciences and humanities disciplines such as architecture, archaeological sciences, cultural anthropology, law, economics, governance, planning, cultural and historical studies, is critical to properly address the complex challenges of this topic.
Projects should aim to:
- map, analyse and systematically document successful heritage-led regeneration models in 'Role models', linking where appropriate cultural and natural heritage; make this evidence base readily accessible to an EU-wide community of competent and interested authorities, planners, practitioners, enterprises and stakeholders (including civil society) through innovative communication and training strategies. Particular emphasis should be paid to successful business and management models, financing mechanisms, leveraging of investments, governance structures, urban and territorial plans and legal frameworks. 'Role models' would, if they so wish, also have the possibility of further upscaling their regeneration activities during the life of the project;
- assist 'Replicators' through provision of expertise, advice and capacity building in developing and implementing during the life of the project their heritage-led regeneration plans, including appropriate business and management models, financing mechanisms, governance structures, planning tools and legal frameworks;
- set up a robust monitoring scheme to monitor the performance of the deployed regeneration scheme, so as to assess the impact for the targeted rural and urban areas in an as quantifiable way as possible against a well-defined baseline at the time of the proposal. Performance monitoring should last for a period of at least 2 years within the life of the project. Longer term monitoring commitment beyond the end of the project, while continuing the systematic documentation of the data, will give an added value to the proposal;
- develop methodologies enabling the replication and up-scaling of heritage-led urban regeneration projects in different contexts, including replication of innovative investment strategies, governance and business models;
- identify potential regulatory, economic and technical barriers and propose concrete ways to optimise policy and regulatory and administrative frameworks;
- establish long-term sustainable data platforms securing open, consistent data and performance measurements and interoperability of data infrastructures to ensure effective communication, public consultation, exchange of practices and sharing of experiences and a continuous building up of the 'knowledge portfolio' through future activities under Horizon 2020 and beyond, and long-term (i.e. beyond the life of the project) exploitability of the results.
Proposals shall address all of the above points.
Projects should envisage resources for clustering with other projects financed under this topic as well as other projects under the 'Cultural Heritage for sustainable growth' part of this call and – if possible – also under other relevant parts of Horizon 2020.
Because of the substantial investments that might be necessary for the heritage-led regeneration in the urban and rural context, additional or follow-up funding should be sought, be it private or public, from relevant regional/national schemes under the European Structural and Investment Funds (ESIF), including the European Regional Development Fund (ERDF), or other relevant funds such as the Instrument for Pre-accession Assistance (IPA II). In the case of ESIF/IPA, contacts could be established with the funds' managing body during the duration of the projects. In case of relevance for the Research and Innovation Smart Specialisation Strategies, the project proposals could already indicate which interested regions/countries have been pre-identified. Please note, however, that reference to such additional or follow-up funding will not lead automatically to a higher score in the evaluation of the proposal.
The Commission considers that proposals requesting a contribution from the EU of up to a maximum of EUR 10 million would allow this specific challenge to be addressed appropriately. Nonetheless, this does not preclude submission and selection of proposals requesting other amounts.Expected Impact:
Projects are expected to contribute to:
- providing new heritage-led urban and rural regeneration paradigms, up-scalable and replicable, replacing the object-oriented approach with a spatial approach in heritage planning and offering new economic and investment opportunities, new products and services, reduced regulative and administrative barriers, innovative governance adopting trans-disciplinary and participatory approaches and promoting citizens' engagement and new local skills and jobs;
- strengthening Europe's capacity as a world-leader in promoting, financing, developing, managing and replicating innovative use of heritage for urban and rural regeneration in Europe and beyond;
- securing heritage conservation and sustainability through fostering collective management, responsibility and ownership of cultural heritage, and establishing a "community of practice" to promote heritage potential as a production (rather than a cost) factor to the society through unlocking its potential as a driver for regeneration and a catalyser for economic growth and jobs;
- providing as quantifiable evidence as possible of the cultural, social, environmental and economic benefits (e.g. set-up of companies, start-ups in new productive activities in different fields new cultural products and services, tourism, construction industry, developing talent, attracting new investment in the regeneration sector etc.) of heritage reuse at different levels, including in deprived or less developed areas;
- mobilising investment and opening up of new market opportunities for businesses through networking at European level competent authorities and stakeholders interested in using heritage to regenerate their cities or rural areas;
- positioning Europe as a leading force in the use of heritage as a means for social, cultural and economic development;
- assisting regions in developing their Research and Innovation Smart Specialisation Strategies by including sound heritage-led urban and rural regeneration projects;
- implementing the Sustainable Development Goals (SDGs), in particular SDG 1 'End poverty in all its forms everywhere', SDG 10 'Reduce inequality within and among countries' and SDG 11 'Make cities and human settlements inclusive, safe, resilient and sustainable'.
Socio-economic science and humanities
International cooperation
[1]For more on systemic innovation, please see the introduction to this work programme.
Topic conditions and documents
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For stage 1: maximum 3 months from the deadline for submission.
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The Open Research Data Pilot has been extended to cover all Horizon 2020 topics for which the submission is opened on 26 July 2016 or later. Projects funded under this topic will therefore by default provide open access to the research data they generate, except if they decide to opt-out under the conditions described in annex L of the Work Programme. Projects can opt-out at any stage, that is both before and after the grant signature.
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Open research data sharing applies to the data needed to validate the results presented in scientific publications. Additionally, projects can choose to make other data available open access and need to describe their approach in a Data Management Plan.
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The legal requirements for projects participating in this pilot are in the article 29.3 of the Model Grant Agreement.
- Additional documents:
H2020 Work Programme 2016-17: Introduction
H2020 Work Programme 2016-17: Climate action, environment, resource efficiency and raw materials
H2020 Work Programme 2016-17: Dissemination, Exploitation and Evaluation
H2020 Work Programme 2016-17: General Annexes
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