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Let the Blog Hop Begin/
It's time! Jennifer Sampou's newest collection, Shimmer, is shipping out and to give you a jumpstart on using it, she has organized a blog hop with your favorite quilters and sewists.
Over the next two weeks, you can visit the participating blogs (see below for the schedule) to see the amazing quilts and sewing projects that have been made with Shimmer. We've had a sneak peek of a few and they are amazing!Read More


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Michael Gillies (Podiatrist, Brechin Scotland), Bharti Rajput (Podiatrist, Dundee Scotland) and Rachelle Rakuraku (Podiatrist, Perth WA) all enthusiastically bounded into their clinics on Monday morning with a spring in their step (and new powers in their hands!).
Discover what they did and how you, too, can look forward to Monday mornings again!
Details for the new FMT trainings in 2019 can be found here:
This blog about treating Tendinitis originated from Ben Stasiak, podiatrist and MSK specialist in Brisbane, QLD.
Ben queried some of my recommendations and used Prof. Jill Cook (Tendinitis World Expert) as his reference point.
This 6 minute vlog reply (which Ben kindly agreed to me sharing with you) covers:
>> What you should do when treating Tendinitis
>> What you must not do with painful Tendinitis!
>> Tendinitis myths that have got me into trouble (and how you can avoid these traps!)
Check it out right here:
Alison Fitzgerald, podiatrist in regional Victoria, solves a Sinus Tarsi case that was booked in for surgery.
How did she do it?
Full story here in under 2 minutes (CLICK THE PIC!).
Mary Moore, podiatrist in Dublin, Ireland, cures a Cuboid case that previously puzzled two eminent orthopaedic surgeons.
How did she do it?
Full story here in just 2 1/2 minutes, (CLICK THE PIC!).
A mountain load of gold is waiting for you RIGHT HERE:
This week's TTT TV show starring Manipulative Physio with special interest in Osteoarthritis Management, Ben Corso, does some serious OA Myth Busting!
1. OA is NOT an inevitable 'wear & tear' degeneration process [8:13]
2. Foot & leg joints do NOT have a finite number of steps before they start to wear out [11:38]
3. OA is NOT a condition that cannot be cured [14:39]
4. Jogging does NOT cause arthritis (but may actually protect against OA!) [19:15]
How Diagnostic Imaging reports can work against your treatment recommendations [13:03]
The #1 predictor of successful treatment outcomes that requires no technical treatment skills [17:46]
How 'LOVE' affects your patient's results and compliance [22:13]
FEAR and it's affects on your treatment outcomes [26:03]
How 5kgs reduces the incidence of OA development by 30% [31:57]
How recreational jogging can protect against OA and your assumptions that jogging is...
Manipulative Physio, Ben Corso, joins Ted today to talk about Osteoarthritis, knees, drugs and exercise rehab!
This (at times?) controversial episode highlights:
>> What World #1 Golfers Greg Norman, Adam Scott & Rory McIlroy got from an Aussie physio [10:41]
>> Why 'Evidence-Based' practice is not clinically valid [17:55]
>> Why x-rays can be useless in assessing OA + DJD [23:31]
>> Why what you 'think' affects your treatment outcomes [35:41]
>> How to tell if your patient's knee problem is coming from their feet [40:40]
...and what a physio REALLY thinks of podiatrists!?!
Check it out here:
Get your FABULOUS FREEBIE Download RIGHT HERE!
In this interesting interview Krista reveals:
You'll also hear what 'radically changed' Krista's approach to biomechanical treatments as well as her 'secret sauce' to educating patients on new treatment options.
Check it our right here:
In this concise interview, Jane reveals her 'secret sauce' to greater insights in:
> similarities (and differences!) between animals and humans (that Darwin might have missed?)
> foot biomechanics & foot function that Jane didn't learn at university
> releasing rigid, supinated feet without breaking into a sweat!
> collaborating with podiatrists by speaking a common language
> what to do when treatments don't work out as expected
Check out this Master Ninja practitioner here:
In this revealing interview, recent graduate Lucy Gillivour teaches this old dog some new tricks (including the steps Lucy took to see 1,235 patients in the first 5 months after graduating!).
You'll also discover Lucy's secrets to:
· Professional development commitment (that I have never heard anyone else make, including seasoned professionals!)
· Improving the balance and stability of a 65 year old (that got her back to lawn bowls with confidence!)
· Converting her most skeptical patient to FMT (who just happened to be her employer as well!)
· The part time role that taught Lucy more in manual therapies than her whole university training
Check out this remarkable ninja practitioner RIGHT HERE!
Join the FMT Family to be the first to hear of new events, workshops and VIP discounts

subset: commoncrawl


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New Evangelization Convocation 2018
"Walking with Families Towards Holiness"
Come join the New Evangelization Convocation 2018 Friday, October 26, AND Saturday October 27! Choose one day or come both days (choose Friday if selecting a two day ticket)! Enjoy fellowship with other Catholics, Mass with the Bishop, great talks and much more! Keynote speakers Dr. Ricardo and Lucia Luzondo are international speakers and authors in the area of marriage and family life, evangelization and leadership formation. They will present both Friday and Saturday (sessions in English and Spanish on Saturday). *Box Lunch included in registration fee
Friday, October 26:
8:00am Check -in Lower Foyer
8:30am Opening Mass with Bishop Bradley (Auditorium)
10:00am- Keynote Speaker
11:15am-3:30pm Breakout Sessions (Listed below)
Saturday, October 27:
8:30 Check-In Lower Foyer
9:00-10:00am Keynote (English)
10:15-11:15am Keynote (Spanish)
10:15am- 4:00pm Breakout Sessions
4:30pm Closing Mass with Bishop Bradley
Early registration ends October 13. $10 Late Registration fee applies after Oct 13.
Box lunches not guaranteed for registrations taken after Sat. Oct 20.
*To select a Two Day Ticket please select Friday, October 26 and select Two Day Ticket*
We are anticipating breakout sessions as listed below. As we continue to solidify speakers, we will continue to refine the list.
Twelve Truths (Fri & Sat)-Tim McNamara
Lifelong Faith: The Challenge of Keeping your Young Adult Children Catholic (Fri & Sat)-Fr. Tom McNally
Rising From the Ashes: Finding Healing and Strength Within the Catholic Faith-(Fri only) Ali-Marie Ingram
How Mary Helps Families Grow in Faith, Hope and Love (Fri-Eng. & Sat -Eng & Sp)--Socorro Truchan
Introduction to Theology of the Body: What it is. What it isn't. How to Use it (Fri only) -Trevor Scoles
Using Theology of the Body in Your Parish (Fri & Sat)-Lia Hartline and Vanessa Harazin
Effective Youth Ministry: Building the Youth Ministry Team: (Fri & Sat)-- Joy Livingston
Supercharge Your Spiritual Life!: Making the Most of the Mass" (Fri only): Fr. Jose Haro
¡Sobrecargue Su Vida Espiritual! Sacando mas Provecho de la Misa (Sat only) -- Padre Jose Haro
La Importancia de Una Paternidad Consciente y Efectiva, Como Base Para Sanar, Liberar, y Crecer en la Fe Cristiana Dentro de la Familia Hispana (Spanish; Sat only) -- Rayito Tapia
Teaching the Catholic Faith Across the Curriculum (Fri only)-- Jamin Herold
Getting to Know the Hispanic Family, Traditions, and Culture (Fri & Sat)-- Angelica Valdes and Veronica Rodriguez
How to Help Kids Avoid Future Addictions (Fri & Sat)- Jay and Lori Pyatt
The Prophets and Catholic Social Teaching (Fri & Sat)- Deacon Kurt Lucas
Accompanying Our Hispanic Families in Our Catholic Schools (Fri only) -Nina Laney and Sheryl O'Connor
Catechesis of the Good Shepherd (Fri only)-Mariah Mandeville
Catholic Relief Services: A Hand Up, Not a Hand Out (Fri only)-Deacon Dean Hermann & Lisa Irwin
Respect Life: What Our Actions Say We Believe (Fri & Sat)-Lisa Irwin
Candy for the Soul: Why its' Sweet to Be a Catholic--Trevor Scoles (Fri only)
Wholesome vs. Grooming Relationships: Spotting Red Flags and What To Do About Them (Fri & Sat)-Marina Hentz
Facilitated Discussion on Working with Children with Disabilities (Fri only)-Diocesan Commission on Ministry to Persons with Disabilities
Reflecting on the Beauty of the Catholic Faith (Fri only) -- Michelle Moynihan, Madeline Haydon, and Nicole Kegley (ECHO interns team)


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Tinsel Deluxe 3-D Snowman Decoration
Tinsel Deluxe 3-D Snowman Decoration - Tinsel Snowman SKU 241610
- 9 1/2" wide x 5 1/2" long x 10" tall
- Plastic and tinsel
No melting this year! This Tinsel Snowman features a classic white body, red and green scarf, and black top hat. The snowman's adorable face makes a perfect kid-friendly holiday decoration. Place this 3D snowman decoration on the dinner table as a centerpiece or on the mantel.


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Unlimited Miami Event Rentals is a website created for Party Rental service needs,This website is designed to provide information to partners and customers looking to rent party equipments, Tent rental,Event equipment accessories like Chairs, tables,Table linen,Also offering lighting and sound rental for special events.
Serving Miami with excellence and professionalism ,Offering affordable rates and a great customer service.Licensed & Insured in Miami Dade,FL.
Party Rental,Party equipment rental,Unlimited Miami Event Rentals.
Copyright © 2019 Unlimited Miami Event Rentals - All Rights Reserved.


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- We recognize that open-source and commercial software has become a foundation of our modern world. We know the awesome responsibility providing services to our clients
- We recognize that our work will be used in ways we cannot anticipate, in ways they were not designed, and for longer than ever intended.
- We recognize that our work will be attacked by talented and persistent adversaries who threaten our clients physical, economic and national security
- We recognize these things, and we choose to be in this business helping our customers every day.
- We will be secure because our people refuse to be a source of vulnerability or weakness. We will be secure, not because it is easy, but because it is necessary and we are up for the challenge.
People - Everyone has a role to play in information security. Security is implemented and practiced by people. People design and implement processes and technology, as well as follow processes and use technology to enable business.
- Process - Includes formal and informal mechanisms (large and small, simple and complex) to get things. Processes identify, measure, manage, and control risks to confidentiality, integrity, availability, privacy, and safety, and they also ensure accountability.
- Technology - Is composed of all of the tools, applications and infrastructure that make processes more efficient. Technology implemented by people following processes allows for the organization to meet its information security objectives.
- Confidentiality – Sensitive information is not disclosed to unauthorized individuals, entities, or processes.
- Integrity - Sensitive information has not been modified or deleted in an unauthorized and undetected manner.
- Availability - Information or an information system being accessible and usable upon demand by an authorized entity.
- Privacy - Freedom from unauthorized intrusion or disclosure of information about an individual.
- Safety - The condition of being protected from harm or other non-desirable outcomes.


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Stand up comedian Patton Oswalt may be best known to many people as Spence from the show King of Queens, but he has been doing standup and writing comedy (for MadTV specifically) since the early 1990s. In 1997, he hosted his own HBO special; TV and film roles quickly followed. In 2004, he released Feelin' Kinda Patton, an album of his live set. Sub Pop put out a second album, Werewolves and Lollipops, in 2007. Oswalt's sarcastic, absurdist, pointed commentary and use of a Jonathan Winters-level of inane voices to deliver highly intelligent joke-strings puts him at the very top of the current crop of "cool comedians," along with David Cross and Sarah Silverman.
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Aziz Ansari, Christopher Titus, Greg Giraldo, Louis C.K., Maria Bamford, Sarah Silverman
Patton Oswalt
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Hariri speaks to ministers during a Cabinet session in Baabda, Monday, May 21, 2018. (The Daily Star/Mohammad Azakir)
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Cabinet was set to convene Monday morning to discuss a 59-item agenda, in its final session before becoming a caretaker body as the new government forms following elections held in early May.LEBATCA held a one hour strike last Wednesday, coinciding with a Cabinet session, demanding benefits and the implementation of last year's salary scale law as it applies to air traffic controllers.Energy Minister Cesar Abi Khalil said Saturday that he would bring up the issue of power barges during the session, in comments published by Lebanese daily Al Joumhouria.


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Cotswold Airport (Kemble) are kicking off their General Aviation focused 2019 with their "Great Vintage Fly-In Weekend".
During the Great Vintage Fly-In Weekend, Cotswold Airport (Kemble) will be open to all aircraft and offering free landings for pre 1955 aircraft. If you are flying in for the event in a post '55 aircraft then you can land for half price (£7). Please be advised that PPR and slots will be required for the weekend.
Cotswold Airport (Kemble) are World Fuel Services providers, so take advantage of their competitive fuel rates when you land.
For more information, keep an eye on the website www.cotswoldairport.com and on their Facebook page.


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Social media is a powerful tool for business growth. Even though almost everyone has accounts for personal use, there are still business owners out there who aren't convinced that it's necessary to have social media accounts for their businesses. However, if you use it correctly, you can have access to everything you need to know about your audience right at your fingertips.Read More
Businesses do themselves a favour by offering free stuff to their customers. Watch this video ...Read More
With all the noise brands are making to get your attention this holidayRead More


text: Urban Madness is a Racing game on TheHotgames.com. You can paly Urban Madness in your browser for free.Driving madly in the city is definitely not a good idea in real life, but in Urban Madness it is not. Accelarate, get past the barriers safely, save your car from damaging and complete the levels. Let other car drivers worry about the consequences of your driving madly.


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Your A3 features a microSD memory card slot. If your personal computer has a slot for that type of card (Most laptop computers are so-equipped), you should be able to save music files
The A3 is a smartphone. Most smart phones let you save any music file you could find online by touching and holding your finger on it, then selecting 'save.' Once the music file is added to your memory card, tap-and-hold it and select 'assign' from the contextual menu.
The Oppo A3 is an Android phone and there are plenty of free ringtone apps such as MP3 Cutter, Myxer and more.
Here is a sample of the free ringtones (Oppo A3-compatible) offered here at MartinsRingtones.com:
Free Horror MIDI Ringtones Free Ghost Ringtones Free Short Ringtones Free Techno Ringtones Listen To All Our Free Polyphonic Ringtones


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Sign in to retrieve a saved shortlist.
Fireplaces and Stoves, Fireplace Surround, Fireplaces, Gas Fire Installation.
Fluetech Ltd are a Gas Safe & HETAS registered company that specialize in gas flue and chimney repairs. Formed in 1987 we have a vast experience of flue and chimney related problems,...
Why Leeds stove centre? Why Stanningley Firesides? With over 25 years' experience in the fireplace / stove industry we have fully trained, friendly staff members, to answer any...
Stoves installation and flue system. For gas and solid fuel, fireplaces and hearths. Balanced flues and gas fires installation and supply. For domestic and commercial purpose.
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Home Listening: Intimate and autobiographical new releases of piano music by Schumann & Schubert
R. Schumann – Works for Piano / Joseph Tong
This new release by British pianist Joseph Tong on the Quartz label contains some of Schumann's most intimate and autobiographical music, notably the Fantasie in C, Op 17.
Never one for disguising his emotions, Schumann described it as "perhaps the most impassioned music I have ever written" (writing to Clara Wieck, March 1838), and here he wears his heart on his sleeve in a remarkable display of soul-bearing. Imbued with passionate and unresolved longing, the music portrays the heart-fluttering panoply of emotions from ecstasy to agony which being in love provokes. It is a work of great virtuosity, a huge test for the pianist, but Joseph makes light of this, offering an authoritative, magisterial and poised reading of the first two movements, whose seemingly disparate elements segue fluidly to create a coherent sense of ongoing narrative. The final movement, by contrast, is tender and intimate, and Joseph holds back in the more climactic episodes where others might push the tempo and volume, thus bringing a greater insensity of emotion and expression. There's a wonderful lyricism and clarity throughout the work, with many interior details highlighted.
The fantasie is prefaced by the charming Arabesque, also in C, which moves forward with relaxed purpose and elegance. Papillons, the other large scale work on the disc and a work which amply reveals the contrasting sides to Schumann's personality, is rich in wit and colour, and recalls some of the heroism of the Fantasie. The disc closes with the Faschingsschwank aus Wien, an engaging and robust account.
The disc includes detailed, informative liner notes by Richard Wigmore.
Dystonia: Franz Schubert – Sonata in A, D959, Robert Schumann – Kreisleriana / Andreas Eggertsberger, piano
This is a very personal disc for Austrian pianist Andreas Eggertsberger and the reason is in the title, Dystonia. With diminishing use of his left hand, Andreas finally received the diagonosis of focal dystonia in 2012, the same neurological disease that was probably documented for the first time with Robert Schumann. Following five years of treatment and therapy, which required a complete re-learning of the piano and meticulous exercises to bring rehearsed movement back under control, Andreas has returned to performing.
The pairing of a late Schubert sonata and Schumann's Kreisleriana is an intelligent choice. Schumann was a great admirer of Schubert and championed his music after his death in 1828.
Andreas gives the first movement of the Schubert sonata a generally good-natured air, the emotional voltes-faces are not laboured but feel fleeting and poignant. Nor does he push the tempo, which gives the movement a pleasing spaciousness without feeling overlong (and Andreas observes the exposition repeat). The second movement, too often given an overly psychological treatment with an almost funereal tempo (it's marked Andantino, not Adagio!) by others who shall remain nameless, has a spare simplicity which contrasts well with the sprightly articulation and warm-hearted nature of the opening movement. It's sombre rather than melancholy. The middle section unfolds with the drama of a Baroque fantasy, restrained at first so that the eventual climax is all the more impactful. Even in the bigger, louder gestures, the overall mood is introverted and reflective. Again, a rather more leisurely tempo in the third movement gives the music more breathing space and time to appreciate smaller details, which are neatly articulated. The trio gives way to grandeur, briefly, but the overall mood is intimate. The good nature of the opening movement is reprised in the finale, and here Andreas brings a pleasing sense of nostalgia and warmth, the opening theme played with an elegant lyricism, its fragmented return at the close of the movement fleeting and tender. Overall, excellent articulation, tasteful pedalling and a clean, but not over bright sound (a Bosendorfer Imperial 1922). Having spent three years studying and learning this sonata myself, and listening to many different performances of it, Andreas' account comes very close to my own and is perhaps the reason why I like his so much.
Kreisleriana, like Papillons, is a multi-movement work and reflects Schumann's contrasting personalities, which he named Florestan (active, extrovert) and Eusebius (passive, introvert). Like the Schubert Sonata, this is elegantly and tastefully articulated with fine clarity, particularly in the more florid passages, and Andreas is ever alert to the shifting moods. The sehr langsam movements have a distinct poignancy, reflective, almost verging on tragedy. Overall, a colourful account, rich in character and contrast.
In addition to detailed notes on the pieces, the liner notes also contain an account of Andreas Eggertsberger's journey from diagonosis to rehabilitation and as such may prove supportive to others afflicated with focal dystonia
Sleep practising
Do you ever think you might be practising the piano in your sleep? Yesterday I went to practise Debussy's prelude La cathédrale engloutie, which I'm preparing for a performance later in the year. The second section, when the waves start to roll and the sunken cathedral begins to emerge from the deep, it bells tolling and organ playing distantly, has previously been problematic for me, in part because of the position of the right hand chords and the necessity for the right arm to cross the body to the bass. I find this difficult because of a left shoulder impingement which is painful and limits my movement. In previous practise sessions this section has tended to sound chunky and lacking in fluidity, but yesterday the chords, with their flowing bass accompaniment, rose gracefully from the piano, growing in drama as the section approaches its climax and the full resonance of the cathedral's organ is heard through those big, deliciously hand-filling chords. I was also able to play without pain, which is quite an achievement for me these days. I later tweeted that perhaps I had been "practising in my sleep" and that this had led to the improvement in the Debussy!
It's not such a fanciful idea, "sleep practising". We can do a huge amount of useful, productive practising away from the instrument, both detailed work studying the score, analysing the music and memory work, but also seeing the wider picture of the music, its narrative, character and context. Listening is also useful practising – not to imitate other people's versions of our repertoire, but to get ideas and pique the imagination to create our own personal vision for the music.
I may not practise in my sleep per se, but as someone who tends not to sleep very well, I often replay the music I'm working on in my head in the middle of the night, hearing the sound in my "mind's ear" and imagining the music as it would be heard by a listener. When I was working on Schubert's penultimate piano sonata for my final Diploma I was, through this kind of practising away from the piano, able to create a vivid, perfect interior model of the sonata, and could replay huge parts of it in my head, such was my familiarity with it (though I never memorised the entire work).
Returning to Debussy's drowned cathedral, I wonder if the improvement also had something to do with the fact that I'd been away in France for a long weekend break. On our return journey from Nantes to Cherbourg, I glimpsed le Mont St Michel emerging from a mist of rain and immediately thought of Debussy's Cathédrale engloutie. Later, lying in my bunk on the overnight ferry crossing, I felt the boat pitch and roll and heard the strange deep bass groan and yawn of the sea (which Debussy imaginatively includes in his prelude). Perhaps the sounds and motion of the ocean infused my practising…
Who knows, but I do believe that imagination and visualisation play a huge part in shaping our music, far beyond mere technical assuredness (and technique should always serve the music). Cues such as the view of Mont St Michel spark the imagination, help us bring our music to life, and communicate stories and images to the audience with expression, vibrancy and musical colour.
Meet the Artist – Min-Jung Kym, pianist
Who or what inspired you to pursue a career in music?
There was always music being heard at home because both my parents are music lovers but actually playing the piano was introduced relatively late to me. I had many friends my age (8 at the time) who were playing an instrument and so my parents simply thought, why not?
It wasn't until much later that I realised just what it might mean to be a concert pianist which was when I went to hear the Tchaikovsky first piano concerto at the Royal Festival Hall. The concerto captures your attention from start to finish and you can imagine how impressive it was to a child aged eleven. Of course my reaction then and what thoughts whirled in my head would not be how I hear the concerto now, but I learnt at that moment about the communication of music.
Who or what have been the most important influences on your musical life and career?
My many professors, of course, have all had an impact to my music making. One of my first professors was Christopher Elton. I was at the Purcell School and searching for a new teacher. I was introduced to Christopher and he accepted me in his class but I was this incredibly shy child who didn't talk much to adults but was determined to make efforts through playing. Christopher was incredibly patient with me, and has, in in a way, been a musical father to me, as he has seen through all my career phases. Many, many years later, we still keep in touch and a friendship has developed since, which is always one of the nicer aspects of a musical relationship.
Then there is Maria Curcio-Diamond, who transmitted so many pearls of wisdom but I was too young to fully appreciate when I studied with her and now refer back to constantly today.
Lev Naumov was just a brilliant mind and musician and I was immensely fortunate to have had the opportunity to participate regularly in his classes.
John Lill has also been influential but I would say that however, it was the years I spent alongside Ruggiero Ricci that has had the most impact with my approach to music making today. He was heralded as a prodigy as a youth, a virtuoso as an adult violinist (a term he disliked) and the first violinist to have recorded all the Paganini Caprices. He was so modest and lived through so many experiences. I would often accompany his students in masterclasses and I learnt so much from watching him teach and from when we played together. There was something so natural and straightforward in his music making. It's something I have tried to transmit in my own performances. It was also these years spent with Ricci that opened many doors for me, notably by meeting other musicians, some very well known, others less, as well as non-musicians but music lovers who have all had an influence into my approach to performing and life today on and off the concert circuit.
What have been the greatest challenges of your career so far?
Juggling between raising two small children and keeping up with the rhythm of giving concerts have been challenging but extremely rewarding. Before my children, my focus before and during performances would hinge entirely around the concert, but today, now with my children, I am somewhere in the back of mind, thinking, "I hope they had a good day at school, I hope they have eaten well, I hope they are sleeping well". The usual worries all parents have!
Which performances/recordings are you most proud of?
Always wanting to improve on the last performance/recording is a common trait in performers and I share this!
Of course there have been certain performances that have been more satisfying than others, not only in terms of my particular performance, but also when the audience is so reactive and appreciative, it is a very special moment. I really appreciate also when sometimes members of the public write to me following a performance to let me know how much they enjoyed that particular concert or how much they enjoyed the last album.
Which particular works do you think you perform best?
In giving an interpretation to any one work, I really try to show what might be new to discover in the piece. In this sense, I think I convey Beethoven quite well. The French composers also seem to suit me; maybe it's being married to someone French!
How do you make your repertoire choices from season to season?
What's great about mixing chamber, duo and solo repertoire in a season is that there is an abundance of choice! It's common these days to link a theme to a programme so that gives me a certain guideline. Otherwise for concerto dates, it's quite often what the promoter has in mind for the season alongside the choice from the conductor so I need to be quite flexible for these dates.
Do you have a favourite concert venue to perform in and why?
Of the more well known venues, like many other performers, I would have to say the Wigmore Hall. Its reputation precedes it and the hall doesn't disappoint. That said, there is a venue in France called Prieuré Sainte-Marie du Vilar that has to be included. It is a restored Romanian Orthodox Church, lost in the middle of the Pyrénées Orientales, and each year the monks and nuns organise a music festival for the community. The rawness of the venue and being surrounded by the stones impregnated with history gives a very unique atmosphere.
What is your most memorable concert experience?
I gave a series of concerts in Greece and one of the venues was in Patras. What was most striking about the make-up of this audience was that it was treated as a family outing. The children were all placed in the front rows, some not abiding by the 'silence code' of a concert, but it didn't matter. At the end of each work, they applauded enthusiastically and seemed to enjoy the concert as much as the adults. It reminded me of my first impressions of attending performances and I hope I was able to communicate something to them with the Mozart concerto that I performed at the time.
As a musician, what is your definition of success?
When you feel you have found your voice and you have the opportunities to express this.
What do you consider to be the most important ideas and concepts to impart to aspiring musicians?
Never be afraid to be wrong and learn from everyone. Watch and watch and listen and listen again. There is so much archive available on the internet today. It's important, I think, to be open to all interpretations and techniques of playing before creating and defining your own.
What is your idea of perfect happiness?
Two answers to this question. It would be either to find the time between concerts and practice for a good dance session with my husband and children because we always end up by collapsing in laughter. Otherwise it would be to take time out from playing to be by the sea with the family and catch up reading and a good glass of wine to hand.
Min-Jung Kym's debut recording of Beethoven's Piano Concerto No. 4 and Mendelssohn's Double Concerto is available now. Further information
Min-Jung Kym is establishing herself as an artist bringing fresh quality and musicianship to her performances. Since her London solo concert debut at the age of just 12, she has performed at the Barbican Centre, Wigmore Hall, Cadogan Hall, Royal Festival Hall, Queen Elizabeth Hall, UNESCO in Paris, the National Museum of Korea in Seoul, South Korea and many, many other venues.
(artist photo: Arno MiseEnavant)
Unwritten Things
The music is behind those dots. You search for it…. I play, so to speak, from the other side of the printed score, looking back
Vladimir Horowitz
The notated musical score is a wonderful thing. Contained within it are myriad markings, signs, symbols and directions which guide us in our recreation and interpretation of the composer's intentions, bringing the written to life in sound. The ability to recognise, understand, interpret and act upon all those signs and symbols is an integral part of the musician's skillset, and taking care of all these details is crucial in the learning process.
But the score is also the starting point for exploration. It's a roadmap, a prompt or reminder, which connects us to the composer's intentions but which also directs us, if we allow it to, to our own personal vision of the music, supported by our musical knowledge, experience and imagination. It is for these reasons that people seek out specific performers, for they each go beyond the notes, highlighting the unwritten things in their own distinct way.
Students and less experienced players may cling to the written score, adhering to its details with slavish devotion, fearful that making their own interpretative decision about a dynamic marketing or sign will result in something that is "wrong". A very literal interpretation of the score can also result in a performance which feels restrained or robotic, lacking in requisite breathing space, rubato or depth of expression. Encouraging students to think beyond the notes is one of the great roles of the teacher, and we do this by giving students the knowledge and confidence to see the score not just as a document in black and white but rather a vivid palette of colours and expression.
The ability to unearth the unwritten things in music comes from a very deep knowledge of the score. It's that old maxim "from discipline comes freedom", and a detailed understanding of all the notes, dynamics, tempo, articulation and expression markings opens up a lot of the unwritten things. Assured technical control of a piece gives one the confidence to dig below the surface of the music, to get behind and beyond the notes. In addition, a sound understanding of the context of the music, gained through study of other works by the composer/period, an appreciation of historical precedents, and performance practice all contribute to our interpretative depth. Much is also imbibed almost unconsciously from going to concerts and listening to recordings, or from conversations with teachers, colleagues and others. Such a rich source of knowledge, ideas and inspiration fuels the artistic temperament and frees the imagination.
To interpret a score is to recreate an object from its shadow
– James Boyk, pianist
How to judge an agogic accent, a particular type of articulation, the use of stringendo or rubato, for example, become personal interpretative decisions, founded on one's own musical knowledge and skill, and the ability to make these actions seem natural and spontaneous, a form of "sprezzatura", comes from many hours of detailed, conscientious and mindful practice, at the instrument and away from it. It is only then that we discover the unwritten things are in fact written within our musical selves…..
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Meet the Artist – Alison Balsom, trumpeter
Who or what inspired you to take up the trumpet and pursue a career in music?
It was mainly the incredible Dizzy Gillespie who taught me how fantastic the trumpet can be!
Who or what have been the most important influences on your musical life and career?
Definitely Dizzy, but also many other musicians – Queen, also Trevor Pinnock, and many violin virtuosos who helped me understand song-like communication through an instrument
What have been the greatest challenges of your career so far?
The lack of Classical repertoire for the solo trumpet… and finding adequate time to mindfully practice and the courage to perform in front of audiences and at the front of symphony orchestras.
Which performance/recordings are you most proud of?
I was so proud of creating GABRIEL at Shakespeare's Globe in 2013. It was everything I adore about music: the greatest material one can imagine in the music of Purcell and Handel, the delightful opportunity to work for an extended period with the English Concert, also to work for the first tine with very fine actors and explore a different kind of attitude and camaraderie on stage than anything I'd experienced before. Happily we're restarting it as a concert performance at Saffron Hall and the Barbican later this month.
Which particular works do you think you play best?
That's not really for me to say! But I think over the years and over many many performances I finally know what I'm doing – or ideally would like to be doing with the two mainstays of the repertoire: Haydn's and Hummel's trumpet concertos. They are less of a display of short term technique and more of a vehicle of expression of who you are as a person through the instrument.
How do you make your repertoire choices from season to season?
It's pretty organic – it's a mixture of conversations that rapidly take off (or don't, and go on a slow burn!) and long standing relationships with beloved orchestras and conductors. Inspiration taken from all over the place too which is where the next album starts.
Do you have a favourite concert venue to perform in and why?
I'm quite keen on all the main UK venues as I have such a long history with them, and they bring back fond memories each time I visit, but I do love magical settings such as the Hollywood Bowl and Hamburg's Elbphilharmonie.
What is your most memorable concert experience?
The last night of the Proms will always be a big personal highlight
As a musician, what is your definition of success?
Being totally inside the music and living each moment in the present, with nothing hampering what you want to say – technique, distractions, doubts, random sticky valves etc. !
What do you consider to be the most important ideas and concepts to impart to aspiring musicians?
Keep listening to live music and going to concerts to remind you why this is such a brilliant, powerful, relevant, important, beautiful thing in a human's life and why you should keep on searching for those memorable, spine tingling occurrences.
Alison Balsom performs in Gabriel at London's Barbican Hall on 21 October as part of her Artist-in-Residence series. Further information
Her new album Royal Fireworks is released worldwide on 8 November on Warner Classics
Alison Balsom has performed with some of the greatest conductors and orchestras of our time including Pierre Boulez, Lorin Maazel, Sir Roger Norrington, l'Orchestre de Paris, San Francisco and Toronto Symphony Orchestras, Philadelphia Orchestra, New York and London Philharmonic orchestras, and has appeared as soloist at the Last Night of the BBC Proms. She regularly collaborates with some of the world's leading chamber ensembles including the Academy of Ancient Music, Il Pomo d'Oro, The English Concert and most recently The Balsom Ensemble (a handpicked group of leading Baroque soloists). Alison is a recipient of numerous prestigious awards, including Gramophone Artist of the Year, the Nordoff Robbins O2 Silver Clef Award, three Echo Klassik Awards and three Classic BRIT awards (two of which as Female Artist of the Year).
François-Frédéric Guy: Conquering the universe with Beethoven
Guest interview by Michael Johnson
François-Frédéric Guy was just finishing his 20th performance at the piano festival of La Roque d'Anthéron in the south of France. The 2200-seat outdoor amphitheatre was almost full as Guy displayed his love of Beethoven – playing two of his greatest sonatas, No. 16 and No. 26 ("Les Adieux"). After the interval, Guy took his place at the Steinway grand again and shook up the audience with the stormy opening bars of the Hammerklavier sonata. It was like a thunderclap, as Beethoven intended. The audience sat up straight and listened in stunned silence. Monsieur Guy joined me and a colleague after his concert for a question-and-answer session about his playing, the role of the piano in his life, and his future as a conductor of Beethoven symphonies.
Question: Can you describe your technique for creating such a stormy opening for Hammerklavier? The audience was thrilled.
Answer: I try to achieve several things at once with those opening bars – signaling immediately the dimension of the complete work, its conquering majesty, and the vital energy that begins to build from those enormous, outsized chords. I try to give it weight and pace, as Beethoven wanted. It is as if Beethoven was saying, "Let's go conquer the universe!"
Q. And your surprising low-key encore? What were you thinking?
A. I enjoy the idea behind this little piece which is probably the best-known and simplest work of Beethoven. I chose it to come immediately after the most dense and complex of Beethoven's work, one that is relatively little known to the general public. But "Elise" is also Beethoven and can, as you say, touch people to the point of tears.
Q. What does music mean to you, as a career pianist. Since we have known each other – nearly 25 years – you have dedicated yourself entirely to music.
A. Music fills my life, my existence. Even when I am not at the instrument, even when I am speaking of other things…. Through music, one can express things that words cannot.
Q. I see you are busy – 50 concerts and recitals per year.
A. Yes, now it's closer to 60, apportioned among concertos, chamber music and solo recitals. I try to maintain a balance of about one-third for each format.
Q. Your new career seems to be taking off – now you are an orchestral conductor …
A. Yes, I am doing some conducting. I started by conducting from the keyboard, the so-called "play and conduct" format. Seven or eight years ago I started doing the Beethoven piano concertos that way, and it's becoming more a part of my life. Now I have booked about ten play-and-conduct engagements in which I add a performance on the podium, conducting the full orchestra.
Q. Alone on the podium? What drove you to undertake this new challenge?
A. Actually it's an old dream dating back to adolescence. I started conducting from the keyboard, and gravitated to the podium. My conducting has been well-received so I am continuing. For the moment, I conduct only Beethoven.
Q. Only the symphonies?
A. Yes, I have already done the Fourth and Fifth at the Théâtre des Champs Elysées and will conduct the Seventh in October at the Opéra de Limoges, with its very good orchestra that I have worked with frequently. I enjoy it very much, and will conduct Beethoven's "Fidélio" there in 2022.
Q. Will you do what Rudolf Buchbiner did in Aix recently, all five piano concertos in one day?
A. Yes, I am scheduled to do just that in January, again at the Théâtre des Champs Elysées. We will start at 7 p.m. with Nos. 1 and 3, then a break, returning for Nos. 2 and 4, and finally at 10 p.m. the Fifth.
Q. This sounds like a major exploit!
A. That's not at all why I am doing it. I merely want to take the public on a journey with me to better understand the evolution of these concertos. I find this idea very exciting and I think the public will as well. In addition, these concertos are all works of genius and so individual – each one has its own character. They do not encroach on each other. It's like a great crossing of seas on an ocean liner. I will be taking the public with me.
Q. I was also thinking of it as a physical marathon.
A. Yes, both musically and intellectually. It's even more true in a play-and-conduct format because I have to control what's going on around the piano. We must remember, though, that in Beethoven's time all concertos were performed like this. There were no conductors. Same goes for Mozart.
Q. So you are putting yourself in Beethoven's and Mozart's shoes, so to speak?
A. Well yes, somewhat, a bit. It's a return to the concertos as they were intended. The piano is not king – it's there for a dialogue with the instrumentalists, like a big family.
Q. Do you like the feeling of disappearing into the orchestra when you play-and-conduct?
A. Yes indeed. The pianist turns his or her back on the audience and is encircled by the other players. So there is a sort of fraternity – no rivalry – but it's not easy. Sometimes it works, sometimes it doesn't. But when it does, there is a kind of unity, and that's what is so interesting.
Q. You have said that keyboard conducting gives you a new understanding of the music. What do you mean? Does it really change your perspective?
A. Absolutely. When you play traditionally with a conductor, one must be familiar with the orchestral parts while concentrating essentially on the piano part – that's our role. But when the pianist and the conductor are the same person, it becomes clear how completely the piano is integrated into Beethoven's concept, and Mozart too, and then later Brahms and Schumann.
Q. How did you go about studying for your role as a conductor?
A. Well I am largely self-taught, an autodidact. But I have been counseled by some eminent conductors, notably Philippe Jordan, conductor of the Bastille Opera and soon to direct the Vienna Staatsoper, when he leaves the Bastille next year. He is a fabulous conductor, an extraordinary talent. He has helped me tremendously. And another one is Pascal Rophé, conductor of the Orchestre des Pays de Loire – Nantes and Angers. He has been a big help with the Beethoven symphonies. But I am essentially self-taught and I have no ambitions to become a full-time conductor.
Q. Ah no? That was my question – isn't there a temptation to leave the piano behind? Solti, Bernstein and many others abandoned the piano to conduct.
A. No, no, that's not my plan. Conducting is an extension of my interests in music. For example, I have played practically all of Beethoven's piano music, all his chamber music, all his important piano works. And it seemed natural to try conducting. I could not imagine NOT conducting one of the symphonies. So I had to learn how to do it.
Q. Contemporary music in one of your big interests. You have collaborated with the composer Tristan Murail, I believe, and others?
A. Yes, I am currently on a concerto Tristan Murail is composing for me. What matters for me is new ideas in composition that still retain traditional structures. I want innovation, ideas that change the piano and the orchestra. Sounds we have never heard before. That's what interests me with Tristan Murail.
Q. Are you spending your life focused solely on the piano to the exclusion of all other activities? Some pianists wear blinkers.
A. I am not wrapped up in a bubble. Nothing stops me from following important events, such as Korea, or the relations between the two Koreas.
Q. You are in touch with people outside the world of music?
A. Yes, I am very involved in astronomy, for example. I study mushrooms!
Q. Mushrooms?
A. Yes. The other day I found ten kilos of cepes on my property in the Dordogne. I have always had a passion for mushrooms of all types.
Q. John Cage was also a mushroom enthusiast. He wrote books about them. He even created the New York Mycological Society for the study of mushrooms.
A. I am a specialist too. I know all the names of different species in Latin.
Q. Tell us about your tenth Beethoven cycle planned for Tokyo. What does it consist of?
A. What it means is that I will play all of the 32 Beethoven sonatas from memory over a ten-day period, about three weekends, for the tenth time. Almost twelve hours of music.
Q. Do you have a loyal fan base in Japan?
A. Yes, yes. I usually play in a very beautiful hall in the Shinjuku district of Tokyo. Two years ago I played there with the Dresden orchestra conducted by Michael Sanderling. And last year I played all the Beethoven violin and piano sonatas there.
Q. If you give 60 recitals and concerts a year, as you said at the start of this interview, can you still find time to develop new repertoire?
A. Yes, I try to master one or two important works every year. I recently accepted to learn and play a concerto by Enescu. I always try to put aside time for new works.
Q. But at your age, don't you find you learn more slowly?
A. Yes, I am 50 years old. But I have many things I want to do in music. I am not stopping.
Artist portrait by Michael Johnson
Michael Johnson is a music critic with particular interest in piano. He worked as a reporter and editor in New York, Moscow, Paris and London over his writing career. He is the author of five books and divides his time between Boston and Bordeaux. He is a regular contributor to The Cross-Eyed Pianist
(This article first appeared on the Facts & Arts site. Illustrations by the author.)


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In the wake of being reprimanded at the surprising expenses of its new GeForce RTX arrangement of GPUs, Nvidia conveyed its cutting edge Turing design to increasingly reasonable cost focuses by jettisoning the committed beam following equipment, with another GeForce GTX 16xx arrangement.
These GPUs are gone for gamers who are hoping to redesign from a mid-extend designs card that is currently a couple of years old, yet don't really need every one of the fancy odds and ends of beam following, which isn't even generally bolstered by diversions yet. After the generally welcomed GeForce GTX 1660 Ti and GeForce GTX 1660, it looks as if Nvidia is practically prepared to dispatch another GeForce GTX 1650. In spite of the fact that it has been supposed for some time, we presently have spills demonstrating a portion of its particulars and flaunting retail bundles just as renders of the real illustrations cards.
Noted leaker Roland Quandt has presented pictures on Twitter appearing of GeForce GTX 1650 illustrations cards from Palit and Gainward. From the cases envisioned, we can tell that Palit's card is known as the Palit GeForce GTX 1650 Storm X, while Gainward's is known as the Gainward GeForce GTX 1650 Pegasus 4GB OC. Both have 4GB of GDDR5 RAM. The cards themselves are short, yet their single-fan coolers will possess two openings in a work area PC bureau. The back boards of the two cards have one and only DVI port and one HDMI port.
Palit GeForce GTX 1650 StormX 4GB. GPU speed: 1655 MHz. PCIe x16, 128Bit, 4GHz GDDR5. #GTX1650 1/2 cc @VideoCardz https://t.co/vWRxWRbAJs
— Roland Quandt (@rquandt) April 9, 2019
Videocardz has another hole of an indicated Zotac GeForce GTX 1650 OC card, additionally with a short single-fan cooler and apparently affirming the 4GB of GDDR5 that this GPU will deliver with. This card has one DVI port, one DisplayPort, and one HDMI port for yields. It ought to be noticed that these are for the most part 3D renders and not photos of genuine items seen in nature.
Most strangely, all the spilled pictures point to the likelihood that GeForce GTX 1650 designs cards won't require any PCIe control connectors, which implies they will run just off the 75W of intensity that the PCIe transport can give. This should make these cards amazingly appealing update choices for more established PCs or even little structure factor ones with less able power supplies.
Gainward GeForce GTX 1650 Pegasus 4GB (OC). GPU speed: 1665 MHz. 1725 MHz for OC display. PCIe x16, 128Bit, GDDR5. 1/2 #GTX1650 cc @VideoCardz https://t.co/gaV8Gd985z
— Roland Quandt (@rquandt) April 9, 2019
The implied GeForce GTX 1650 GPU is said to be codenamed TU117, which places it in the Turing family alongside the GeForce GTX 1660 Ti and GeForce GTX 1660. Nvidia will trust take on AMD's Radeon RX 570 and Radeon RX 580 GPUs at the base end of the market. Past breaks have indicated a potential April 22 dispatch date. Similarly as with its greater kin, it is impossible that Nvidia will discharge a Founders Edition card of its own. Given the beginning cost of Rs. 21,500 for the GeForce GTX 1660, all things considered, the GeForce GTX 1650 will come in well under Rs. 20,000.


text: Stream temperature plays an important role in closing the energy balance at local, regional and global scales, and exerts significant impacts on aquatic biodiversity, power plant operation and energy production. It is therefore a critical component for representing the energy-water nexus in earth system models. This study is a first attempt to develop a physically based stream temperature model within the Community Earth System Model (CESM) framework. The Model for Scale Adaptive River Transport (MOSART) has been developed to represent riverine water dynamics and incorporated into CESM by coupling with CLM. Here we build upon CLM-MOSART to represent the riverine transport of heat along with water flux and the energy exchanges with the atmosphere. The boundary conditions, i.e., lateral inputs to the stream temperature model are dominated by the temperature of surface runoff and baseflow which is parameterized as a function of soil temperature simulated by CLM. The exchange of energy between river and atmosphere is explicitly parameterized in terms of river water storage, air temperature, incoming radiation etc. Preliminary results with the model applied to the contiguous U.S. at 1/8th degree resolution show that the model is capturing reasonable well the spatiotemporal variability of stream temperature under natural conditions. Moreover, the critical strategies to incorporate the effects of reservoir and power plant operation in near future are discussed.


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text:
Gets or sets whether arithmetic errors related to floating point calculations are processed by the Dashboard error handling mechanism.
Namespace: DevExpress.DashboardCommon
Assembly: DevExpress.Dashboard.v19.1.Core.dll
public static bool HandleFloatingPointErrors { get; set; }
Public Shared Property HandleFloatingPointErrors As Boolean
true, to process arithmetic errors related to floating point calculations using the Dashboard error handling mechanism; otherwise, false.
In v16.2 and earlier, the Dashboard controls return the Infinity and NaN values in cases when the calculation result is undefined or cannot be presented accurately. This behavior can result in such values being displayed as -Inf, Inf or Nan to end-users.
The HandleFloatingPointErrors property allows you to process such values with the built-in Dashboard error handling mechanism. This results in the following changes:


text:
Normal faulting and mass movement during ridge subduction inferred from porosity transition and zeolitization in the Costa Rica subduction zone
Normal faulting and mass movement during ridge subduction inferred from porosity transition and zeolitization in the Costa Rica subduction zone
Event Type:
- Seminar
About the Event:
Subduction of the buoyant Cocos Ridge offshore the Osa Peninsula, Costa Rica substantially affects the upper plate structure through a variety of processes, including outer forearc uplift, erosion, and focused fluid flow. To investigate the nature of a major seismic reflector (MSR) developed between slope sediments (late Pliocene~late Pleistocene silty clay) and underlying higher velocity upper plate materials (late Pliocene~early Pleistocene clayey siltstone), we infer possible mechanisms of sediment removal by examining the consolidation state, microstructure, and zeolite assemblages of sediments recovered from Integrated Ocean Drilling Program Expedition 344 Site U1380. Formation of the Ca-type zeolites laumontite and heulandite, inferred to be due to Ca-rich fluids, has caused porosity reduction. We adjust measured porosity values for these pore-filling zeolites and evaluated the new porosity profile to estimate how much material was removed at the MSR. Based on the composite porosity-depth curve, we infer the past burial depth of the sediments directly below the MSR. The corrected and uncorrected porosity-depth curves yield 800±70 m and 900±70 m, respectively. We argue that deposition and removal of this entire estimated thickness in 0.49 m.y. would require unrealistically large sedimentation rates and suggest that normal faulting at the MSR must contribute. The porosity offset could be explained with 250±70 m of normal fault throw, or 350±70 m if the porosity were not corrected. The porosity correction significantly reduces the amount of sediment removal needed for the combination of mass movement and normal faulting that characterize the slope in this margin.
About the Speaker:
Mari Hamahashi joined this month as a research fellow in the active tectonics group at Earth Observatory of Singapore working with Dr. Judith Hubbard. Her research interest is in structural geology and physical property evolution of forearc wedge in subduction zones, using onland and offshore (International Ocean Discovery Program) samples. Her study areas include the Shimanto Belt (Nobeoka Thrust), Japan, and the subduction zones offshore Costa Rica and Sumatra. She received her Ph.D. degree in 2016 at the University of Tokyo, Department of Earth and Planetary Science (Supervisor: Dr. Gaku Kimura). After graduating from University of Tokyo, she joined the Geological Survey of Japan (AIST) as a post-doctoral research fellow for one year.


text: Last week we received our very own Leapfrog Bolt Pro 3D printer at HES in Delft. Currently we know it's capable of printing threaded bolts, mini T-rexes and keyboard feet (which somehow always disappear). However surely in the near future we will use it to print prototypes to enhance the engineering process and make proof of concepts tangible. Any cool ideas for prints? Contact us!


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Activation of the Akt-mTOR and MAPK pathways in dedifferentiated liposarcomas
The Akt/mTOR and MAPK pathways play important roles in modulating cellular function in response to extracellular signals, and they are known to be activated in certain kinds of sarcomas. Few investigations have examined these pathways in dedifferentiated liposarcoma (DDLS), in relation to clinicopathological features. Clinicopathological and immunohistochemical analyses were conducted using 99 DDLS specimens. An in vitro study was also conducted to examine the antitumor effects of an mTOR inhibitor and a MEK inhibitor on two DDLS cell lines. The clinicopathological analyses revealed that the AJCC staging was a significant prognostic factor for overall survival and that the tumor size, depth, and location were significant prognostic factors for event-free survival. Phosphorylated Akt (pAkt), pmTOR, pS6RP, p4E-BP1, pMEK, and pERK expressions were positive in 57.4, 52.4, 71.4, 57.1, 84.1, and 50.8 % of the dedifferentiated component of the 63 primary DDLSs. Positive staining for pmTOR was significantly more frequent in the dedifferentiated component than the well-differentiated component. A univariate prognostic analysis revealed that pmTOR expression was associated with poor prognosis in the tumors in the retroperitoneum/ventral body cavity. The mTOR and MEK inhibitors dose-dependently inhibited the cell proliferation of both DDLS cell lines and decreased the expression of downstream pS6RP and pERK, respectively. The combined use of the two inhibitors enhanced antiproliferative activity. In conclusion, the Akt/mTOR and MAPK pathways were activated in DDLS specimens, and the inhibition of these pathways decreased cell proliferation in DDLS cell lines. Our findings suggest that these pathways could be a therapeutic target for patients with DDLS.
KeywordsDedifferentiated liposarcoma Prognosis Mammalian target of rapamycin Mitogen-activated protein kinase Immunohistochemistry
This work was supported by JSPS KAKEN Grant Number 25293088. The English used in this article was revised by KN International (http://www.kninter.com). We would like to express our sincere appreciation to Prof. Masao Tanaka, Department of Surgery and Oncology, Prof. Yoshihiko Maehara, Department of Surgery and Science and Prof. Seiji Naito, Department of urology, Graduate School of Medical Sciences, Kyushu University for kind support for our research.
Compliance with ethical standards
Conflicts of interest
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New Delhi: In a significant step in the direction of agricultural trade that is expected to ensure that the farmers receive a better price for their commodities, the union government has launched the country's First Agri-commodity Options Contracts in Guar Seed.
The Union Finance Minister, Mr Arun Jaitley who launched the initiative said that National Commodity and Derivatives Exchange Limited (NCDEX) Agri-options are an important tool which will contribute to the Prime Minister's vision of doubling the farmers' incomes by 2022. The Finance Minister said that the Guar seed is a major contributor to revenue generation, hence making it a suitable commodity to start with for Options. The Finance Minister congratulated the NCDEX for this initiative.
NCDEX also launched Mandi.com, a mobile app for farmers where they can learn more about Options and the commodity markets. For a commodity trader or member of a Farmer Producer Organization( FPO), this would be an additional tool to hedge price risk and optimize profits.


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Dental Practice Insurance
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Dental Practice Insurance FAQs
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Our policy provides 24/7 cover worldwide, covering a wide range of activities.
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Medical indemnity insurance cover includes acts or omissions in the course of your professional duties. This can include injury, misdiagnosis, delays in referral, physical or mental harm to a patient. It doesn't cover against incidents that occurred before the life of your policy.
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If you would prefer to spread the cost of your policy we can direct you to our preferred suppliers LDF or Metro Bank.
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We will be there for you before, during and after your claim and give practical advice on how to manage your businesses exposure to risk.
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DEMCON was founded over 20 years ago. The company has adjusted to many different and difficult economic, environmental or technical data of demolition industry each and every year, and succeeded to keep itself at the forefront of the changes no matter how fast and complex they have been.
Our main objective is: satisfying our clients. This is the only way to maintain our major reputation, as well as, our leading position as an expert in explosive demolitions, in Greece and in the broader area of Balkans. The company worked on projects through all market sectors, from small houses' dismantling to explosive demolitions of block of flats, from inner city mechanical demolitions to large scale industrial projects either by mechanical means or explosive material, and those of a sensitive nature such as chimneys or tanks in the middle of factory establishments or explosive demolitions of 10story buildings in confined space urban projects.
In 2006 DEMCON was awarded the highly prestigious Good Practice Award by OSH in recognition of our excellent site standards, safe working method and management system, especially for beginners and young workers. In 2005 we won a honorary reward for the strict Safety and Health Standards we keep on worksite, by NADC. In 2009 we were shortlisted at Annual Demolition Awards, by KHL group, participating in Confined/Urban demolition projects category, an international forum in which many companies, small or large, have taken place and won prizes.
Our projects are always completed with absolute success without ever having not even one small working accident or unaccomplished explosion. Our reputation is our source of pride for all we work in DEMCON and our course reflects the leading contractor position we hold in the market.


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Tap Into Sensory Excellence! This is just part of the article. Want the complete story, plus a host of other cutting-edge technical and business articles to make your job easier? Login or Register for free!
In a special Flavorcon edition of the Two Sense podcast, Perfumer & Flavorist sat down with Richard Calladonato, former director of global culinary and baking institute for Campbell's Soup Company, about shifting consumer preferences and how brands can evolve with them.
Some of the topics covered in the podcast include:
- how brands communicate their products,
- the emergence of the adventurous consumer,
- how consumers drive food and flavor trends,
- and more.
Want the rest of the story? Simply sign up to register. It's easy. Plus, it only takes 1 minute and it's free!
Catered to professionals in the flavor and food supply chain, Flavorcon will take place on Nov. 11-12, 2019, at the Duke Energy Convention Center, in Cincinnati, Ohio, and will feature:
- A robust conference schedule; featuring discussions on plant-based proteins, clean label flavors, and the latest natural raw materials,
- The Flavorcon Innovation Stage; featuring bite-sized education sessions from the show floor,
- An exhibitor hall with over 50 flavor-related companies,
- Numerous networking opportunities
- And much more!


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The thread on what distro you would move to if your current one disappeared has sparked some pretty interesting discussion. This lead to another thought in my head. Users can be just as passionate as they are with distros when it comes to interfaces. If your DE/WM suddenly disappeared, what would you use instead?
I recently started using Gnome 3 again, after installing Pop! OS. If Gnome 3 went away, I would go back to using KDE. If that went away, I would probably use Xfce or Openbox.
EDIT: Totally forgot about Mate! I can't believe I did that considering I was a hard core Gnome 2 user back in the day. Mate would have to be my third choice, before going for Xfce.


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Mr. Philip Miller Stewart
4 December , 1934 – 25 August , 2019
Philip Miller Stewart died peacefully in his 84th year at LGH. Born in North Vancouver on W Windsor Rd, son of the late David and Cybill Stewart, Phil is survived by his wife, Myrna, and his stepsons Richard (Robyn) and Jamie (Liza) and his grandchildren, Tyson, Jarrett and Kasenya as well as his brother, Dave (Phyllis) and his nieces and nephew.
Phil worked at BC Rail, now owned by CN for most of his career. He was a sportsman who played football, soccer and baseball in his youth. Phil also was an avid fisherman and boater who loved being on the water. He was very proud of his long time roots in early Vancouver, where his mother's family had a lumber mill in the 1880s. Phil, though, grew up and spent his entire life in North Vancouver where his father owned and operated Stewart Sheet Metal on Esplanade St.
A celebration of life will be held at 2 to 4 PM on Sept 28th in the community room of Vista Place East, 158 West 13th St. North Vancouver. Parking is available nearby at North Vancouver Library.
No services are scheduled at this time. Receive a notification when services are updated.
Mr. Philip Miller Stewart
have a memory or condolence to add?ADD A MEMORY
Gerry Holbrook
13 September 2019
Dear Myrna.
So sorry to hear of Phil's passing. Phil and I go way back as both of us having lived here all our lives. Still remember the great fishing trips we had and just hanging out like kids do. The times have changed so much and not seeing one another very often made it even more pleasurable when we did to delve into past remembrances. Take care of yourself. I won't be able to attend the celebration of life due to a yearly family gathering. Gerry


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USO Okinawa kicks off first of three fun runs for 2015
KADENA AIR BASE, Japan – More than 600 people came out when USO Kadena hosted the 2015 H2gO Water 5K fun run on August 1st, kicking off the 5K season for USO Okinawa.
USO Okinawa hosts three 5K fun runs annually; H2gO on Kadena Air Base in August, the Glo Run on Camp Hansen in September, and the Color Blast on Camp Lester in November.
Each run is unique and helps USO Okinawa raise money to continue their free programming and events for troops and families. This year's H2gO had a new water element for participants to enjoy.
"This year we had to change up the course because there was construction on our original course," said Michelle Winning-Cade, outgoing center manager USO Kadena. "We ended up having to do a detour and we thought why not use the [Hagerstrom] pool. Everybody at the aquatics department wanted to support, they were excited and it was really, really awesome."
The H2gO 5K also received support from another community partner. The Kadena Fire Department brought their 75 foot ladder truck, which has a waterway and nozzle that shoots out water, and drenched participants as they neared the end.
"Oh they loved it. They see all of the water and just want to go through it," said Technical Sergeant Caleb Dacay, fire inspector with the 18th Civil Engineering Squadron, Kadena Air Base
"Supporting the H2gO 5K also gives us the opportunity to train our people needing their aerial career development course," said Dacay. In addition to the community support received, the H2gO 5K had hundreds of volunteers ready to lend a hand.
"We had over 200 volunteers and 10 staff members help out, and without them this awesome event wouldn't have happened," said Winning-Cade.
"I would recommend [H2gO] because it's good health," said volunteer Ann Dacosta, Gunnery Sgt., Marine Aviation Logistics Squadron 36, Marine Corps Air Station, Futenma. "Literally, running is good for your health and keeps you in shape and as a military member, we need that. Every little bit helps."
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USO Okinawa Salutes Troops During Annual Gala
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North Frederick Elementary School students learned about plants and the environment, sang an upbeat song and helped city officials plant a new tree on Wednesday to celebrate Arbor Day.
While Arbor Day is celebrated on April 26, the school was happy to host the celebration before students take their spring break. The ceremony also coincided with the school's celebration of its science, technology, engineering and mathematics program, which invited parents to visit the school to learn about what their children have been studying and allowed students to watch the launching of several model rockets from the school's athletic field.
By the time the school gathered around the blacktop area next to the back parking lot for buses, most of the young students were smiling and pointing excitedly at the juvenile white oak tree planted in a patch of dirt nearby.
"It's really a fun experience," said Kimberly Seiss, the school's principal, talking about the day. "I think the kids will really remember a special event like this, and helping them make fun and happy memories is really the most important part for me."
Education was also a high priority, Seiss said, adding that, before the Arbor Day ceremony, the students focused on plant- and tree-related topics in their lessons. For example, the school's prekindergarten and kindergarten classes learned about the different parts of seeds, while first-graders were taught about the beneficial relationship between trees and many native bird species and fifth-graders learned about the dangers of erosion and how trees can help prevent it.
Before planting the tree, some of the first-graders, led by two of the school's music teachers, sang a brief, cheerful song about the importance of having trees in the community.
"Plant a tree for your tomorrow, plant a tree to clean your air," the students sang. "... Plant a tree today for all the world to share!"
Seiss and her teaching staff were joined by Frederick Mayor Michael O'Connor, Alderwoman Donna Kuzemchak and the city's arborist, Tom Rippeon, among other guests. Becky Wilson, a regional urban forestry coordinator for the Maryland Department of Natural Resources, also took the podium to present the city with a Tree City USA award as well as a growth award, both from the National Arbor Day Foundation.
The Tree City USA program requires a city to not only have staff responsible for tree care, but also an urban forestry program supported by at least $2 per capita, among other standards. This year's Tree City USA award marked the 39th consecutive year the city of Frederick received the recognition, Wilson said. The city was also the first in Maryland to win the award.
"It's not easy to achieve those four standards especially over that 39-year period, that shows a level of commitment and caring not only for their current community but it shows some vision for the future of their community and the environment here," Wilson said after the event. "The city of Frederick really has stellar staff with exceptional experience and education that really do a fantastic job."
To drive that point home, Wilson pointed out that the growth award given to the city this year, which was in recognition of the city's efforts going above and beyond the Tree City USA's standards.
The city has celebrated Arbor Day the last few years by planting a white oak tree, the state's official tree, Rippeon said at the ceremony, which culminated with O'Connor and Kuzemchak helping several students shovel the last bits of dirt and soil around the young tree.
"Ask the mayor to pick up that shovel and help you out," Rippeon told one of the students with a playful grin as he dumped a wheelbarrow full of topsoil on the plot. "Tell him it's OK to use his hands, too."