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The following is yet another snippet of history to show that now is a good time to BUY, BUY, BUY.
A decline or near decline in the price of the average house is a rare phenomenon. Right now, it is interesting to notice that the cost of new construction, including a lot in a good location continues to rise, even while folks belly ache about a fall in the value of homes. One of the tenets of economics is that "clearing prices" are reached. Yes, the supply of unsold homes on the market is large, especially when looked at in terms of months needed to clear the inventory at the current sales pace. The problem with this popular measure (especially popular with those making the bear case) is the "double leverage" involved. Other numbers show that building permits and starts have fallen dramatically. On the demand side, the numbers show that mortgage applications are already on the rise. In just the past two or three weeks, the bears have said again and again that mortgages are not available.
I am trying to make two points here: 1) that the housing "debacle" is not as bad as it is perceived to be, and 2) the housing debacle has not killed the bull market in stocks.
The following are the 5 times during my life that housing prices were flat or negative over a full year and the increase in the S&P 500 over the next year.
September 1982 44%
November 1990 33%
July 1992 15%
February 1993 8%
April 1995 39%
I like the last entry the best because April of 1995 was right at our previous mid cycle turn. The most recent pattern is in my opinion the one that will be most closely followed in this cycle.
The financial news media is always in search of the next headline. The recent one has been the fall in the US Dollar. Here again, I like the pattern set in April of 1995, when the dollar bottomed just as the pundits were saying that housing was killing the economy.
There are logical reasons why the bottom in the housing market coincides with the bottom in the dollar. Canadians are currently in a state of euphoria over the value of the Loonie. For the first time in 31 years, Canadians can trade a Loonie for a dollar and get back change. For a number of years, Americans could trade a US Dollar for a Loonie and get a quarter or more in change. This is big news for Myrtle Beach and many other coastal communities. When I was a kid, Myrtle Beach had Canadian Day Parades. These celebrations were held during the early spring, when it was still too cold for Americans to consider Myrtle Beach as a vacation destination. Florida resorts are also celebrating the return of the Loons!
The Euro Dollar has also appreciated substantially. The European can trade for a dollar and get more than 40 cents change. Just a few years ago, Americans could trade for a Euro Dollar and get about 20 cents change.
In April of 1995, the winds of change were blowing as they are now. Many a European and Canadian will make out very well by purchasing a US home now. The European might use one million Euros to buy a $1.4 million luxury home in the states. The price of this home will appreciate substantially as soon as the market clears. Even if it were to only hold its value, the return would be 40% to the European if he held the home until the US Dollar and the Euro Dollar reach parity again. While there is no guarantee that parity will ever be reached again, the history of the move after the mid cycle correction of 1994 says that it will.
Should the US dollar strengthen, the price of oil in terms of Euro Dollars will soar. The law of substitution, which is already going 90 miles per hour in 3rd gear, will hit overdrive. No one knows where new supply smashes into new demand but it is clear that that there is going to be a collision between millions of small cars and scores of super large oil refineries. In Port Arthur, Texas, Shell and Saudi Arabia will more than double output about a year after the first of the Vietnamese super refineries comes on line.
Just in recent weeks, wholesale traders in the US have been reluctant to hold inventories of oil as the amount of natural gas in storage is near record levels, gas producers are being forced to slow down or shut down production and the price of natural gas is down to 47% of the price of oil in BTU terms. Of course, natural gas storage capacity is not enough to supply all our winter time needs with natural gas but a mild winter could see a steady decline in the price of heating oil. Any facility set up to burn gas or oil will go with the less expensive gas until supplies are diminished.
Ken Fisher notes that when the financial press cannot find negative economic statistics to whine about, they write about global warming or Paris Hilton. Ken avoids making this a political point but in truth it is. The steady push in most media outlets is anti-Bush, anti-business, anti-war and pro-government "solutions". Of course, the exceptions to the rule, such as talk radio outlets and Fox News, prove the rule. Pretty soon, the stock markets should benefit from a change in sentiment. A "Feel Good Factor" is going to emerge. We have moved into the prosperity phase of the business cycle. During this phase, real wages and incomes of the average citizen will rise to the point that the constantly negative "news" will not sell well. As Andy Warhol taught us many years ago, the "news" is a reflection of the feelings of the people. During a time when the "bad news" does not sell, "good news" will be more prominent. Of course, the market top will come after the public has received a steady diet of "good news".
My "good news" for you today is that the process of building a market top is just getting started. Keep a close watch and you will notice a very gradual shift in the news. Also keep in mind that the kinds of advertising that you will see will also change. You will see lots of ads for companies like Boeing that are making all the planes they can make. Of course, the right time to buy shares in this company was several years ago. It will not go down in price for many years to come but its upward price momentum has already peaked. It takes a long time for the "big boys" to distribute their holdings to the public. Of course, the media outlets that sell these large corporate ads will be the outlets that survive. Do you think it coincidence that positive "news" articles and corporate ads will accompany one another, or soon before or after?
Yes, be a skeptic but be a wealthy skeptic. A fun market is headed our way.
No one knows the ultimate outcome of the current fight for budget and campaign dollars. Funds are flowing in all directions. Powerful "special" interests are playing hard ball. In this crazy but necessary game of horse trading, many in power are willing to vote to spend billions annually for years to come on all sorts of wasteful schemes, provided they "win" the goodies they want for themselves. Senator Grassley, a Republican from Iowa, is one of the current key power players. I do not believe Grassley is for a $35 Billion add on to a disruptive health care plan, but he is willing to vote for it to establish a strong bargaining chip. Almost everyone in the House and Senate would agree that health care reform is needed but none of them would honestly say that the $35 billion dollar would be their personal first step.
Again, I have good news. So far, Congress has been unable to pass much of anything. This is good news for America and good news for the markets. As we have seen time and again, lots of bad legislation passes when one party is in control. Bush will veto the worst of the spending. Unfortunately, to get a dose of his own sugar, he will swallow some bitter medicine. Still, all in all, the compromises reached will not harm the economy badly. As a general rule, the economy will do very well for as long as the government stays out of the way.
BUY, BUY, BUY the fight will be over in a few weeks and members of congress will go home to take credit their "wins". That is one of the good things about a good compromise, all can claim to have won. These wins will become part of the "FELL GOOD" cycle discussed above. When corporations, the news media and the congress combines to tell the "good story", it will be natural for the masses to "FEEL GOOD". BUY, BUY, BUY!
Monday, September 24, 2007
The following is yet another snippet of history to show that now is a good time to BUY, BUY, BUY.
Posted by Courtney at 9/24/2007 08:22:00 AM
Labels: airlines, BUY BUY BUY, economy, energy, housing, natural resources, oil, politics, US dollar, world news


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Hotel UNA
Tel: 01273 820 464
55-56 Regency Square, Brighton, BN1 2FF
Situated in Regency Square, Hotel Una is made up predominantly of suites, all individually designed and possessing their own unique character.
Dream venue for a small romantic wedding just a stone throw from the beach. You decide how you'd like your day to unfold and we are here to help plan and deliver.
Hotel Una is also the perfect place to spend your wedding night. Two of its luxury suites have private jacuzzi and sauna, the ultimate way to round off your special day or start your honeymoon.
There is also the presidential suite, split over 2 floors boasting its own private home cinema, where you can tuck yourself away and relax.
Hotel Una also offers a range of massages in house, from deep tissue to hot stone. An extremely well stocked bar houses some serious spirits, fine wines and champagnes. Not to mention the friendly and knowledgeable staff there to take care of your every need.

subset: commoncrawl


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Now, Muslim Brotherhood calls for Mubarak's exit for Egypt's interim govtBy ANI
Friday, February 4, 2011
CAIRO - The Muslim Brotherhood, the largest opposition group in Egypt, has issued a statement asking President Hosni Mubarak to step aside and pave way for a transitional government.
"We demand that this regime is overthrown, and we demand the formation of a national unity government for all the factions," the New York Times quoted the statement, as saying.
The Brotherhood, founded in Egypt in 1928, is the oldest and largest Islamist movement in the world, with affiliates in most Muslim countries and adherents in Europe and the US.
Earlier, the Obama administration had spoken cautiously about the future role of the Brotherhood, which has long been banned by Mubarak's government.
When asked about the Muslim Brotherhood, the White House spokesman Robert Gibbs had said that the US would work with any group that showed "adherence to the law, adherence to non-violence, and a willingness to be part of a democratic process, but not use that democratic process to simply instill yourself into power."
Some experts on the Brotherhood say that the group has met the requirements of non-violence and participation in elections in Egypt for decades. (ANI)


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- Gender:
- Man
- Age:
- 58
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- Bakersfield, Vermont, United States
- Personal
- In my own words:
I am a Christian widower looking for a woman for a long term relationship. I would like to meet someone who is true to their heart. I enjoy traveling, which I do much of for my work. I like nice quiet evenings, romantic dinners as well as a night out on the town dancing.


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I'm engaged!!! (!!!!!!!!!!)
To this handsome fellow:
Ok so maybe there aren't any rumors. But I really am engaged. And I definitely do love him.
He proposed last night. And it was perfect. Nothing went as planned, but it was perfect.
There will be a video and lots of pictures coming sometime soon [tricky-tricky, Tim], so I think I'll tell the whole story then. But let me assure you:
It is a story worth telling.
In the meantime, I'll leave you with this:


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Sometimes I find myself day-dreaming of cycling through Scottish back roads or perhaps descending alpine descents in Switzerland. In my perfect world kids would be given bicycles and hiking sticks and encouraged to set off and explore. There would be no suffering or anguish, only the thrill found in exploration and the joy of fellowship. It is just as I begin to imagine rafting down rivers of chocolate that I come to my senses and am slapped with reality. This world is full of pain and suffering and to try and avoid it is childish and unrealistic. Instead, we must learn to face the suffering and be resilient enough to find ways and withstand it. More so it is the suffering, the pain and the anguish that teach us. It grips and moves us internally in new ways, shapes and molds us, forming opinions on the world around us. Without pain, we wouldn't know the true extent of happiness. Throughout my life I have observed suffering in numerous outlets. I have seen pain in the form of friends losing loved ones, in the hands of hungry children begging for money, in the faces of men and women whose lives have spiraled out of control through addiction, in the devastating wake of natural disasters obliterating towns, countries and lives. This pain is inevitable, unavoidable. A part of life.
The pain experienced on the bike however, is by choice. The torment on my mind, the anguish throughout my entire body as I fly across the pavement at 30 mph, nothing but a few centimeters of rubber making contact with the ground - a willing gamble of safety. The constrictive grip of my hands around the bars, my legs screaming bloody murder as they pump in full force, pistons revving at over 100 rpm, treading on the fine line between hysteria and reality. It is my conscience choice to push through this. I have the great gift of choosing this pain.
As I suffer - as I push myself into oblivion to the point that my body wishes nothing more than to shutdown - I am thankful for the pain. Thankful for the opportunity to choose to suffer, to grow with it. No ride is complete without that struggle and the joy that comes from relishing in these painful moments. While it would be a dishonor to compare my suffering on a bike to that of the real pain endured around the world, it is humbling to have the chance to suffer alongside the rest. To tell the universe that I am not too good to hurt. To remind myself over and over again that it is through pain that we grow, stay thankful and keep us better off the bike.


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Monday, April 25, 2016
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These following steps will form the object of what I call spiritual education.
But before we enter on this new stage and deal with the question in detail, an explanation is necessary. Why is a distinction made between the psychic education of which we have just spoken and the spiritual education of which we are about to speak now? Because the two are usually confused under the general term of "yogic discipline", although the goals they aim at are very different: for one it is a higher realization upon earth, for the other an escape from all earthly manifestation, even from the whole universe, a return to the unmanifest.
So one can say that the psychic life is immortal life, endless time, limitless space, ever progressive change, unbroken continuity in the universe of forms. The spiritual consciousness, on the other hand, means to live the infinite and the eternal, to be projected beyond all creation, beyond time and space. To become conscious of your psychic being and to live a psychic life you must abolish all egoism; but to live a spiritual life you must no longer have an ego.
Here also, in spiritual education, the goal you set before you will assume, in the mind's formulation of it, different names according to the environment in which you have been brought
up, the path you have followed and the affinities of your temperament. Those who have a religious tendency will call it God and their spiritual effort will be towards identification with the transcendent God beyond all forms, as opposed to the immanent God dwelling in each form. Others will call it the Absolute, the Supreme Origin, others Nirvana; yet others, who view the world as an unreal illusion, will name it the Only Reality and to those who regard all manifestation as falsehood it will be the Sole Truth. And every one of these expressions contains an element of truth, but all are incomplete, expressing only one aspect of that which is. Here too, however, the mental formulation has no great importance and once you have passed through the intermediate stages, the experience is identical. In any case, the most effective starting-point, the swiftest method is total self-giving. Besides, no joy is more perfect than the joy of a total self-giving to whatever is the summit of your conception: for some it is the notion of God, for others that of Perfection. If this self-giving is made with persistence and ardour, a moment comes when you pass beyond the concept and arrive at an experience that escapes all description, but which is almost always identical in its effects. And as your self-giving becomes more and more perfect and integral, it will be accompanied by the aspiration for identification, a total fusion with That to which you have given yourself, and little by little this aspiration will overcome all differences and all resistances, especially if with the aspiration there is an intense and spontaneous love, for then nothing can stand in the way of its victorious drive.
There is an essential difference between this identification and the identification with the psychic being. The latter can be made more and more lasting and, in certain cases, it becomes permanent and never leaves the person who has realized it, whatever his outer activities may be. In other words, the identification is no longer realized only in meditation and concentration, but its effects are felt at every moment of one's life, in sleep as well as in waking.
On the other hand, liberation from all form and the identification with that which is beyond form cannot last in an absolute manner; for it would automatically bring about the dissolution of the material form. Certain traditions say that this dissolution happens inevitably within twenty days of the total identification. Yet it is not necessarily so; and even if the experience is only momentary, it produces in the consciousness results that are never obliterated and have repercussions on all states of the being, both internal and external. Moreover, once the identification has been realized, it can be renewed at will, provided that you know how to put yourself in the same conditions.
This merging into the formless is the supreme liberation sought by those who want to escape from an existence which no longer holds any attraction for them. It is not surprising that they are dissatisfied with the world in its present form. But a liberation that leaves the world as it is and in no way affects the conditions of life from which others suffer, cannot satisfy those who refuse to enjoy a boon which they are the only ones, or almost the only ones, to possess, those who dream of a world more worthy of the splendours that lie hidden behind its apparent disorder and wide-spread misery. They dream of sharing with others the wonders they have discovered in their inner exploration. And the means to do so is within their reach, now that they have arrived at the summit of their ascent.
(CWM Volume 12, 'On Education', Sri Aurobindo Ashram Trust 1978, Published by Sri Aurobindo Ashram, Puducherry)


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Anyone who has wondered if free will is just an illusion or has asked 'could I have chosen otherwise?' after performing some rash deed will find this book an absorbing discussion of an endlessly fascinating subject. Daniel Dennett, whose previous books include Brainstorms and (with Douglas Hofstadter) The Mind's I, tackles the free will problem in a highly original and witty manner, drawing on the theories and concepts of several fields usually ignored by philosophers; not just physics and evolutionary biology, but engineering, automata theory, and artificial intelligence.
In Elbow Room, Dennett shows how the classical formulations of the problem in philosophy depend on misuses of imagination, and he disentangles the philosophical problems of real interest from the "family of anxieties' they get enmeshed in - imaginary agents, bogeymen, and dire prospects that seem to threaten our freedom. Putting sociobiology in its rightful place, he concludes that we can have free will and science too. Elbow Room begins by showing how we can be "moved by reasons" without being exempt from physical causation. It goes on to analyze concepts of control and self-control-concepts often skimped by philosophers but which are central to the questions of free will and determinism. A chapter on "self-made selves" discusses the idea of self or agent to see how it can be kept from disappearing under the onslaught of science. Dennett then sees what can be made of the notion of acting under the idea of freedomdoes the elbow room we think we have really exist? What is an opportunity, and how can anything in our futures be "up to us"? He investigates the meaning of "can" and "could have done otherwise," and asks why we want free will in the first place.We are wise, Dennett notes, to want free will, but that in itself raises a host of questions about responsibility. In a final chapter, he takes up the problem of how anyone can ever be guilty, and what the rationale is for holding people responsible and even, on occasion, punishing them.
Elbow Room is an expanded version of the John Locke Lectures which Dennett gave at Oxford University in 1983.
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Daniel Dennett throws light into the darkness of ourselves by asking whether we are free to control our actions. I am glad I was free to choose to read this book.


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And then, it began to rain.
I've been going through a bit of a dry spell, but tonight I finally wrote something new.
Just a few paragraphs, but they have soothed my parched soul and given my hope for tomorrow.
I missed this feeling.
Tuesday, November 20, 2007
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Sinha, J.
1. This is a rule upon the opposite parties to show cause why an order passed by the first respondent (the sixth industrial tribunal), dated 28 January 1953, should not be quashed, and why the said respondent should not be directed to allow Mr. S.M. Basu, chairman of the board of directors of the petitioner company, to appear before him and represent the company.
2. The facts are briefly as follows: The petitioner is a public limited company. Some time about June 1952. disputes and differences arose between the petitioner and some of its workers represented by respondent 2. The State of West Bengal referred the disputes for adjudication to the first respondent, under the Industrial Disputes Act, 1947, by a notification, dated 5 September 1952. Mr. S.M. Basu, a practising solicitor of this Court, has been a director of the said company since 1948 and is now the chairman of the board of directors. It is stated by the pettioner that the said Mr. S.M. Basu has been at the helm of the company's affairs and no one is better acquainted with the facts and circumstances leading up to the disputes referred as aforesaid. On 28 January 1953, the said Mr. Basu appeared before the tribunal at the hearing of the reference, to represent the petitioner. The first respondent, by his order, dated 28 January 1953, disallowed the respondent from appearing before him or representing the petitioner. The ground for disallowing Mr. Basu to appear and represent the company is based upon the interpretation pub by the first respondent upon Section 36(4) of the Industrial Disputes Act, 1947, which runs as follows:
In any proceeding before a tribunal a party to a dispute may be represented by a legal practitioner with the consent of the other parties to the proceeding and with the leave of the tribunal.
3. Mr. Basu did not appear or seek to appear in his capacity as a legal practitioner. He appeared as a director of the company, and as representing the company in that capacity. According to the first respondent, if a person was in fact a legal practitioner, it did not matter whether he was attempting to represent the company as a director or not. In doing so, he did not cease to be a legal practitioner, nor did he cease to carry with him the legal knowledge and experience which he had gathered as a legal practitioner. It is said that the intention of the legislature appeared clearly to respect the ordinary right of representation by legal practitioners in industrial disputes in the 'interests of preservation of an atmosphere of conciliation instead of serious legal arguments and of smooth disposal.' Mr. Acharya, appearing on behalf of respondent 2 added (perhaps unwittingly), that it was intended that proceedings before the industrial tribunal were intended to be divorced from law. I sincerely hope that such is not the case, Under Section 36 of the Industrial Disputes Act, 1947, as it originally stood, legal practitioners were debarred from appearing in conciliatory proceedings, but they were allowed to represent parties before a labour court or tribunal. By the amendment of 1950, they are absolutely debarred from representing parties in any conciliation proceedings under the Act or in any proceedings before a labour court. In the case of proceedings before a tribunal, a party to a dispute could always be represented by a legal practitioner under the old Act, but after the amendment, it can only be done with the consent of the other parties to the proceeding and with the leave of the tribunal. This procedure may be compared with Section 33(3) of the Industrial Disputes (Appellate Tribunal) Act, 1950, which runs as follows:
A party to a proceeding under this Act may be represented by a legal practitioner with the consent of the other parties to the proceeding and with the leave of the Appellate Tribunal.
4. Thus the provisions of Section 36(4) of the Industrial Disputes Act has been brought into line with `tion 33(3) of the Industrial Disputes (Appellate Tribunal) Act, 1950. The point which I have to decide, appears to have arisen in the case between Elgin Mills Company, Ltd., Kanpur and the Suti Mill Mazdoor Union, Kapur 1951 I L.L.J. 184, under Section 33 of the Industrial Disputes (Appellate Tribunal) Act, 1950. Before the Appellate Tribunal, Mr. Hoon, a director of the company, appeared to represent the company. He was a lawyer, and objection was taken to his appearance. The Labour Appellate Tribunal disallowed the objection. The Appellate Tribunal said as follows:
The respondent's contention is that an employer can be represented by the class of persons enumerated in Section 33(2) of Industrial Disputes (Appellate Tribunal) Act, 1950, and also by a lawyer subject to the conditions mentioned in Sub-section 3 and by none else. We cannot accede to that contention. Leaving aside representation by lawyers for the moment, that section enacts that a party to an appeal shall be entitled to be represented in an appeal by the three clasess of persons mentioned in Sub-section (1) in the case of workmen and three classes of persons mentioned in Sub-section (2) in the case of employers. These two sub-sections confer a privilege as the phrase 'shall be entitled' indicates and the meaning is that if any person falling within those classes appears in the appeal either for the workmen, or for the employer the other party would not be entitled to object to his appearance. Undoubtedly the workman concerned in an appeal could appear in person, though he is not mentioned in Sub-section (1) and likewise the employer when he is a natural person can himself appear in person. A corporation being an artificial person must, of necessity appear through a human being. It can therefore appear through an agent or by any other authorized person, the only limitation being that when that person is a lawyer, and appears in his capacity as a lawyer, he can appear only if the conditions of Sub-section (3) are fulfilled. A director of a company, we hold, has authority by reason of his position to appear for the company.
The first respondent distinguishes this case on the ground that the Appellate Tribunal were considering Section 33(2) and not 33(3) of the Industrial Disputes (Appellate Tribunal) Act, 1950. In this he was clearly in error, as will appear from the extract quoted above. The essence of the thing is to find out whether a party was being represented by a legal practitioner as such. If the principle laid down by the first respondent be correct, it follows that where a party to a dispute is himself a legal practitioner, tie can never appear in person, an interpretation which must at once be rejected. The next case discussed by the first respondent is between Kanpur Hosiery Workers' Union and J.K. Hosiery Factory, Kanpur 1952 I L.L.J. 384. There, the legal practitioner of a party wished to get round the provisions of Section 33(3) by shedding his gown and obtaining a power of-attorney from the party. This was not permitted. The tribunal proceeded upon the footing that to permit this would be to circumvent the provisions of the Act itself. If the Appellate Tribunal intended to hold that under no circumstances could a party be represented by a person who was a lawyer but was not appearing as such, I must hold that the decision is incorrect. But I do not think that they intended to hold firstly that a party could always represent himself, secondly that he could be represented by the persons mentioned in Sub-sections (1) and (2), as the case may be. Thirdly, he could be represented by a lawyer, only under circumstances mentioned in Sub-section (3). In the case of a company or a corporate body, there can be no question of its appearing by itself. Since it is not human, it must be represented by some one, and a director would be a proper person to represent it. This right of representation is quite distinct from the right conferred by Sub-sections (1) and (2) of Section 33. If the director happened to be also a lawyer or a legal practioner, it cannot be said that his appearance was to circumvent the provisions of Sub-section (3), as might be the case if the party was an individual. These principles would apply equally in the case of appearance before a tribunal under Section 36(4) of the Industrial Disputes Act, 1947. I have already pointed out that after the amendment in 1950, there is virtually no difference between that provision and Section 33(3) of the Industrial Disputes (Appellate Tribunal) Act, 1950. It is true that we must give effect to the intention of the legislature in construing an Act, but it is not permissible to enter into fanciful dissertations of social philosophy in discovering that intention. It is true that lawyers are to be excluded, but there is no indication that they are to be excluded simply because they are lawyers. I find that this view finds support from the observations of the learned author of 'Evolution of Labour Management Relations and the Indian Law of Industrial Disputes' at page 284. It is pointed out that if an officer of a registered trade union also happens to toe a legal practitioner, the full bench ruling in 1952 L.A.C. F.B. (Kanpur Hosiery Workers' Union v. J.K. Hosiery Factory, Kanpur, ibid.) was inapplicable because his appearance is not as a legal practitioner.
5. I hold, therefore, that Mr. S.M. Basu, as a director of the petitioner company, was and is entitled to represent the company at the hearing of the reference before the first respondent, and that the first respondent was in error in refusing to allow him to appear before him and reprsent the company.
6. Mr. Sen next argues that I should not interfere under Article 226 of the Constitution, because the petitioner has a right of appeal under Section 7 of the Industrial Disputes (Appellate Tribunal) Act, 1950.
7. An alternative legal remedy is no absolute bar to the jurisdiction of this Court. It is not a rule of law but a rule regulating the discretion of the court in granting the writ of mandamus-R. v. Joint, Stock Cos. Registrar (1888) 21 Q.B.D. 131. Ordinarily this Court ought not to interfere when there exists a remedy, not less convenient, beneficial and effective. But an exception ought to be made in the case of an error in procedure, which will vitiate the whole trial. In Jagannath Sasiry v. Sarathambal I.L.R. 46 Md. 574, the High Court interfered in revision, where the court below refused to issue a commission to examine witnesses, although the petitioner could not possibly procure them without such an order. Wallace, J.,said:
I think it is clearly the duty of the court to interfere, even in interlocutory proceedings rather than permit a trial to go on in an illegal course, which must entail unnecessary expense to the parties and useless waste of time.
8. See I.M. Meyer v. C. Subba Rao 57 C.W.N. 605.
A mandamus was issued where a magistrate wrongly refused to accept evidence which a party was entitled to adduce Queen v. Margham (1892) 1 Q.B. 371. A mandamus will issue where the plaintiff can show that he will suffer injury by waiting for the result of the trial (witness Alkali).
9. If the present order is allowed to stand, the result will be that the reference will be decided ex parte so far as the petitioner is concerned. The order is a speaking order and the error of law appears on the face of it. (Halsbury, Vol. 9, p. 887.) I do not think that it is either just or convenient that the proceedings should go on, in the absence of the petitioner, leaving it to seek its remedy by way of an appeal to establish its very right of being heard, a right which it plainly has under the statute. It is obviously a remedy which is less convenient. I think that if it amounts to a failure to exercise jurisdiction in refusing to hear the evidence which a party at all, which is what it amounts to, where a party appears in a manner well within the four corners of the statute, but the right to a hearing is denied (Queen v. Margham, supra) (Sic).
10. The rule is accordingly made absolute. The order of the first respondent, dated 28 January 1953, is quashed by a writ in the nature of certiorari and/or set aside. There will also issue a writ in the nature of mandamus directing the said respondent to allow Mr. S.M. Basu, a director of the petitioner company, to represent it at the reference pending before him.
11. There will be no order as to cost.


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I wanted to let you all know about a really cool event coming up in a couple weeks...and I'm giving you that much time to prepare, because, well...you might need it.
It's been a long, long time since we had a really awesome lunar eclipse event here at the museum. I love our "Total Luna-See" parties...we have a great time, see the Moon turn an amazing color, and generally it's pretty much a party atmosphere all night long!
Sadly, we won't be doing that for the upcoming lunar eclipse. Why? Because the darn thing happens at 3AM! On a Tuesday morning!
|How we get lunar eclipses - the Earth must pass directly between the Sun and the Moon. Image by Fred Espenak. Courtesy NASA.
Yep, that's right, on April 15th - the all-glorious Tax Day here in the U.S. - at the ungodly hour of about 2AM on the East Coast - the Full Moon will quietly begin sliding into the shadow of the Earth. Like most shadows, the Earth's shadow is not completely devoid of light - the atmosphere of the Earth scatters from red light from the sunrises and sunsets happening around the world at the time into the shadow, turning the Moon a beautiful reddish color. How reddish really depends on the state of the atmosphere. If the air is relatively clean and clear, the Moon will indeed appear an almost blackish-red. If there's a lot of dust or other pollutants in the air, a coppery or even orangey-red Moon could result.
One thing's for sure, if you want to see what color the Moon turns this time around...you'll need to be a very dedicated astronomy buff. The eclipse will peak at around 3AM By around 5AM, the event will be coming to an end. So it means spending a long night outside...on a weekday. Before work. Or school. Or whatever else an average Tuesday on which your tax forms are due might bring you.
Soooo...maybe this won't be the best lunar eclipse to get outside to try to see. That's okay...we've got three more chances coming up over the next year and a half.
The April 15th eclipse is the first of a tetrad - a group of four successive total lunar eclipses. Amazingly, all four will be at least somewhat visible in the United States! The next one in this series will be on October 8, 2014...and for the East Coast, will occur as the Moon is setting.
Well, phooey.
Maybe we'll have better luck in 2015.
Again, I say - this is NOT an April Fool's joke! But if you'd like one, check this out.
Until next time...
Carpe noctem!


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E-Locker provides online storage for students and teachers, allowing them to securely store and access their documents on a Department of Education server.
EZ Website
Teachers, with just a few mouse clicks, you can have a site of your own, on which you can place homework assignments, describe class events, develop class activities and more.
Fundamental Computer Applications Assessment
The Fundamental Computer Applications online assessment tool is for high school students and consists of 60 multiple choice questions, based on Indiana's Computer Applications Academic Standards. Teachers add students to the system and then administer tests.
Indiana's Online Assessment Tool
Indiana's Online Assessment Tool is a Web-based application that tests students over 4th and 8th grade mathematics. The test questions were developed by the National Assessment of Educational Progress (NAEP) and are based on national academic standards.


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Douglas County considers ban on marijuana businesses
Douglas County commissioners will vote next month on whether to outlaw the commercial sale and growth of marijuana in the unincorporated parts of the county, KMGH-TV reports.
Colorado voters this month approved Amendment 64, which allows for the recreational use of small amounts of marijuana. But the law allows local governments to ban pot shops and the growing of marijuana.
"We have chosen to opt out," Douglas County Commissioner Jack Hilbert told the TV station.
The vote is set for Dec. 18.
Coloradans would be allowed to possess small amounts of the drug beginning in January, but anyone wanting to set up a shop to sell marijuana must wait until state lawmakers create the necessary regulations.


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1 Corinthians 13:12 For now we see in a mirror, darkly; but then face to face: now I know in part; but then shall I know fully even as also I was fully known. (ASV)
Art, like sex, cannot be carried on indefinitely solo; after all they have the same mutual enemy, sterility. Ursula K. Le Guin, "A Citizen of Mondath," pp. 25-30 in Susan Wood, ed., The Language of the Night (New York: Putnam, 1979), p. 27
I have no photograph of her that's any good. I cannot even see her face distinctly in my imagination. Yet the odd face of some stranger seen in a crowd this morning may come before me in vivid perfection the moment I close my eyes tonight. No doubt, the explanation is simple enough. We have seen the faces of those we know best so variously, from so many angles, in so many lights, with so many expressions--waking, sleeping, laughing, crying, eating, talking, thinking--that all the impressions crowd into our memory together and cancel out into a mere blur. C. S. Lewis, A Grief Observed. New York: Bantam Books, 1976. pp. 16-17.


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Thursday, October 4, 2012
Preschool, wait what?
I haven't update in a little bit, and that's because we have been a very busy little family lately. I'll start by saying I totally forgot to blog about Adele's birthday, she of course got very spoiled. I don't even know how much money I spent on her, but she got a play house, a bunch of clothes, movies, and money put into her bank account. She had a fabulous time, and a few of my friends showed up but we kept it low key with a family BBQ. Speaking of turning 3, Adele is in preschool,since she doesn't get to interact with other children a lot, my parents decided to put her into Little Learners Academy, and let me just tell you that it's been incredible. She's so smart, and catches on so quick. The only problem is that she doesn't know how to interact with the kids yet, which I am hoping will come soon. I can not thank my parents enough with helping me with this. The preschool she is attending is very well known for what they do, and how amazing they are with children. Her babysitter actually works there as well, and she is also attending dance there on Mondays as well. I've been working full time still, and looking for a better paying job or hoping to transfer to over nights since I have always been a night owl. I am hoping that it can work out. I've started a new diet program, I had some personal issues in August & September that had stressed me out pretty bad, and made me very depressed. I am now better, and looking to be healthier in my life for me & Adele. I'm aiming for about a 40 pound weight loss. We are very excited for Halloween at our house, already have decorated & Adele already got her outfit! She's being a butterfly. October also started very good for me, seeing Marilyn Manson & Rob Zombie. It was so much fun, getting to see my friends since lately all I do is work & have been so busy with Adele. It was nice to relax, speaking of which I will be leaving to Boston for a week on the 17th of this month! I was hoping to go visit my dad in Aspen, but I couldn't afford the tickets out there, but I am still excited to get away from work for a week. I'll be posting pictures now, enjoy. :)
Her first day of preschool! She's getting so big.
The girls at Marilyn Manson! Such a fun time.
Went to the fair together. :)
Loving the long & red hair on me, still.
Us being goofy :)
Blowing out her birthday candles. :)
Her smile melts me. <3 p="p">
The kids in the house. :)
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In recognition of Hispanic Heritage month, Hispanic Lifestyle is requesting our friends submit inspiring stories about companies (who employ 500 or more) involvement in the Latino community. Clarification – You may submit a non-private sector entity. The types of stories we are looking for:
- Philanthropy Efforts
- Inspirational Employee(s)
- Community Initiatives
In total Hispanic Lifestyle plans to post 30 stories during Hispanic Heritage Month (September 15 – October 15) . Our goal is to highlight and give recognition to corporations that make a difference in our communities.
Please provide the following:
- Name and Address of the Company.
- Permission to post nomination throughout Hispanic Lifestyle's media and social network.
- Story should include photo, company logo. Please also provide link to video if necessary.
- A link to the business's website.
- One submittal per company please.
Stories are due by September 12, 2017. If you need extra time just send us a note.
Hispanic Lifestyle has been recognized by several federal, state and local organizations for featuring stories about healthcare, education, business and entertainment. Our purpose for the past 20 years has been to promote positive images of the Latino community and recognize organizations and individuals who are committed to doing the same.
Please forward submittals to email@example.com. Any questions please send your email to firstname.lastname@example.com or call 213.705.3322.


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How can arts producers and incubators archive multiple artistic legacies as well as their own institutional histories?Featured Case Studies:
The Clark Center Story: Sharing the Legacy of a Seminal Dance
Community by Jill Williams with Ramona Candy An Interview with Terry Fox by Brittany Austin
Nonlinear Lineage by Sarah Maxfield
The Clark Center Story: Sharing the Legacy of a Seminal Dance Community
by Jill Williams with Ramona Candy
There are some stories that need to be told. That's how a few alumni from Clark Center for the Performing Arts felt about our stories: they are too important to the world of dance to disappear. Though Clark Center closed its doors 25 years ago, it continues to live in the hearts of all of the dancers, musicians, choreographers, and students who were a part of this important and unique dance community. The collective devotion to Clark Center is attested to by the willingness of the active alumni—a group that has now grown to over 600—who generously support our project, Clark Center NYC, by sharing memories through writing and through presentations, offering dance works for performances as well as volunteering time to work on the preservation of our legacy. The role of creative spaces such as Clark Center that nurtured many artists is an important piece of dance history, one that is too often overlooked. The aim of the Clark Center NYC project is to capture this communal history and lineage while honoring the individual artists whose stories are part of ours—and vice versa.
Our story begins with Alvin Ailey, a moving force in the creation of Clark Center. He was one of the gifted young artists who emerged in the late 1950s and early 1960s—years of tremendous change in the dance world, marked chiefly by the emergence of many talented black dancers and choreographers. Louise Roberts, Clark Center's last director (1970-1985), guided and nurtured the careers of so many dancers, driven by her own love, passion, and dedication to the art of dance. She was our director, producer, critic, mentor, mother, and true friend. As she recounts, "It was this lack of space to create, rehearse and perform which led Alvin Ailey, one of the leaders of this new dance movement, accompanied by Charles Blackwell and Robert Buccolo, to the West Side YWCA in search of a home for his new dance company. Thus, in 1959, Clark Center was established offering instruction and performances not only in dance but in theater and opera as well."
Through a preeminent faculty of instructors, an extensive scholarship program, and a philosophy of accessibility, Clark Center provided an environment that produced performing artists with far-reaching influence on the dance world. Students were given both training and performance opportunities guided by faculty that included Alvin Ailey, Thelma Hill, Jimmy Truitte, Eleo Pomare, Fred Benjamin, Maggie Black, Lenore Latimer, Michael Peters, Syvilla Fort, Pepsi Bethel, Anna Sokolow, Bertram Ross, and Charles Moore. Typical of that period, there were many talented musicians who accompanied classes and performed live in concerts adding a great artistic dimension to the environment. Clark Center's Dance Horizons program produced over 120 companies and choreographers, exposing their work to a wide audience. Small and emerging dance companies were provided with professional support services, a showcase for their work, and funds to pay their dancers. The companies represented the full spectrum of the dance world; from Multi-Gravitational Aerodance, Pepsi Bethel's Authentic Jazz Dance Theater and The Charles Moore's Dances and Drums of Africa to Kei Takei's Moving Earth and Urban Bush Women. Brazilian Capoiera was introduced to the United States at Clark Center by two young dancers from Bahia: Loremil Machado and Jelon Vieria. Jelon now directs an international company, DanceBrazil, and credits Clark Center's influence and support.
Clark Center's New Choreographers Concerts introduced over 115 talented choreographers, many of whom eventually formed companies produced by Clark Center's Dance Horizons. A list of the dance professionals that can trace their beginnings to Clark Center reads like a Who's Who of dance: George Faison, Dianne McIntyre, Bill T. Jones, Laura Dean, Hinton Battle, Chuck Davis, Meredith Monk, Jawole Willa Jo Zollar, and so many others. How could we allow this story to be forgotten? Clark Center embraced all of us, beginners to professional dancers. Classes in ballet, modern, tap, jazz, Capoeira, mime, Afro Cuban, Congolese, and more were offered and many of us ran from one to another in order to become well-rounded dancers. At Clark Center, we created community by creating dance. Now, we embrace Clark Center as our ancestral dance home by collectively honoring those who came before and made it possible for us to dance and to now share the story and share all that we learned with those who come after us.
We are fortunate that Louise Roberts began to create an archival history when Clark Center closed its doors. These records are housed in the Jerome Robbins Dance Division of the New York Public Library for the Performing Arts. (For a description of the collection: http://archives.nypl.org/dan/19827). We began digging through thousands of documents and photos in this collection to fully understand the breadth and depth of our story. Louise's intention was always to preserve the record of Clark Center by writing a book. Without the efforts of Clark Center NYC, much of that rich history, documented not only with written materials, but also oral histories, would be lost forever. In honor of Louise and the hundreds of others who are so important to our story, we've created Clark Center NYC and a website (clarkcenternyc.org) which will become a repository for students and scholars. Future plans include ongoing research into the archives, publishing interviews with distinguished alumni, dance on film created by our alumni, a call for excerpts of published works, and a call for new original works. As we continue to share our story, we also plan to carry on the tradition of Clark Center by presenting the works of New Choreographers.
We continue to tell our story and extend our community as a number of organizations in NYC are collaborating to host the symposia and presentations. To date, these include the The Schomburg Center for Research in Black Culture, The New York Public Library for the Performing Arts, 651 Arts, The 92Y Harkness Dance Center, and The City College Center for the Arts. We will continue to share our stories on our website, in presentations and performances which will all be filmed and become a part of our permanent record.
Pictured: Flyers for performances at Clark Center for the Performing Arts, documenting some of the artists who were nurtured by and contributed to the center.
An Interview with Terry Fox by Brittany Austin
In 2010, Philadelphia Dance Projects (PDP) presented a revival of dance works originally performed in 1980 by composer Dan Martin and dancers/choreographers Michael Biello, Jano Cohen, Terry Fox, Wendy Hammarstrom, and Ishmael Houston-Jones. This reconstruction of work initiated a new endeavor called the Local Dance History Project, led by PDP executive director Terry Fox. LDHP is a collaborative effort with the artists to launch a website that shares Philadelphia's dance history through images, videos, artist narratives, historical notes, and an interactive timeline that allows other local dance artists to join in on the discussion and share their work. Additionally, PDP is working with Temple University's Special Collections Research Center and will donate physical and digital materials [can we add "to create an archive accessible to the public"?]. The artists' involvement is crucial to the success of the project, and LDHP not only allows the artists to reconnect with their work, but also to connect their work to a present and future generation of dance artists and a potentially wider public including audiences, urban and cultural historians, educators and students. Terry Fox shares her experiences while archiving her work and more background on this project:Why did you decide to recreate works from the past? What inspired this project? I have always felt that dance artists should be counted in the cultural history of our city. So I embarked on this project because a lot of cardboard boxes of my own "history," which includes many others, needed attention. PDP had helped jumpstart the Philadelphia Dance Collection at Temple University, but to date it has very few individual artists included as part of the overall collection, and that group has and still does comprise a large and lively sector of what we call the "dance community" here in Philadelphia.
Could you describe your process for re-setting these works for a new audience and with new dancers? How did you engage with your past work? So one way to inspire me to mobilize getting my "historic" materials in order was to invite other artists to think about their own history. In 1980 I curated a program of dance featuring independent artists at the Harold Prince Theater at the Annenberg Center. (During that time most artists performed mainly at "alternative" spaces, re-purposed storefront galleries or theaters or "au plein air" around the city. This was an effort to put work in a more formal theater for audiences to consider.) In 2009, I invited five 1980 artists to consider reconstructing their work from that era, and a sixth one who lived in California to participate. With a small planning grant from the PA Humanities Council we convened and discussed how best to do that. Yes, since those 1980 concerts had been videoed (though videos were pretty shaky) we did watch the original performances, and also other works circa that time, and put together a program. We decided on a process of selecting a present generation of artists to perform the works and wrote a grant to get support to carry the project to the next step. It was also decided that we would put the former works on the same program with a new generation of artists to compare and contrast.
What does the word archive mean to you as an artist and a dancer? Good question. I guess poetically it means remembering the traces of what you did living as an artist. It means the collection of ephemera that points to that time of creating, but only point to, and perhaps not really capture a real experience. The shards of things only hint at a more full satisfying clarity that dance brings to the body and soul. I recently heard a radio program about memory. It seems that the more you remember something, the less accurate it becomes, the brain re-stores information as one conjures the memory, each time layering it with a new remembering in the new neural storing. I like the word "re-member." It's very physical, dance-like; the putting of the parts of a body back into action. The root of "archive" is less direct; commands or orders becomes arranging. So I guess arranging these things and putting some memory around them is the best archiving – it will offer some insight in the future. Future is as much a part of the meaning of archive as the past.
What has been the most challenging thing for you as an artist to do as an "archivist"? Well that accurate remembering. There's a lot I forgot. Having others who shared the same time and experience really helps. Though I don't have a lot, the volume of material is still overwhelming, especially in how to sort it out and reflect on it. The DHC fellows have been super helpful with setting up "a system." We now realize the artists have way more "stuff" than we can process, so it's become a challenge on how best to include more. It seems leading the artists to do their own archiving (using the LDHP model) may be a solution.
What has this project taught you about art and your creative process? Were there any epiphanies after going through the historic materials? The word "interpretative" is bandied about when it comes to history. I think the Local Dance History Project aspires to be more than just a confirmation of dates of performances, artists' CV's, etc. Providing context of the time in which we were beginning to make dance and commit ourselves to a creative life something we want to "interpret" for the user/browser. This then becomes a kind of creative endeavor. The "telling" around the "cataloging." "Epiphanies" hmmm – maybe, how things change and don't change is an old cliché – but I see many of today's artists confronted with the same issues we faced, including the "material questions" and a larger public that not only doesn't get what they do, doesn't even know that they are doing that "what." All of the artists, who re-constructed or re-imagined their works in the 2010 presentations, were pleasantly surprised and heartened that work that was 30 years old still had relevance to contemporary artists and audiences. I guess that's an epiphany – that what you created has value and interest, even beauty and emotional depth, even over time.
What are the next steps for this preservation project? The next steps will continue to keep momentum around this Project. We have prepared 11 artist collections including digitizing some videos which we will donate to the SCRC this year. With Indiegogo funds and other resources, we are continuing work with Night Kitchen Interactive to design the infrastructure and dance history timeline for the website. We anticipate the timeline will go active in early 2015, with full site to follow as more funds are raised.
Inviting artists to participate is essential. This year we want to hold two workshops with Margery Sly, Director of the SCRC, on archiving essentials for dance artists. We want artists to have a template for logging their materials for gift to the LDHP Collection and a template for submitting basic info on a timeline which we intend to place temporarily to our LDHP page of the PDP website. This will help us see who else is out there, and how to continue to be inclusive and accessible. One important step is to keep the Local Dance History Project visible. The Local Dance History Project will take precedence this year as we work behind the scenes and at the same time communicate our progress along with emphasizing the importance and value of this Project overall.
Nonlinear Lineage by Sarah Maxfield
Over the past couple of years, my performance-based practice has gradually shifted to a practice of archiving performance. I didn't set out to make this change. It gradually occurred as I became less interested in creating disposable content and more interested in conserving performance content – and context. I am still finding my way with this shifted practice, but lately I have been thinking of it as a form of collage, which is a return to something from my childhood. As a kid, I was always working on collages. I would cut and arrange pictures to create a new composition. I chose things to which I felt an affinity, images to which I related in some way and which helped me map a growing identity. The archive work I am currently undertaking is similar. I am collecting memories and ephemera relating to experimental dance and performance in New York City. I am arranging these stories and scraps in such a way that the pieces inform each other and resonate in new ways. I am still mapping identity. I call the project Nonlinear Lineage.
Through my process of collecting and arranging, I want to foster conversation between historical context and contemporary practice. For me, developing an archive is not about privileging the past over the present, but about providing a deeper context and an expanded community with which to investigate the questions we research through performance. Creating the Nonlinear Lineage archive is also an effort to emphasize the realities and complexities of artistic life beyond the "fame narrative" and to develop an alternative to a consumerist approach to experiencing performance – an alternative in which we pay attention to what we've previously witnessed even after we've moved on to the next show. I think, as a culture, we are craving this slower pace of deeper attention right now, which may be why archiving is so hot these days. Content is everywhere, but we are hungry for context.
The Nonlinear Lineage project does provide a certain context on performance, but it also faces a challenge in that the context it provides is very much auto-ethnographic. The project collects items and stories from numerous artists, but I am the collector. I ask the questions, and I choose what is presented in various "live" collage formats and online. I feel a responsibility to represent contributors on their own terms, but I have a particular point of view that shapes the angle of my presentation. It is a challenge to keep my point of view transparent, and also to offer methods for artists to contextualize their own contributions and continue a conversation around the collected material.
I also face a challenge of expectation around expertise. I am conducting and presenting this work as an artist investigating my own artistic lineage – not as a historian, but as someone with expertise as practitioner. Ideally, I'd like the project to open doors between traditional research and artistic practitioners, but it is difficult to find common ground without diluting my purpose and/or overreaching the scope of my abilities and time. Making choices around technology is also a challenge. Platforms are changing so quickly that it's difficult to predict what's going to last longest. I also need to consider what types of technology best help contributors feel comfortable, so that I can have conversations with them with minimal interference and awkwardness from machines. It's a balance, and I am still very much in an experimental phase in these areas.
It's curious and exciting that artist-driven archives are gaining traction, and I am delighted to share this brief description of some of my process of developing Nonlinear Lineage thus far. Continuing peer dialogue around these topics is extremely helpful, and I'm grateful to the Dance Heritage Coalition for providing this platform.
Join the conversation! We invite your comments, feedback, and questions below.
Pictured: First two photos from We deserve each other No 2. installation at The Invisible Dog's Glass House, Brooklyn, November, 2013. Second two photos from We deserve each other, installation at The Chocolate Factory Theater in 2010. Both installations featured performance ephemera on loan from numerous artistic contributors as well as items collected by Maxfield. All photos by Sarah Maxfield.


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If its not legit, its time to quit!
How to judge if your website has legitamite information
I want to learn more about the Canadian Parliment system- Which site should I use? Can I trust the information?
Canada's Political System
The Government
How Parliment Works
Canada's Political System
The Government
How Parliment Works
How to judge a website for validity
Look for the 5 W's
WHO... Who published this page? Are they an expert in this topic?
WHAT... What is the purpose of the site? Is the information consistent with other sites?
WHEN... When was the page published? Is it easy to navigate? When was it last updated? When I compare this information to other sites it is similar/ the same?
WHERE... Where is the information coming from? Is this a sponsored site?
WHY... Why is this information useful? Is it true? Should I repeat it? Why is this the best site I have found?
Which site did you like best? Which site would you not choose? Fill in the worksheet below and we will discuss all anwers together as a class
Curriculum Expectations for Grade Five Media Literacy
By the end of this project you should be able to...
* Reflect on and identify their strengths as media interpreters and creators, areas for improvement, and the strategies they found most helpful in understanding and creating media text.
Responding to and Evaluating Texts
* 1.3 evaluate the effectiveness of the presentation and treatment of ideas, information, themes, opinions, issues, and/or experiences in media texts (e.g., evaluate the coverage of the same news item in a newspaper article, a segment of a news program, a website, and/or a blog; evaluate the effectiveness with which themes are developed, supported, and illustrated in a movie or music video)
Point of View
* 1.5 identify whose point of view is presented in a media text, identify missing or alternative points of view, and, where appropriate, determine whether the chosen view achieves a particular goal (e.g., identify biases in two different media texts that focus on the same topic or event; evaluate the portrayal of Aboriginal people in the media)
Production Perspectives
* 1.6 identify who produces various media texts, the reason for their production, how they are produced, and how they are funded (e.g., political parties create advertisements to win voter support, using funds raised by their members and supporters; producers develop television dramas to entertain and make money by selling their products to television conglomerates, which then broadcast the programs to make money by selling advertising spots in the programs' time slots)
* 4.1 identify what strategies they found most helpful in making sense of and creating media texts, and explain how these and other strategies can help them improve as media viewers/ listeners/producers
Interconnected Skills
* 4.2 explain how their skills in listening, speaking, reading, and writing help them to make sense of and produce media texts


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This post has three YouTube clips of Craig Ferguson's speech at the White House Correspondents' Dinner last week.
I thought he was pretty funny. Total of about 20 minutes, well worth watching. He took some jabs at both parties, and at the press. I love the President's reaction to his Pope joke.
The President's speech was also very funny, and included some video highlights of past speeches!
Friday, May 2, 2008
Funny clips
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Whirlpool Freezer Drawer Front - A neat and tidy space, besides looking stunning, reflects the character of the the master. In case the room arranged correctly and is established, the owner is considered to be an able and and arranged individual. In every household, you can find small articles that are used but storing of the items is often hard. Such posts include handkerchiefs, scarves, lingerie, socks, nail cutters and so on. As a consequence, these items are scattered every where giving the space a chaotic and sometimes filthy look.
Chests of drawers offer an answer to such issues in a effective and economical way. Numerous types of chests of drawers are you can purchase these days and one just needs to pick any of them as per individual needs. They are sometimes include legs or stand for help and of rectangular shape. A drawers' chest is normally made of ply or wood but wrought-iron produced chests are accessible.
A perfect chest of drawers includes about six or seven drawers and is waist high with a mirror fitted on its top. The most essential point before buying a drawers' chest is always to check the quality of wood out of which it has been produced. Generally, oak woods, and pine, cider are employed to make these furniture posts. It really is simpler to find them in the time of need and easy to store little products in these drawers.
Usually, people favor buying chests of drawers containing two tiny and three big drawers. As a way to increase the elegance and beauty of the room, an ornamental piece or a flowerpot can be put on the most notable of the chest. Smaller chest drawers might be put in youngsters' space so they are able to be effortlessly accessed by kids. In order to coordinate with the color scheme of the room's, the chest drawers may be painted accordingly.


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Didn't Take Long...
Our bm is a scammer.
Her mom called the agency and told them she m/c. Our agency, which rocks, told C (the bm) that she has to go in and get checked by the dr and bring in sonogram pics before they would pay another dime of her living expenses.
Which she did. Which said today's date and that she was 10w5d.
Except she is supposedly 22 weeks.
Not sure whose sonogram that was, or where she got it, or maybe she lost the first baby and got pg again but it's no longer our problem as we disrupted the match.
Now I understand why people get fatigued and decide to live child free. That has got to be better than this. I truly, truly, cannot stand another minute of this. I am at a total loss what to do right now.
Perhaps this blog will become about my cat. Though of course she has feline leukemia so will probably also die soon.
It's Halloween, and I got a rock.


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IEI, SENG X CC Career Development Program (for UG) - Fall 2017 - 1) Powerful CV and Cover Letter Writing Workshop
IEI, SENG X CC Career Development Program (for UG) - Fall 2017 - 2) Self-Exploration on Career Interests, Values and Personal Strength
IEI, SENG X CC Career Development Program (for UG) - Fall 2017 - 3) Career Design and Job Hunting Workshop
IEI X Amazon Devices Tech cum Career Talk
IEI presents J.P. Morgan Tech Talk
IEI X CLP Graduate Trainee Recruitment Talk
School of Engineering graduates are highly regarded by employers and sought after for their professional training, current technological knowledge, innovation, and all-round skills. Previous graduates have found employment with companies including:
Those taking postgraduate studies have joined renowned overseas institutions, such as Caltech, Cambridge, Princeton, UCLA, and Yale.
International Professional Recognition
Engineering programs offered by HKUST are accredited by the Hong Kong Institution of Engineers. Through the Washington Accord, HKUST engineering degrees and those awarded by universities in Australia, Canada, Chinese Taipei, Ireland, Japan, Korea, Malaysia, New Zealand, Singapore, South Africa, Turkey, the United Kingdom and the United States are mutually recognized. Programs related to Computing and Information and Communication Technology are recognized under the Seoul Accord, which signatories include Australia, Canada, Chinese Taipei, Japan, Korea, the United Kingdom and the United States. Through these international agreements, HKUST BEng degrees are widely recognized around the world, thus opening up an international spectrum of jobs and career prospects for our graduates.