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In 2005, CREW published Cascadia Subduction Zone Earthquakes: A magnitude 9.0 earthquake scenario, a report that summarized what might happen to northwestern California, western Oregon and Washington, and southwestern British Columbia if we make no further preparations for a large earthquake. Three organizations used that scenario as a basis for their tabletop emergency exercises in 2005-06. Some of the lessons observed in the Blue Cascades III, Pacific Peril 2006 and the Cannon Beach exercises are summarized in this report.
Download "Using the CREW Scenario: Three tabletop exercises" here.


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Holiday Romance: Our Best Valentines Mini-Breaks Recommendations
Take note, knights in open-topped sports cars, these are your best Valentines mini-breaks crib notes from the Hotel Guru.
The Best Valentines Mini-Breaks in London
The Rookery is a jewel-like and intimate City bolthole full of curiosities and charms - including open fires, flagstone floors, antique beds with superb mattresses and sheets, and bathrooms with roll-top baths and original brass and copper plumbing.
The Levin in Knightsbridge has just 12 rooms, all beautifully arranged and decorated and complete with mini-bars stocked with all you need to make champagne cocktails. There's also a lovely basement bistro which has the inviting look of a Viennese tea room.
Best Valentines Mini-Breaks in the UK
Beautiful Bath is a fine choice for a mini-break, the surrounds are extremely elegant and there are plenty of ways to treat your Valentine - visit the Roman Baths before enjoying a spa treatment to two and calling it historical research? Follow it up with a night in Thornbury Castle, the mini-break choice of Henry VIII and Anne Boleyn - can stay in the same room they did for around £300 per night.
Every knight needs a castle and Amberley Castle in the South Downs is a particularly charming choice, once owned by Elizabeth I and complete with a working moat and portcullis - sit up until midnight and watch it being closed for the night - push interiors and an exceptional restaurant.
Packed with history, drama and grandeur, Edinburgh is a great choice for a short city break, and The Witchery by the Castle will really make your stay. Intimate, Gothic and smothered in velvet, you'll sleep in four poster beds in theatrical suites, enjoy complimentary champagne and you're right by the castle gates.
Best Valentines Mini-Breaks in Europe
An obvious choice for romantics, Venice has a number of extremely romantic hotels, but you can't really go past the Gritti Palace, a former Doge's palace and classic hotel for special occasions with its canal views, traditional luxury and fine restaurant.
If you're looking for privacy the Ca Maria Adele might be more your style with its rich furnishings, lagoon views and themed rooms.
Paris is the other 'oldie but goodie', here our Guru's favour L' Hôtel when they're in the mood. It offers Parisian charm at its most authentic and was once Oscar Wilde's bolthole in Paris. It now offers jewel-box rooms and themed suites (if you can bear the tristesse you can sleep in the room in which Oscar Wilde expired beyond his means), and a candlelit plunge pool.

subset: commoncrawl


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Evelynn Build
Ability Sequence
Not Updated For Current Season
The masteries shown here are not yet updated for the current season, the guide author needs to set up the new masteries. As such, they will be different than the masteries you see in-game.
So, Evelynn. One of the most fragile champions, and a meeler to boot. With her ultimate, malice and spite, she can be one of the fastest champions, and I play to abuse that. I use her as an assassin- I find half hp or lower people, and I finish them off. It doesn't matter where they are, bushes, standing next to a tower, I've even killed people inside their own base, with all the tower up, and gotten away clean. She's difficult though.
A note of her skills:
Hate Spike: This is your farming skill, and the skill you use to proc lichbane. It has, with just a little bit of cooldown reduction/blue golem buff a half second cooldown. Too bad it only takes a fraction of your AP into account, and isn't that strong, but you can spam the heck out of it. Does that little bit of extra damage.
Shadow walk: Your lifesaver. Most of my deaths occur while this is on cooldown, cooldown reduction is gotten primarily for this skill, so I can cloak again faster. When you snipe someone from a team of people, they are going to try to hunt you down. You will be running as fast as you can, until you can cloak. Then laugh as all 4 of them are standing in the bush you're in. (Keep running if they have oracles.)
Ravage: A lovely, lovely skill that will take off a giant chunk of your opponent's hp- if they're below 1/2, and not a tank, it can finish them outright. It uses 100% of your AP, so all the AP you can get is good.
Malic and Spite: completely underrated in my opinion. It almost reads "dive target tower"- here's how it works. Passively, killing someone or getting an assist gives a large chunk of life back, starting at 350. Activating it gives a move speed/attack speed boost. Whenever an enemy champion dies, the cooldown refreshes, and you can use it again. It does NOT stack with itself. Whenever I get a kill, I immediately activate it to get the heck away from their team. Whenever I see a potential kill, or need to get somewhere, I activate it. Once midgame starts, you'll rarely need it and not have it, as the cooldown looks at all champions dying. For tower diving: the life boost means you can survive an extra shot or two that you couldn't otherwise. The speed boost means you take fewer shots. This all adds up to taking only one shot moving in, getting a life boost that'll eat the second shot, and hopefully being out of range by then.
Summoner skills:
Ghost: A must. This is a very mobile, getting around type build/playstyle. You have to be able to get where you're going fast.
The second skill is up to you- I personally use ignite to help me with the early game, all possible options:
Ignite: Helps in the early game when you need that tiny bit of extra damage. My personal favorite (for now)
Smite: Helps farm in the early game (which Evelynn desperately needs), also, you can snipe the golem from the opponent's jungler (if you decide not to just flat out kill him)
Flash: OMFG I need to get out. Rarely used offensively, as you're dang fast. Adds a bit to Evelynn's survivability if you're new with her.
The rest, =S. I don't really see a need for any of them.
I rush Mejai's. I generally dislike the item, as people seeing you with it, and seeing it get big will try to focus you. Evelynn's my exception to my "no snowball" rule, as she's very, very difficult to hunt down and kill. (provided that you learn how to stay alive). I've experimented with rushing lich bane, but I found I didn't have the AP to actually kill people.
Boots of mobility: you need to get around fast. Your ultimate + these boots + ghost (for when you really need to move fast) you can break almost 600 move speed. So, you see a fight going on across the map, you can get there in time to finish the person off.
Lichbane: The last core item. This essentially doubles your burst (not quite, more like 80%), and has the effect of every two seconds, your AP is added to your attack. (Since you can spam hate spike faster than that). This means your first kick will do massive damage against someone (after the opening), and two seconds later, the next kick will do massive damage. This item is needed.
After the core, it's up to you. Some item choices that I've found work are listed below:
Zhonya's ring: I almost always gte this for the massive AP boost. I can think of one situation to activate it, when you're stuck in the middle of their team, for whatever reason, and you're team is fighting them, and you can't run. In ~70 games, I've never activated it.
Deathfire Grasp- combined with hex gunblade, you get one of the highest bursts possible. You open with a regular attack to stun, DFG them, ravage, kick, gunblade, hate spike (all hitting close to the same time), and you deal a LOT of damage. I've been able to take 80% off of a tank with this.
Void staff: 40% magic penetration? Yes please. Get this over abyssal specter- you'll rarely be with your team to take advantage of it.
Rylai's: If things are going all wrong, and for whatever reason, you need a bit of extra survivability/you want to be able to slow your opponents. I've only gotten this when fighting another Evelynn, at which point I grabbed an oracles and stuck with my team.
Runes: I know very little about runes, I'll be honest. Please don't downvote just because of this- I'd suspect early game survivability, flat AP, and possibly move speed would be best. (HP quints, flat AP across the board, maybe a mana section) Early game is your biggest issue, late game you're fine- rune as you must to be able to get through it. I'm open to suggestions about them.
Early game: You want to focus on last hitting minions. You're very, very fragile, and a great target. I have been able to get away with ganks at level 1- thus the ignite. You can hop up a lane, and go for that fast gank. If your opponent has a jungler, and you've picked smite, you can hide in the bushes and steal the blue buff, or you can try to flat out kill the jungler.
As for the lane I pick: If I'm on bottom, I'll pick the top lane. If I spawn on top, I'll lane on the bottom. The reason for this is the round-about rush distance to the tower- It's easier to get to the tower from behind picking lanes this way. You CAN tower dive once you have your ultimate, as long as you know you can finish it with one hit. (And considering how much ravage does, one hit is a lot). If you get your opponents low, rush behind the tower, quickly see if they're running back still- if they are, give chase till the second tower (being cloaked all the time!! It won't work if they know you're there XD). If they run all the way past their second tower, not much you can do. If they choose to "hide" in the bushes, go in and kill them. Stand next to the first or second tower, kill them. Your ultimate will give you the life and speed boost needed to survive this, assuming your opponents don't see you coming. Knowing if you can actually one shot them or not takes lots of practice.
Keep an eye out for weakened people in other lanes, and I have a preference for randomly cloaking. This can keep people off of your tower if you're mid, or if you're in a side lane, it gives you time to reach another lane before MIA is called. If they call MIA every time you cloak... boy who cried wolf. They'll start getting less wary of "evelynn MIA" calls, and then you have a chance. Or they'll be wary every time, and not push out. Good teammates are needed for hunting down weakened players.
Ganking a bunch, even with boots of moblity/teleport to help you out will result in a level deficit. Once in awhile, stop, go jungle/solo a lane to get those levels back, then go back to what you were doing. You can't gank someone 5 levels higher than you with much success.
Team fights: If they're smart, they'll have two people with oracles, they won't travel alone, and they'll have a healing support to prevent anyone from getting too low on HP. Any one of those missing, and you have free reign. Ask your teammates to focus down people with oracles. When a fight occurs, I'm not with my team- I'm generally hiding in the bushes/jungle behind the fight, waiting for people with lowered hp to head back to base. The moment one does, I go and kill them, then run back to the bushes to stop them from hunting me. I'll run around, getting in position while cloak cools down, then repeat. I've gotten 4 people one after another like this- the last person my team killed off. If the person with oracles is weakened, and in a team, hit your ultimate and ghost, and sprint for the kill. You have a move speed of ~600, and not too many people have the reflexes to manage to kill you before you finish off the oracles person- then try to run. If your team is good, they'll also engage.
If you get in a fight with someone, and you find you can't actually drop them, don't be afraid to run. You can outrun anyone (without crowd control), and take advantage of this. I had a sivir run from me once, starting at the top tower. I cloaked and followed. I caught up, and she died. After 5 seconds, remember, your boots of mobility go to move speed 5, and your ultimate also provides a nice speed boost. You can't run from Evelynn. (I've caught a fleeing teemo with his move speed activated) If there's a squishy in a team, and they have no oracles and limited CC, you can move in, drop the squishy from full, and bail, late game.
Rage: You will cause a lot of it. Mostly from the other team, as they thought they were safe, and suddenly they died. (Boom, headshot ^^). I've had an entire team raging at me (and my own team at the same time). Your own team, if they don't know Evelynn very well, will rage at you. Rage that you just "last shot" people, and nothing else, (partly true, you do your best to finish off people), rage that you don't stay in fights (you hit, you kill, you run your *** off- you're too fragile to stand and fight). Ignore it.
Notes: You're a support character, not a tank, not a carry, not anything else. You just play differently from other supports. Evelynn is EXTREMELY DIFFICULT to learn and play- it took me 30 games before I was getting a positive kill-death ratio. Please don't downvote just because you tried this, and died horribly your first game. The first dozen games or so you will most likely die horribly, it's part of the nature of playing Evelynn. However, after early game, you rarely, if ever, die. I've gone games where I haven't died at all, and gotten 18 kills. My first time using her I ended up with something like 1/16/5. Please leave feedback how this worked for you, and remember: you need practice with Evelynn. This isn't twitch. If downvoting you must, please leave feedback as to why, along with any suggestions you may have.


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Civil Union & Domestic Partner
Travel Assistance
Benefits Summary
Savings Bonds
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UPB Contacts
403(b), 457, SURS
403(b) Online Enrollment
Domestic Partner
Qualifying Event/ State Plan Changes
Benefit Choice
Employee Assistance
Recreation / Wellness
Shared Benefits
As a new employee, it is common to have questions about the retirement plans for which you may be eligible. The following information highlights important topics that may be of interest to new employees, including a checklist to make sure you meet important deadlines. You may also wish to consult with a tax advisor or financial planner at this time for assistance deciding which plans are right for you.
Retirement Orientation
You are encouraged to attend a Retirement Orientation session before enrolling in the retirement plans. These sessions explain the State Universities Retirement System (SURS) options and provide an overview of the optional 403(b) and 457(b) tax-deferred plans. Register to attend Retirement Orientation.
Participation in the State Universities Retirement System (SURS) is mandatory for all eligible University employees. The employee contribution to the system is 8% of the gross salary. University employees do not contribute to Social Security. SURS contributions are deducted from your pay on a pre-tax basis, and income taxes will be due when you make withdrawals at retirement. Eligible employees must select one of the three SURS plan options (Traditional, Portable, or Self-Managed) within 6 months of your date of hire. This is a lifetime, irrevocable decision.
Please note:
Employer contributions on the Self-Managed Plan choice do not start until a plan selection is made. If you are interested in the SURS Self-Managed Plan, it is in your best interest to make your selection as soon as possible.
An employee who first becomes a SURS member (or other eligible Illinois reciprocal system) on or after 1/1/2011 is considered a Tier 2 member under the retirement plan. It is important for you to review and understand the plan options available to you as a Tier 2 member. Please view the SURS summary chart for an overview of Tier 2 benefits.
For assistance in selecting the SURS plan option that is right for you, view the SURS Plan Choice Video and review the SURS Choosing Your Retirement Plan on the SURS website.
More information about SURS and the three SURS plan choices
SURS and Social Security
Federal Social Security does not cover University of Illinois employees eligible for SURS because the University does not contribute to the Social Security System. No Social Security taxes are withheld from your earnings. The only way to receive Social Security retirement benefits is if you have worked for other employers who have contributed to the Social Security System. However, under the Social Security law, there are two ways your SURS pension may affect or reduce any Social Security benefit. Please carefully read the Statement Concerning Your Employment in a Job Not Covered by Social Security.
Supplemental Retirement Plans
In addition to the required SURS retirement plan participation, University employees have the option to participate in the University of Illinois Supplemental 403(b) Retirement Plan and the State of Illinois 457(b) Deferred Compensation Plan. You can enroll in one or both of these retirement plans at any time.
More Information
Retirement Checklist for New Employees - covers time-sensitive retirement plan decisions and actions to take to enroll in retirement plans.
Rollover or Consolidation of Prior Employer Retirement Plan
Reciprocal Retirement Systems - for employees who have worked for other Illinois public employers, information on retirement reciprocity.
This information is provided with the understanding that it is a source of information and does not constitute legal, tax, or other professional advice. If legal advice or other professional assistance is required, the services of a professional advisor should be sought.


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On Tue, 2006-05-23 at 13:00 +0100, Jon Ribbens wrote: > Ville Skyttä <firstname.lastname@example.com> wrote: > > > The problem is that the line in the code for this link is Line 144, > > > not 133. > > > > I ran a few quick tests against some documents, and the line numbers > > work as expected in them for me. Without an URL to the "particular > > webpage" you experienced the problem with, there's not much that can be > > done to diagnose this further. > > Bearing in mind that documents can and do use CR, LF, CR+LF, > and sometimes a mixture of those options, to indicate line-endings, > sometimes there can be no single definition of what constitutes a > "line number". Sure. The next version of the link checker will outsource that problem to the HTML::Parser perl module, which is one reason why I would have been interested in hearing about useful use case URLs, to see how/if the change affects things in various scenarios.Received on Tuesday, 23 May 2006 17:28:03 UTC
This archive was generated by hypermail 2.3.1 : Tuesday, 1 March 2016 14:17:48 UTC


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This section contains 564 words
(approx. 2 pages at 400 words per page)
Part 4, Cecilia: Chapter 6 Summary
Sissy insists that Thomas Clinton stay in her mother's house for the night and join them for dinner. As Lorraine shows Thomas to the house, Son takes Sissy aside and asks her not to tell Thomas how old she is. Son insists that it would hurt Thomas' feelings to learn that Son and Rose married so quickly after she left him. Sissy suspects that her parents had to get married because her mother was pregnant and that this is what Son is trying to hide. Over dinner, Thomas is polite and answers all questions Sissy asks about her mother. It is a polite dinner, something Sissy thinks her mother would have been surprised by but proud of. Afterward, Son takes a bottle of whiskey and offers Thomas a drink. The men drink out on the back porch while Sissy...
(read more from the Part 4, Cecilia: Chapter 6 Summary)
This section contains 564 words
(approx. 2 pages at 400 words per page)


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text: Brian & Krysstal. A unique comedy double act. Blending music, deadpun comedy and silliness they have been working together on the London Comedy Circuit for the last eight years. They have performed at comedy clubs, universities and festivals in the UK, Germany, South Africa , Gozo and Australia, not to mention Spain, Denmark and of course… Peckham. After a very successful Edinburgh Festival 2008 where they run and compere Pear Shaped Afternoons they are now back in London gigging and flogging "Spudcast" their brand new CD. Two F*****ng Stars! A Scotsman. http//www.briandamage.net


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2 Broke Girls: Watch Season 3 Episode 17 OnlineMichelle Carlbert at . Comments
Control was the name of the game on 2 Broke Girls Season 3 Episode 17. But for each of the girls, that word took on an entirely different meaning.
Nicholas and Caroline's flirtation hits a new level when he shows up at the restaurant and announces that he wants them to get to know each other better. Considering the fact that he's married, there's not much more that Caroline needs to know, right?
Well, as it turns out, he claims to have gotten permission from his wife for him and Caroline to sleep together.
Will Caroline take him up on his offer once she gets the wife's blessing?
Meanwhile, Max and Deke are still head-over-heels in love and Max is getting a little tired of the nightly condom hunt. She decides to take things up a notch by going on the Pill, but things get a little awkward when Deke acts surprised by her decision.
Watch 2 Broke Girls online to see the episode and find out what happened.


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Vive le Papier
Electronique poster
As part of the exhibition 'Schoon of Schijn' we designed this poster
'Vive le papier électronique' is a self initiated exploration of Arabic letter forms and hand set technology as well as a celebration of futurism and the newsprint its manifesto was originally printed on.
'Schoon of Schijn' ('Fake or Fair') is an annual exhibition organized by designers and printers from The Hague. We participated in the first edition of this initiative to put the local design scene in the spotlights. A few months later we relocated our Dutch studio to Rotterdam. 'Vive le papier électronique' was on display in one of the houses on 'Happy Street' during the World Expo 2010 in Shanghai.
Dutch Pavilion, World Expo 2010
Happy Street
Schoon of Schijn (The Battle)


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Technologies for helping the elderly and disabled to be featured at Institute of Medicine workshopDecember 14, 2012
The Institute of Medicine will host a workshop Wednesday that will focus on current and emerging technologies that can help seniors and disabled individuals live more independently. Among the highlights will be the unveiling of an updated LeadingAge "Ernesto" video focusing on assistive technologies. One of the keynote speakers will be Joseph Coughlin, director of AgeLab at the Massachusetts Institute of Technology, who also was a top speaker at the LeadingAge annual convention in October. The daylong event can be attended in person in Washington or watched via live video webcast.
Administration proposal would ease Medicare coverage for SNF staysOctober 23, 2012
Federal health officials have agreed to changes in Medicare coverage rules that would make it easier for beneficiaries with chronic conditions to qualify for nursing home stays, outpatient therapy and home healthcare services, according to reports.
California nabs federal funding for home- and community-based program for Medicaid beneficiariesSeptember 10, 2012
California is the first state to get regulatory approval for a federally funded program aimed at keeping elderly and disabled individuals out of nursing homes.
State officials settle lawsuit to keep disabled out of nursing homesJanuary 17, 2012
Louisiana health officials will ask the federal government for 200 waivers that would allow disabled Medicaid recipients to receive long-term personal care services, according to the terms of a settlement.
State caregiver matching programs complement CLASS Act, study findsMay 09, 2011
Caregiver matching programs, which help elderly and disabled individuals manage their own home healthcare, are a good fit with various provisions of the Community Living Assistance Services and Supports (CLASS) Act, according to a new study.
Nursing home raids continue near Chicago; police arrest four residentsApril 21, 2011
Police arrested four nursing home residents Tuesday in a Chicago suburb during a raid orchestrated by Illinois Attorney General Lisa Madigan, part of a series of unannounced visits.
Government releases funding to help older adults navigate long-term careSeptember 28, 2010
Department of Health and Human Services Secretary Kathleen Sebelius on Monday said $68 million in grant money is available to help seniors, the disabled and their caregivers better understand options for long-term care.
Medicare less effective for younger disabled than for older populationAugust 16, 2010
Besides the millions of older recipients on Medicare, more than 8 million younger, disabled individuals receive benefits. But a new report finds that the system doesn't work as well for the younger beneficiaries.
A whiff of progress: Researchers develop sniffing device to allow disabled to communicate, move aroundJuly 28, 2010
A technological breakthrough could allow the severely disabled to use their noses to communicate and even maneuver wheelchairs.
Three states fail to house disabled in most appropriate settings, DOJ arguesMay 27, 2010
Justice Department court briefs filed in Florida, Illinois and New Jersey allege that the states have failed to comply with the Americans with Disabilities Act and the Supreme Court's Olmstead decision, which deals with the rights of the disabled.
GAO: Elderly, disabled voters still confront access problemsOctober 29, 2009
The Department of Justice should do more to ensure that elderly and disabled individuals have voting access, a recently released report found.
Doctors feel stressed working with surrogate decision makers, study findsSeptember 09, 2009
Approximately 20% of doctors are not comfortable working with a severely disabled patient's surrogate decision maker, according to a new survey.


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And so we come to the end of our Welles File, comprised of all films Welles had some kind of hand in—director, writer, actor, producer, narrator—which I saw 1952-1970 and noted with comments in my movie card-file. I didn't actually meet Orson until late in 1968, and then had a complicated relationship with him until his death in 1985 at the age of 70. A book of interviews we did, This is Orson Welles, was published in 1992, and revised and enlarged in 1998 (the Da Capo edition, still in print). He was perhaps the most many-colored personality I ever met, and among the most influential in my life. It was not always an easy relationship, but even at its most difficult, there was much to be learned. I'm sure it also wasn't easy being Orson Welles: his genius caused him a great deal of difficulty, and a complex set of reactions from all who came to know him. Bottom line: I did love him, and miss him still.
A MAN FOR ALL SEASONS (1966; d: Fred Zinnemann).
1966: Fair- (A sad movie: the acting and the screenplay are both excellent and the story of Thomas More's struggle against Henry VIII is most compelling; the sets and costumes are fine and the color is quite good; all that's wrong is that Zinnemann, in almost every scene, puts his camera in such a way as to frustrate the viewer's interests and emotions. He cuts away from a face we want to see just when we want to see it, or stays away when we want most to be close; he has not substituted, however, with any visual artistry; in this respect, he remains as pedestrian as always. That the actors and the script command as much attention as they still manage to is the greatest proof of their excellence.)
Added 2014: I remember once asking Welles about this film, in which he had a small but memorable role, and he told me with some sardonic amusement, that Mr. Zinnemann had said to him in a very sober tone what a "great honor" it was for Orson to be in the cast of this motion picture. Then OW laughed his earth-shaking laugh.
CASINO ROYALE (1967; d: Robert Parrish, Joseph McGrath, John Huston, Ken Hughes, Val Guest).
1967: Poor- (A producer's picture—whenever there is more than one director, it is a producer's film—and this is one of the worst ever made—a tedious and unfunny spoof of James Bond; the best work is Parrish's and it's probably his worst.)
THE TEN DAYS THAT SHOOK THE WORLD (1967; d: Gregori Alexandrov, Norman Swallow; narrator: Orson Welles).
1967: Fair- (Interesting Russian-British documentary about the Russian Revolution, its seeds and growth through the October, 1917 revolt; a lot of footage from [Sergei] Eisenstein, some fascinating newsreel stuff, clear narration. The emphasis is on Lenin, but it does its job as a television documentary—it explains something of the history.)
I'LL NEVER FORGET WHAT'S 'IS NAME (1968; d: Michael Winner).
1968: Poor (Orson Welles, as the heavy, is more likable and more admirable really than anyone else in this highly pretentious, generally repulsive British comedy-drama about a young man who quits his job — in advertising, of course — in order to find a job with "integrity" again; when the film isn't boring it is annoying, and there is far too little of Welles and much too much of Oliver Reed and Michael Winner.)
FALSTAFF (CHIMES AT MIDNIGHT) (1966; d-s: Orson Welles).
1969: Exceptional (A bittersweet, melancholy tragedy of friendship and betrayal, adapted brilliantly by Welles from five Shakespeare plays, chronicling the relationship between Falstaff and Prince Hal, who becomes Henry V. Great performances, especially by Welles, breathtaking photography, and a movie imagination that is unique and beautiful; the famous battle scene is a tour-de-force, but no more so than many of the subtler sequences.)
Added 1969: (Thematically consistent with all of Welles' investigations into the corruptibility of power and the death of a better time.)
Added 1969: (A really beautiful movie, though the sound track is decidedly flawed by poor lip-sync and muddled dubbing; but it's visually enchanting and all the performances are superb. There are not enough great speeches — Shakespeare after all didn't write a play about this character — but it is nonetheless a commanding achievement, one of Welles' most personal and touching.)
Added 2014: This was Orson's favorite among his own films, a project he had started way back in the 1930s when he adapted a number of Shakespeare plays into a composite drama called Five Kings, which closed out of town. He did a stage production of Chimes at Midnight (his preferred title) in Dublin before starting to shoot the picture. Besides Welles' magnificent portrayal of Jack Falstaff—a role he was obviously born to play—the greatest performance is John Gielgud's as King Henry IV; his soliloquy about not being able to sleep is one of the great highlights in this amazing and memorably elegiac masterpiece. At the time of its limited and rather poor release in America, The New Yorker critic said we owed Welles a considerable debt of gratitude for giving us basically a new play by William Shakespeare. Right on the money.
HOUSE OF CARDS (1969; d: John Guillermin).
1969: Poor (Orson Welles' presence is the only inducement to see this miserable, confusing and creakingly dull "thriller", but he barely has four scenes — all of them terribly short; which must have been nice for him, but makes the picture pretty unbearable for us. When he is on — as the heavy –- the film comes briefly, flickeringly to life; the rest of the time, one can happily nap through George Peppard, Inger Stevens and Guillermin's aggressive incompetence.)
IT'S ALL TRUE (1941-43; unfinished; d: Orson Welles, Norman Foster).
1969: Difficult to tell from this uncut, raw footage what the final film would have looked like; but there are so many beautiful things and so many intriguing ones that it's terribly sad the project was aborted. Clearly, it would have been an original and very unusual documentary. Foster's footage is more conventional, but evocative nevertheless and everything is beautifully photographed.)
THE IMMORTAL STORY (1968; d: Orson Welles).
1969: Excellent * (Haunting, mournful story of old age and futility told very simply and evocatively color-photographed. Brilliant performances and a pervasive mood of melancholy. As personal as any of Welles' films and as darkly poetic.)
Added 1969: (More powerful and affecting than ever before – an eloquent tragic work.)
Added 2014: Based on an Isak Dinesen short story—she and Robert Graves were Welles' favorite writers—this was Orson's first picture in color. Originally made for French TV, it is limited in size, but has enormous reverberations in the subject of illusion vs. reality. Short but profoundly affecting, it is beautifully played by Jeanne Moreau. It is a modest work, somewhat like chamber music, yet as memorable as any of Welles' more ambitious projects.
THE SOUTHERN STAR (1969: d: Sidney Hayers).
1969: Fair (An improbable comedy-adventure-romance about assorted characters lusting after a huge white diamond in turn-of-the-century Africa. George Segal and Ursula Andress are the stars, but Orson Welles steals the picture with several delightful scenes as a gay Aussie diamond hunter.)
THE HEARTS OF AGE (1934: d-s: Orson Welles).
1970: (Fascinating discovery – Welles' first film work: a five-minute abstract film about old age and death with Welles at 19 as a kind of jovial Satan. Weird, surreal, done with considerable flair and audacity, it shows already a marked and daring talent for the medium.)
CATCH-22 (1970; d: Mike Nichols).
1970: Good- (A surrealistic comedy-drama that begins as a kind of intellectual Sergeant Bilko and degenerates into comic strip Kafka. Excellent performances by Orson Welles, Marcel Dalio, Alan Arkin, Anthony Perkins and all the rest but by no means the great film that Nichols intended it to be.)
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text:
My name is Sebastian Champlain, I'm an experienced game artist and I'm available for hire. Here's a few samples from my portfolio.
You can find more samples on my website, www.sebastianchamplain.com. My rates and how I operate are as follows:
My hourly rate is $40 an hour. If that sounds a bit steep for your budget, please consider the following break down.
-Concepts-I draw concepts in 15 minute sessions, so the first session costs $10. I require a deposit of $10 before I begin a concept session. If you like what you see, we can continue to another session of concept art or refine something that might interest you, or we can even move on to full color game art.
-Full Color Game Art-Full color game art usually takes me anywhere between 30 minutes to 6 hours to complete depending on the complexity of the art. A simple flat color character design takes 30 minutes to ink and color ($20). A complex character design can take up to 3 hours to complete ($120).
Simple background art takes me an hour to complete ($40). Detailed backgrounds take me 2-6 hours to finish depending on the complexity ($80-$240). If you need the art tiled or for the character's body parts broken up for puppet animation, it takes a little longer, because I have to work in many layers and move between them while working. I require a minimum of $40 upfront for the first hour before beginning a colored illustration.
After each session, I will send you my progress and total amount billed. I don't charge extra for taxes, research, materials, time for scanning and clean-up like many other artists. There are no hidden expenses. I require all transactions through Paypal. If you like my art and you are interested in hiring me for your next project, please contact me through my website.
Thanks for your consideration!
-Sebastian Champlainwww.sebastianchamplain.com
Sebastian is a very talented artist. Unfortunately though, after taking a 50% advance payment he never delivered any artwork for me, and gradually stopped answering my emails completely. I wasted a lot of money and two months waiting, causing me to miss the Christmas period. All this after making me fart around printing, signing and scanning a paper contract... wtf. I had hoped to be coming back to this thread with a positive testimonial, but unfortunately all I can give is a warning.
Chris Campbell,
That's simply not true. I sent you art throughout the process, and I have proof that you received them. Considering that the advance you paid only amounted to two days of work, and that I spent nearly two months on revisions for you, I feel I more than earned what little I received from working on the project.
I want you to know the context of your post isn't lost on me. Your comment is a clear and deliberate attempt to defame me, masked as a warning for other independent developers. Because your comment is libel, and due to the fact that I've already had to block your email in an attempt to disengage with you, I ask that you now cease and desist before this gets out of hand. If this continues, I will be forced to seek damages.
It's good to see you are alive at least, I thought perhaps you had a bad car crash or something. Your last email to me about a year ago reads "Great! I'll make the gloves smaller and continue to work on this." Is that what you call 'an attempt to disengage' with someone? Very strange. If you felt that you quoted a price that was too low, why not just say so, perhaps we could have arranged something else, or at least I could have known to look for another artist instead of waiting around wondering what had happened to you.
Well clearly one of us is not telling the truth here. Anyone interested in following the full story can mail me at iforce2d at gmail and I will forward our entire mail conversation, they can decide for themselves.
It's true that I did receive some artwork, but these were concept sketches and nothing I could actually use in my game. Sorry for overstating that. The pertinent fact is, I did not receive any of the 59 images which were expressly stipulated in the contract, which was what I was paying for.
For your part, saying that the advance I paid was only two days work, and saying that you spent two months on it are very misleading. The contract says the advance is 50% of the project, and the project is 59 images, it does not say anything about x number of days. But if you claim the advance amount is only two days work, then the whole contract should be about four days... so how could you spend two months on it and still not have any of the 59 images done? Yes, it was indeed about two months between forming the contract and your last email, but not much seemed to be happening, and there were multiple times I didn't even hear from you for a week or so. Deciding that you 'feel you more than earned' what you received and then going silent is not the smart way to do business.
By the way a statement is not libel or defamation if it's true. It's me who should be seeking damages for breach of contract, and I probably would have by now but I wasn't sure if you were actually alive still.
If it makes you feel better you are not the only artist who fucced me over on this game before I eventually found someone who could just get it done without any drama (although not as nice artwork as yours of course). I am already designing my next game to not need any artists at all, I don't want this kind of headache any more.
i did dozens beautiful projects (yogamen.net) and never payed per hour)) Just for the finished project/scene/image. I Don't belive in a hourly work.. and do not advise for you.


text:
Presented by:
Muhamad Dhalin Bin Hassim
Mohd. Firdaus bin Ahmad
Hamka Bin Ahmad
Wilson Manjan Anak Karon
Wan Mohd Azmi bin Che Ismail
Product Description
Product details
Automatic laundry suspension is a new innovation that combine the rain sensor technology and mechanize pulley where this technology is design to solve the problem on wet clothes causes by rain.
Easy, convenient and save time.
Application of the product
INSPIRATION? (pulley machine +rain detector)
Rain detector will be place on the top where and the motorized pulley will be put at the bottom and the pulley gear will place at the join so it can pull the suspension in and out.
Market Share
Automatic Laundry Suspension
Company aim/target
Improve lifestyle with technologies
Changes for Better
Next Innovation Enterprise is a manufacturer and inventor of new product.
The business is based on daily life needs combine with electrical and new technology to the product
Automatic laundry suspension is a combination of the suspension with electronic system with the combination of several sensors such as rain sensor and dark sensor
The main target customer of the product are from the group of professional, housewives, working men and women.
Market size for our product will be share with our competitors which are on-ground-built laundry suspension and moveable laundry suspension.
Gross profit for the first year is = RM 210, 200.
Feature of Product:
Safety feature such as motor cover, knob, and safety switch, Energy efficient and automatic, Voltage usage from 12V to 300V, Accommodate 10 kilogram to 20 kilogram of clothes, Detect rain by moisture content in air, Automatically pull the laundry suspension when rain without being control remotely, The Automatic laundry suspension can be turn off when not in use, It is easy to use and user friendly, Help to solve space to dry laundry in flats
Opportunities for the expansion of product line:
OPPORTUNITIES; individual, laundry business, fabric industry,
Flats, bungalow, single story house or double story house and in condominium.
EXPAND; by improve the motor power and capacity that the Automatic laundry suspension can bear.
Development of the Product
Proprietary feature of product
Automatic laundry suspension has been registered under technological inventions on May 2013 accordingly to Patent Act 1983. .
Our product was patented to protect its being copied by other parties within 20 years without any permission.
Our target market: Jengka, Pahang.
Especially for working men and women and housewives.
Total population: 10 000 persons
60% X 10 000 = 6 000 persons
Price per unit : RM 380
Total market share : 6 000 X RM 380 = RM 2 280 000
Percentage of market share in the second year
Percentage of market share in the first year
Percentage of market share in the third year
Competition and Competitive Edges
Marketing Strategies
Organization Structure
Duties & Responsibilities:
Management Compensation & Ownership:
Supporting services:
Supporting Professional Advisors:
To make our daily life easier and better with the usage of technologies and mechanization.
In the future, our target is to makes the automatic laundry suspension multifunction and produce it in lower cost.
Project Implementation Cost
Cash Flow
Income Statement
Balance Sheet
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- slide 1 of 4
The internet can be a scary place, even for the most conservative of web users. One of the most critical protective urges is to keep your IP address anonymous, whether because you're reporting on human rights from within China or because you're just another user who doesn't like the idea of their identity being known to everyone in the forum. With Linux systems, there are a variety of powerful tools that can be used to make your computer that much safer—including the use of proxy servers.
There are many types of proxy servers, not all of which are useful for security purposes. Content filtering web proxies, for instance, can be used by web administrators to deny access to certain web sites, and hostile proxies can even be used to eavesdrop on other people's web use. Some proxy servers may even be used to cache web info to accelerate web surfing. To keep your computer secure, typically you'll be using some type of anonymizing proxy.
Essentially, an anonymizing proxy server is a server that acts as an intermediary between your computer and another server—in effect preventing all the random servers you normally connect to while surfing the internet from seeing your computer. The more layers of proxy servers between you and the rest of the internet, the safer you'll be—a technique sometimes called "daisy chaining".
It should be noted that the use of anonymizing proxy servers may not be perfectly secure. There are malicious proxy servers out there which actually record everything you send through them, including passwords and logins, to disastrous effect. Because of the anonymizing powers of proxy servers, many trollers and spammers use them which in turn leads to many forums banning the IP addresses of known proxy servers - more an inconvenience than anything.
- slide 2 of 4
Tor Project
The Tor Project is a free software for users of any operating system to take advantage of "onion routing", a technique that essentially swathes your computer in layers of proxy servers to hide it from other servers. If you're a Firefox user, there's even a Tor add-on that you can install to streamline the process considerably.
Tor has some major disadvantages, however. Because Tor uses so many different proxies, even compared to other proxy server security methods surfing the internet can become a painfully slow process. While there are methods to speed up it up somewhat, they are very intensive to install and tend to be very trying on RAM. Tor is also vulnerable to very specific types of computer monitoring, such as looking at the timing of the requests between the different proxy servers.
- slide 3 of 4
Web Browsers
For those looking for less user-intensive security, Firefox and its massive user database of add-ons has rendered a significant number related to quick and easy handling of proxy servers. In addition to the aforementioned Tor add-on, there are also many free, open-source add-ons. The most complete of these is FoxyProxy , which offers the most features that can help you anonymize your surfing with ease. Proxy Toolbar lets you manually set your http proxies, while Environment Proxy lets you quickly modify environment variables more specific to Linux machines.
Other web browsers offer similar, though not quite as vast, options. The KDE-based web browser Konqueror offers limited proxy management, for example.
Other web browsers offer similar, though not quite as vast, options. The KDE-based web browser Konqueror offers limited proxy management, for example. Google Chrome for Linux by itself is also limited with regards to its proxy management, although as with Firefox there are suitable addons such as Proxy Switchy! Google Chrome for Linux is rapidly growing, so keep an eye out for more changes with regards to proxy management.
Just as with any proxy server, using any of these will slow your internet surfing down considerably—in general, the more proxy servers, the more secure, but the slower the use. Find the balance is between the two that suits you best!
Just as with any proxy server, using any of these will slow your internet surfing down considerably—in general, the more proxy servers, the more secure, but the slower the use. Whether that's worth the cost of security or not is up to you.
- slide 4 of 4
Manual Setup
Maybe you're a little more hardcore than that and want to set up your proxy servers manually. What you're probably going to want to do is set up a SOCKS proxy server. Creating and configuring it for yourself is a very intensive process, but it can be worth it to have set it up yourself and not depend on 3rd person applications. Here is an excellent guide to manually setting up firewalls and proxy servers on Linux systems.


text:
www.nettime.org Nettime mailing list archives
|| f | | | 3 on Fri, 15 Oct 2010 11:21:00 +0200 (CEST)
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|<nettime> [n2o {AT} ggttctttat.com: 3 messages]
[digested {AT} nettime] ----- Forwarded message from | f | | | 3 <n2o {AT} ggttctttat.com> ----- From: | f | | | 3 <n2o {AT} ggttctttat.com> Subject: \\ DJ.Spooky aka DJ. D.U.M.B_A.Y --- dz.zputn!k !z 1x fn jankee Date: Thu, 14 Oct 2010 00:03:42 +0300 To: nettime-l {AT} kein.org dj. spooky had 1x go {AT} thinking: > Another scenario: consider the mysterious case of Netochka Nezvanova, a Web-based software agent for the art/multimedia collective NATO. > Basically, Netochka is a video-remixing software that posts to mailing lists and sends really bitter email to anybody who crosses ??her.?? > > Think of her as an update to Walter Benjamin?s ??The Work ?the remix is ??persona in the age of mechanical reproduc- tion?? > or even better?just plain ??no one no where???which is how the name ??Nezvanova?? translates. > > For someone who doesn?t exist except as a series of angry emails that are posted on Nettime and on a couple of other list- servs, > Netochka Nezvanova has a really hardcore reputation. She?s a computer programmer. She?s a polemicist. She doesn?t like it when > someone ??talks?? back to her. She?s a performance artist. She?s an attack journalist, like David Brock on steroids?a hyperpolemical > critic of capitalism and fascism, as well as a capitalist and a marketeer. She markets software. She doesn?t exist. But a lot of people > know about her and use her products. Her software Nato.0+55 (made obsolete by a lot of developments in the video ??VJ?? software scene) > was once one of the mainstays of the digital video scene: anyone who was cool used Nato to process and create a lot of the weird images > you?d see when you went to some wild party downtown?it was used to manipulate video for live performance and installations. > But Netochka herself is a work of art?a ??person?? made of text?an online fiction many years running that?s one of the Net?s great word-of-mouth stories h - Yo. Zpuuut.kiii. Yuaz'a !gno.rant mo-4 End nooooo D.Z. ! d?.nut luki doun doun daun on jank+e URA.p.p.p.p.erz http://0f0003.com/data/pikz/isea09/ Seriously Spook.e - Whodaftaughtya2thinkb +? U.R.A.F.D!Z.GRRRASZ http://www.youtube.com/watch?v=2WQE_vZnUCc&feature=related + \ \ \ ? F \ ? ? \ ? 3 \ \ \ n f : \ kK a n i e t z fF i l m a \ NU VA LASATI. PRO.gre.SS = INEVITABLE | 3 k ? r 0 0 F 03 . k ? m 0 ----- End forwarded message ----- ----- Forwarded message from | f | | | 3 <n2o {AT} ggttctttat.com> ----- From: | f | | | 3 <n2o {AT} ggttctttat.com> Subject: \\ funware Date: Thu, 14 Oct 2010 00:23:14 +0300 To: nettime-l {AT} kein.org > Fun with Software > A discussion with Annet Dekker and Olga Goriunova AKA 'Fun' with Public / Free Money. You 2 institutional parasites de ordinul 3 need 2 find something productive 2 do instead of defrauding the masses like 2 neo-liberal degenerate life f.orms. dzat u r. Since undoubtedly you're 'physically challenged' give pula.fashion a try. >Matthew Fuller: 'Fun' is an interesting term to use, I bet MF. - - SSUKc_IT+C \+\ | | kons stency = dze l!m!t ov democrassy || ||9|| [p-un_kT-pr_o-T?k_oL] ? f ? ? ? 3 || herausgegeben v?m !nternat!onalen !nst!tut f:ur ordnung |+| d!sz!pl!n : / / www.0f0003.com Olga Goriunova is curator and Annet Dekker is co-producer (as part of aaaan.net) of the multi-venue exhibition 'Fun With Software' (in Bristol) and 'Funware' (in Eindhoven and Dortmund). The exhibition has many aspects to it, being in some ways a retrospective of certain strands in software art, a set of propositions about the nature of digital culture and an argument, made through the conjunction of works, for a fundamental appreciation of fun as an inventive lively force in all forms of life. This discussion was carried out by email in late September and early October 2010. Matthew Fuller: 'Fun' is an interesting term to use, it is somehow, juvenile, gleeful, grinning, something not as 'serious' as humour, or jokes, which have their literature and interpretations, nor does it necessarily correspond to the policy scam of 'creativity', or the industrial dimension of games. But yet, there's a quality of fun which links all these things and you have assembled some exemplary 'cases' of them here. What forms does fun appear in, in the exhibition? Olga Goriunova: 'Fun' for me is a force, an energy, an unfolding of a certain ensemble of curiosity, inappropriateness, going beyond and deviating from what is laid out or logically consequential to the current condition. Such an energy can be easily recognised in science, in art, as something traditionally acknowledged and aspired for, though more recently endangered through neoliberal framing in terms of usefulness if not direct profit. As such, the idea behind the show is to think how freaks run the world. The fun they have when poking at the screens of reality to discover other realities is what I imagine the concept of fun is about. Now, beyond shared qualities, there is a distinctiveness of fun in relation to, broadly speaking, computation and computers. Fun here becomes related to formal logic and repetition, to the question of where software starts and ends, to mental states, to what operations it can carry out on the world, to the cultures and usages of software, to its building upon itself, to its aesthetics. Humour often adjoins fun when software, but also its realm of production and operation, is tested against dominance, boredom, madness, power; the fun I am interested in can also be absurd rather than jolly. Fun lets one see the territories that are in-between computer science and digital folklore, the art and cultures of using conventional software. Probably, the juvenile aspect you are talking about is the unseriousness of fun, which is the bravery generally ascribed to youth to ignore the often self-inflicted order of 'seriousness'. Such seriousness is the effect of power systems, of orders of rationality producing forces that act in a manner that is 'more royal than the king'. And certainly, fun can be and is used then to update such orders to complexify the systems of reinforcement. The exhibition tries to attend to different aspects of fun. David Link reconstructs the 'Love Letter Generator' written in 1952 by Christopher Strachey, with Alan Turing, that predates all early generally known text generating algorithms. It produced beautifully absurd love letters on a Ferranti Mark 1 - one of the first electronic computers. . On production, the poems were hung around the walls of Manchester University, mystifying the students who came there to do something very serious. The work presents the complete working memory and processor of 'Love Letter Generator' which can be seen on 12 cathode ray tubes which the Ferranti used for memory, storing bits in phosphor. This work will be shown in the Arnolfini, Bristol, and for Eindhoven, David is working on 'Draughts'. Here is how David describes it: ' In 1947, the electrical engineers Frederic Williams and Tom Kilburn succeeded at the University of Manchester to construct the first reliable means for the volatile storage of information -- the Williams tube. Two years later, the device had evolved into the Manchester Mark I, arguably the first computer worldwide. The earliest major program for this machine was written in 1951 by an outsider, the school teacher Christopher Strachey, who had obtained the technical manual from a former fellow student, Alan Turing. The task of this software was not to calculate the trajectory of missiles, but to play the game of draughts (checkers).' In these various versions of the exhibition and with the overall concept, I try to present different time periods, problems through which fun manifests, be they visual aesthetic or functional, subjects or objects that have agency, cultures of producing fun and moments at which it can emerge. MF: Given these different time periods, how might you perhaps characterize them, how does the possibility of fun proliferate or diminish at different times in relation to specific kinds of computing culture? OG: This is a question to a broadminded historian. However, one could certainly say that there is a different sensibility to every time period, however hard it can be to give the exact dating. Here, David Link's work comments of the 1950s and challenges the view that computing was always heavily dominated by the military interests. Strachey and Turing, as demonstrated in the show, were also implied in the kinds of making sense of the world through the funny, peculiar and the absurd. Computing of the 1950s and 1960s still remained quite closed for wider tinkering. The 1970s and 1980s brought around home computers and 'script kiddies' avant la lettre, and a new era of fun begun, less like the absurdist fun of, say, the writer Daniil Kharms, but more homebrew and hands-on, with a distinctive materiality and aesthetic that is alive up to this moment. The 1990s were the years of the explosion of digital avant-gardes, very similar to the Soviet 1920s, where similar drives of inventing and establishing new orders could be sensed in unrelated domains and artists, computer labs of Universities, companies made up the languages of today. But again, if one changes the viewpoint and looks at the history of computer science, a different timeline could be developed, with brilliant humanist and humourous programmers, such as Dijkstra coming to the fore, whose acts and breakthroughs stand as milestones. MF: The first stage of the show, which has just opened at the Arnolfini in Bristol, proposes perhaps a more 'Geeky' aspect of fun, that suggests an interest in code, devices, unexpected solutions to newly imagined problems. Is there a particular relation to fun in geek cultures you are interested in here? OG: Certainly, there is a particular relation to fun in geek cultures. There is professional humour, the insider jokes, the obsession and dedication, cultures of enquiry and leisure, of building and maintaining the structures. I guess what interests me in this respect is the artistic nature of geekiness, for instance, the way in which objects and processes, projects that are thrilling artistic works are produced within systems of coordinates which are not interested in art at all. The proximity of ways of working and imagining, of letting things to be seen and experienced that are offered in certain 'geeky' work and art work makes sensible certain kinds of forces that traverse unrelated areas in making the world up. Take 'Tempest for Eliza' by Eric Thiele. This project is done by a programmer 'for fun'. It is there to explore the reality of TEMPEST - a secret service code word coined in the late 60-s - early 70-s for the using of and defending against 'compromising emissions'. Electronic devices emit electromagnetic waves, which can be caught in order for the original data to be reconstructed. Tempest for Eliza demonstrates this in a very precise manner: the software produces images ('one for each note in the song'), which are displayed by the computer monitor, which sends electromagnetic waves of very high frequencies, which are then caught by short wave AM radio. Here, the thoughtfulness and irony of the project are supported by the formalist coherency of the images produced; and the seemingly non-purposeful usage of a computer reveals the multi-layeredness and complexity of its materiality. The best examples of fun in geek cultures offer exactly that elegant complexity at the level of formalist qualities, meanings, frameworks, mixed with non-pretentiousness. As statements and ways of seeing, they are laborious, laconic and exact, like haiku. MF: As we've said, the show includes work from several time periods, things that operate as art, but also under other rubrics outside of art. Elsewhere, the idea of 'Digital Folk' is one way in which you have spoken about certain computing cultures, the sensibilities active here cross in and out of art, particular kinds of technicity. The show feels refreshingly unconstrained in this way... OG: As related to the question above, digital folk is a phenomenon that draws heavily on geek cultures. At the same time, there is a sense in which digital folk - a variety of cultures that use, adapt, produce software that makes and 'changes' sense in relation to labour conditions, states of work, certain aesthetic normalities, software operations and allowances, always stay minor. Digital folklore still awaits its dedicated scholar while certain times and kinds of it are becoming lost. At the same time, a part of it, along with software art, made its way into the world of iPhone applications where it is often detached from its operationality, of the ways in which it had a relation to the modes in which an OS works or hangs, to the joint subject formed in-between a desktop computer and its tense user. MF: The Runme.org site also appears in the exhibition. As a busy place for software art, what does it exemplify in relation to the theme of the show? OG: Runme developed most rapidly during early and mid naughties when software art was in the period of bloom. In my view, which other people of Runme might not share, it is included for the purposes of remembering. Such remembering is about a somewhat missing round of understanding of the 1990-s and early 2000-s which produced systems of coordinates and languages inhabited by, transformed, used and re-used, often rather violently, in the current sleek digital world. Here it probably makes sense to provide a short description of Runme for the purposes of reminding: "Runme.org is a software art repository created by all the people who used and contributed to it since late 2002. It offers an interesting and slightly ironic perspective on software art, and one that is rich in drawing upon programmers' cultures alongside the more self-consciously 'artistic' enquiries. Software art is a set of practices which focus on software as material as well as a machine for making sense of the world we are all implied in, and it works on destabilising some of its normalities. Hosting and linking to over 400 projects, along with features and texts, Runme.org is a project of self-organisation of an art current through the 'fun' of exploration that tries to be open, and its position of relative success is due, among other, to the perspectival humour and inclusive drive of its structure." MF: Is fun with software the only way to stop it driving you mad? OG: If you consider software to be the backbone of most management theory based processes that have an ambition to govern all aspects of life in most developed countries (that's in fact the topic of your and Andy Goffey's Evil Media Studies book, right?) then fun with software is not only a way to stop losing sanity but also a way to sneak out, which is maybe one and the same thing as one needs to get out in order to remain in. OG: I would like to say that this exhibition would never be possible without two people which decided on producing it: Annet Dekker and Annette Wolfsberger. Why did you decide to take it on? Annet Dekker: Software art is often still regarded as belonging to creative industries or nerds and not to experimentation, art or fun. We very much believe in Olga's approach to software art and wanted to emphasise its importance for art as well as its relation to the structure of society and show this to as many people as we could take on. We also share your view on the lack of historical recognition or understanding and certainly visibility of these kinds of works. We think it is important to present these works and we are especially attracted by the way Olga has framed the exhibition, not looking at it from a deterministic technological point of view or a merely aesthetic one but looking outside these almost traditional frameworks practiced in art and start with fun. It shows perfectly that art has a wider scope than is often addressed within the field. The focus on fun opens up the exhibition as well as the field of software art which for many, is a very closed territory consisting of and belonging to nerds, trained specialists or large business corporations. Similarly the concept of fun is not very much talked about and in relation to software often only seen as being about play, gaming and interactivity. This narrow view totally misses the depth or the implications software art and fun have. By presenting works that show different sides of software brings in new relations that hopefully people will recognize as being closer to their own experience and at best something they can actually influence if they wish to. OG: Annet, is there a relation between the theme and structure of the exhibition and the current layout of artistic, political, social interest in Holland and EU? Does the exhibitions' thematic fit a certain strategy or a missing discussion? Is there a way in which MU and Baltan laboratories saw themselves implied in such problematic? AD: I think it goes too far to connect the theme and structure to the current political situation in the EU or the Netherlands - although the issue of fun would in a way be a perfect vehicle to divert current issues. It would certainly be a welcoming addition in todays political climate as it may show things in a different perspective. As for the venues that were approached to show Funware we tried to find different environments to connect with and relate to in a manner that will open up the discussion of the influence of software. Arnofini with its history in performance and theatre was an interesting point of departure to think of or invest with software. MU on the other hand has an interest in visual culture of the here and now but it is foremost the quirky and approachable multidisciplinary approach of MU that made it a perfect place to connect to. At the same time Eindhoven as a city has a long history of innovation and research, where Phillips has its roots, and local organisations are keen to work together. Together with MU and Baltan Laboratories we ended up organizing an exhibition, an artist in residence (together with NIMk in Amsterdam and Piksel in Bergen, Norway), an extended educational programme and a symposium at one of the largest art&technology festivals taking place in Eindhoven, STRP. It's quite amazing that so many connections could be made in one city. In a way it reflects the diverse character of software art. In the end HardwareMedienKunstVerein brings these different perspectives together. HMKV has a long-term international reputation for display of new developments in both art and technology By choosing a thematic approach whereby technical art is seen as a means not as an end. It is their topical and conceptual discussion of our contemporary world based increasingly on media and technological structures which is also reflected in Funware. MF: Bringing together pieces of work from different times implies some kind of preservation or reconstitution of some works. I wonder, is there some kind of fun to this process itself? AD: Yes absolutely and in many different ways. It is the absurdism of trying to find a working plug, cable or network configuration just in order to see the authentic working. This of course relates to the practice of conservation in art where 'the authentic' is the most valued. And especially with software art it has become a bigger challenge to get to such an authentic experience. Rebuilding software is not only about assembling the objects and maybe slightly restoring them, but also about reconstructing the code by doing. The work by David Link is again a perfect example here. But there are of course also other methods, which aim at representing the work through documentation. Trying to reconstruct the context of the work and doing the interviews reliving the experience can certainly be fun. It brings up aspects that were long forgotten but which when recounted, shed a totally new light on the work, also sometimes for the makers. At times, one could argue that the documentation of a work might be better than the actual work. For Funware we try all these different methods, just to see what it brings; and in case when things don't work anymore we asked the artists to think of revisioning their work (as is the case with JODI's JET SET WILLY the making off). Making a new version by building on the past is a way to accept loss and at the same time an attempt to prolong the work. But it all can be very serious so it is important to keep a sense of humour as a means to prevent you from becoming too frantic. In the end we are presenting a new work by Dave Griffiths, Aymeric Mansoux and Marloes de Valk: Naked on Pluto - a game in Facebook, I'm already looking forward to seeing that being preserved! MF: One of the things that is the sheer variety of the formats involved. Some projects entail custom hardware, of several different sorts, that either 'quote' existing objects or invent new ones, others use conventional computing platforms. Some work exists fleetingly on networks of different kinds, one exists on paper only, others work with cracked or manipulated games or use computers primarily aimed at children. How do you see this diversity? AD: To me this is the whole point of the show, to present the sheer diversity of software art. It is not just the 'world of nerds', it's all around you, much closer than you think, and it can be accessed in many different ways and levels. OG: It is interesting that at a point in time, there was a discussion about the problems of presenting new media art in a gallery space, as a lot of such presentation took the form of a computer sitting on the desk. It was somewhat surprising to see now, how easily a very wide range of methodologies and conceptual structures could be gathered together. Probably, an easy answer is that with such a largely retrospective show as Funware is, the body of great work accumulated naturally exhibits a richness and diversity that only proves how interesting those years and explorations were. MF: Many mainstream accounts of computing propose that it becomes increasingly calm, intuitive, fitting into the 'flow' of everyday life and enhancing it. Others propose that it is not simply functionalist, but becomes a kind of event in itself, full of lots of bijoux treats, as for instance with some smartphones as mentioned already, animating daily routines with pleasure-design and things to fill time. Such figurations are perhaps most evident in HCI and user experience design or other forms of human factors. The work in this show however tends to step aside from these two poles in order to propose different kinds of thoughtfulness and experience in relation to software, each piece of work having its own characteristics of excitement, awkwardness, time-requirements, involvement and so on. Some of them are exuberant, but others, melancholy. You show us that, in places, software culture is, by several means, inexplicably richer than that which it is designed for. What might be the stakes in such explication? OG: I would not like to end up the interview by a pessimistic rant on the 'brave new world' that is speedily coming towards us, though everyone holds their breathe here in Britain, waiting for the cuts, new immigration rules, university tuition fees changes, and other kinds of governmental announcements. Now, it becomes crystal clear that a sheer possibility to play around, to do something useless that may become brilliant, to be obscure and absurd is fundamental to the production of culture we inhabit and the parts of it we admire, can disappear. This is a question of education, imagination, environment, ideology, time, idea of usefulness and of value, aesthetics and many other spectra. Software culture is not different, in this sense, from other domains. However, what is also possible is a new renaissance through the very renewing of the 'oppressed', as hard times are often very interesting And here, software is different, in terms of the kinds of control possible and implemented, by the types of network platforms or hardware popular and desired and also by the depth of its appropriation by the pure ideological management system of society. What can be done here now, remains an open question. Details: The Arnolfini edition of the show includes, 'Love Letter Generator' by David Link, Jodi's film 'All Wrongs Reversed (c) 1982', 'WIMP' by Laskin/Shulgin, 'Tempest for Eliza' by Eric Thiele, 'London.pl' by Harwood, 'Open Circuit' by Christoph Haag, Martin Rumori, Franziska Windisch & Ludwig Zeller and 'Runme.org'. Eindhoven's version of the show, produced by MU and Baltan laboratories, will be much larger and includes 'Auto Illustrator' by Adrian Ward, 'SVEN' by Amy Alexander, 'eRiceCooker' by Annina Ruest, 'Al Jazari 'by Dave Griffiths, 'Naked on Pluto' by Dave Griffiths, Aymeric Mansoux, and Marloes de Valk, 'wowPod' by Electroboutique, 'LOCUSOLUS' by Gazira Babeli, 'RETROYOU R/C STORY' by Joan Leandre, 'JET SET WILLY the making of' by JODI, 'Satromiser' by Jon Satrom and Ben Syverson, 'I/O/D 4: The Web Stalker' by I/O/D, 'Hardware Orchestra' by Carmen Weisskopf, Domagoj Smoljo and Roger Wigger, 'SimCopter' by RTMark, the above mentioned 'Open Circuit', 'Runme.org' and 'Textmode Quake'. The exhibition will then go to Hartware MedienKunstVerein in 2011. 'Fun with Software' Arnolfini, Bristol, UK 25 September - 21 November 2010 http://www.arnolfini.org.uk/ 16 Narrow Quay, Bristol 'Funware' 12 November 2010 - 16 January 2011 MU, Eindhoven (NL) www.mu.nl MU Emmasingel 20 5611 AZ Eindhoven The Netherlands 'Funware Symposium' during STRP Festival 27 November 2010 at BALTAN Laboratories in Eindhoven www.strp.nl www.baltanlaboratories.org www.mu.nl 'Funware' Spring 2011 HMKV, Dortmund (DE) www.hmkv.de HMKV at Dortmunder U Leonie-Reygers-Terrasse (formerly Brinkhoffst. 4) ----- End forwarded message ----- ----- Forwarded message from | f | | | 3 <n2o {AT} ggttctttat.com> ----- From: | f | | | 3 <n2o {AT} ggttctttat.com> Subject: Rapists / Parasites of the World, Raped by other Rapists / Parasites Date: Thu, 14 Oct 2010 01:04:39 +0300 To: nettime-l {AT} kein.org > > What is perhaps more disturbing however, are the openly hostile and > aggressive Internet user comments in blogs and on digg.com. Unlike in a > comparable situation only a couple of years ago, the majority of > commentators failed to see the highly parodistic and artistic nature of > "Pirates of the Amazon". The project was created by two students at the > Media Design M.A. department of the Piet Zwart Institute Rotterdam, one > of them being a student in the course, the other being an exchange > student from the New Media programme of Merz Akademie Stuttgart. The > work was part of a regular trimester project. We - jaromil, the project > tutor, and Florian Cramer, the head of the course - were the academic > supervisors of this work. We supported and encouraged it from its early > beginnings. What's more, we're proud to have such students and such > interesting work coming out of our teaching. > > Apart from its humorous value and cleverness, the project is interesting > on many levels and layers: For example, not just as a funny artistic > hack of Amazon.com and The Pirate Bay, but also as a critique of > mainstream media consumer culture creating the great "content" overlap > between the two sites. We clearly see this project as a practical media > experiment and artistic design investigation into the status of media > creation, distribution and consumption on the Internet. > Unfortunately for you, the entire event was paid for by tax payers. You can pose as 'artists' and 'hackers' but in reality you're domesticated pets kept alive by the system you oppose. And unfortunately, many of you have a v.unhealthy life style that thankfully (for you) isn't shared by the tax payers who finance you else the parasitical relationship would conclude. > With the take down notice from Amazon.com, our students have been scared > away from pursuing their art, research and learning in our institute. Imagine that. Tell those 'artists' that unless they also become 'academic supervisors' like you in the real world Rape carries consequences. Better yet, since you're so cool write software that rapes not only websites but the entire world. This way your students can practice for their future 'jobs' Don't surrender. YOU can do anything ... so long as the tax payers finance your 'art' your 'business'. your 'politics'. the PERPETUAL PROSTITUTION AND RAPE OF THE WORLD is permissible > We > do not want a culture in which students have to preemptively censor > their study because their work confronts culture with controversial and > challenging issues. Imagine that. A World Where Prostitution and Rape are Ubiquitous. Not only that, but where the victims must Enjoy it and Show it lest the Rapists / Pimps are traumatized .... the poor 'artists' Because ... > > We would like to gather statements in support of the "Pirates of the > Amazon". The students are turning their web sites into a documentation > of their project and the reactions it triggered. If you would like to > support them and contribute a short statement, please get in touch with > us. Because ... the difference between you and the larger RAPISTS / PIMPS / PARASITES is scale. You are a mirror of the degenerate thinking that goes in board rooms and congresses. You are the VIRUS + the ILLNESS = SIMPLY.UNCONSCIOUS.RAPISTS + PIMPS If the 'professors' are SIMPLY.UNCONSCIOUS hopefully the students will evolve beyond the nematode stage. -- ----- End forwarded message ----- # distributed via <nettime>: no commercial use without permission # <nettime> is a moderated mailing list for net criticism, # collaborative text filtering and cultural politics of the nets # more info: http://mail.kein.org/mailman/listinfo/nettime-l # archive: http://www.nettime.org contact: nettime {AT} kein.org


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03 Apr 2013
Nicole's Present Part One
Happy Wednesday everyone!
My younger sister Nicole's birthday is in another three weeks time!
I have never given her any of my handmade items before. (hmmm.. i'm not sure why too)
So i thought, this year it will be nice to make her something.
I will be giving her this sweet pink purse, my reversible bag (which i will make next weekend) and a set of this Audio Technica (my favorite brand ever!) earphones!
(Sorry, pls ignore the above black earphone, that belongs to Mr S, only borrow it as props.. heheh)
I love the grey with white polka dots fabric use in this purse!
you will be seeing more of them really really soon! ^^
Did you notice that my photos are not clear?
I've taken them using my Samsung Note 2, and it was super clear on the phone, but after uploading to here, this is the result.
Mr S told me that it is due to my resolution setting on my phone.
Argghh.. i have already taken a ton of photos which i intend to share this week. >_<"
We will see how it goes..
Have a fun mid-week!
xox Jean
p/s : Last night I have finished the last episode of The Walking Dead Season
It was a good ending! Now, i can't wait for Season 4 to start!


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The Bell'O B538KDB Metal Scroll Bed Frame exudes Victorian-era inspiration and creates an elegant centerpiece for master bedrooms. A beautiful ornate scrolling design mixed with a dark bronze finish easily blends into many styles of décor.
The Bell'O Metal Scroll Bed Frame fits a King Size box spring and mattress. The bed frame is constructed from durable, scratch resistant powder-coated steel for many years of pristine looks and sturdy use.
Model Number: Bell'O Bed Frame B538KDB


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Macclesfield Council Meetings
Come to a meeting.
Up Coming Council Meetings
Here you can find details of all the Town Council meetings along with the agenda's for up coming meetings and minutes from previous meetings
Types of Council Meeting
Full Council meeting
Manage the strategic delivery of all of the council's activities
Services Committee
Is responsible for the strategic management of facilities and services in the town
Finance Committee
Oversees the council's budget and spend
Planning Committee
Responds to the planning applications within Macclesfield
Personnel Committee
Meets to oversee the staffing of the council and its services.
Please note: dates, times and location may be subject to change. Please check published meeting agendas for details.
august, 2018
No Events


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Putting the "Pro" in Legal Process Optimization: Why Strong Legal Operations and Processes are Mandatory for Best-Run Legal Departments
September 22, 2015
By focusing on building strong operational infrastructure and optimizing processes, legal departments can realize quantifiable efficiency savings, improve relationships with business partners, and lower business risk. Learn how legal departments from the American Bar Association, British American Tobacco, and other companies have used legal operations to become best-run departments.
Learn more by downloading our white paper.


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The vast majority of the United States opposes intervention in Syria. The opposition is consistent across partisan segments: Democrats, Republicans and independents all are against a military strike on Syria.
And this is true even though 80 percent of the public knows that chemical weapons were used in Syria. So it is not a lack of information on that front that is behind the opposition.
As President Obama gets prepared to deliver an address to the nation to try to "sell" the idea of intervening in Syria, the question becomes, can he move public opinion in favor of intervention. Past history shows it will be extremely hard to do, if not impossible.
White House communications folks, speechwriters and presidential advisers love to put tremendous stock in the ability of presidents to move public opinion with "big" speeches. They love to raise the stakes and try to convince the media that these speeches are integral to leading the public on an issue.
But data show little impact on the public's views of policies or presidents from these addresses.
I have written before that if you take a look at polling data surrounding State of the Union addresses in the past 50 years, it shows little to no impact on views of the public. For the past seven presidents, where decent polling data is available, none was able to move the public in any real way.
Even looking at the speeches of the "Great Communicator" show that President Reagan was unable to seriously alter public opinion through "big" speeches.
Specifically, recent White House addresses that tried to move the country in favor of a war or military intervention have been universally unsuccessful. Once the country is negative on our using the military to accomplish a policy goal, the minds of the public are very difficult to change.
This is true for President Johnson's speeches on Vietnam, President Clinton's address on Bosnia and President George W. Bush's speeches on Iraq. All were unable to change the trajectory of the public on these conflicts over time. Let me say that very clearly. No modern president with a speech has been able to alter public opinion significantly concerning military action.
Will President Obama be able to go against history and move Americans to support Syrian intervention? It is remotely possible, but highly unlikely.
First, as mentioned, modern history shows presidents have met with very little success in moving the country to support an unpopular cause.
Second, after thousands of lives have been lost and more than a trillion dollars was spent in spent in the past 10 years in Iraq and Afghanistan, the country has war- and crisis-fatigue. We are tired and exhausted from wars that had very little benefit to our country, or to the world in general.
Third, trust in the government's ability to tell us the truth and do a job effectively is at an all-time low. As happens in our own personal relationships, once trust has been broken, it is nearly impossible to convince someone that things are different through words alone.
It takes a series of actions that rebuild trust before we will go along with the words of a person, or even a president.
Maybe the White House's goal in this isn't to change the minds of millions of Americans, but rather to change the minds of 535 members of Congress in the Senate and the House, so they will pass the president's resolution approving military engagement in Syria. That may be doable, but still very hard.
The Congress, many of whom face re-election and have heard the overwhelming voices of citizens opposed to Syria involvement, is not likely to be swayed by the president's address.
I would suggest the president take a moment, understand that maybe the country knows best at this time, and try again and work out a negotiated settlement. It is never good politics or policy to start from a place that a majority of the country is wrong.
For me, I would rather trust the combined wisdom of 300 million Americans rather than a few folks in Washington.
Ignore the communications folks. This isn't a marketing problem. It is a substantive policy problem and it is about rebuilding trust through actions and not words.
When people stop going to a restaurant because they don't like the food or trust that is healthy, changing the color of the menus, altering the decor and purchasing more advertising isn't going to help. Time to address a more fundamental problem.
There you have it.
Matthew Dowd writes for ABC News, where this post originally appeared.


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Best Performance
Beetle Cabriolet Sport 2.0 TSI 220PS Bluemotion Technology 6spd Manual with an impressive 0?62mph in 6.9 seconds
Solutions is the Volkswagen Personal Contract Plan, designed to help you keep all your options open.
You pay a deposit and fixed monthly payments over an agreed term then, at the end of your contract, you can either:
*Subject to mileage and Volkswagen Fair Wear and Tear guidelines.
Hire Purchase enables you to purchase your Volkswagen, without getting weighed down with a hefty payment up front. Instead, you pay a deposit and fixed monthly payments over an agreed term.
When you make your final payment (including option-to-purchase fee) at the end of the contract, the car is all yours.
A lease purchase agreement enables you to purchase your Volkswagen, but keeps monthly payments lower, by deferring some of the loan to the end of the agreement.
When you make your final payment (the proportion of your loan and option-to-purchase fee) at the end of the contract, the car is all yours to keep or part exchange.
Alternatively, you can apply to re-finance the final payment (spreading the final lump sum cost over an agreed term with monthly payments) subject to your status and satisfactory payment history.
Finance Lease is a rental agreement where you can choose to pay the entire cost over an agreed lease period or you can opt to pay lower monthly rental payments with a final rental payment at the end of the agreement.
Finance Lease customers do not have the option to own the vehicle at the end of the contract period.
The two different Finance Lease rental plans are:
Contract Hire is a straightforward hire agreement that does not have an option to own the vehicle at the end of the contract period. It is available for both personal and business customers.
You make fixed monthly payments (plus VAT) throughout the term of your agreement, then simply hand the vehicle back at the end of the contract.*
You will need to start thinking about ordering your next vehicle at least 6 months before the end of your current agreement to ensure you are not left without a vehicle.
Contract Hire customers also benefit from the Volkswagen Driverline service that provides you with a single contact number for all your motoring needs. Visit the Contract Hire section of our website to view available offers or call 0800 1384800 to talk to one of our team.
*subject to terms and conditions and Volkswagen Fair Wear and Tear Guidelines.
"Air conditioning, manual, Driver's and front passenger's combined head and side airbag system, ESC (Electronic Stability Control), including ASR and EDL, Remote central locking with 2 remote folding keys"
1.2 TSI BMT 105PS and 2.0 TDI BMT 110PS
6 Speed manual and 5 Speed manual
Band C - D Road tax £30 - £110 per year
From £21,625 to £25,605
"Alarm with interior protection, Alloy wheels, 17"" 'Orbit', Bluetooth telephone preparation, Body-coloured dash, door panels and steering wheel trim, Front fog lights, Multi Device Interface (MDI), Multifunction leather trimmed steering wheel"
1.2 TSI BMT 105PS, 2.0 TDI BMT 110PS, 1.4 TSI BMT 150PS and 2.0 TDI BMT 150PS
6 Speed manual, 7 Speed auto DSG, 5 Speed manual and 6 Speed auto DSG
Band C - E Road tax £30 - £130 per year
From £21,625 to £25,605
"Alloy wheels, 18"" 'Twister', Aluminium-look pedals, Ambient lighting, Climate control - 2zone, Front sport seats, Parking sensors, front and rear"
1.4 TSI BMT 150PS, 2.0 TDI BMT 150PS and 2.0 TSI BMT 220PS
6 Speed manual and 6 Speed auto DSG
Band D - G Road tax £110 - £180 per year
From £25,115 to £27,860


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Plans have been put forward to build 60 new homes in a north Northumberland village.
The Valley View Partnership has put in proposals for outline planning permission to the west of the Northern 4X4 garage, creating an extension of the village.
The plan comprises 60 homes in a in a mix of two, three and four bedroom units, with up to 250 residents living at the site when it is fully built.
Drawings for the scheme include setting out the homes in clusters gathered around landscape courtyards and mews areas, 'creating an intimate village community'.
Each property will also have car parking spaces, with up to four at the four-bedroom homes.
It is also proposed that a substantial 'landscape buffer zone' will be put around the perimeter of the site to reduce any impact on privacy of the neighbouring residential estate.
A statement from the design and access document for the application said: "There are insufficient opportunities for development within Thropton village and an extension represents the only option for growth.
"Development, which is of a scale and character appropriate to the village, will therefore be considered acceptable where it meets an identified need."


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Conducted by Kevin Griffiths.
This group was founded for the purpose of performing works composed by Steve Reich. Performances by the group can involve anywhere from 2 members to 18 (for performances of "Music for 18 Musicians").
Please do not confuse "Steve Reich and Musicians" with the "London Steve Reich Ensemble".
Note: As this is an ensemble, not a strict group, any ARs from liner credits for this ensemble, where possible, ought to credit the group, but also credit the specific performers from this group who actually apply.
Showing all release groups by this artist. Show only official release groups instead, or show various artists release groups.


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Availability: In Stock
- Description
Inspired by the Raw Beauty of Nordic Nature, By Nord Copenhagen's timeless designs combine strong lines and simplicity with powerful images and high quality manufacturing. Frej cotton pillowcase in Stone Grey colour, which is a classic warm grey tone, a timeless colour. A luxury pillowcase made from 100% eco cotton, so will stay super soft and beautiful for many years to come. Scandinavian palettes of tranquil colours for soothing & restful havens to evoke sweet dreams. They are made from enviromentally produced cotton it means we all sleep better as we are supporting sustainable and environmental issues too. Matching duvet cover is available seperately in this classic stone grey colourway to complete the set. Layer your bedding for a truly luxurious and cosy place to rest and dream.
- Details
Colour: stone, grey
Dimensions: 50 x 70 cm
Material: 100% Eco Oko Tex Cotton
Care: Machine washable.
By Nord products are high quality enviromentally produced products, the cotton is 100% oko tex certified which means no harmful substances are used in the production so it is enviromentally friendly. By Nord are known for their quality fabrics and colour schemes with a strong Nordic expression for simple luxury, beauty and quality to enhance you everday living.
- Reviews
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Van Service
Save time with Greymont's door-to-door van service. Pet pick-up and delivery are available for only $10 each way.
Areas served include, but are not limited to:
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Tech Agrifood 2013 Brokerage Event
to go
- 173 Participants
- 715 Requests
- Connect to people at this event
- Search for business matches
- Expand your business
EUROMED Business Meetings on Technologies and Innovation in the Fresh and Processed Fruits and Vegetables, Vine & Wine, Cereals Sector.
4th Edition.
Seeing the success met since 2009, the 4th edition of Tech Agri Food "Tech F&L" will take place the 3rd and 4th June 2013 in Marseilles, Le Pharo.
The concept aims at gathering various partners from 10 countries to create exchanges and opportunities to develop business, scientific, technological partnerships within the Euro-Mediterranean Area.
2 Days of Meetings :
Individual and personnalized meetings will be scheduled on the 3rd and 4th June 2013 according to the participants profiles selection among each other through the website. Up to 20 qualified meetings can be done on the 2 days !
3 thematic workshops, coordinated and animated by experts :
Greenhouses: challenges and solutions - Monday 3rd June from 11 to 12.30.
Information Technologies and agrofood processes : what's new ? - Monday 3rd June from 15.30 to 16.30.
Organic Wastes : innovative solutions for management and valorization - Tuesday 4th june from 11 to 12.30.
Since 2009, from 80 to 100 participants coming from 9 countries (Italy, France, Spain, Morocco, Algeria, Tunisia, Lebanon, Turkey, Germany) attend the matchmaking event and meet during 400 bilateral pre-arranged meetings.
For the 2013 edition , 120 participants are expected in Marseilles.
Why participate ?
Participants (106)


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Color the Turkey Balloon
It's time for a Thanksgiving Day Parade! This turkey balloon is flying high in the sky, above the clouds, but it needs some color to really soar. Give your child some great fine motor skills practice and get her excited about Thanksgiving with this holiday printable.
Click to find similar content by grade or subject.


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Miraco's Mira-Fount waterers are made out of durable, corrosion-resistant polyethylene plastic that is tough and can withstand high impacts from livestock interaction, and they all carry a 5-year warranty, according to Miraco. These watering devices use sloped, sealed bottoms to hold in water and make the waterers easier to clean of dirt and other livestock-related debris. Most of the Mira-Fount waterer models are also equipped with rolling ball closures that can be temporarily moved out of the way with a training bolt to help the livestock learn how to drink from the waterer when it is first introduced.Continue Reading
Mira-Fount waterers do not require energy to use. The patented ball closure system coupled with insulation around the waterers' valves helps keep the water from freezing in cold temperatures while also keeping it cool in hot weather.
Different Mira-Fount waterers may have slightly different features depending on size. For example, some of the smallest Mira-Fount models feature water capacities of less than 8 gallons, while the larger models can hold more than 100 gallons, reports Vittetoe, Inc. The waterers may come in different shapes and sizes, with larger-capacity models taking up more space. Mira-Fount waterers may also have specialized design based on which animals will use them, with some featuring taller water reservoirs.Learn more about Agriculture