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Welcome to the TimeKeepers International Limited Website. By continuing to use this Website, you are indicating that you accept these Terms & Conditions of Use. If you do not agree to be bound by these Terms & Conditions of Use you should immediately stop using the Website.
Please note that any purchases you make on this Website will be governed by our Terms and Conditions for Buying Goods Online
Please also read our Privacy Policy for details about data protection and how we use the personal information you give us through this Website.
- "We" and "us" means Timekeepers International Limited. Timekeepers is a trading name of Timekeepers International Limited.
- "Website" means the website at www.timekeepers-ng.com
- "You" means the person using the Website whether as a guest or as a registered user. The Website is intended for Nigerian users only.
Website content
All copyright, trademarks and other intellectual property rights in all materials or content contained in the Website are owned or licensed by us (unless otherwise specified) or are the property of third parties offering goods for sale or posting details through this Website.
Except as specifically authorised below, you may not do any of the following without obtaining our prior written consent:
- Copy, reproduce, distribute, republish, download, display, post, transmit, commercially exploit or create derivative works of any part of the Website. This prohibition applies, but is not limited, to the text, graphics, animations, photographs, pictures, data, images, audio and video clips available from the Website;
- Download, edit, reproduce or use any material and content contained within the Website for the purpose of advertising, promoting, endorsing or implying any connection with you or any third party;
- Utilise any data mining, robots, or similar data gathering/extraction tools to extract (whether once or many times) for re-utilisation, any substantial parts of the Website; or
- Create and/or publish your own database that features substantial parts of this Website (including without limitation prices and product listings).
You may print or download any page(s) for your own personal and non-commercial use only. If you have any doubts about what you can do, please go to our Contact Us page to apply for permission to reproduce the Website or any part of it.
Your obligations
You will not:
- Use the Website (or any part of it) for any illegal purpose and agree to use it at all times in accordance with all relevant laws;
- Upload or transmit through the Website (i) any computer viruses, macro viruses, trojan horses, worms or anything else designed to interfere with, interrupt or disrupt the normal operating procedures of a computer or (ii) any material, including without limitations, any comments which are defamatory, offensive, or of an obscene or menacing character, or that may cause annoyance, inconvenience or needless anxiety;
- Use the Website in a manner which (i) may cause the Website to be interrupted, damaged, rendered less efficient or such that the effectiveness or functionality of the Website is in any way impaired or (ii) violates or infringes the rights of any person, firm or company (including, but not limited to, rights of intellectual property, rights of confidentiality or rights of privacy);
- Create or publish a hypertext link to any part of the Website without our express written consent except that you may create a hypertext to the Website as long as the link does not portray us or our affiliates, or their products or services in a false, misleading, derogatory, or offensive matter. You may not use any of our logos or proprietary marks as part of the link without our express written consent (which consent we may withdraw at any time);
- Frame or use framing techniques to enclose any part of the Website or any content accessible on it without our express written consent. You will not use any meta tags or any other hidden text using our (or our affiliates') names, logos, brands or marks without our express written consent. Any unauthorised use terminates the permission or license granted by us to use this Website in addition to our other rights; or
- Attempt any unauthorised access to any part or component of the Website.
You warrant that by accessing and using the Website you will not be in breach of any laws or regulations that apply to you.
We may monitor any activity and content associated with the Website. We will investigate any reported violation of these Terms & Conditions of Use or complaints relating to the Website and take any action that we believe is appropriate.
Our liability to you
While we make every effort to ensure our Website is as accurate, current, complete or error free as possible, unless we are at fault we are not liable for any inaccuracies or errors which are beyond our reasonable control. In particular, we cannot guarantee that colours in our images will be rendered correctly on different computer monitors. The product dimensions supplied are intended to give an approximate indication of the size of individual products. Products shown may not be actual size. If you have any doubts about the colour, size or any other specification of the goods you wish to order, we recommend you Contact Us prior to placing an order on the Website.
The Website is provided, on an "as is" and "as and when available" basis without any representation or endorsement and we make no warranties of any kind, whether express or implied, in relation to the Website or its content offered on the Website.
We cannot guarantee that the Website is free from computer viruses, and you should take your own precautions in this respect. We will not be responsible or liable to you for any loss of content or material as a result of uploading to or downloading from the Website. If a fault occurs in the service you should report it to email@example.com and we will attempt to correct the fault as soon as we reasonably can.
We will try to make sure that the Website is always available. However, this is not always possible and access to the Website may be suspended temporarily and without notice in the case of any system failure, maintenance or repair or for any other reasons outside our control, as well as for any breach by you of these Terms & Conditions of Use.
We will not be responsible to you or any third party for any business loss (including loss of profits, revenue, contracts, anticipated savings, data, goodwill or wasted expenditure) or any indirect or consequential loss in connection with your use of the Website.
Links and third party e-commerce
The Website may contain links to other websites; these external websites are not under our control. We provide these links because we think they might interest you, but we do not monitor or endorse these other websites. We are not liable for such websites and cannot make any guarantees about them.
If you use our Website to deal with a third party (for example to enter a competition), it is up to you to read and comply with the Terms & Conditions and Privacy Policies of such third parties.
Please also see our Privacy Policy for more details of how we use your information.
Suspension or termination of the Website or Services
We reserve the right to suspend or terminate the Website or remove any of the services on it with immediate effect at any time, and without notice, for example if:
- There is a change in the law that limits our ability to provide the Website;
- An event beyond our control stops us providing the Website (eg: technical difficulties).
Changes to Terms & Conditions of Use of this Website
We reserve the right to change these Terms & Conditions of Use from time to time. If this happens, we will post the new Terms & Conditions of Use on the Website. It is your responsibility to ensure you regularly check these Terms & Conditions of Use to familiarise yourself with their terms and check any updates. If you do not wish to be governed by the revised Terms & Conditions of Use, please stop using the Website.
These Terms & Conditions of Use are governed by the laws of Federal Republic of Nigeria and you and we agree to use the Nigerian courts (specifically Lagos Nigeria) if there is any dispute between us.
If any part of these Terms & Conditions of Use is found to be invalid by law, the rest of them remain valid and enforceable.
User Content Terms of Use
These User Content Terms of Use govern your conduct associated with the customer ratings and review and the customer stories you may post or upload on our Website.
Your obligations when posting or uploading content
By submitting any content to us, you represent and warrant that:
You are the sole author and owner of the intellectual property rights in that content or that you have permission from the owner and you have obtained the informed consent of any subjects of the images and that any subjects featured in any such images are at least 18 years of age at the time such material was created;
- All "moral rights" that you may have in such content has been voluntarily waived by you;
- All content that you post is accurate;
- You are at least 18 years old;
- Use of the content you supply does not violate these User Content Terms of Use and will not cause injury to any person or entity.
You further agree and warrant that you shall not submit any content:
- That is known by you to be false, inaccurate or misleading;
- That infringes any third party's copyright, patent, trade mark, trade secret or other proprietary rights or rights of publicity or privacy;
- That violates any law, statutes, ordinates or regulation (including, but not limited to, those governing export control, consumer protection, unfair competition, anti-discrimination or false advertising);
- That is, or may reasonably be considered to be, defamatory, libellous, hateful, racially or religiously biased or offensive, of a sexual nature, unlawfully threatening or unlawfully harassing to any individual, partnership or corporation;
- For which you were compensated or granted any consideration
- Tthat includes any information that references other websites, addresses, email addresses; contact information or phone numbers;
- That contains any computer viruses, worms or other potentially damaging computer programs or files.
You agree to compensate and hold us (and our officers, directors, agents, subsidiaries, joint ventures, employees and third party service providers) harmless from all claims, demands and damages (actual and consequential) of every kind and nature, known and unknown including reasonable attorney's fees, arising out of a breach of your representations and warranties set out above or your violation of any law or the rights of a third party.
How we may use any content you submit
For any content that you submit, you grant us a perpetual, irrevocable, royalty-free, transferable right and licence to use, reproduce, copy, modify, delete in its entirety, adapt, publish, translate, create derivative works from and/or sell and/or distribute such content and/or incorporate such content into any form, medium or technologies throughout the world (whether in whole or in part, and whether cropped, adapted, altered or otherwise manipulated) without compensation to you.
All content that you submit may be used at our sole discretion. We reserve the right to change, condense or delete (without notice) any content on our Website that we deem, in our sole discretion, to violate the content guidelines or any other provisions of these User Content Terms of Use. We do not guarantee that you will have any recourse through us to edit or delete any content you have submitted. Ratings and written comments are generally posted within 2-4 business days from submission. However, we reserve the right to remove or to refuse to post any submission for any reason.
You acknowledge that you are responsible for the content of your submission. None of the content that you submit shall be subject to any obligation of confidence on our part, our agents, subsidiaries, affiliates, partners or third party service providers and their respective directors, officers and employees.
How we may use your details
By submitting your email address in connection with your rating and review or your stories, you agree that we, and any third party service providers, may use your email address to contact you about the status of your review and for other administrative purposes.
We may be required to disclose and shall disclose your identity to any third party who is claiming that any material posted or uploaded by you to our Website constitutes a violation of their intellectual property rights or of their right to privacy.
Checkout assistant service
When you use our online stores, such as [www.timekeepers-ng.com], details of any products that you seek to purchase and your email address may be collected as you fill in the Checkout form. If you do not complete your purchase we may contact you using these details to offer our assistance (in case, for instance, you were experiencing technical difficulties) and allow you to finalise your purchase.
You can choose to stop receiving our Checkout Assistance emails at any time by following the link at the bottom of each assistance email.
Terms & Conditions for Buying Goods Online
Welcome to the Timekeepers online service. Please read these Terms & Conditions for Buying Goods Online before placing an order. By placing an order using this service you are accepting these Terms & Conditions for Buying Goods Online. These Terms & Conditions for Buying Goods Online only apply to goods purchased online using this Website.
Definitions & general considerations
"Personalised Item" means any item that is created by us in accordance with your specifications (this includes but is not limited to any item with customised design, metals, stones or engravements, or which is printed, customised, or otherwise made or changed to fit your bespoke requirements).
"We" and "us" means Timekeepers International Limited. Timekeepers is a trading name of Timekeepers International Limited.
"Website" means the website at www.timekeepers-ng.com
"You" means the person using the Website to purchase any of our goods online.
"Working days" means all days other than Saturdays, Sundays and Nigerian statutory and public holidays.
By using the Website to buy goods online, you confirm that you are at least 18 years old, or, if you are under 18, that you are placing an order on this Website with the consent of your parent or guardian. We do not sell goods to children online, but we do sell children's goods for purchase by people over 18.
Please note that only residents of Nigeria may use the Website to purchase Goods.
Process for online orders and cancellations:
Ordering process and contract formation
By completing and submitting an electronic order, you are making an offer to purchase goods which, if accepted by us, will result in a binding contract.
Certain steps must be followed for a binding contract to be formed between us, which are described below. After you have placed your order:
- We will send you, as soon as possible, an email to acknowledge your order. It will confirm which goods you have ordered. This email is not an order acceptance from us and at this stage no contract is formed between us;
- When we despatch your goods from the warehouse, we will send you a confirmation email ("Despatch Email"). This email constitutes a formal acceptance of your order by us. This also means that a binding contract between us is formed and you and we are obliged to fulfil our obligations under that binding contract.
Important note regarding Personalised Items: The above order process does not apply in relation to your orders for Personalised Items. We will acknowledge your order as described in step 1 above, however the following order process shall apply:
- Payment will be processed and taken when the order is placed with us. This is not an order confirmation or order acceptance from us.
- Your order will go into production shortly after the order is placed and payment is processed.
- Once your order is ready for dispatch from our warehouse, we will send you a despatch confirmation email. This email constitutes a formal acceptance of your order by us. This also means that a contract between us is agreed and we are obliged to fulfil our obligations under this contract.
Please note that orders (whether for Personalised Items or other items) will only be despatched once we have authorisation from your payment card issuer. We will aim to inform you as soon as possible if there is an issue with the payment authorisation process or with any validation checks for your order. We will not accept your order if payment is not authorised. Where there are issues with the authorisation process or validation checks, your delivery may be delayed as a result.
We do not have to accept your order, and in particular, we will not accept your order if:
- We do not have the goods in stock/the goods in stock appear to be damaged;
- Your payment is not authorised;
- There is an error on our Website regarding the price or other details of the goods;
- You have cancelled your order in accordance with the instructions below
We will be in contact with you as soon as practicable (by email or by phone) in each of the above circumstances to discuss your options. We reserve the right to refuse any order.
Please note that some Personalised Items will be sent direct from a third party supplier.
Cancelling an order before despatch
If you change your mind after placing an order, you can cancel it at any time before we have sent our Despatch Email to you. Please see the Contact Us page for our telephone number and email. To cancel your order, you will need to give us your name and address details, as well as your order number.
If you cancel part of an order the postage and packaging charge is recalculated on the price of the goods you keep. This may affect your delivery charge payment. For example, if your order is for N72,000 worth of goods and you then cancel an N18,000 item, your order total will drop below N60,000, and you will no longer qualify for FREE delivery.
Please note the above does not apply to your orders for Personalised Items
Returning goods after despatch:
Cooling off period
When you order from us online, you are entitled to a cooling off period after despatch of your goods. During this cooling-off period, you can return your goods without any charge (provided the goods have not been used).
Our cooling off period is 21 days (from delivery of the goods to you) which includes any statutory cooling off period.
This period starts the day the contract is agreed and becomes binding (i.e. you receive a Despatch Email from us) and ends 21 days after the day following delivery of the goods.
Unless we are at fault (for example where you have received faulty items, or items which are not as described), certain items are excluded from the cooling off period guarantee: these include Personalised Items, as well as pierced items where their packaging has been opened (please also see our dedicated Personalised Items Order Section below).
Faulty goods
If you do receive faulty goods, please follow one of the procedures outlined on the How to Return Items page.
Returning a gift
Cash refunds for gifts can only be made to the payment card used to purchase the goods. So if you buy a gift online, the recipient will not be able to get a cash refund. if they want to return the goods but we will exchange the unwanted gift for another item to the value of the gift, provided the goods are taken at any Timekeepers Store within the Cooling off Period.
Returning goods
Please refer to our Returns & Exchanges page for details of how and where to return goods.
If you wish to return goods you have a duty to keep them in your possession and to take reasonable care of them until you return them. Please telephone us if you would like to return your goods and we will send you our UPS account number.
- If you received faulty goods, then returning the goods will be at no cost to you
- If however the goods were delivered to you in good condition, then you will be responsible for the cost of returning the goods.
Goods must be returned in their original condition, including immediate packaging, within the cooling off period.
Our lines are open 9am-6pm Monday to Friday.
Please note that we cannot refund or exchange an item if:
- The item has been used or in any way appears not to be in its original condition
- The original packaging of the item has been damaged in any way.
Our returns policy does not affect your statutory rights.
Delivery information
Free delivery applies only to the states where we have our stores (see list below) and are only on orders totalling ₦60,000 and above (including VAT) placed on the Timekeepers Website
- Lagos
- Enugu
- Oyo
To qualify for FREE delivery, the total amount of the goods (including gift options and engraving service) purchased after any discount voucher is applied, must be ₦60,000 or more.
Goods ordered must come to this total before any packing charges are added (where applicable).
We reserve the right to change or discontinue free delivery at any time.
We work with several courier companies and consequently can deliver to most parts of Nigeria. We however do not undertake delivery by ourselves consequently will only be able to deliver to places covered by our partner courier companies.
Please note that we do not deliver outside Nigeria.
When will I receive my goods?
We will send you a Despatch Email as soon as your goods has been despatched and you should receive your goods within 3 – 5 working days.
We will make every effort to deliver your goods in accordance with the timescales stated above. We will not be liable for delays in delivering your goods where such delay is due to reasons outside of our control.
Product availability
If the goods you have ordered are unavailable, you will receive an email notification or call from us to confirm this.
For more details on our delivery options see the Delivery Information page.
Some goods indicated on our website as such, are not available to buy online, but are available to buy at your local Timekeepers Store.
Pricing and payment
Prices throughout the Website are quoted in Nigerian Naira (=N=) and Payment can only be accepted in Naira. Prices include VAT. Packing and delivery costs will be added to the total price of your goods (and will be clearly indicated on your order check out page). Prices quoted on the Website are applicable exclusively to goods purchased through this Website. Prices applicable to goods for purchase in Timekeepers stores may differ from those quoted on this Website.
While we make every effort to ensure that the goods shown on our Website are currently available at the price shown on the Website, we cannot guarantee that this will always be the case. If goods you have ordered online are unavailable at the price or conditions shown, you will be notified as soon as possible.
If a pricing error is made on our Website or in the ordering process we will inform you as soon as possible and give you the option of buying the goods at the correct price or cancelling the order. If we cannot get in contact with you to notify you of the error, your order will be cancelled. In those circumstances, no payment will be taken from you or, if applicable, any payment taken in advance will be refunded.
Please note that your payment card will be debited when you place the order.
See Delivery Information page for more details on how to have your order delivered for free.
Our Liability
While we make every effort to ensure our Website is as accurate, current and complete or error free as possible, unless we are at fault we are not liable for any inaccuracies or errors which are beyond our reasonable control.
In particular, we cannot guarantee that colours in our images will be rendered correctly on different computer monitors. The product dimensions supplied are intended to give an approximate indication of the size of individual products. Products shown may not be actual size. If you have any doubts about the colour, size or any other specification of the goods you wish to order, we recommend you Contact us prior to placing an order on the Website.
We will not be responsible to you or any third party for any business loss (including loss of profits, revenue, contracts, anticipated savings, data, goodwill or wasted expenditure) or any indirect or consequential loss in connection with your use of the Website.
Changes to Terms & Conditions for Buying Goods Online
We reserve the right to change these Terms & Conditions for Buying Goods Online from time to time. If this happens, we will post the new Terms & Conditions for Buying Goods Online on the website. If you do not wish your purchase(s) to be governed by the revised Terms & Conditions for Buying Goods Online, you must not place any further orders.
These Terms & Conditions for Buying Goods Online are governed by the laws of Nigeria and you and we agree to use the Nigerian courts if there is any dispute between us.
If any part of these Terms & Conditions for Buying Goods Online is found to be invalid by law, the rest of them remain valid and enforceable.


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Shipwreck Trek
The Shipwreck Trek is a three day, two night tour along the Great Ocean Walk with Otway Eco Tours.
Explore the more remote segments of the Great Ocean Walk to give you a taste of the unique variation of this rugged coastline. You will be inspired by the long sandy beaches and spectacular Cliff top views.
This includes three days walk on the Great Ocean Walk, all meals, transport from Melbourne, two night's accommodation, day pack, map, water and snacks.
Please contact for further information.
|Indicative prices
These rates are indicative. Contact for details.
Tour highlights:
- Great Ocean Walk
At Otway Eco Tours it is all about the experience.
Discover the Great Otway National Park on one of the fully guided tours. Come canoeing to see platypus in the wild, explore the Great Ocean Walk in style or challenge yourself on some world class Mountain Bike trails.
Bruce your local guide is an Ecologist with a degree in Zoology and Botany. Otway Eco tours is Eco Tourism certified and have Better Business accreditation.
Other tours by this operator:
- The Ecotourism Association of Australia
Map pins are available via the tab key in a list after the map.
You can pan the map with the keyboard arrows.
-38.5174157 143.7151575

subset: commoncrawl


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The phone call came early this spring telling me about a project the local committee for tourism planned to launch featuring local "characters." My first guess was they wanted me to paint or sculpt some local character(s) and I wondered how I would find the time. But as I listened, it became apparent they considered ME a local character and wanted to feature me on a billboard.
Self-employed people like me are suppose to welcome any and all publicity. But a billboard….?!!! Me?!!! The photo shoot was sweet, friendly and fun. Artist Brad Bunkers and photographer Lynn Donaldson were in charge of the images. Luckily I had one carving that would fit up the stairs and in the makeshift studio – which seemed more like a place for rats, spiders and ghosts than a fancy photo shoot. Meaningfully – the sculpture was created as a tribute to dear Freeman and Daisy Butts. Daisy had just passed away so it gives me "warm-fuzzies" to have their energy on the billboard. I also like the idea that an artist is next to a champion bull rider – that there is equal value and attraction to the two as "celebrities." How cool is that for the art world?


text: Sorry, Taylor Swift's fans. No beautiful pictures for you. We are talking about Apple's new programming language for iOS and OS X. Revealed last month, Swift already generates a lot of good buzz. After finishing the "The Swift Programming Language" book, here are some of what I learned. Continue reading


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Takk, A Nordic Hideaway in Manchester's Northern Quarters
Nestled in Manchester's ever popular Northern Quarter you'll find Takk, an Icelandic inspired coffee shop, come creative working space. You'd be excused for missing Takk since it's down one of the quieter streets and from the outside it's pretty unsuspecting but inside is every hipsters delight... a large open plan space with bare brick walls, low hanging industrial lights, artwork for sale adorning the walls and an array of mismatching stools, benches and old school exam tables. Towards the back you'll find a small library, coffee tables and comfy chairs which makes you feel like your sat in someone's living room, a space that you could happily relax in, letting the hours drift by. The place attracts an array of different people from headphone toting developers, designers and marketeers working away on their MacBooks to couples enjoying some quiet time together and groups of friends catching up and laughing about the weekends escapades.
But we're not just here to tell you how pretty this place is... we're here to tell you how damn good the coffee is and why it will be making its way into our regularly visited coffee shops. Takk has its own Nordic style espresso; North Projekt, a single origin coffee from El Salvador which is expertly roasted for them by Bristol's Clifton Coffee, and makes for a seriously velvety & flavoursome flat white. Not only that but they regularly feature guest coffees from some of Europe's best coffee roasters and whilst you'll want to dive right into one whilst your there, you can also grab a bag to enjoy at home. We gave the Ethiopian Natural from Curve Roasters a try through the v60, which produced one hell of a cup. The guys at Takk really know how to make a good brew, with this one delivering on all the promises of juicy blueberries, it could actually have been the best coffee we've had to date.
We'll certainly be back for more Nordic charm and have already pencilled in a visit to their smaller site at Hatch this weekend which we'll no doubt be sharing on our Instagram stories, give us a follow and say hey if you don't already follow us! You can also see some of our other favourite spots for coffee here if this got you thirsty for more.


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Are you working to further the sustainability initiative at your company?
Have you captured some low-hanging fruit and are wondering what's next?
Do you need a strategic business approach to environmental and social performance?
Get an Experienced Professional Helping Your Company
I help businesses identify their most relevant environmental and/or social issues, and then build a performance strategy in each area. That includes, but is not limited to:
- Appropriate measurements
- Data collection methods
- Prioritized project lists
- Employee engagement strategies, and
- Marketing opportunities
This may sound daunting, and it can be… if you don't have years of experience managing this process. I do, and I can help. Here is a sample of the consulting relationships that I offer:
STRATEGIC PLANNING… In two to three months, with an initial stakeholder engagement process, I provide a detailed 20-30 page report that outlines a strategy customized for your unique business. This requires a kick-off discovery meeting with leadership, answers to survey questions, one on-site visit, and back-and-forth communication. This option works great for a business that does have a green team, sustainability committee, or director/manager of sustainability with the time to participate and budget to implement moving forward.
MONTHLY CONSULTING… For a defined period of time (6-months to 1-year), I can conduct a stakeholder engagement process, which includes: competitor analysis, interviews with key department leaders, and surveys with external partners. I develop a strategy customized for your unique business and provide additional project management assistance. I help build business cases and team leadership around 3 or 4 prioritized projects. This option works great for a business that does not have a green team, sustainability, committee, or director/manager of sustainability.
WORKSHOP… For a three to four hours, I facilitate a strategic sustainability training session for your staff and leadership. This includes: processes and tools for conducting stakeholder engagement, how to identify and prioritize environmental and social issues for your company, and what types of data collection systems and metrics fit your business. I ask penetrating questions that get to the heart of each topic, from the customer, employee, and business owners' perspective. Drawing on years of experience, we quickly identify the root cause(s) of problems being faced and arrive at a concise list of action items that transform perceived problems into real-world opportunities.
Adam has been featured in the following:
We wanted an experienced sustainability professional to pinpoint areas our Green Team could focus on improving. Adam's audit was fast and affordable. The full report was very detailed and gave us great insights into several areas we could save money, be more efficient, and be more eco-friendly.
In just a few months, we have already implemented several of the project recommendations from our report for real savings. We also used the report to get more involvement by collaborating with the Wellness Committee, re-branding company-wide communication campaigns for more impact, and holding educational lunch and learns for employees.
Samantha Cecak Regulatory Compliance Coordinator, ARAG
Some of my client work is confidential or their policy is not to endorse vendors and consultants with their brand and logo.
I have permission to provide direct contacts for additional testimonials from happy customers. They are willing to answer detailed questions about their experience hiring me and the value my services provided. Just ask.
Company Leader Sustainability Professional, Corporate Client
Strategic Planning
- 2-3 Months
- Discovery Meeting
- Survey Questions
- One On-Site Visit
- Competitor Reviews
- 20-30 Page Report
Monthly Consulting
- 6 Months – 1 Year)
- Stakeholder Engagement
- 20-30 Page Report
- 3-4 Priority Projects
- Build Business Cases
- Build Team Leadership
- 3-4 Hours
- Train Your Staff
- Stakeholder Engagement
- Prioritize Focus Areas
- Data Collection & Metrics
- Implementation Next Steps


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Fatima Bhutto's book tops bestseller list
In a super run for late Pakistani Prime Minister Benazir Bhutto's niece Fatima Bhutto, her Songs of Blood and Sword completes a month on top of the non-fiction list while Amish Tripathi's The Immortals of Meluha dominates fiction this week.books Updated: May 06, 2010 14:18 IST
The top 10 bestsellers in each category are:
1. Songs of Blood and Sword, Author: Fatima Bhutto, Publisher: Penguin Viking, Price: Rs 699.00
2. The Big Short, Author: Michael Lewis, Publisher: Allen Lane, Price: Rs 599.00
3. Freefall, Author: Joseph Stiglitz, Publisher: Allen Lane, Price: Rs 499.00
4. The Tryst Betrayed, Author: Jagat S. Mehta, Publisher: Penguin Viking, Price: Rs 550.00
5. The Checklist Manifesto, Author: Atul Gawande, Publisher: Penguin Viking, Price: Rs 399.00
6. Becoming Indian, Author: Pavan K. Varma, Publisher: Penguin/Allen Lane, Price: Rs 499.00
7. The Difficulty of Being Good, Author: Gurcharan Das, Publisher: Penguin/Allen Lane, Price: Rs 699.00
8. Inside the Kingdom, Author: Robert Lacey, Publisher: Hutchinson, Price: Rs 550.00
9. The Veiled Suite, Author: Agha Shahid Ali, Publisher: Penguin Books, Price: Rs 350.00
10. Gandhi: Naked Ambition, Author: Jad Adams, Publisher: Quercus, Price: Rs 699.00
1. The Immortals of Meluha, Author: Amish Tripathi, Publisher: Tara Press, Price: Rs 295.00
2. The Good Man Jesus and the Scoundrel Christ, Author: Philip Pullman, Publisher: Penguin Viking, Price: Rs 499.00
3. One Amazing Thing, Author: Chitra Banerjee Divakaruni, Publisher: Penguin Books, Price: Rs 450.00
4. The Temple-Goers, Author: Aatish Taseer, Publisher: Picador, Price: Rs 495.00
5. The Palace of Illusions, Author: Chitra Banerjee Divakaruni, Publisher: Picador, Price: Rs 395.00
6. 61 Hours, Author: Lee Child, Publisher: Bantam Press, Price: Rs 550.00
7. Empire of the Moghul: Brothers at War, Author: Alex Rutherford, Publisher: Headline Review, Price: Rs 495.00
8. 9th Judgement, Author: James Patterson, Publisher: Century, Price: Rs 550.00
9. Solar, Author: Ian McEwan, Publisher: Jonathan Cape, Price: Rs 550.00
10. Big Girl, Author: Danielle Steel, Publisher: Bantam Press, Price: Rs 550.00
First Published: May 06, 2010 10:37 IST


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Pure mathematics overview
We have an international reputation for our research and we are one of the largest and most active groups for pure mathematics research in the UK.
Our current research areas include:
We work closely with colleagues across applied mathematics and statistics. We host the Leeds Algebra Group and the Leeds Logic Group, which are recognised as 'Gold Peaks of Excellence' within the University. These peaks reflect the wealth of expertise, external recognition and reputation for international excellence and world-leading research in the group.
Research seminars and colloquia
All upcoming pure mathematics seminars can be found in our events section.
- Algebra seminars
- Algebra, Logic and Algorithms seminars
- Analysis and Applications seminars
- Geometry seminars
- Logic seminars
- Models and Sets seminars
- Proofs, Constructions and Computations seminars
- Colloquia
Research team
If you are interested in collaborating with us or joining our research team, please get in touch. View all members of the pure mathematics department.
PhD projects
We have opportunities for prospective PhD students. Potential projects can be found in our postgraduate research opportunities directory.


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20.-23.4. 2020
International Milling Industry, Bakery and Confectionery Fair
Facts & Figures:
The specialised MBK international fair presents the leading technology manufacturers and suppliers for the flour-milling industry, bakery and confectionery from around the world. The MBK fair regularly presents the latest trends in all these fields, gives a full overview of the latest innovations and belongs to the leading international business meeting of experts of the milling, bakery and confectionery industry. MBK takes place in a two-year period, always in even years and, is mainly intended for B2B visitors.
- Full name: International Milling Industry, Bakery and Confectionery Fair
- Date: 20.-23.4. 2020
- Venue: Brno Exhibition Centre
- Organizer: BVV Trade Fairs Brno
- Position: No. 1. in Central and Eastern Europe
- Application: On-line application for the trade fair
- List of exhibitors: i-Catalogue - Exhibitors & Products
Sector focus: Food and Food-processing, Hospitality Industry, Retail
|2. 3. 2018
|Almost 900 companies were presented in exhibition halls; Festival of Flavours was featured for the first time
|26. 2. 2018
|At SALIMA they will be cooking black potatoes and marinated carp
|26. 2. 2018
|Bakery products contests
|24. 2. 2018
|A taste of aromas from around the world in one place
|18. 2. 2018
|SALIMA supplemented by the MBK and INTECO fairs
|17. 2. 2018
|Technology Hall
|23. 1. 2018
|Festival of Tastes in Hall C
- Machines and equipment for flour mills
- Milling industry products
- Bakery and confectionery raw materials and ingredients
- Machines and equipment for bakeries
- Machines and equipment for confectionery production
- Accessories for bakeries and confectionery production
- Bakery products
- Confectionery products
- Services, literature, authorities
For Exhibitors
For Media
Concurrently with
20.-23.4. 2020
20.-23.4. 2020
20.-23.4. 2020
20.-23.4. 2020
20.-23.4. 2020
You might be interested in
Highlights from companies


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Visit Event Website
About WPN, RTP - We're a group of enthusiastic women in business who serve female business owners and entrepreneurs. Though we are part of a national network, this chapter aims to serve women in the Research Triangle Park and surrounding area.
Meeting will be held in the Canyon Room at The Frontier in RTP.


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R.O.K. Special Mixed Starter
Chicken Pakora
Vegetable Pakora
Aloo Chaat
Seekh Kebab
Chicken Tikka Starter
Shami Kebab
Rashmi Kebab
Chicken Chaat on Puree
Prawn on Puree
Tandoori Chicken Starter
Garlic Chicken
Garlic Mushroom
Prawn Cocktail
Onion Bhaji
Spicy Chicken Wings
King Prawn on Puree
King Prawn Tandoori Starter
Meat Samosa
Vegetable Samosa
Plain Poppadoms
Spiced Poppadoms
Mango Chutney
Mint Chutney
Onion Chutney
Pickle Chutney
Tandoori Lamb Tikka Main
Half Tandoori Chicken Main
Half Tandoori Chicken Tikka Main
Tandoori Mixed Grill Main
Mixture of tandoori chicken, chicken tikka, spicy chicken wings and seekh kebab
Tandoori King Prawn Main
Balti Chicken Tikka
Balti Chicken
Balti Lamb
Balti Meat
Balti Prawn
Balti King Prawn
Balti Keema
Balti Mixed Vegetable
Balti Mushroom
Saag Aloo Balti
Saag Chana Balti
Bhindi and Mushroom Balti
Gobi Aloo Balti
Mushroom Balti
Gobi Saag Balti
Chicken Kashmir Specials
Fruity and mild
Chicken Pasanda Specials
Chicken Chat Ceylon Specials
Chicken Jalfrezi Specials
Extra hot
Chicken Makhanwala Specials
Chicken Achari Specials
Spicy hot
Chicken Bombay Wala Specials
Chefs Special Specials
Chicken Pathia Specials
Sweet, sour and hot
Chicken Massleydar Specials
Chicken Paneer Specials
Kofta Balti Specials
Medium to hot
Chicken Phall Specials
Karahi Dishes
Medium. A medium strength dish derived from the use of tomatoes, onions, garlic fried in ghee in a manner which produces a delicious taste. Recommended with naan.
Chicken Tikka Karahi
Chicken Karahi
Lamb Karahi
Meat Karahi
Prawn Karahi
King Prawn Karahi
Mixed Vegetable Karahi
Dansak Dishes
Fairly hot. A preparation of lentils, pineapple, lemon juice, fairly hot spices, together fried in ghee with garlic. It is well known for its delicacy.
Chicken Tikka Dansak
Chicken Dansak
Lamb Dansak
Meat Dansak
Prawn Dansak
King Prawn Dansak
Mixed Vegetable Dansak
Keema Dansak
Bhuna Dishes
A mixture of various spices with onions, tomatoes and fried dhania
Chicken Tikka Bhuna
Chicken Bhuna
Lamb Bhuna
Meat Bhuna
Prawn Bhuna
King Prawn Bhuna
Mixed Vegetable Bhuna
Keema Bhuna
Curry Dishes
Medium Curry
Chicken Tikka Curry
Chicken Curry
Lamb Curry
Meat Curry
Prawn Curry
King Prawn Curry
Mixed Vegetable Curry
Keema Curry
Malayan Dishes
Mild. A preparation of mild spices with cream, pineapple and banana to create the best of all mild curries.
Chicken Tikka Malayan
Chicken Malayan
Lamb Malayan
Meat Malayan
Prawn Malayan
King Prawn Malayan
Mixed Vegetable Malayan
Keema Malayan
Dopiaza Dishes
Method of preparation similar to bhuna, briskly fried, plenty of onion, touch of black pepper, ginger, garlic, fresh dhania, cinnamon, etc
Chicken Tikka Dopiaza
Chicken Dopiaza
Lamb Dopiaza
Meat Dopiaza
Prawn Dopiaza
King Prawn Dopiaza
Mixed Vegetable Dopiaza
Keema Dopiaza
Handi Dishes
Cooked with tomatoes, onion and green pepper with a special blend of R.O.Ks unique spices served with a coriander garnish. Handi is a traditional Kashmir dish. Can be pre
Chicken Tikka Handi
Chicken Handi
Lamb Handi
Meat Handi
Prawn Handi
King Prawn Handi
Mixed Vegetable Handi
Rogan Josh Dishes
A dish derived from the use of tomatoes, onions, garlic fried in ghee in a manner which produces a delicious taste
Chicken Tikka Rogan Josh
Chicken Rogan Josh
Lamb Rogan Josh
Meat Rogan Josh
Prawn Rogan Josh
King Prawn Rogan Josh
Mixed Vegetable Rogan Josh
Keema Rogan Josh
Korma Dishes
Mild. A preparation of very mild spices in which cream, sultanas, almonds, coconut powder are added to create a delicate flavour and creamy texture.
Chicken Tikka Korma
Chicken Korma
Lamb Korma
Meat Korma
Prawn Korma
King Prawn Korma
Mixed Vegetable Korma
Keema Korma
Madras Dishes
Hot. A combination of hot spices, with tomato puree, lemon juice fried in ghee with garlic. It is well known for its hot flavour.
Chicken Tikka Madras
Chicken Madras
Lamb Madras
Meat Madras
Prawn Madras
King Prawn Madras
Mixed Vegetable Madras
Keema Madras
Vindaloo Dishes
Related to the Madras but involving greater use of hot spices, tomato puree, ginger and black pepper
Chicken Tikka Vindaloo
Chicken Vindaloo
Lamb Vindaloo
Meat Vindaloo
Prawn Vindaloo
King Prawn Vindaloo
Mixed Vegetable Vindaloo
Keema Vindaloo
Masala Dishes
Marinated in yoghurt with various spices, barbecued over a flaming charcoal clay oven on skewers with sauce over cream, onions, tomatoes and various spices
R.O.K. Special Masala
Chicken Tikka Masala
Chicken Tikka Mushroom Masala
Lamb Tikka Masala
King Prawn Tandoori Masala
Vegetable Masala
R.O.K. Special Biryani
Chicken Tikka Biryani
Chicken Biryani
Lamb Biryani
King Prawn Biryani
Prawn Biryani
Meat Biryani
Mixed Vegetable Biryani
Bombay Potaato
Mushroom Bhaji
Vegetable Bhaji
Bhindi Bhaji
Spinach Bhaji
Tarka Daal
Curry Sauce
Bakti Sauce
Fried Mushrooms
Chicken Breast and Chips
Cheese Omelette and Chips
Chicken Omelette and Chips
Prawn Omelette and Chips
Mushroom Omelette and Chips
Chicken Salad
Chicken Nuggets and Chips
Scampi Chips
Fillet Steak
Sirloin Steak
T-Bone Steak
T-Bone Tandoori
Fillet Steak Masala
Keema Naan
Keema and Garlic Naan
Kashmiri Naan
Garlic Naan
Garlic and Coriander Naan
Kulcha Naan
Cheese Naan
Cheese and Garlic Naan
Cheese and Onion Naan
Stuffed Paratha
Boiled Rice
Pilau Rice
Garlic Pilau Rice
Fried Rice
Chicken Fried Rice
Keema Pilau Rice
Mushroom Pilau Rice
Chana Pilau Rice
Vegetable Pilau Rice
Egg Pilau Rice
Garlic Fried Rice
Egg Fried Rice
Chicken Egg Fried Rice
Garlic Fried Rice
Strawberry Ice Cream
Vanilla Ice Cream
Coca Cola Can
Diet Coca Cola Can
Rubicon Guava Can
Rubicon Mango Can
Mango Lassi
Diet Coke Can
Coke Can


text:
Tonight, Tony analyzes an EVP that came through his audio while recording an interview with a guest that was describing looking directly at a demon. As the guest started describing the physical characteristics of what he saw, the phone line went dead and at the moment they were able to reconnect their lines is things got really weird. After Tony analyzes the EVP he takes the audience into the said interview where his guest, Dale, shares his story of when he looked directly at a demon while he had a roommate that was dabbling in things that seem to have been attracting negative entities.
Patreon: www.patreon.com/TheConfessionals
Website: www.theconfessionalspodcast.com
Email: firstname.lastname@example.com
Facebook: www.facebook.com/TheConfessionalsPodcast
Twitter: @TConfessionals
Tony's Twitter: @tony_merkel


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So, who's this Krampus anyway?
Brian Ness
Those who know me well, know that I am a fan of the Krampus. But chances are, if you don't know me all that well, you probably have never heard of him.
So here's a quick summary:
This is the Krampus. He's kind of a beastly creature, who comes to us from Germanic folklore. You know how at Christmastime, bad kids get coal? Well, bad kids in Austria, Romania, Solevenia, etc etc don't get coal, they get visited by Krampus, who terrorize them and sometimes drag them home with him!
Krampus is kind of like St. Nicholas's sidekick. In fact, the night before St Nick's day, the Krampus runs through the streets, taking care of the bad kids so St. Nicholas knows which kids deserve presents.
To this day, adults dress up in Krampus costumes and run through the streets of Vienna, scaring kids!
You see depictions of the Krampus in a lot of Victorian illustrations. This is how I first found out about him. I think he's so funny, that basically it was love at first sight.
My mom doesn't like that I like him, though. She says he's too scary!
This illustration is my favorite - Krampus is so mean, he steals the oranges from cute little Campbell's Soup kids!
Here's a few examples of how Krampus has appeared in my personal life:
So, after all of this, it was necessary to create Krampus items for the shop. They're available now!
Get them before Krampus gets YOU!


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Book Review - Think and Grow Rich by Napoleon Hill
I've heard that this book has been referred to as the "bible for success." This actually triggered my curiosity because it means that all the founding principles of success will be in it. Also, it has become top of my mind especially when influential and successful people in my life say, "It's a must read if you are going to be in business."
Now, imagine spending 20 plus years on a project, traveling all over the world, and documenting interviews from hundreds of successful people. That sound a bit overwhelming, right?
Great news! Mr. Napoleon Hill did it for all of us. The lifelong work put into this, the power of preserving words, and gifting this knowledge to whomever has the desire to learn is priceless. Think and Grow Rich is readily available to anyone who wants to breathe success into their life. It is "the representation" of learning from the successful people who have paved the way. After reading this book, I've become aware of other publications where the ideas taught had already been discussed in Mr. Hill's writing. That confirms to me the power and importance of this book.
What I love most is Mr. Hill will hold your hand and walk you through the process, and all you have to do is follow and embrace the journey to your success.
Here's a quick peek of the 13 "steps" to Think and Grow Rich:
Specialized Knowledge
Organized Planning
Power of the Master Mind
The Mystery of Sex Transmutation
The Subconscious Mind
The Brain
The Sixth Sense
I am currently closely following the steps in this book. I am in awe of how it's already changing my mindset and I'm having successes along the way. If you happen to actually read and implement it, I would love to hear your journey.
Jennifer Meim
Jennifer Meim is a Graphic Designer who works with Entrepreneurs to transfer their vision into fruition. Jennifer has a natural gift of being in tuned with her clients to understand and to see their vision. For at least a decade, Jennifer have supported and worked closely with founders and CEOs to launch their ideas from table talks to tangibles. Jennifer is a self-taught designer, and continuously strive to learn especially with new technologies. Her creative soul and genuine love for people makes her one of the most approachable, dependable, and trustworthy designers in San Diego.


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Well Being
Complementary Therapies
Sports and Personal Care Treatments
'No Hands' Massage
As a 'No Hands' massage practitioner, I have undergone an extensive, highly specialised training programme that has taught me various ways to avoid Repetitive Strain Injury on my joints and muscles (A condition often associated with Bodyworkers.) As a result of my training I have learned, and can perform new techniques involving the 'No Hands' approach, and the results are amazing!
Deeply relaxing and powerful, 'No Hands' massage is extremely effective in allowing my clients to unwind and release tension. It also facilitates, 'postural unlocking'.
The evolution from traditional massage to 'No Hands' massage has led me to using my own body weight and forearms to achieve the deeply penetrating results that makes this type of massage so effective.
|Breuss Massage
|Baby Massage
|Ear Candling
|Calgel Nail Treatment
|Minx Nail Armour
|No Hands Massage
|Reiki Healing
|Hydrotherm Massage
|Intimate Waxing
|Thai Foot and Lower Leg massage
|Facial Treatments
|Therapeutic Massage
|Complementary Therapy
|Nail Care & Waxing
|Tanning and Eye treatments


text:
Total Number of Homes SOLD
Average Sale Price
Average Square Footage
Average Days On Market
Order Your Free Report
Founder of the Phoenix Metro Group, Amy has 10 years experience selling homes in the Phoenix Metro.
Summer is a huge asset to our team. Trained personally by Amy, Summer gets the job done. PERIOD.
Francisco is a police offer by trade. He works with the highest integrity making sure our client's get what they want.


text:
Worth every second. Truly fired me up.
Category Archives: About John
Pep Talk
Filed under About John, Funny, Leadership, Reviews
Conner and Cayden Long
This is so inspiring.
I pray to raise boys like these two.
Filed under About John, Leadership, Let Me Introduce You, Manhood, What I'm Learning
Best RC Ever
It's a bird! It's a plane!
It's a Remote Controlled Superman!
I might buy two. One for me and one for Herman.
Filed under About John, Funny, Reviews
Write More Letters
I am personally committing to writing more letters this year.
Wrote about two a week last year, hoping to for 4 to 5 a week this year.
1. You should join me.
2. If you are looking for some stationary, here you go. May Notes
Filed under About John, Design, May Designs
This year we asked Memphians what they were thankful for in Memphis.
We received hundreds and hundreds of responses shared on Twitter and Facebook.
So Fun!
See them here at Choose901.com
Filed under About John, City Leadership, Friends & Family, Get Involved, Leadership, Memphis
Movember, the month formally known as November
Filed under About John, Get Involved, Manhood
Man's Best Friend?
I saw this today on Herman's site and thought that is just about as disappointing as it can get when buying a new gadget.
You know this guy saw his shipment tracking. He knew it was at home. He was excited to get home to his new toy. But instead he found his "best friend" had already taken it out of the box for him.
Trooper just did this to me with a new credit card I ordered for May Books.
Half Funny, Half Annoying. At least they will send me another one of these free.
Filed under About John, Funny


text: Original Artworks Enquiry Form 'Rock Pools 3', Original Artwork by Tom Jarayo-Tomto Description: 50% OFF $125 (was $250) Framed original canvas painting measuring 39.5 x 38.5cm. The canvas is professionally stretched over a premium timber frame, then framed in a white box frame and comes ready to hang. * Required field Name * Email Address * Message * Captcha * Submit


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zandpoortvest 10
be 2800 mechelen
t +32 15 336 336
m (b) +32 478 811 441
m (d) +32 475 477 478
The paintings in this exhibition are all hung above a red frieze. When one looks at them, one recognises that this red frieze is repeated in the paint- ings. The frieze thus exists in the exhibition room and also exists in the space of the paintings. The exhibition site and the pictorial space are in- terconnected. When we stand before the paintings and look at them, we find ourselves in two corresponding spaces. The situation in the paintings can be transposed to the situation in the exhibition. We can imagine that what is depicted in the paintings could just as well happen here with us in the exhibition room. The observer can understand this as an invitation. In front of the paintings, the observer should make contact with them. The pictures are not merely objects on the wall anymore, to be observed exclusively in isolation. Each painting suggests a standpoint to the observer. The observer can, if desired, accept this and assume the offered role. The observer becomes part of the painting, is now, as we say, "part of the picture". Looking at the painting, the observer also looks at himself or herself.
... read further at the end of this page
Le Bazacle, 2014, oil on canvas, 200 x 330 cm
Download link for complete artist text in illustrated pdf [2,2 MB}: DEUTSCH | FRANCAIS | ENGLISH
Where do pictures come from? Does intuition have a horizon above which it appears? As far as I can say, a visual idea appears immediately. Actually, it is false to speak of an idea, since intuition is not a thought, not abstract; instead, it appears as an image before the inner eye, that is, it is suddenly visible. Intuition does not allow itself to be forced. There is no path to it, not like thought, which sets out on a path, travels with thoughts, and arrives at a conclusion. If in thinking one ap- proaches something, then inspiration comes towards one. If thinking is led by will and decisiveness, then inspiration is given as a gift to one. This requires confidence as well as patience. Sometimes intuition appears to be unclear, it remains shrouded in vagueness. That is not its fault, but mine. It could be prejudices on my part, the wrong attitude of expectations, or my routine that cloud my vision and block me. Then I have to practice patience once more. Is this not the same as creating distance to myself? Inspiration does not lie before me of course, but was placed in the centre of me. Therefore, I have to clean myself up, in order to make space for inspiration. If this is successful, then inspiration transforms itself into a determination. It becomes a command to act: Paint the picture! Paint it in this size, choose this proportion, use these colours! Inspi- ration is recognisable because it employs the imperative. The specifications are inalterable and strict. It serves no purpose to want to evade them, nor does it make sense to make them appear more friendly and pleasant by means of ornamentation. For this reason, I can only follow them. The result often surprises me very much. Then it is my problem to become friends with it.
2. The Red Frieze [50 × 75 cm]
Is the German word "Fries" [frieze] masculine or neuter? I am not sure so I check: It is masculine, so "der Fries". Despite the official designation I remain unsure as regards the declension of the article. I could also name it "Sockel" [pedestal]. The paintings, hung above it, would then stand on a pedestal. Is that appropriate? When something is placed on a pedestal, then it is elevated with a serious assertion. A distance is created. One has to look upwards, thoughtfully, at what is displayed. One should not look up at pictures though. They are something in front of us. One should encounter them on the same hori- zon. The frieze is therefore not a podium, rather an environment, a band, that connects and joins the picture and the observer. The frieze is the theme that runs through these paintings, similar to a melody that repeatedly sounds throughout a piece of music in different variations. The frieze is, essentially, the chosen key, which inscribes its own sound on the piece performed here.
3. Analogy magic [50 × 75 cm]
"Whatever happens in the reflection has to be com- pleted in the original image." That is the maxim of analogy magic. In a display case, in the visually exact model of a room with a red frieze, there are two heads. If one follows the magic trick, then the heads now stand before us more impressively and larger than we do in the exhi- bition room. Images are related to magic. They invoke magical remnants of consciousness in us. The magical recognises in the model and its repro- duction not what is similar, but rather sees the relationship itself as the same. The magical does not distinguish between an animal and an image of an animal. In contrast, today we understand an image in relation to the represented object as similar. The image of a tiger resembles a tiger. Im- age and reproduction are two different realities. For the magical, the representation and what is represented belong to the same reality. Corre- spondingly, magical actions in the pictorial reality are also actions in one's own physical ordering. Whatever happens to the image also happens to my body. These magical remnants are likewise preserved in language. We use them today as metonyms. For example, crown and tiara. The insignia of the emperor and of the pope have become synonyms for the persons or their power. The sign replaces the referent. What is said and what is meant are assigned to the same sphere of reality. A so-called contiguity exists between both of them. The phrase pars pro toto is also employed: an attribute of a person, for example the crown, stands for the totality of the emperor and his sphere of power. If the crown is toppled, the entire empire topples. In the course of the development of consciousness we have increasingly distanced ourselves from our images. From the indistinguishability of beforehand, that is, the complete identification with the magic image, the same image has today become an abstract sign for a function, which we can operate everywhere in everyday life by pushing a button. We just touch it fleetingly, at the most outward edge of our body, with the tip of a finger. We live in the digital age. We have shifted the contact with the world to our fingertips.
5. The evident [50 × 65 cm]
How much would the painter like to paint the evident. The painter's paintings should be nothing but exclamations: Look here, this is how it is! To be honest, the painter quickly gets tired of this aspiration. The unconditional depicting tires the painter. If only the painter could let the paintings, leaning on the wall and facing it, come to rest. This would be a great relief for the painter. Thus, the painter paints the pictures from behind. The painter paints the stretcher frames, made out of wood, paints the crosses that stabilise the painting. The painter is careful about the proper tension of the canvas, so the painter also paints the wedges that ensure this tension. And while painting, the painter always keeps in mind that good preparation will do the paintings good. If the painter did not pay such attention to the raw canvases then the paintings could not succeed. And the painter imagines the paintings had previously hung for a long time on the wall and presented their visibility there. Then they were taken down once more and now are placed with their reverse sides under their former places. The lighter patches on the wall testify to this. It would be a nuance in white, like a fleeting memory. Looking at these lighter spots, the painter has the idea that the slight difference could be the essence of that visibility that the paintings always attempt to present, so futilely and laboriously.
6. The three art forms of painting [76 × 45 cm]
This painting unites three different conceptions of the picture. Although a painting as an object is completely flat, it seems to open itself before our eyes and lead into an illusionistic depth. This imaginary spatiality was a discovery of the Italian Renaissance. The perspective construction by means of lines, as well as the lightening and darkening of colour, the so-called colour perspective, creates the virtual pictorial
7. The viewed [79 × 60 cm]
I recreate this painting, which is a view of a room. In this reconstruction I employ the actual angles of the depiction. The result is boxes in the form of pyramids whose tips are cut off. This allows us to see how we see. We can appreciate how the eye adapts to what is viewed. If a painting of a thing were itself a thing, then it would have to approach us in such a pointed manner.
8. The disappearance [90 × 120 cm]
This painting apparently hung here once. The lighter patch demonstrates the same proportions. Yes, here is exactly where this painting hung. Now it is gone, it has been taken down. Amazingly, it is still there, nonetheless. For the absence of the painting is shown us by precisely this painting. One can, therefore, imagine very well the light patch behind it. This painting recalls its own disappearance. Images are momentary. A moment of appearance, a brief pause, and then they are only a somewhat lighter afterglow on the wall.
9. The horizon [45 × 90 cm]
A plumber was hired to make this painting comprehensible to the observer. He was charged with installing the horizon in the depiction at the exact height in the pictorial space: A pipe from one end of the room to the other. Now one can figure out the representation and one feels more comfortable in the painting.
10. The excavation [30 × 87 cm]
What is astounding about this painting is its depth, its pictorial depth. It is obvious of course that this was achieved in the same way one makes a hole: by digging. Pictures are for this reason like dug-out pits. Only seldom has any- one thought that painting a picture, just like digging holes, produces a mound. The deeper the painting is, the larger and higher the picture excavation. One can imagine that in the artist's studio therefore not just pro- found pictures are made, but that with their creation the dug-out pictorial depth, the negative, fi the space of the studio with ever-larger mounds. This could become a problem for a productive painter. The more the painter works the less space is left in the studio. Here the astounding phenomenon, hardly ever considered, is represented in a divided painting. On the right we see the pictorial depth painted in black and white. It depicts the positive and is, therefore, just like in photography, to be seen as a positive copy. The negative, the painting excavation, and thus also its depiction is represented on the left half of the picture negatively. The cone's shadow is therefore not dark but inverted into its opposite and very bright. In the same manner the brighter side of the mound appears very dark. This depiction does not solve the growing crampedness in the studio, but at least the problem is made visible.
11. The vanishing point [46 × 40 cm]
There is no doubt. Paintings are made for people. The painting always thinks about the observer, who then will look at the finished picture. The painter creates space for the observer and imagines how the observer will then not stand before the painting, but, encouraged by looking at it, enter the opened-up pictorial space. It is a deplorable habit of many painters to fill the pictorial space with the depiction of many figures. What a disappointment for the observer! How can the observer find room among the many people?
12. Iconoclasm [75 × 100 cm]
"The pictures have to go!" A lot of ardent zeal has swept over images. Iconoclasm has run rampant in dif- ferent cultures and in different epochs. It is the conse- quence of the increasing intellectualisation of our de- velopment of consciousness. The world has increasingly been viewed from a distance and thus more abstractly. The decisive inducement to ban images came from the emergence of monotheism, that is, the belief in a single, imperceptible god. He was image-less, but he spoke to people. Ever since then a hierarchy has existed between the word and the image. The word is closer to god, as it corresponds more to his imperceptibility, which can only be conceived mentally. The word is abstract. The unfathomable distance between the sign and its referent is demonstrated in the word. It is that distance between this world and the otherworld, which separates humanity from its single god. Religions based on images are much closer to their gods.
14. Halo [30 × 45 cm]
When he was young he was in his studio early one morning. It was located underneath the roof. Light streamed into the room through a skylight. A few days before he had brought a metal bowl with wa- ter to the studio to wash his brushes. Now the bowl was placed on the floor near the wall. The light fell on the mirror of the water's surface and cast concentric circles on the wall above it. As he, ex- cited by the light's effect, approached the bowl, his steps made the floor and thus the bowl vibrate slightly, so that the light's reflections on the wall began to tremble. The image of the reflections and the bowl underneath them appeared to him at that moment as the most obvious expres- sion of his conception of painting. If someone had asked him why he painted pictures, then he would have mutely pointed to the shimmering circles. That morning, however, he was completely alone in the studio. So he pointed to the reflections alone, only for himself.
15. Being in the picture [60 × 50 cm]
"The observer should not stand before the picture, the observer should be in the picture." Here the artist's intention is particularly evident. As long as we look at a picture from a respectful distance, then we relate to it from an objectifying distance. This approach indeed allows a judgement on the picture in the first moment.
"Der Rote Fries XVII", 2013, 80 x 110 cm
17. Proportions [80 × 110 cm]
The proportions of a depiction of space never coincide with the actual proportions of the depicted thing. Many people have reproached the picture for this condition. It is from its very beginnings a deception, they maintain, when something namely as simple, as fundamental, as the dimensions of a thing is disregarded. How should one trust a picture that does even not correctly depict a circumstance as simple, as determining as this?
19. Storage room [35 × 45 cm]
"And what do those things there mean?" someone asks me. "Oh, please don't ask," I reply. "When you visit someone at their home you don't ask what each thing that is lying around means, do you? Let me advise you, as a discrete person you limit yourself to silently observing things out of the corner of your eye and come to your own conclu- sions. That is what I do when I am in other people's homes. I rein in my curiosity. I know how to behave. This should also apply when standing in front of pictures. Why do precisely these questions always have to come up before pictures? Why do I always have to provide information about my paintings, give explanations about the things depicted in them? Why do you even assume that I could inform you about them? Why do you look at me so strangely now? Well then, if you really want to know. It is a problem of space. I have very simply stored those things in the picture. That is all. They stood in my way! They have stood in my way for years! For years they have been lying in front of my eyes and occupying me. Why? I don't know. But I cannot bring myself to throw them away. I don't have the heart to give them away. For this reason, yes, just for this reason, I have placed them in this picture, you could say I have taken care of them. Each time I began a painting before, these things stood in my way, stood around at the beginning of the painting. Don't ask me how they came to be there. It was truly exasperating, believe me. I moved from here to there, but they bothered me everywhere. I simply didn't know what to do anymore. That's why I have stored them here now, cleared them away, have got rid of them here in this painting. That's how simple it is, it is a space problem, nothing else. Do you understand?"
20. The green point [40 × 50 cm]
I become the slave of my own rule. Each painting should be related to the red frieze, thus in each painting there must be a reference to the red frieze. The red frieze! The red frieze again and again! In each painting the red frieze once more! It is enough to drive you mad! Once again this horizontal line, this red band running from left to right. The same thing in every painting. Always the horizontal line. I would like to have it another way, vertical, for example, from top to bottom. That would bring some variety to life, to the painter's life at least. That is why I have now rotated the picture by 90 degrees. Something strange happened then. One of the green dots disappeared. It has simply disappeared. This was something I did not expect at all. Well, since it has disappeared, I have not painted it, I mean, I could not paint it. I do not want to spend my time on disappearing things. In this I am a minimalist. Painting is strenuous enough. If I had to paint what disappeared, instead of painting what one cannot see anyway? What would I do then? That is why: I leave the dot to you. You are the observer. Imagine the dot, if you prefer. I can assure you that it is not there. I should know, shouldn't I? After all, I painted the picture.
23. Man is present [30 × 25 cm]
"Man is present". I have often read this above pictures. These attributions have a heroic sound. They speak of the sublime, the "sublime is now". The pictures are, as far as I can remember, expansive and large. You experience yourself before such pictures, you are thrown into the expanded colour space. You lose yourself in a sea of col- our. You are overwhelmed by the painting. But I could never decide on a large format. This painting is in fact the smallest in the series. It is truly very small. Should I really give it the title of Man is present, or the simpler Here, or Now?Actually, I could simply state that the ob- server should step to one side. A friendly but firm request. He is standing in front of the light, that is obvious. If he would go, simply go away, then the painting would stand alone in the light. One could see three stripes, bright and distinctly. Then, however, the question of the title would be- come more urgent. "Man is present" would not suit it anymore..
24. Adaptation [40 × 27 cm]
Such observers is what one as a painter wishes for. Those who can identify with what is depicted. People who get enthusiastic about pictures
The paintings in this exhibition are all hung above a red frieze. When one looks at them, one recognises that this red frieze is repeated in the paintings. The frieze thus exists in the exhibition room and also exists in the space of the paintings. The exhibition site and the pictorial space are in- terconnected. When we stand before the paintings and look at them, we find ourselves in two corresponding spaces. The situation in the paintings can be transposed to the situation in the exhibition. We can imagine that what is depicted in the paintings could just as well happen here with us in the exhibition room. The observer can understand this as an invitation. In front of the paintings, the observer should make contact with them. The pictures are not merely objects on the wall anymore, to be observed exclusively in isolation. Each painting suggests a standpoint to the observer. The observer can, if desired, accept this and assume the offered role. The observer becomes part of the painting, is now, as we say, "part of the picture". Looking at the painting, the observer also looks at himself or herself.
When we stand before paintings we are accustomed to asking questions. We ask, for example, "what does this picture mean?". Imagine if the painting would ask back: "And what do you mean?" We are also quick to pass judgment, to make an evaluation, and say: "That picture is lovely!" You would certainly be surprised if I replied: "You are lovely too." We regularly exclude ourselves when looking at images. We usually make an effort to look at something from a safe distance, from a respectful distance. The goal is supposed to be, of course, to take in the painting in question and then to understand it. The painting becomes an object for us that we try to decipher, in order to ultimately be capable of passing judgement on it. Then we say, for example, "Yes, I like that painting. I think it is lovely."
Observing a painting in this manner differs from the experience that we could have from a painting. We only experience a painting when we are part of the observation, when we experience ourselves in the observation. We thus take part in the experience. We exclude ourselves, however, when we examine and evaluate. We turn the painting into a thing, which we register from outside, to then make a judgement on it.
Looking at a painting can be compared to a journey at sea. Our gaze sweeps across the image, just like the sailor guides the ship over the abyss of the water's depths. The water's depths, the dark abyss, is an image, a metaphor for the spiritual. When humans lived entirely in the spiritual they lived in the mythical age. Numerous myths have come down to us from that age in which journeys over water are described. Among these myths we are familiar with the story of Noah's Ark or Odysseus' travels at sea. The spiritual is, therefore, an experience. It is a journey on which we travel. The mythical belongs to a deeper level of consciousness in us, one which, again and again, unexpectedly flickers through our rational, en- lightened worldview. It certainly does not occur when we think in concepts or operate with numbers. But when we encounter images the mythical forces itself upon us. Images are an accomplishment of the myth. For this reason it is often difficult for us to integrate images into our rationally determined consciousness. It is defined by the separation between observer and the observed. Put more abstractly, we speak of the subject-object division of rationality. The mythical, in contrast, "thinks" in images and thus from the inescapable interconnectedness of the ego and the world. Images, thus, are in their essence not capable of separating the seeing from the seen. We named this realisation of the inseparableness an experience. Experience is a remembering, a spiritual occurrence. It contrasts with conception, that is, the distancing, separating perception of the rational approach that predominates today. The disappearance of the mythical, however, does not mean that images have disappeared. We continue to orient ourselves to images, but have given them a new classi- fication. While in an earlier mythical age an image was appreciated when looked at, now it is a conception. It has thus become an opposite, a thing, which we classify in systems. Art is one such system. A typical question that arises before a painting today enquires "is it art?" That a painting can be regarded as art presupposes that it is a thing that can be objectively looked at. Many pictures that we nowadays appreciate as art objects in museums were previously not art, since they were experienced, since no difference was made in front of them between the image and the observer. They were not regarded as an imagined thing and thus also not judged or regarded as beautiful.
In front of the paintings displayed in this exhibition I am not calling for a return to the mythical age. Such a step, which would be a step backwards, would be fatal, in my opinion. Rather, I am concerned with pointing out that the image has preserved its two-faced essence from the age
of the myth. The transformation to a rational consciousness sought to remove from pictures their twin Janus faces, to force them to assume an objective perspective. This was only possible by objectifying the image. Art history is proof of an over 500 year-long effort to classify images as objects in various categories. The changing philosophic aesthetic systems that have accompanied art history likewise situate pictures in systems. The objective of this ordering and systemising has been until today to objectify images, that is, to recognise them as things and then to understand them. This new approach to images has brought us profound and valuable insights into the visual. I am convinced that we should not stop with this art-historical classification and aesthetical systemisation. It will also not help us any further to overturn the existing classifications or to expand the systematics. We should instead use the insights we have gained to make a jump, to leap away from our dear, but also rigid, approaches. We should leapfrog over classifications and systems and thus leapfrog over thinking. An encounter with images beyond the compulsive classifications and systems in which they are tied down today is an opportunity for such a leap.
Let us return to the pictures in this exhibition. Above I claimed that one could have an experience in front of these paintings. The experience is characterised by the fact that the observed painting looks back at the observer. The experience is therefore a being-there, experienced as a being-inseparable from what is seen. This experience is a form of memory. It touches the interior, the life of the soul, the inner images, the inner turmoil of the observer. I said above that experience is a sea journey above the depths of the soul, as described in myths. The external images correspond to our inner images, to what takes place in our inner soul. The rational consciousness has exposed these images as projections, as ideals. We have learned to not see our images as a symbol of what takes place inside us, but to recognise them as an autonomous reality separated from ourselves. In this manner, inescapability has been removed from pictures, into which we were helplessly drawn in when we looked at them before.
Thinking as directed thinking, that is, the rational consciousness, has led us out of this interconnectedness. For this reason, the rational consciousness is at odds with images, since it fears in them the danger of a relapse into mythical darkness, into irrationality. Ever since the emer- gence of rationality the polemics against images have been legion. It is absurd, however, to want to forbid images, for then one would have to gouge out all of our eyes. Even then, there would be no guarantee that interior images would not continue to appear within us. Images are a part of our being-in-the-world that cannot be destroyed. Insofar it represents a first step when we accept images as a legacy from the mythical and thus acknowledge the irrational link to the world. We must accept that
the integration of the mythical does not mean that it will be transformed into something rational. The image cannot be deduced rationally and therefore cannot be objectified. When we look at images, then we do not look at a thing, rather we enter into a relationship with ourselves. Yet, since we have left the mythical and have arrived on the path of thinking at the end in the logos, we find ourselves in the amazing and new situation of seeing through ourselves. We do not only look at something, we look at ourselves. We can look over ourselves in the experience. This does not take place analytically, not by separation, nor by contrasting, but rath- er in an all-encompassing gaze. The pictorial situations in DerRoteFriesare an incomplete, never-brought-to-an-end enumeration of visual encounters. These are not only placed one beside the other in a series, but each one is accompanied by a text. The texts do not explain the paintings, rather they propose how the experience before the paintings can itself become visible and transparent. One should not read the texts with the mistaken expectation that one could then understandthe paintings. Instead, the goal is that this bringing-to-awareness could make a sort of jump, a hop. One hops, one jumps, as described above, out of a long-established order. The jump, the hiatus, is comparable to a hiccup, which occurs when, for example, one's breathing is interrupted due to a fright, to an unexpected change in the habitual. When a joke is told it causes its effect in a similar way. Linear thinking mixes up the succession of steps and then stumbles. We experience this unexpected falling-out from established orders as liberating and have to laugh. Whoever experiences something similar before the paintings here will have gained something.
First presentation in Galerie Hengesbach, Berlin, "Der Rote Fries - Thomas Huber", 07.09. - 19.10.2013
All paintings are oil paint on canvas
Der Rote Fries on the artist webpages Huberville


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Last week we had the pleasure to train with a group of 12 adult players from Ireland. The group's training programme consisted of a combination of morning technical practice and afternoon match play.
Just as in the case of our programmes for individual players, we are flexible with our group programmes. Some groups prefer more emphasis on match play, others like a balance between drills and matches. Our group from Ireland had lots of match play and hopefully they feel prepared for the outdoor season in their tennis clubs.
Looking forward to seeing them all again at our academy!


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It's the comings and the goings...the arrivals and departures...the transitions and in-betweens that are the hardest. It's the indecision. It's the not-knowing. It's the looking back and letting go. And it's the needing to hold on to the vision of what the future might bring.
Up there she stood in the autum mist. One last look...and a final good-bye before stepping over to the other side. Into a new place...a new time...a new and different season.
She is. I am. We are.
All on our own paths and personal journeys. To somewhere.
And yet - today - we're only here. In this place...in this time...in this season.
Her courage inspired me. She smiled. I nodded my head and waved. Her tail swished and swung from side-to-side acknowledging that I'd been seen. She heard me.
Somehow we knew and understood that in spite of our differences...we are so much the same.
With hands at my heart - I bowed deeply. To our life journeys...to our bright lights...to all that we know and all that we don't...and to the spirits that live in both of of us.
Safe travels - I thought - as I said my good-bye. I watched as she quietly walked away.
She turned her head...taking one last glance back. As if to say and remind me.
I was. I will be. I am.


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A colleague not too long ago asked a question about the custom of sending men and women for legal guidance just before they sign agreements and I realized that, in light of certain provisions of the new Household Law Act , a refresher on the subject might be beneficial. As a legal specialist you could even specialise in one thing really particular, such as maritime law which deals with disputes occurring on boats or at sea. Whole case files go to court with me, rather then a choice of most relevant docs in 1 or two binders. As family law continues to grow to be much more complex, we believe that the only way a client can be certain that their lawyer is up to date with the newest changes is to practise and specialise in family law. Truth: This is the myth that does the most harm to participants of the household court program.
This is essential simply because a lot of a client's interaction with a law firm could not be with the lawyer himself, but with a paralegal or secretary. If your former spouse fails to pay by the court ordered date, write a letter (or an email) reminding them that they owe you cash and the consequences of failing to spend the debt, such as, inter alia, accumulation of interest at the price of ten{94fd270d4ca28f2edfc243ba25e2e085a0955a6f39a6e724499b123455e6c8b2} and unfavorable effect on their credit rating.
Despite the fact that bar associations typically do not rate attorneys and cannot give you individual details, they can give you leads on lawyers who have very good ethical reputations. I really think a forensics accountant is needed to locate the income, correct now financially I can not do too much, but I KNOW from what I found and the court case for his firm that there still a lot of missing cash that is unaccounted for. The law society is there for your protection and interests, NOT those of lawyers.
The day prior to the hearing I received a get in touch with from a lawyer saying she was now representing my ex-wife and was going to request an adjournment. Environmental lawyers will usually work towards legally defending the atmosphere using environmental law to controlling human interaction and effect. Can a fathers, sons legal family members matter be affected by his fathers criminal matter if a publication ban was granted at the resolution. My son of 20 has filed for child help but is living on his personal for a year and has withdrawn from parental control as per section 31(2) of family law act.
The Family Court program in Ontario is broken, the kids are going to spend the price tag. Family law is an area of law that deals with true people and genuine problems issues that can have an impact on a diverse range of relationship, life-style, and financial aspects of life. He or she could be in a position to give you a checklist of all the documents you will need to have to supply the court.


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Otherworldly Evil Monarch - Chapter 164
Chapter 164 - Sky Xuan Apprentice
The Solitary Falcon had somehow been able to maintain his usual expressionless look, along with his composure, but still couldn't stop his face from blushing. His eyes flashed a spark of expectation as he grabbed his glass and slowly raised it to his mouth. He hesitated for a second, and then drained the cup in one gulp!
He clearly felt the liquid as the wine came in contact with his throat, and could even feel his own Xuan Qi stirring up inside his body. As he felt the wine reaching his stomach, he realized that he still hadn't finished it all, which is why he drained the rest of it down in his second gulp......
The Solitary Falcon was just beginning to enjoy the aroma of the wine even more when he suddenly felt a very intense and extreme sense of burning inside his body....almost as if his limbs, all his blood vessels, and all his meridians were on fire!
Suddenly he felt as if his whole body had been set on fire;his body hair were erect, and even his Xuan Qi wasn't listening to his commands anymore!
The flame which was smoldering inside his body felt strong enough to give him power to beat any man in this moment;even Yun Bei Chen!
''Great wine! This is the best wine in this world!'' the Solitary Falcon tried very hard to suppress his words, but was unable to. Even though this low sounding roar came from deep within his throat, the excitement in his voice was evident.
''This man is the god of wine!''
The prince also gulped his wine down, and then suddenly started staring foolishly at everyone. He got up a while later, walked around in a circle, almost as if he sleepwalking, and then returned to his seat. He kept his head lowered for a while, continuously staring at his glass of wine the entire time, after which he mumbled with tears in his eyes: ''Today I know the truth behind my life......I've lived......''
Then he suddenly jumped up, and extended his arms, almost as if he wanted to scream out, but was unable to.... So he reseated himself and moaned: ''Great wine ah ah ah ah ah......''
Song Shang couldn't suppress his body's trembling as he held the glass, still unwilling to drink it;after seeing the Solitary Falcon and the Prince's reactions, he had already realized that he had lost the contest.
He had lost without any doubt!
But at this time, especially at this moment, he was very excited despite his loss, and elated despite his defeat! Since his best work had been beaten, he had no regrets! Now he just wanted to experience the taste of this wine for himself!
At this moment, Song Shang wasn't taking this defeat to his heart;like a pilgrim on a holy trail, he just wanted to experience the supreme power!
As he drank, Song Shang felt his soul dance and sing;he could feel every inch of his muscles, each meridian of his body...... and their trembling......
Soon enough, Song Shang's eyes started to tear while his throat started to whimper....... As his tears started to fall into his cup, his eyes become even more watery..... a little while later, his entire body started to tremble, and then he suddenly lowered his face to the table and completely broke down and burst into tears......
''I, I, I..... since I've had the good fortune of drinking this wine today..... my life will now be devoid of all regrets...... I've had the opportunity to drink such a divine drink today.... I will even accept my death without any complaints......''
Old Song punched, and punched, and punched the table, and then banged and banged, and banged his head against the table as he pulled his hair out while crying uncontrollably: ''I've spent my entire life.... Living like a dog...... ah.......''
Jun Mo Xie was left flabbergasted...... goosebumps covered his entire body as he watched the horrifying scene.
He had seen people cry before.
He had seen men cry before.
But Jun Mo Xie had never seen anyone cry like this before!
Moreover, this man was at least fifty years old!
On top of that, this man was a Sky Xuan expert!
And a famed assassin!
And now he was crying uncontrollably over a glass of wine.......
Is this simply because of this one glass of wine?
Jun Mo Xie was completely baffled.
The hitman Jun had always underestimated the power of wine!
The art of making wine had undergone thousands and thousands of years of evolution!
Countless people had gone insane in search of methods for perfecting the art of making wine!
This art had been passed down from generation to generation, and those methods had undergone several changes with each passing generation.
Since Jun Mo Xie had the finalized methods on his fingertips, he had always assumed wine making to be an easy task. But he had always ignored that he was standing on top of thousands and thousands of years of cultural and methodical evolution..... he was standing on top of the life-works of thousands of geniuses!
To participate in a contest with a modern-world method of making wine in an ancient setting would be like standing as tall as the Mount Everest in front of a normal human!
He had never realized that the methods he had used to ferment this wine had been made available to him due to the research and hard work of countless people who had devoted their entire lives to the art of making wine!
And in that ancient world, one such devoted man had just tasted a modern and refined wine......
The impact was.... Simply unspeakable.....
Old Song's Xuan Qi had already reached the Sky Xuan realm, which ranked him amongst some of the most powerful individuals in this world, and practically made him untouchable in the eyes of the common man. But this very man had always upheld ''Making wine is my best attribute''. Had he invested the same amount of energy and devotion to his martial training, then his martial achievements would have crossed all barriers!
Old Song's heart was experiencing a storm of emotions, but his emotions were still comforting him in a way. On one hand, his arrogance, pride and confidence on being the best wine maker in world had been shattered, but on the other hand, he had suddenly found a wine which was superior to his best product by a very huge margin!
It was almost unfathomable to imagine Old Song's shock.....
Jun Mo Xie had just transformed into a man beyond compare in his eyes..... almost as if he was.... An incarnation of the god of wine himself!
Oh Heavens! This world actually has such a wine! And there's a man in this world who can actually make such wine! If he isn't the god of wine, then what is he?
From being a proud and confident man, he had been transformed into a beaten one!
This was equivalent to the defeat of his entire life's persistence! The collapse of life's support and driving force!
The pub had gone completely quite, and remained that way for a while;the prince was the first one to speak: ''This wine making contest of today's....'' his voice still harbored a lingering taste of excitement.....
My wine is nothing compared to this youngster's wine... he's right... my wine is rubbish! My wine has no merit in front of his... there's absolutely no competition... not even one shred of it......I Song Shang have travelled the entire world, and I've never tasted anything this divine!
Song Shang's voice seemed extremely excited: ''I Song Shang, concede!''
Then he stood up as his eyes flashed a trace a frenzy, and walked towards Jun Mo Xie;then, he knelt down on both his knees, and lowered his head to the ground with a 'thud': ''Master, please accept your apprentice's respect!''
Jun Mo Xie hastily stood up: ''This......''
His Royal Highness and the Solitary Falcon looked at each other dumbstruck!
It was a while before the Solitary Falcon was able to find his words: ''Old Song has accepted you as his master, little brother. Your wine is peerless, but don't disgrace him;don't humiliate him!''
The final judgement had been passed!
Jun Mo Xie remained lost in his thoughts for a long while before he finally smiled, and said: ''Yes, in that case, Song Shang, get up;I accept you.''
What is going on?
Who says the sky cannot fall? The prince had always taken these words as a joke... but watching Song Shang, a dignified Sky Xuan expert, one of the top assassins of the world transforming into a disciple of an ordinary youngster was no joke......
Becoming an apprentice is a life-changing decision!
There are five cardinal relations in our way of life, parents and child, master and disciple, husband and wife, elder and younger siblings, and friends. Even though master and disciple relationship isn't the first priority, but it's the most important one!
A master is more important than a parent! Parents only shape one's body, but it's one's master that guides one to success in life!
Given Song Shang's identity and status, how can he ever even think of becoming a disciple to this lowly and unknown kid?!
The prince had obviously underestimated Old Song's obsession with the art of wine making!
Knowledge knows no age! As far as Old Song was concerned, this was his path to enlightenment!
Even Jun Mo Xie was a little surprised, and was still pondering;in case Old Song goes back on his word, then he could betray me anytime..... I never really thought that he would......
But the hitman Jun wasn't the kind to go back on his word!
Letting go of a Sky Xuan apprentice would obviously be a very foolish decision! Even though he only intends to learn the art of wine-making from me, but I can never be sure of trusting him given his identity of being a Sky Xuan expert! He is mysterious, and may be backed by a powerful force.......
So if he becomes my subordinate, will I truly be able to control him?
Jun Mo Xie was a bit excited at the thought, but then he suddenly woke up to the responsibility of being a teacher, and realized that he will now be responsible for his disciple's education! A superficial halo emerged within his mind, which told him to shoulder his responsibility!
''Old Song, do you know why you lost?'' Jun Mo Xie suddenly felt the urge to touch his beard, which would have made him look more respectable in appearance, but then suddenly realized that he was only sixteen, and obviously didn't have one...... left with no other option, he stopped his hand from going upwards and redirected it to scratch his legs instead.


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