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Period 4
Contents for our next Evaluation
Dear all, our next (and final!) evaluation will be on Tuesday. This test will be a Specimen Paper 1 in which you will have to read 4 texts and answer questions about them.
Find a list with the topics, for you to prepare and study!
- Compost
- Endangered Animals
- Web Censorship
Homeschooling Myths
Dear all, today we will work on both a listening and a reading comprehension about Homeschooling.
Before to start, discuss with your classmates what you think about the following questions:
- What is Homeschooling?
- Do you think is a good/bad method?
- What are its advanteges and disadvantages?
- Would you like to be homeschooler?
Pay attention to the following interview and answer the questions:
Click on the link below in order to find today's handout!
Social Skills and Homeschooling Myths and Facts
- Hit the books: To study.
- Isolated: Detached or separated
- To bear out: To confirm.
- Think tank: A research institute or organization employed to solve complexproblems or predict or plan future developments, as in military,political, or social areas.
- Strike up: To being, to set in operation, to commence.
Cry Freedom, Ch. 10
Read chapter 10 and answer the questions below:
- "Woods admired Biko's attitude, but at the same time was shocked by the risk Biko was taking". What is the risk Donald refers to?
- How did Mapetla die?
- Anticipate what you think will happen to Biko in Chapter 11.
Interactive Oral: Social Relationships
Dear all, click on the link below in order to find the set of instructions of our next Performance Assessment.
Blog Task: Diary Entry
Imagine you are an Indian boy. Your family has arranged your marriage with a girl who you do not love, but the tradition says that you must do what your family has agreed upon. Write a 250-400 diary entry describing how you feel, what this tradition represents and what you will actually do.
- Include and underline at least 3 sentences using Passive voice.
- Remember that diary entries are written in first person and mostly in simple past.
- Do not forget using connectors and paragraphs.
It's time for Passive Voice!
Dear students,
Find a detailed explanation and examples of Passive Voice for you to check them out:
Functions of the Passive Voice
1) The passive voice is used to show interest in the person or object that experiences an action rather than the person or object that performs the action. In other words, the most important thing or person becomes the subject of the sentence.
- The passive voice is used frequently. (= we are interested in the passive voice, not in who uses it.)
- The house was built in 1654. (= we are interested in the house, not in who built it.)
- The road is being repaired. (= we are interested in the road, not in the people who are doing the repairs.)
2) Sometimes we use the passive voice because we don't know or do not want to express who performed the action.
- I noticed that a window had been left open.
- Every year thousands of people are killed on our roads.
- All the cookies have been eaten.
- My car has been stolen!
If we want to say who or what performs the action while using the passive voice, we use the preposition by. When we know who performed the action and are interested in him, it is always better to switch to the active voice instead.
|"A Hard Day's Night" was written by the Beatles.
|The Beatles wrote "A Hard Day's Night".
|The movie ET was directed by Spielberg.
|Spielberg directed the movie ET.
|This house was built by my father.
|My father built this house.
Forming the Passive Voice
The passive voice in English is composed of two elements: the appropriate form of the verb 'to be' + past participle.
Examples with the verb "TO CLEAN" : Subject + to be (conjugated) + past participle + rest of sentence
Simple present: The house is cleaned every day.
Present continuous: The house is being cleaned at the moment.
Simple past: The house was cleaned yesterday.
Past continuous: The house was being cleaned last week.
Present perfect: The house has been cleaned since you left.
Past perfect: The house had been cleaned before they arrived.
Future: The house will be cleaned next week.
Taken and adapted from: http://www.edufind.com/english-grammar/passive-voice/
Blog tasks 2nd semester
- Vocabulary exercise
- Picture description (JU's group, done with Mr. Alfredo Calderón)
- Link to educreations project
- News Report
- Cartoon Analysis of Gender stereotypes
- Diary entry based on arranged marriages
- Popplet based on Cry Freedom
*Wild card: Answers about Chapter 10 "Cry Freedom"
Women for Afghan women
- What do you know about gender roles in other cultures?
- Is the religion of a country relevant for the identity formation of men and women?
Listening activity: Watch the video above and then, answer the questions on this guide: List. Comp – Women for Afghan women
Research activity: Visit the website of WAW http://www.womenforafghanwomen.org and answer the question on this guide: Women for Afghan women


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Tourist Sites / Powered & Ensite Sites.Powered Sites and Ensuite sites available for caravans and campervans. No tents accepted. All sites are level and well drained. Many Sites with shade and private providing a peaceful and relaxing environment. Excellent TV and Internet reception. Dump point also available. Suitable for Recreation Vehicles up to 27 feet long (9 m). Friendly Staff that will assist you with site selection and maneuvering your van if required. Palmwoods Tropical Village is located at the centre of the Sunshine Coast mid-way between the coastal rivers and beaches and the fascinating art and craft of the Blackall Range. Only 5 minutes drive from the historic railway township of Palmwoods.
- Powered Sites and Ensuite Sites for Caravan up to 27 feet
- Some sites with Shade
- Good TV signal and WIFI signal
- Two Amenities Blocks
- Laundry Facility with modern machines
- LPG Gas Refills & Swap & Go
- Free Electric BBQ Area with seating
- Kiosk at reception
- Tourist Information
- Boom Gate Security and Additional Visitor Parking
Contact Us:18 Landershute Road, Palmwoods, Qld 4555 Phone: 07 54459450 | Fax: 07 54458031 Email: Click here
Testimonials / What Our Clients Say
- We have just stayed for a week here on a powered site with ensuite facilities. The park was very clean and well set out and was very quiet. We were welcomed with a genuine smile and check in was very efficient.

subset: commoncrawl


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International Visit to Europe: Day 1
On the trade mission trail: 24 hours in Berlin
I knew the trade mission with the Mayor's International Business Programme "Go To Grow" would be hectic, but what an amazing first 24 hours it has been. We all arrived yesterday and were welcomed duly at a dinner in a typical German "brauhaus", or brewery. During the dinner, I already got to know several of the 15 start-ups in tech and healthcare sectors on the trip.
There is an awe-inspiring amount of innovation in these business, and it is both humbling and inspirational to be part of this group.
Today, we started with a presentation from Berlin & Partners, the equivalent of London & Partners in Berlin, on the start-up ecosystem here. What stood out for me was the explanation that Berlin is not a "finished city". It is in fact in many ways a very young city, still trying to find its feet and its culture. Whatever the final article, it seems it will be a start-up culture, given the amount of start-up activity going on.
After a very fancy lunch with the two Deputy Mayors of Berlin and London at City Hall, we then attended the flagship event at WeWork Sony Center, with two brilliant panel debates on health tech and general tech, followed by more networking.
From the polls held from the audience, it was interesting to see that the vast majority of the audience ranked "Access to talent" as the most important factor for a successful ecosystem. Talent is important! In London, we currently have excellent access to talent. Let us hope it stays that way.
Finally, to wrap up the evening, KPMG hosted a party and networking session at Soho House. What a fantastic way to end the day! Each start-up got to do an elevator pitch on stage, spurring each other on for excitement and passion. It was great to see, and lead to even more focused and useful networking.
The main learning I take from the day is that Berlin is clearly "one to watch" in the start-up scene. Lots of activity, lots of energy, and lots of incentives to do more and to do it better. The other key message today was #LondonIsOpen. Open for business, open for talent, and open for collaboration. I was especially heartened by the many positive words around collaboration between London and Berlin, and I hope that we at Pivigo will be able to do business here very soon.
Thank you to MIBP, London & Partners and KPMG for a wonderful first day of the trade mission.
About Pivigo
Pivigo is a data science marketplace and training provider. Pivigo supports businesses in their efforts to gain value from their data, by giving them access to a large community of vetted freelance data scientists. Pivigo also runs Europe's largest data science training programme S2DS, where analytical MSc's and PhD's prepare for careers in data science. Pivigo's clients include Barclays, Royal Mail, M&S and British Gas, as well as many SME's and start-ups.
For more information, see www.pivigo.com and @PivigoHub
Meet the other companies attending the Berlin leg of the mission >>


text: BACKGROUND feltArtist Sangit Tafelmaier is the woman behind feltArt She uses mostly high quality Australian Merino wool in her work which is very soft and perfectly suited to her many different nuno felt creations. feltArt offers wearable art, wall-hangings and art work. Based near Cairns / Australia feltArt sells in Galleries, selected markets and online Sangit Tafelmaier accepts commissions for any wet felted project that people can dream up.


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Your image is scorched upon my heart. My blessed blood flows with the smell of your gentle perfumery, like the elegant days before redemption. You are a fruit exposed to a thirsting mouth; you floweth into a needy world. The warmth of your grace envelopes my bony fingers and overwhelms me.
I know that I deserve no kind of delight. A creature bound by the night has locked away my every pleasure. The shameful begging slithers out of me during the weak mornings. The seven colors of the Sun shimmer in an occult prayer.
Trumpets ache with piety,
singing airs to joy.
The red bass bounces in the sonorous feast
of an onerous love.
To be held in judgment
is a terror known only to humanity.
To caress is a bliss
known to all vivacity.
In a blistering winter's night comes rain,
Whispering spirits of a softer day.
Murmurs which haunt a somber kind of pain.
A chill's tender tongue flicks and flays.
The air, besieged by crystal, breathes
And sways in a wanton waltz of blue.
The rust singes the brittle lips and sings
What only the cradle of the breast soothes.
In the calm flare of a lingering breath,
We wrote an immortal book of the wretch.
Kissing under the gallows, we steal death,
Lest we scribble an ominous sketch.
Hide not from the rattling skeleton,
It breathes through the air we take refuge in.
The crimson fluid cascades into the delicate crystal of a sensual curve. It is the vilest form of life. It spills with the Moon and croons with the miserable flesh of a forsaken room.
He is the afternoon of a chaste life, whispering Latin tunes in synthetic waves. His eyes are black with lust and hidden disgust. The slender dots of red, green, and blue sing a requiem for the lost folklore.
The creeping tingle of the stranger's presence basks over the fields of famine. I glow under the tutelage of human experience, and fall under the grace of a holy power.
Hail the Drunken God!
Hail the angel of the sleaze!
the grimy power of dead currency!
It is a nasty skin that I lick
and a nourishing flavor I worship.
A lovable caress.
The juice that Saves.
Savor the tender crusts of a body
and breathe the misty air.
The tangled, wet mass
flops and entwines
between the orderly streams of metal.
It scratches the muck
that replicates against the wave of destruction.
Like a harsh fiddle,
it vomits in alleys of disinfectant.
In its hatred
it screamed and tore
all of the fabrics
which had so tenderly needled it.
The Priest
Statues gaze into the cavernous hall and weep at the sin which flows out of the multitude. This is a world of debasement and tingling skin. This is an age of vibrating ears and racing hearts. We fling ourselves at every form of nakedness, and write somber odes of isolation.
They look to me, the stained priest, for comfort. But I am not the pure cloud that grumbles on a tumbling horizon. I am filth in wet drawers! A lecher with perverted symbology!
The haunted longing
which swoons upon my breast!
The impossible dreams
that flutter in my gut!
Its smile is like the bent bow of love.
Its eyes are the soothing legato
of a swan in its final dance.
I shed a single tear for Its beauty,
like a liquid diamond of tribute.
It stalks the dark forests of my muse,
the strutting devil of a bleary fever.
And I love it,
to hold an idol in my arms,
to caress Its skin,
to gaze into Its charms and lusts.
It is sinister.


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25% off for a friend. $10 for you. Refer someone today.
An orange sunrise comes up through a thick fog,trees and rolling hills of the Otway Ranges near Forrest.
fog forrest hills mist orange otway ranges red sunrise trees valley
Beautiful sunrise!! love the exposure on this one, the layering is perfect
Loading more work by Joe Mortelliti...
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This house has the feel of an old farmhouse, although it's relatively new construction with modern amenities. Our group of seven was very comfortable here, and we appreciated the large and functional kitchen along with the spectacular views across the St. Lawrence. If you are looking for peace and quiet, you will certainly find it here. If, like our group, you want a base of operations from which to explore Charlevoix, this house is relatively central in a large and spread-out region. While Baie St. Paul to the south has more for the tourist, with galleries and many restaurants, La Malbaie to the north has plenty of amenities, including the beautiful Fairmont Hotel, where some of our group went to the pool. We explored even farther north, including the spectacular fjords of Saguenay and the plentiful whales north of Baie St. Catherine.
The owner, André was very helpful and accommodating, and we would certainly choose this house again if we had it to do over.
We rented this property for a week over New Year to get together with extended family. Our group varied in age from 1 month old to 73... and everybody was thrilled!
This house is truly magnificent, spacious, well maintained and just as shown in the beautiful pictures. It is obviously loved and well taken care of. Our large group of 11 never felt crowded and all could enjoy a private space/room while enjoying the large living room, dining room and kitchen. We much appreciated having the television in the gorgeous loft where teenagers could have their own space when they wanted. Still, even the teens enjoyed the many times shared on the main floor area where piano was played, songs were sang, great meals were cooked, puzzles completed and board games abound. The wood burning fireplace (and abundant fire wood) was perfect to keep the chill out of the house while maintaining a great ambiance throughout our stay.
The view of the St-Lawrence is outstanding from many places in the house, which always give a sense of peace and simple, natural beauty. We fully took advantage of the convenient location, which is not too far from La Malbaie where we went to the pools at Manoir Richelieu and also not far from "Les sources joyeuses" where we enjoyed cross-country skiing, snowshoeing and tubing. Everything in the house made our stay extremely enjoyable: we couldn't ask for anything else!
All bed were comfortable, the kitchen is well stocked, the bathrooms are well finished etc. We also enjoyed the overall feel and decorations of the house, which brought many memories to older folks in our group ("remember we used to have a dresser just like this one when we were growing up?")...
Finally, the owner and caretakers were always responsive, courteous, patient and very accommodating. We will sure book again and enjoy this beautiful gem in the future!
We were very fortunate to share a memorable weekend with friends in this home during a recent visit to Quebec City. Every aspect of this great holiday rental added positively to the experience. We found that all of the rooms were very comfortable and clean and we were delighted to find an unbeatable view of the mighty St. Lawrence River from our corner bedroom. The home is cleverly designed to ensure there is a view from most of the rooms and outside on the wooden deck. The kitchen is also well equipped and the way it is set-up makes it easy and fun to share the cooking.
This home can be easily reached within a few hours drive from Quebec City and the journey there takes you through some of the most picturesque countryside in the region. The region is also noted for its quality food and wine with a lunch stop in the beautiful village of Baie-Saint-Paul a must. There are also spectacular views of the St. Lawrence River on the scenic route between Baie-Saint-Paul and La Malbaie.
Our visit to Saint-Irenee and our stay in this beautiful home was a highlight! We would certainly recommend staying here if considering a visit to this part of Quebec and we hope to go back again one day.
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We have belonged to large churches and very small ones and it seems a common area of concern is the little children.
When children are not accustomed to sitting quietly. . .they can become a distraction to the pastor as well as the people sitting nearby.
In large churches the answer is a nursery. All children under the age of 3 are expected to be put in the nursery. Depending on the size of the church, the children may then be promoted to children's church. Children's church is designed to teach elementary age children how to sit still and listen, and the hope is when they graduate to the sanctuary they will know how to behave, sit still and listen to the sermon without disrupting the service. Unfortunately this is seldom the case.
We have never been in favor of churches separating families and sending different age groups off to different classes or activities. So we have not used the nursery nor children's church.
We believe the church should reinforce parental authority and the family structure. We do not believe children should be taken from their family and sent to nursery, Sunday School or children's church. However, if children are to remain with their parents in the service they must understand what is expected of them and they must be disciplined.
We believe it is the parent's responsibility to explain to their children what is expected of them-that they must be quiet and pay attention while the Pastor is speaking. If a problem develops the parent should remove the child and deal with the situation in private.
We are currently attending a family-oriented church. Everyone meets together in the same room and families sit together. We do not have a nursery or Sunday School. Our service lasts about 2-2 1/2 hours and the children sit still and listen. If a child gets restless, one of the parents will remove them until they are ready to behave.
It is unfortunate that church's have reached a place where they feel it necessary to separate families and weaken the family unit. It is also unfortunate that so many parents do not discipline their children but, instead, seem to be proud that their child has an 'attitude' or is a 'free spirit' or any other justification for the parent's lack of discipline.
It is important we realize who God has placed in charge of the family - and it is not the child. It is time for parents to practice godly discipline and responsibility for their children's development.
Sharing my love for God, grub, girly things and sometimes guns with whoever will listen.
About Me
- pattisoriginals
- MS Gulf Coast, United States
- I am a Christian wife, mother and grandmother. I love to sew and create new and innovative items to share with my customers. The most popular area of my store is my Walnut Grove section which features clothing reminiscent of "Little House on the Prairie". Please take a moment to visit my store and see my latest creations. www.pattisoriginals.etsy.com
Friday, May 6, 2011
Children in Church
Posted by pattisoriginals at 12:01 AM
Labels: Family
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You've got the artisanal mistletoe, dipped in elves' tears.
You've got the... champagne.
You're ready for holiday crunch time, is what we're saying.
All you need now: um, some gifts for some people.
Here to help: The 2014 Last-Minute Gift Guide, a no-fail, last-minute shopping guide that's got all the best present ideas for everyone on your list, in convenient slideshow form.
You'll find six-pack holders crafted from California redwood, rabbit-fur fedoras and, of course, tartan dog coats.
Right this way...


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2011 Scion xB Base
|Front Air Conditioning
|Front Air Conditioning Zones - Single
|Rear Vents - Second Row
|Airbag Deactivation - Occupant Sensing Passenger
|Front Airbags - Dual
|Side Airbags - Front
|Side Curtain Airbags - Front Rear
|Antenna Type - Mast
|Auxiliary Audio Input - IPod/iPhone Jack
|Digital Sound Processing
|In-Dash CD - MP3 Playback Single Disc
|Premium Brand - Pioneer
|Radio - AM/FM
|Radio Data System
|Satellite Radio - SiriusXM Ready
|Total Speakers - 6
|Watts - 160
|ABS - 4-wheel
|Braking Assist
|Electronic Brakeforce Distribution
|Front Brake Diameter - 10.8
|Front Brake Type - Ventilated Disc
|Rear Brake Diameter - 11.0
|Rear Brake Type - Disc
|Armrests - Drivers Seat
|Center Console - Front Console With Armrest
|Cruise Control
|Cupholders - Front Rear
|Multi-function Remote - Keyless Entry
|One-touch Windows - 1
|Power Outlet(s) - 12V Front
|Power Steering
|Reading Lights - Front
|Steering Wheel - Tilt And Telescopic
|Steering Wheel Mounted Controls - Audio
|Storage - Door Pockets In Floor Under Seat
|Vanity Mirrors - Dual
|Exhaust Tip Color - Chrome
|Front Bumper Color - Body-color
|Mirror Color - Body-color
|Rear Bumper Color - Body-color
|External Temperature Display
|Gauge - Tachometer
|Multi-functional Information Center
|Trip Computer
|Warnings And Reminders - Low Fuel Level Tire Fill Alert
|Side Mirror Adjustments - Power
|Side Mirrors - Integrated Turn Signals
|Child Safety Door Locks
|Child Seat Anchors - LATCH System
|Rear Seatbelts - 3-point
|Driver Seat Manual Adjustments - Height
|Front Headrests - Adjustable 2
|Front Seat Type - Sport Bucket
|Rear Headrests - Adjustable 3
|Rear Seat Folding - Flat
|Rear Seat Type - 60-40 Split Bench
|Upholstery - Cloth
|Anti-theft System - Engine Immobilizer
|Power Door Locks
|Stability Control
|Traction Control
|Steering Ratio - 16.0
|Turns Lock-to-lock - 2.90
|Front Shock Type - Gas
|Front Spring Type - Coil
|Front Stabilizer Bar
|Front Struts - MacPherson
|Front Suspension Classification - Independent
|Front Suspension Type - Lower Control Arms
|Rear Shock Type - Gas
|Rear Spring Type - Coil
|Rear Suspension Classification - Semi-independent
|Rear Suspension Type - Torsion Beam
|Spare Tire Size - Temporary
|Spare Wheel Type - Steel
|Tire Pressure Monitoring System
|Tire Type - All Season
|Wheels - Steel
|Front Wipers - Intermittent
|Power Windows
|Rear Privacy Glass
|Rear Wiper
|Window Defogger - Rear
Other Vehicles You May Be Interested In
Whilst every effort has been made by Catalano Motors to accurately describe this vehicle, its' options and equipment, pricing, mileage, warranties and incentives; it is the customers responsibility to verify the information listed. You agree to hold Catalano Motors harmless for misprints on prices or general information about this vehicle. By using our website you agree that Catalano Motors has the right to cancel a sale or a promise of a sale if that sale is based on an incorrect price.
Pricing does not include government fees and taxes, state and/or local taxes, smog fees, any finance charges, any dealer document prepration charges, emission testing charge, registration or title fees. Depending on the age of the vehicle, normal wear and tear should be anticipated. Prices are subject to change without notice. While we do our best to describe our vehicles accurately, some descriptions and / or images provided by third parties may differ from the actual information or appearance of the vehicle. Catalano Motors assume no liability for ommissions or errors in this vehicle listing and encourages prospective buyers to verify the information by contacing us or viewing the vehicle at our dealership. All finance offers are O.A.C (On Approved Credit) / O.A.D (On Approved Deposit).
Our payment calculator tool is based on you having tier 1 credit and is provided as an estimator of your payments only. Your actual payment may differ from that shown.


text:
November 9, 2017
The IRS recently revised the Q&As on Employer Shared Responsibility Provisions under the Affordable Care Act (ACA) on its website to announce that in "late 2017" it will begin to notify employers of their potential liability for the 2015 calendar year. Employers that filed IRS Forms 1094-C and 1095-C for 2015 need to be alert and ready to respond.
The IRS will use a form of letter designated "Letter 226J". That 8-page letter gives an estimated amount owed in the first paragraph and will include a summary table showing by month the payments the IRS believes the employer owes. The letter provides directions on the employer actions either to comply with the potential liability or to contest it. Generally, the employer will have 30 days from the date of the letter to take action, but accounting for IRS administrative delay and the US mail, employers may not actually have 30 days to respond. Employers who disagree with the IRS analysis of ACA liability have a process to request a pre-assessment conference.
As a reminder, the Employer Shared Responsibility assessments arise from two ACA provisions requiring applicable large employers, to avoid penalties, to (A) offer minimum essential coverage to at least 95% of all full-time employees, and (B) to ensure that such offer is affordable and provides minimum value. For 2015, the annual penalty for violating (A) above is $2080 per full-time employee (less the first 30 full-time employees). The annual penalty for violating (B) above is $3120 per full-time employee who receives a subsidy or who purchases coverage on the ACA Marketplace and receives a premium tax credit.
As year-end approaches and the volume of mail increases, employers should remind their mailrooms, HR Departments and others in the workforce to be alert to mail from the IRS and to send such mail to a designated individual.
Employers will also need to be prepared to analyze the proposed assessment in IRS Letter 226J with the assistance of payroll, any service provider that prepared the Forms 1094-C and 1095-C, and legal counsel.
These materials have been prepared for informational purposes only and are not legal advice. This information is not intended to create, and receipt of it does not constitute, an attorney-client relationship. Internet subscribers and online readers should not act upon this information without seeking professional counsel.


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GIC Recruitment 2014 gicofindia.com 65 Assistant Managers Posts Last Date 24th January 2015
GIC (General Insurance Corporation of India) Recruitment 2014 Detailed Vacancy Information –
Total No. of Posts – 65 posts
Name And No. of Posts –
1. Assistant Managers – 65 posts
Age Limit – Candidates 21 to 30 Years as on 31/1/20214. Age relaxations will be applicable as perthe rules. For Postwise Age Details Go To Detailed Advertisement
Educational Qualification – Candidates should have done Graduation Degree / Bachelors Degree / B.E. / B.Tech / Engineering Degree / MBBS / LLB or its equivalent qualification from a recognized university. For Post Wise Qualification Go To Detailed Advertisement
Selection Process – All Eligible Candidates will Be Selected Based on Their Performance In Written Test, Group Discussion, Interview .
How To Apply – All Eligible and Interested candidates may fill the online application through official website http://gicofindia.com before or on 21-01-2015.


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Faster Than Lightning
Faster than Lightning is a thrilling book about adventure and horses. It is a great book for people who have an interest in horses. This book is the first of six books by Michael Panckridge and Pam Harvey. The second book "Top of the class" has just been released. This book is about a twelve year old boy by the name of Angus who loves horses. His father is a dedicated horse trainer.
After an odd incident at the track, Angus, with the help of his best friends Hannah, Gabby, E.D. and Ling discover weird things at the stud farm. When a horse, Lightning Strikes, appears to be the exact copy of a dead horse, Gale Force, Angus and his friends know something is not right.
Is this horse apart of a breeding program or something much worse?
You must read the book to find out.
I give this book 9/10.


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North America / English Change
|Pump does not start or shuts down,
|No power supply.
|Connect the electricity supply.
|Incorrect voltage.
|Pump is 115 Volt only. It will not start with 230V supply.
|Incorrectly plumbed.
|Confirm FIG 1 installation in the instructions is correct. Confirm ball valves #1 and #2 are open in suction and discharge. Confirm ball valve #3 is closed on bypass.
|Blocked inlet
|Check if pump suction inlet screen is blocked. See fig 5 in the instructions.
|Insufficient water supply
|Insure water source is providing sufficient water.
|Pump starts when no water is consumed.
|Pipe leaking.
|Insure all threads have 3 wraps of Teflon tape + hand tight + 1/2 turn with wrench.
|Tank pressure is low.
|See FIG 3 in the instructions to check and add air pressure to the tank.
|Air in the system.
|Insure all threads have 3 wraps of teflon tape + hand tight + 1/2 turn with wrench. Re-prime unit.
|Pump does not shut down when water is not consumed.
|Blocked check valve.
|See fig 4 in the instructions. Confirm check valve is free of debris and functions freely.


text:
DUBLIN--(BUSINESS WIRE)--The "Drug Delivery in Central Nervous System Diseases - Technologies, Markets and Companies" report from Jain PharmaBiotech has been added to ResearchAndMarkets.com's offering.
The method of delivery of a drug to the CNS has an impact on the drug's commercial potential. The market for CNS drug delivery technologies is directly linked to the CNS drug market. Values are calculated for the total CNS market and the share of drug delivery technologies. Starting with the market values for the year 2017, projections are made to the years 2022 and 2027.
The markets values are tabulated according to therapeutic areas, technologies and geographical areas. Unmet needs for further development in CNS drug delivery technologies are identified according to the important methods of delivery of therapeutic substances to the CNS. Finally suggestions are made for strategies to expand CNS delivery markets. Besides development of new products, these include application of innovative methods of delivery to older drugs to improve their action and extend their patent life.
Profiles of 76 companies involved in drug delivery for CNS disorders are presented along with their technologies, products and 99 collaborations. These include pharmaceutical companies that develop CNS drugs and biotechnology companies that provide technologies for drug delivery. A number of cell and gene therapy companies with products in development for CNS disorders are included. References contains over 420 publications that are cited in the report. The report is supplemented with 53 tables and 14 figures.
Key Topics Covered:
Executive Summary
1. Basics of Drug Delivery to the Central Nervous System
2. Blood Brain Barrier
3. Methods of Drug Delivery to the CNS
4. Delivery of Cell, Gene and Antisense Therapies to the CNS
5. Drug Delivery for Treatment of Neurological Disorders
6. Drug delivery for brain tumors
7. Markets for Drug Delivery in CNS Disorders
8. Companies
9. References
For more information about this report visit https://www.researchandmarkets.com/research/2bzgtb/drug_delivery_in?w=4


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Cone Editions Press
Cone Editions Press, PO Box 51, East Topsham, Vermont 05076
Cone Editions Press, 17 Powder Spring Road, East Topsham, Vermont 05076
BUSINESS HOURS Monday to Thursday 9am-4pm
What is Cone Editions Press?
Cone Editions Press is a full service digital print lab. It is the first, oldest, and longest-lasting digital print lab in the world and it specializes in high-end monochromatic (B&W) prints for artists globally.
What kind of services are offered by CEP?
Cone Editions Press offers custom printing for artists around the world. We offer unique grayscale carbon Piezography printing, color pigment printing, drum scanning, and online (Print On Demand) printing, Platinum printing, and much more.
What is Piezography?
Piezography is a type of black and white inkjet ink invented at Cone Editions Press. You take out the color ink from an Epson professional printer and put in multiple different shades of grayscale ink. This new ink triples the resolution and tonal fidelity of the final print way beyond what can be synthesized by mixing color and grayscale ink in a normal printer. The result is a print that looks much more natural. The matte prints have more tonal transitions that Platinum and gloss prints have uniform gloss with darker blacks than Silver.
What are the advantages of printing with you?
Cone Editions Press is the longest running digital print-lab on earth: it's were commercial fine art inkjet printing started. CEP is owned and operated by Jon and Cathy Cone and when you work with us you are guaranteed personal, collaborative, long-term, and future-proof support with your artistic production. Cone Editions Press is very experimental too! We started (before digital) as a silk-screen and gravure studio for painters and other artists during the 80s. That means we have deep experimental mark-making in our roots and won't shy away from non-traditional ways of making prints!
Does Piezography print both glossy & matte?
Yes! Piezography excels at both. With Piezography on Matte we offer the darkest matte black ink in the world (a dMax of 1.84 for all those print-nerds out there looking for numbers). With Piezography for Gloss we perfectly optimize the print all the way through the white border so the inked image has the exact same gloss as the paper and the image becomes visually "embedded" within the paper just like a silver print.
How do I calculate my price for a print order?
You can view our price list here. For Print-On-Demand orders you can simply add a print to your cart and multiply the price you see by the number of prints you wish to receive. For any other type of printer, you can always request a quote and we'll get back to you with the estimated price ASAP!
My browser won't allow me to upload files for printing.
We suggest using the Google Chrome browser for uploading. It is the most feature-complete and secure browser currently available and supports uploading (even very large) files. If you are still having trouble, call us and we can arrange alternative file-upload options.
What file format should I use?
Use the TIF (tagged image format) file format! This file format also supports Photoshop layers. If you are sending master files for us to custom print (not Print-On-Demand), we suggest leaving the layers un-flattened because then we can diagnose any editing issues that may be present and hopefully correct them without too much trouble.
What should my color space be set to?
For color printing we suggest Adobe RGB 1998 as the preferred color space. This color space matches the visual and print gamut available with fine-art inkjet. Using larger color spaces (aka, buckets of color) like ProPhoto can make prints look wonky if they are not translated properly into the smaller print-space for inkjet.
How to I soft proof?
Where are the ICC profiles?Color and Piezography ICC profiles and instructions can be found right here.
What resolution should I use for my files?
We recommend between 300ppi and 720ppi. See our File Preperation page.
What kind of paper should I use?
You can see all about our different papers in our papers section.
How do I add white margins?
In Photoshop, flatten your image. Go to Image>Image-Size and set the long-dimension to a desired size. Then go to >Image>Canvas Size and set your canvas size to the sheet-size you want. Make sure the background is set to white. When we receive images that have been sized in this way (with specific white borders around the image) we will honor the sheet size and cut the final print to those exact dimensions.
What film types and sizes can you scan?
We scan film all the way from smaller than 35mm to 16x20 in size. See our Drum Scanning page for details!
How large are your drum scans?
Between 500MB and 1500MB based on the original film size. We always scan at the highest resolution possible and depending upon the quality of the lens and camera that made the negative, our drum scans can print within the 40x60 to 60x80 size!
How do you deliver files?
We deliver files by a secure Google Drive download link. You do not need a Google account to download the files, and we delete the files 1 week after delivery. We also keep files on archive for the customer for free.
What are the shipping costs for my order?
Shipping costs are inherently variable based on the distance between CEP and the customer, the speed of the required delivery, and if the prints need to be roll-packed or flat-packed. Please email us to request final ship-charge quotes and please tell us if you need the prints flat or roll packed and how quick you need the delivery time to be. We'll get back to you with your options.
How to I get my invoice and when do I pay?
Invoices are sent online and payable online. You will receive an invoice before a printed job ships. Printed jobs do not ship out from Cone Editions Press before payment is made so this is something to consider when calculating required turnaround time.
None of these FAQs help me, what do I do now?
Call us! We can answer any questions you might have. Our phone # is (802) 439-5751 and we are available Monday through Thursday 9am to 4pm.
- What is Cone Editions Press?
- What kind of services are offered by CEP?
- What is Piezography?
- What are the advantages of printing with you?
- Does Piezography print both glossy & matte?
- How do I calculate my price for a print order?
- My browser won't allow me to upload files for printing.
- What file format should I use?
- What should my color space be set to?
- How do I soft proof? Where are the ICC profiles?
- What resolution should I use for my files?
- What kind of paper should I use?
- How do I add white margins?
- What film types and sizes can you scan?
- How large are your drum scans?
- How do you deliver files?
- What are the shipping costs for my order?
- How to I get my invoice and when do I pay?
- None of these FAQs help me, what do I do now?
|Dimensions (Inches)
|Fine Art Printing (online)
|Quantity Discounts
|8x10 & Proofs
|5+ Prints, Increasing Discounts
|5+ Prints, Increasing Discounts
|5+ Prints, Increasing Discounts
|5+ Prints, Increasing Discounts
|5+ Prints, Increasing Discounts
|5+ Prints, Increasing Discounts
|5+ Prints, Increasing Discounts
|5+ Prints, Increasing Discounts
|5+ Prints, Increasing Discounts
|5+ Prints, Increasing Discounts
|5+ Prints, Increasing Discounts
|5+ Prints, Increasing Discounts
|5+ Prints, Increasing Discounts
|5+ Prints, Increasing Discounts
|5+ Prints, Increasing Discounts
|5+ Prints, Increasing Discounts
|5+ Prints, Increasing Discounts
* All online per-print prices are final and non-negotiable.
** Dimensions represent cut sheet size and are not customizable. Print templates are available.
*** All prints are printed on higher-grade fine art papers.
Get in Touch for Collaborative Printing Price Quotes & More!
- Non Standard & Experimental Materials
- Experimental Printmaking
- Custom Inks
- Studio Days
- Private One-on-One Workshops
- Full Exhibition Printing
- Platinum & Palladium Printing
- And So Much More!
The prices below are for "base scans." They do not represent the cost for a fully mastered print-ready image file as most of the time the artist's input is needed after a flat-contrast low-saturation positive (base scan) has been created. All additional cleaning and imaging labor to master the image file is charged at our normal hourly labor-rate rounded up to the nearest 1/4 hour. Prices indicate per-neg cost to scan. File sizes per scan range from 300MB to 2000MB depending upon the original film size. We scan at the highest resolution possible at all times. We do not discount for smaller file-sizes as 99% of the cost of drum scanning is labor and materials, not processing size.
|Print Size
|1 neg*
|2 - 10 *
|11 - 20*
|35mm Drum Scan
|48bit RGB
|645 - 6x9 Drum Scan
|48bit RGB
|617, 4x5, 5x7 Drum Scan
|48bit RGB
|8x10 Drum Scan
|48bit RGB
|11x14 Drum Scan
|48bit RGB
|16x20 Drum Scan
|48bit RGB
* Each neg/positive is scanned raw and then brought to a positive flat-contrast low-saturation state. Then the negative is cleaned of any dust that got into the scan during the scan process. This is what we call a "base scan." All other labor such as surgical cleaning of old negatives, color matching or color grading, etc, is charged our normal labor rate. We charge $187.50 an hour in ¼ hour intervals for mastering and can give you a quote before running the scan if requested in your order.
Digital Negatives (Platinum, Palladium, Salt, Ziatype, Cyanotype)
|Custom Calibration (for home darkroom)
|$150.00 per Calibration. Calibration is stored @ Cone Editions Press and digital negatives are made from this calibration for the client and their own home darkroom. We currently do not support silver neg printing but will in late 2017 or early 2018.
|Neg Dimensions
|1 neg
|2 - 4 negs
To start a digital negative order, please call us at (802) 439-5751.
Platinum & Palladium Prints
|Print Dimensions
|2 - 5 of the same neg
|6+ of the same neg
* Prices represent cost per print for a single image/neg.
** All Platinum/Palladium prints are flattened, quality controlled, and retouched (spotted) and then archivally flat-packed for shipment or storage.
Pt/Pd Proofs (Piezography on Hahnemuhle Photo Rag 308)
|Print Dimensions
|Price Per Proof
|8x10 (on 8.5x11 paper)
*Pt/Pd Proofs are made to match the tonal range/dMax of a Pt/Pd print and can be made Neutral (Ammonium Citrate Developer), Semi-Warm (Platinum/Palladium in Cold Oxalate), or Warm (Palladium in Warm Oxalate). Brush-marks are not added.
Basic File Specs:
Your files should be sent to us in a proper print-ready form
- Adobe RGB 1998 for Color and Gray Gamma 2.2 for Piezography
- Flattened TIFF
- Image size set to the correct dimensions for printing (with white borders if specific sheet size is desired
Please note, we are unable to print full-bleed (to the edge of the paper). If white borders are not in the file, we will simply print with 2 inch borders or the maximum border available on the roll (if less than 2″).
Portfolio Templates:
We have made a set of print templates that will ensure a perfect upload and print workflow. Use these templates to size and position your image. Click and Download the template below that corresponds with your desired portfolio print dimensions.
Portfolio Print Templates:
8″x10″ | 8.5″x11″ | 11″x14″ | 11″x17″ | 13″x19″ | 16″x20″ | 17″x22″ | 20″x20″ | 20″x24″ | 20″x30″ | 24″x32″ | 24″x36″ | 30″x30″ | 30″x40″ | 40″x40″ | 40″x50″ | 40″x60″
How to Use a Template:
- Open your first image file in Photoshop.
- Download and open the template file that corresponds with your desired print-size. (See links above.)
- Go to your first image file and go >Image>Image Size.
- In this window, make sure "Resample" is checked on.
- Set the resolution (400 Pixels/Inch for Piezography, 300 Pixels/Inch for Color) and set your desired print size (the longest edge should be equal or shorter than the longest edge of the template file). For example, when printing a 20x24 print, a standard long-side dimension would be 20″
- Flatten your image. (>Layer>Flatten Image).
- Select all (>Select>All).
- Copy (>Edit>Copy).
- Go to your template file in Photoshop.
- If your image file is horizontal, rotate your template file by 90 degrees clock-wise so it is horizontal as well.
- Go to >Windows>Layers and click the eyeball next to the "HIDE THIS GROUP" group. This will make sure the instructions are not printed in your portfolio! Then click the background layer (once) to make sure you are on the Background
- Go to >Edit>Paste Special>Paste In Place. This ensures that your image file will be pasted into the center of your template file. If a "source space" warning comes up, click "Convert."
- If the borders are not to your liking, go to your image file and re-size the image by going to >Image>Image Size. Make sure the ppi is still set to 400 though! Then copy the image and paste-special into the template file.
- Flatten your template file. (>Layer>Flatten Image).
- Go >File>Save As, and type a name in (eg: Portfolio_Print_One). We suggest saving all of these files in one location (e.g. the Desktop).
- Select TIFF as the file format and click "Save."
- When the TIFF file options window comes up, make sure LZW Compression is turned on. Ignore all the other settings and click Save a final time. Close the image window.
- Repeat these steps until all the files have been saved.
- At cone-editions.com choose your paper type and Piezography toning and then upload the print file. Hit the "+" button to get to the next upload row. Do this until all images have been uploaded and then click "Add to Cart" to proceed.
Use our Soft-Proof ICC profiles to perfectly simulate the final printed image in Photoshop. This will enable a close match between the image on your monitor and the final print. There are two types of soft-proof ICCs in the download link below. One type of ICC is a "Piezography Soft Proof ICC" and one is a "Color Soft Proof ICC." The Piezography ICCs are used to simulate the color and contrast of a particular Piezography ink/paper combo and the Color ICCs are used to simulate the color/contrast of a particular Color ink/paper combo.
Download Piezography SoftProof ICCs Here
Download ConeColor SoftProof ICCs Here
Soft Proof is a feature that has long been used in Photoshop for previewing images as they will appear in print. The "Soft" is for software. Proofs are normally hard copies that are printed to give the designer or photographer an idea of how a digital image will print prior to going to press. The Soft Proof therefore, is a way to look at an image that is being converted by the software (Photoshop and Lightroom) to simulate the color of the inks, the color of the paper, and the dynamic range (contrast) of the inks. It will give you, the artist, a better idea of exactly how your print will arrive in the mail so you can edit the tones in a more precise matter. Softproof ICCs profiles are not used for printing. They are only used for previewing images.
Soft Proof ICC profiles are easy to install.
Find the files are end in ".icc". These are in the same folder as this instructions document.
On Macs you copy or move the ICC profiles to your User/Library/ColorSync/Profiles folder.
On Windows you get to right click each ICC profile and select Install or you can manually copy each ICC into C:/WINDOWS/system32/spool/drivers/color
Soft Proofing in Photoshop:
- Go to View / Proof Setup / Custom menu on the Menu bar
- In the Device to Simulate menu you can select one of the ICCs you have down loaded.
- If you have trouble finding them – look for the ones that start with "Piezo."
- Set the Rendering Intent to Relative Colorimetric
- Under Display Options check both of Simulate Paper Color and Simulate Black Ink
- You can select OK to exit this window, or you can Save the setup so it is easily selected again under View / Proof Setup
- Your image (even a color image) will have converted to the color of the inks that were profiled while you were selecting the ICC profile in the Custom menu. You will notice that anything that was brightest or near brightest changed to a new color of white relative to the color of the paper that was profiled. And the dMax (the darker parts of the display) got appreciably lighter to as near exact to that amount of light that is reflected off the darkest bits of the inks on that paper that were profiled. Note: Simulating Black Ink may make the darkest portions of your image too light compared to how our Ultra deep black ink actually prints. Sometimes you may simply want keep that off.
- Optional Super-Fancy Linear Photoshop Expert Option: With Piezography we give you the option of printing your image in "linear mode" which opens your shadows more. If you want us to print in this way, soft proof by turning on "Preserve RGB Numbers" and keep the simulate black ink off. This will dramatically decrease your shadow contrast but then you can simply add a curve to dial the shadows down to exactly where you want them. Then request "Linear Expert Mode" from us when you order a print and this will perfectly match the condition you soft proof on your monitor. It takes more work to do it this way but sometimes that is worth it. This option is not available in any other application.
Soft Proofing in Lightroom:
- While in Develop mode check SoftProofing on the Toolbar.
- Clicking that opens the SoftProofing Pane
- In the Profile menu you can select one of the ICCs you have down loaded.
- If you have trouble finding them – look for the ones that start with "Piezo."
- For Intent I suggest Relative
- Check Simulate Paper Ink
- Judge the Results
Jon Cone's aside:
This is where time really shows the difference between imaging in the 1990s and 2000s, and imaging today. I hate to get all "back in the day", but back in the day everyone had a D50 environment. Everyone doing advanced digital imaging in the 90s and 2000s were mostly professionals in studios – that had perfect viewing conditions for both their calibrated displays and the printed proofs they used for comparing to the display to.
The displays were CRTs calibrated to 5000 kelvin. The displays were in darkened rooms without any other source of light that was not the same color temperature as 5000k or made the room brighter than 50 to 100 lux. Adjacent to the display was a small viewing booth which the print was put into. The light in the booth was dimmed to the same brightness of the calibrated display, and the color temperature of the booth's light was the same as that of the calibrated display (5000k).
As ICC improved each successive year, the quality of the match of a print to the soft proof on the calibrated display became more and more accurate. Then the CRT died, and the LCDs came on – and with the exception of the Eizos and the NECs — they've gotten worse ever since. Frankly, color management today is not what it used to be. And yet that is not saying that ICC profiling does not work. It does. Printing is better than ever. What is lacking is that such a small percentage of users at home have set up good viewing and comparison conditions.
So, the results will vary. Soft proofing depends fully on the quality of your calibration and viewing conditions. For example, I can not use the latest greatest MacBook Pro that I'm writing this on (even though it has both Photoshop and Lightroom.) I have calibrated it with i1Profiler – but Apple didn't design this MacBook Pro's display for previewing soft proof ICC profiles. But, I do have a Mac Tower with a 30″ NEC that is hardware calibrated using NEC's own sensor and software. The print lab this monitor sits in is painted off-white and dimmed to about 75 Lux. There is a GTI soft proof (dimmed) viewing booth – and everything is calibrated to 5000k. The display is reduced to the dynamic range of the Piezography prints for viewing when I am making prints. I use the soft proof in both LR and PS. I will set it brighter for general photo work and can also change it on the fly to look like what most of the world sees when they look at Facebook and web pages.
In summary, Soft Proofing is a useful tool for artists wanting to get perfectly matched prints right off the bat. However, soft proofing will not work equally well on all monitors. We suggest using a high-end monitor that can truly show more than 256 gray levels at even the low contrast ranges required to match printed paper. The brands that stand out the best are Eizo ColorEdge and NEC SpectraView monitors.
ICC List:
|ICC Profile Name
|Ink Set
|Toning / Hue / Base
|PiezoPro Matte Warm.icc
|Piezography Pro
|All Matte Papers
|100% Warm
|PiezoPro Matte Neutral.icc
|Piezography Pro
|All Matte Papers
|100% Neutral
|PiezoPro Matte Cool.icc
|Piezography Pro
|All Matte Papers
|100% Cool (Cool Neutral)
|PiezoPro Matte Warm Neutral.icc
|Piezography Pro
|All Matte Papers
|25% towards Warm
|PiezoPro Matte Semi-Warm.icc
|Piezography Pro
|All Matte Papers
|50% Towards Warm
|PiezoPro Matte wH cS.icc
|Piezography Pro
|All Matte Papers
|Warm Highlights & Cool Shadows
|PiezoPro Matte cH wS.icc
|Piezography Pro
|All Matte Papers
|Cool Highlights & Warm Shadows
|PiezoPro Gloss Warm.icc
|Piezography Pro
|All Gloss Papers
|100% Warm
|PiezoPro Gloss Neutral.icc
|Piezography Pro
|All Gloss Papers
|100% Neutral
|PiezoPro Gloss Cool.icc
|Piezography Pro
|All Gloss Papers
|100% Cool (Cool Neutral)
|PiezoPro Gloss Warm Neutral.icc
|Piezography Pro
|All Gloss Papers
|25% towards Warm
|PiezoPro Gloss Semi-Warm.icc
|Piezography Pro
|All Gloss Papers
|50% Towards Warm
|PiezoPro Gloss wH cS.icc
|Piezography Pro
|All Gloss Papers
|Warm Highlights & Cool Shadows
|PiezoPro Gloss cH wS.icc
|Piezography Pro
|All Gloss Papers
|Cool Highlights & Warm Shadows
|PiezoK7 Matte Carbon.icc
|Piezography K7
|All Matte Papers
|100% Carbon (warm)
|PiezoK7 Matte Special Edition.icc
|Piezography K7
|All Matte Papers
|Warm Shadows & Cool Highlights
|PiezoK7 Matte Selenium.icc
|Piezography K7
|All Matte Papers
|Magenta Neutral Warm (glow)
|PiezoK7 Gloss Carbon.icc
|Piezography K7
|All Gloss Papers
|100% Carbon (warm)
|PiezoK7 Gloss Special Edition.icc
|Piezography K7
|All Gloss Papers
|Warm Shadows & Cool Highlights
|PiezoK7 Gloss Selenium.icc
|Piezography K7
|All Gloss Papers
|Magenta Neutral Warm (glow)
|CEP9900 Eps PremSemiMatte.icc
|Color Pigment
|Epson Premium Semimatte (luster)
|CEP9900 Hahn Matte Fibre.icc
|Color Pigment
|Hahnemuhle Matte Fibre (matte)
|CEP9900 Hahn PhoRag.icc
|Color Pigment
|Hahnemuhle Photo Rag (matte)
|CEP9900 Can RagPhoto.icc
|Color Pigment
|Canson Rag Photographique (Matte)
|CEP9900 Hahn Bamboo
|Color Pigment
|Hahnemuhle Bamboo (matte)
|CEP9900 Can BFKRives.icc
|Color Pigment
|Canson BFK Rives (matte)
|CEP9900 Can EdEtch.icc
|Color Pigment
|Canson Editions Etching (matte)
|CEP9900 Hahn PhoGlossBaryta
|Color Pigment
|Hahnemuhle Photo Gloss Baryta (glossy)
|CEP9900 Hahn PhoRagBaryta
|Color Pigment
|Hahnemuhle Photo Rag Baryta (semigloss)
|CEP9900 Hahn PhoRagPearl
|Color Pigment
|Hahnemuhle Photo Rag Pearl (semigloss)
|CEP9900 Canson Platine
|Color Pigment
|Canson Platine (semigloss)
Cone Editions has printed on fine-art papers for over three decades. In all of that time we've seen papers come and go. For a while we were the sole importer and seller of Hahnemuhle papers (we named the various papers after towns in Vermont and sold them under the Cone brand.) Throughout the mid 1990s and early 2000s, there was a great variety of paper and ink that arrived on the market, but some of these papers did not stand the test of time: there surfaces would flake, or discolor when exposed to sulfur or acid. Some papers, however, did stand the test of time and these are the papers that we keep in stock for artists. All of the papers are ISO certified as archival and are doubly certified by us (the longest running digital lab on earth) through our own experience working and printing with these materials over decades.
The papers that we regularly stock offer a broad range of surface texture, surface gloss, handling characteristics, paper-white, and thickness. Below we describe each paper with a brief review talking about what the paper's properties are and what type of printing it's good for. We also explain what paper sizes are available, and what inks are available.
We also have a vast "back catacomb" of papers that we have bought in bulk over the years available for collaborative printing project.
Paper Notes: Semi-Gloss, 100% Cotton, Natural white with pigmented surface and zero OBAs. This paper is created from the Arches Platine Platinum paper base and is then buffed several thousand times to create a pollution barrier. It's then coated with a titanium-white pigment and semi-gloss emulsion. This paper has a natural texture and it's very very very durable. This is a great default paper.
Paper Manufacturer: Canson
Sizes Available: Letter, 11×17, 13×19, 17×22, 24″ roll, 44″ roll
Soft Proof ICCs: Download Here
Hahnemuhle Photo Gloss Baryta
Paper Notes: This is a brand-new very glossy Baryta paper brand from Hahnemuhle but the paper itself will be instantly familier to people because it's still made by Harmen and is a re-make of the old Harmen FB Gloss Baryta Neutral-Tone paper that is the closest match to a traditional silver print ever created. The old paper had quality control issues from batch-to-batch but now that Hahnemuhle is running the show directly at the mill, every roll comes out perfect and we can finally offer this paper as a viable option for artists looking to show digital prints in the same portfolio as silver prints. If you are looking for a print that mimics B&W silver, look no further than Piezography Pro inks on this paper.
Paper Manufacturer: Hahnemuhle
Sizes Available: Letter, 11×17, 13×19, 17×22, 24″ roll, 44″ roll
Soft Proof ICCs: Download Here
Hahnemuhle Photo Rag Baryta
Paper Notes: Glossy, Smooth, Semi-white, 100% cotton + baryta, similar to Photo Rag Pearl but smooth, more glossy, slightly warmer. It has a better resolution due to the baryta layer. This paper has the unique ability to completely hide ink dots and keep the image super sharp at the same time. It works well with all inksets we use at Cone Editions.
Paper Manufacturer: Hahnemuhle
Sizes Available: Letter, 11×17, 13×19, 17×22, 24″ roll, 44″ roll
Soft Proof ICCs: Download Here
JonCone Studio Type 5
Paper Notes: Baryta surface, semi-gloss but the least amount of gloss possible, warm-white non-OBA. Very thick rigid paper. This paper is the perfect fine-art paper for traditional K7 semi-gloss Piezography printing and also works incredibly well for color printing.
Paper Manufacturer: Cone Editions Press
Sizes Available: A4, 11×17, 13×19, 17×22, 24″ roll, 44″ roll
Soft Proof ICCs: Download Here
Hahnemuhle Photo Rag Pearl
Paper Notes: Semi-Gloss, 100% Cotton, slight texture, Semi-white with minimal amount of OBAs. This paper is very durable and takes a decent amount of gloss ink without bronzing. The first Hahnemuhle Semigloss cotton paper and still one of the best for general photographic printing. It's a photo-community favorite.
Paper Manufacturer: Hahnemuhle
Sizes Available: Letter, 11×17, 13×19, 17×22, 24″ roll, 44″ roll
Soft Proof ICCs: Download Here
Epson Ultra Premium Luster
Paper Notes: This is Epson's "Ilford Multigrade." It's their base paper for all photo printing and is as durable as Battlestar Gallactica. This paper can take more ink than Epson Glossy and it's nearly waterproof and "cockle" proof. It's a great student work paper!
Paper Manufacturer: Epson
Sizes Available: Letter, 11×17, 13×19, 17×22, 24″ roll, 44″ roll
Soft Proof ICCs: Download Here
Epson Ultra Premium Semimatte
Paper Notes: The only archival paper that Epson (or really anyone) makes that can be face mounted is Ultra Premium SemiMatte. This paper has the least reflectance and the most smooth surface of any Epson paper. Epson stopped making it for nearly a half decade and recently re-introduced it to the market. If you are looking to face mount a print, use this paper.
Paper Manufacturer: Epson
Sizes Available: Letter, 11×17, 13×19, 17×22, 24″ roll, 44″ roll
Soft Proof ICCs: Download Here
Paper Notes: Matte, 100% Cotton, White with minimal amount of OBAs. This paper started the fine-art digital inkjet revolution. It has an incredibly rich tonal range with Piezography ink and a very high color gamut with color ink.
Paper Manufacturer: Hahnemuhle
Sizes Available: Letter, 11×17, 13×19, 17×22, 24″ roll, 44″ roll
Soft Proof ICCs: Download Here
Paper Notes: Matte, SMOOOOTH. 100% Cotton, White with pigmented surface and zero OBAs. This paper is a new generation of rag paper created by the legendary Canson paper mill in France.
Paper Manufacturer: Canson
Sizes Available: Letter, 11×17, 13×19, 17×22, 24″ roll, 44″ roll
Soft Proof ICCs: Download Here
Paper Notes: Matte. Warm-white, Non-OBA, stiff rigid thick surface, very sharp dot (similar to the original Crane Portfolio Rag but smoother and slightly warmer), this paper is specifically built for Piezography printing and is the most exceptional, most archival paper for the process. It works equally well for color printing.
Paper Manufacturer: Cone Editions Press
Sizes Available: Letter, 11×17, 13×19, 17×22, 24″ roll, 44″ roll
Soft Proof ICCs: Download Here
Paper Notes: Smooth, Thick, Matte, Bamboo fiber, Very Warm with zero OBAs. This paper is environmentally and ethically friendly (no cotton!). It is one of the warmest papers on the market and many consider it to be more archival than Hahnemuhle Photo Rag. The paper surface is truly exceptional and professional-grade and surpasses the dMax (how black the black gets) of Hahnemuhle Photo Rag. It's perfect for portraits too.
Paper Manufacturer: Hahnemuhle
Sizes Available: Letter, 11×17, 13×19, 17×22, 24″ roll, 44″ roll
Soft Proof ICCs: Download Here
canson BFK RIVES
Paper Notes: Matte, 100% Cotton, Natural white and zero OBAs. This paper is similar to Canson Edition Etching but with a warmer and more natural feel and texture. It does not have as much bite as other Canson papers but that is the whole point. It's soft and alluring.
Paper Manufacturer: Canson
Sizes Available: Letter, 11×17, 13×19, 17×22, 24″ roll, 44″ roll
Soft Proof ICCs: Download Here
Paper Notes: Matte-Textured, loose grain, 100% Cotton, mid-white, mould-made felting. Museum Etching has a smooth wide grain and it's a very thick 350gsm paper. The texture is less present than Torchon. It's great for extremely large prints that require tough paper that will hold up to a lot of abuse. It doesn't flake. This paper has incredible longevity and is probably the oldest continuously-made paper in history. We consider in future-proof.
Paper Manufacturer: Hahnemuhle
Sizes Available: Letter, 11×17, 13×19, 17×22, 24″ roll, 44″ roll
Soft Proof ICCs: Download Here
Paper Notes: Matte-Textured, loose grain, alpha-cellulose proofing paper. This paper is a thinner than Hahnemuhle Photo Rag 308 with slightly less optical brighteners (warm) but retains the same dMax performance of it more expensive sibling while coming in at a very attractive price-point. We offer this paper as the matte option in our "standard portfolio" online print service.
Paper Manufacturer: Hahnemuhle
Sizes Available: Letter, 11×17, 13×19, 17×22, 24″ roll, 44″ roll
Soft Proof ICCs: Download Here
For online Proofing, our general turnaround time is 24hrs during the work week (M-Thur) but that can extend to 1 week if the studio is slammed or a paper is temporarily un-stocked due to supply issues with our vendors. We recommend you schedule a week+ from upload of the proof file to recieving the proof in the mail.
For online Portfolio printing, the turnaround is between 3 days and 2 weeks depending upon the size of the portfolio and material availability. We indicate the turnaround time in the invoice we send for approval/payment after a portfolio job has been submitted to us.
For Custom printing, we say turnaround is 2 weeks although most-often we are able get a job done quicker if the files are in good shape and the job is not huge. We indicate the turnaround time on the estimate that is approved before work begins.
For Studio Print Days, all work is done in-lab over an 8hr period although pre-work is highly recommended.
For Drum Scanning, our turnaround is between 24hrs and 3 weeks depending upon how large the job is.
All jobs can be rushed for a fee. This fee is variable and dependant upon how busy the lab is at the time the job is submitted, how quick the rush is, how much communication must be done back and forth with the client, and how far the final work needs to be shipped. We determine the rush fee at time of estimate and the fee is agreed upon by the client before work begins. If a job changes mid-production, rush fees may increase or decrease according to the change. Sometimes jobs cannot be rushed if another rush job is already in the queue. If this is the case, we are forced to turn down the second rush job submition.
All invoices are sent online and payment can be made by check drawn on a U.S. bank, money order, Visa, Mastercard or American Express. Cash is accepted at the studio.
Sample Proofs
Sample Proofs are billed at checkout.
Standard & Fine Art Portfolios (online):
Standard and Fine Art Portfolio job invoices are sent to the customer for online payment after the print-files have been verified. The invoice includes packing and shipping charges as well as a FedEx tracking #. Production on the portfolio prints will not take place until payment is complete. Only online payment is accepted.
Custom Printing:
When you contract us to print for you, we prepare an estimate (quote) that includes all of the work that has been discussed and requested. The final invoice may include charges that were not anticipated at the time the work entered our studio, or changes requested by the client. The client will be notified when additional charges begin to incur.
For large custom print jobs, a deposit of half the amount is required in order for us to begin the work and must be paid prior to any production. Upon completion of the project, the invoice balance must be paid in full prior to our shipping the work, or prior to the client picking up the work. The final invoice may include shipping although we prefer to ship on our client's accounts. Unless you have a valid resale certificate, all state and local sales tax is applied.
Workshops & Studio Print Days:
A non-refundable seat reservation deposit of $450.00 is due at time of order for each workshop or print day. The full remainder of the fee is due 1 week prior to the start of the workshop or print day.
Vermont Business Sales Tax Exemption
If you are a Vermont Business and you have a sales tax ID number with the state and the work we do for you is meant for resale, you can fill out the Sales Tax Exemption Certifcate and send it to us. We will keep the information on file and not charge you VT State Sales Tax.
You can download the Exemption Certificate here.
Due to our rural location we do not receive morning/priority overnight deliveries. Our normal pickup and drop off time is 3:00pm EST. Shipping costs and materials are the client's responsibility. For custom print jobs, please indicate your preferred shipping method (i.e. priority or standard overnight, 2-day air, Express Saver etc) for shipment of proofs and final prints. For portfolio print jobs, standard FedEx Express shipping is used.
We offer different print shipping packaging. We have 5" tubes available in your print width at $15 up to 36" and $20 for up to 48". We have tri-wall flat paks, which are virtually indestructible at $35 for prints up to 16x20, $50 for prints up to 24x36, $75 for prints up to 30x40, $100 for prints up to 36x44. Beyond this, allow us to suggest either a reusable 12" diameter polypropylene shipping container or we can build a custom tri-wall or plywood crate.
The normal shipping method is flat-pack for in-country shipping of any print up to 30x40 and tube for any print over 30x40 in size. For international shipping, tubes are normally used for prints 20x24 and larger due to extra costs associated with shipping flat prints internationally.
All packing is done by our printmakers and is fully quality controlled and inspected by the same people who run the print and work with artists.
All printing files remain the property of Cone Editions Press and are archived for free. These files can be deleted from the archive at the clients request.
Requests for re-prints of work archived before 2012 may incure a research labor fee.
Scan files are delivered as download links or can be loaded in-bulk onto a client's hard-drive if they mail it to CEP with their originals to be scanned.
Files uploaded online are encrypted and stored in a password protected directory before final archiving on our internal server. After the job is printed, we delete the uploaded files and archive the final print-files at our studio for free.
LIMIT OF LIABILITY: Submitting any material (i.e. film, slide, negative, artwork, computer files, video tapes, etc.) to Cone Editions Press, Ltd., (hereinafter CEP) for processing, printing, or other handling, constitutes an agreement by the client that any item damaged or lost while in the custody of CEP employees, or agents, whether such damage or loss results from negligence, or otherwise, will be replaced with equivalent unexposed film or art materials, or One Hundred Dollars, whichever is less. Except for such replacement, the handling of client material is without warranty or liability even though loss, neglect or damage is caused by negligence or other fault. All client materials will be accepted by CEP and delivered by the client without any other liability, guarantee or warranty of any kind either expressed or implied. Should any material being submitted involve high origination costs or have high value, the onus is upon the client to appropriately insure it.
Warranty and Indemnification for Copyrighted Works: You, CEP's customer, represent and warrant with respect to any copyrighted work you submit to CEP, that you: (1) own the entire copyright in such work; (2) have the copyright owner's permission to reproduce, distribute, and display such work; or (3) will use the reproductions prepared by CEP. solely for teaching, research, scholarship, or for criticism, comment, or news reporting, and that you will not sell the reproductions or use them in any manner for your financial benefit to the financial detriment of the copyright holder. YOU AGREE TO DEFEND, INDEMNIFY, AND HOLD CEP HARMLESS OF, FROM, AND AGAINST ALL COSTS, EXPENSES, ATTORNEY'S FEES, AND/OR JUDGEMENTS RESULTING FROM ANY CLAIM OR LAWSUIT AGAINST CEP ALLEGING OR RELATING TO COPYRIGHT OR COPYRIGHT INFRINGEMENT OF THE WORK AND/OR ANY REPRODUCTION THEREOF.
DISCLAIMER OF WARRANTIES: YOU UNDERSTAND AND AGREE THAT YOU USE THE SERVICE AT YOUR OWN RISK. The service is provided on an "as is" and "as available" basis and without warranties of any kind either express or implied. CEP disclaims all warranties, express or implied, including, but not limited to, implied warranties of merchantability and fitness for a particular purpose. We do not warrant that the service will meet your requirements, be accurate or reliable, the service will be uninterrupted or error-free, that defects will be corrected, or that the web site or the server(s) that makes the web site available are free of viruses or otherharmful components. We do not warrant the quality of any products, services, information, or other material purchased or obtained by you through the service. No information obtained by you from us shall create any warranty not expressly stated in the Terms and Conditions.
Cone Editions Press, PO Box 51, East Topsham, Vermont 05076
Cone Editions Press, 17 Powder Spring Road, East Topsham, Vermont 05076
(802) 439-5751
Please Contact Us
We accept Check, Money-Order, and the following forms of online payment:


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Angela Neve
Angela Neve, NMT, MT-BC is a board-certified neurologic music therapist and co-owner of The Music Therapy Center of California. She has been working as a music therapist for over seven years in the San Diego area with children, teenagers and adults with autism. She has published several products including the In Harmony program, an educational product targeting speech and social skills through music. She is the music director of Kibbles Rockin' Clubhouse and stars as Miss Angela. She currently serves as the Phase 3 Early Intervention Director for the Autism Tree Project Foundation in which she trains preschool teachers on inclusive music strategies, she also serves as the entertainment director for Autism Speaks. She has presented locally and nationally for organizations such as Kids Included Together, the Autism Education Network, and the American Music Therapy Association. As a sibling of a brother with special needs, Angela has seen the power of music in making changes in her brother Luke's life, and is dedicated to bringing that passion to the clients and families that she serves.


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New at Housatonic Community College This Fall
BRIDGEPORT — Students starting classes this fall at Housatonic Community College will find things are different.
The most visible will be that their college is also a construction zone. Work is well underway to expand Lafayette Hall. Beyond the addition, there will be a brand new cafeteria, new furniture and enlaged food stations. .
The college's Manufacturing Center has also been expanded over the summer with an additional Metrology lab and computer classrooms. Existing labs have new and additional machinery to allow students to learn the most recent computerized, advanced manufacturing processes including three-D copying.
There are several new courses including Industrial Design in the Art offerings and Science Fiction in Literature as an English elective.
On Saturday, August 6, Housatonic will participate in the system-wide Super Saturday with offices open from 9 a.m. to 2 p.m. Students will be able to take placement tests, begin the financial aid process, get academic advising and register for classes.
Late registration will be available during August, on Wednesdays and on Monday August 22 with offices will be open til 7 p.m.
Orientation for new students will take place on Wednesday, August 17 from 2 to 8 p.m. Programs for parents, guardians, and other loved ones will also take place on August 17 from 2 - 7:30 p.m.
The fall semester starts on August 29.


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Lindsay: Beginnings
My name is Lindsay Saunders. I am a senior at Northern Arizona University studying social work –mainly because of the great pay (funny joke). I am from the cactus-filled Phoenix, Arizona, but I go to school in the cooler, forests of Flagstaff. My social work degree ends with a field placement (internship) for my last semester, and I have the privilege of doing mine in Quito, Ecuador. I will be involved with the project, Teen Single Mothers (TSM). TSM works with young mothers to equip them with the skills they will need for their future: such as, job training, education, or parenting. TSM empowers young moms to be successful. I do not yet know what my responsibilities will be at TSM; but I am looking forward to being a part of the project!
Working with the lovely ladies of Ecuador will require me to use my Spanish. I have taken classes in high school, and the past three and a half years at the university. This past semester, I took Conversational Spanish, and I have become very good at responding to questions directed at me with a smile partnered with a "si." Once in Ecuador, I am expecting it to be difficult, but I am praying that out of necessity I will improve quickly. As I have been packing, I have been having Spanish conversations in my head (for practicing purposes of course). However this has led to mini panic attacks: for example: as I was using scissors, I couldn't remember what the word was in Spanish. My mind then created a very realistic life or death situation where I needed to ask for scissors, but because of my inability to recall a first year Spanish term; I would most likely die. Luckily, I then remembered the word for scissors are tijeras, and hope in my second language skills was restored. All that to say: furthering my Spanish is one of the reasons I chose to be in Ecuador. I want to be able to have useful Spanish skills that I will use in my career (or life or death situations), and learning out of necessity sounds like an ideal way to do it.
I decided to go abroad with World Endeavors for a few reasons. I had spent at least a semester looking into organizations that I could go through that would meet the requirements for my field placement. This is harder than it sounds, after I visited my school's international office, they connected me with World Endeavors. I am fairly certain by the next day World Endeavors provided me with several options that were tailored to my preferences abroad, AND going through World Endeavors meant that the credits I would earn would transfer easily. As a senior graduating in May, easy credit transfer was slightly important to me. This coming semester will fulfill my degree requirements, further a second language, all while getting to live in another culture. I AM SO STOKED!
Expectations… I have traveled enough to know that I do not want to have too many of them. While in Ecuador, my expectations are to gain real-life, cross-cultural, social work experience, and improve in my Spanish. Of course if I have the opportunity to travel to the beach, rainforest, Amazon, maybe Peru?, the Galapagos, or hike anywhere; I will not be complaining. I would also really like to find a place to volunteer at, preferably where I can hold babies. Rather than fill my head with what I expect to happen in order for my time in Ecuador to be enjoyable, I am excited to have the possibility for many different opportunities. After my internship I hope to look back at my first entry and not regret the time I had, and to know that I will be a better social worker because of my experiences!


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St Louis PhD Political Science Programs
Doctoral students in a political science Ph.D. program work to advance the body of knowledge in the discipline. Students in a Ph.D. program in political science will undertake extensive research and conduct experiments to work towards developing new theories or applications of political theory.
Students should consider their goals in selecting a political science doctorate program – whether you are interested in starting a career in university level teaching and research or whether you wish to apply your knowledge and skills in the public or private sectors outside academia. Different programs may offer different advantages such as a small student to faculty ratio, the opportunity to teach, or faculty who share your research interests.
Most PhDs in Political Science are going to be campus-based programs. You can use our directory to search for programs in a particular city, state or open your search to the world. If you find that your goals don't require the level of investment of a doctoral degree, you may want to consider a masters in political science or start with a graduate certificate to explore certain areas of interest.
Sponsored Listings
- Saint Louis, MOSaint Louis, MO
University of Missouri - St Louis
This is a policy-oriented doctoral program designed to prepare students for either an academic or a research-oriented career, the latter in government or consulting. The department is quite strong is urban politics and in comparative, with subfields in...
- Saint Louis, MO
- Saint Louis, MOSaint Louis, MO
Washington University in St Louis
Political Science
Subfields include American, Comparative, CPE, IR, IPE, Formal Theory, Methods, and Political Theory.


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Cyborg Music Fractal Dimension
is free for listening and to download. UFO Academy is a straight forward progressive trance track more than typical psytrance. I always find it difficult to properly define the genre for my tracks. Though there are enough small effects and 'weird' sounds that definitely could be called psychedelic.
Cyborg Music fractal art and music
The music and fractal (wallpaper) art (see below) used in this psy video was created by CM. For you guys who like the sounds I suggest you go to Cyborg Music Weebly and download, free, the Cyberdelia EP. A collection of songs created by Cyborg Music during 2012 and 2013. The EP name "Cyberdelia" is inspired by all musicians and producers within the Internet psychedelic music movement.
You can also visit this page here on qubenzis.com where the Maxi also is presented. Enjoy!


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Dr. M.S. Gowd
Maxillofacial Prosthodontist
Dr M.S. GOWD . MDS (Bom.), FICD, FPFA, MICP, FACD (USA) Consultant : Apollo, MediCiti & Care Hospitals Prof. & HOD of Prosthodontics Former Principal – Army College of Dental Sciences Secunderabad, A.P. Hon. Dental Surgeon to Governor of Andhra Pradesh Past President – Indian Prosthodontic Society Fellow of International College of Prosthodontists


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No one likes to think about disasters, but pretending that it can't happen is asking for even worse troubleWhen a huge fire at Esso's Longford gas plant cut supplies to Victoria last September, authorities faced a Herculean effort to respond to the crisis. The Department of Human Services had to put up a 1000-seat call centre virtually overnight to help vulnerable people cope with the loss of services, while shared IT service department Energy Information Solutions had just 48 hours to build Internet-based systems to tie in with it. Before supplies were even restored, gas authority VENCorp had to set up a 500-seat helpline for the thousands of householders calling to register for reconnection assistance.
Meanwhile, up to 89,000 businesses took an estimated $13 billion worth of losses; as much as $200 million was knocked off the state's export earnings, while the restaurateurs, manufacturers, tourism and hospitality operators most affected by the crisis had to find their own emergency response to the supply interruption. If ever there was an argument for continuity planning, the Longford gas crisis was it. And if, as seems likely, failures in essential services become more common as suppliers continue to make do with fewer people and cut back further on routine maintenance, continuity planning is likely to become even more of a focus.
And the buck stops with you -- the CIO. While more and more companies are now evaluating continuity planning from a whole-of-business point of view, systems remain a priority -- and that means the CIO continues to be seen as having the primary responsibility.
Staged Evolution
Continuity planning has evolved considerably since its inception in the '80s, when disaster recovery planning was the focus and the glasshouse the centre of activity. Disaster recovery planning became business recovery planning (BRP) once organisations realised that not only the systems themselves, but also every business area reliant on those systems had to be capable of rapid recovery in the event of a disaster. Nowadays, says Bergman Voysey and Associates managing director Peter Voysey, heavily IT-dependent businesses are calling the activity business continuity planning (BCP), and its sole aim is to minimise the need for any recovery effort at all in the event of a disaster.
But BCP by itself -- with its detailed planning, its sophisticated backup strategies and its mirrored sites -- is still not enough to ensure corporate peace of mind, Voysey says. Just as important, particularly to big business, is a full-blown crisis management policy. A gas plant explosion is one thing. The well-ordered business must also find ways to ensure business will continue even if the CEO is kidnapped or the building bombed. And here, too, the CIO has an important role to play, with responsibility for participation in the recovery process and as a key player in crisis management.
However, as Peter Berents, risk manager for telco Optus Communications, says, BCP is like walking a tightrope: you have to get the balance right. "Those directly involved in business continuity planning know that if we don't have the right equipment, don't practise, and don't have appropriate support, the consequences for us and our organisations could be catastrophic," Berents told the Survive! '98 annual conference in Sydney last year. "We also know that we don't have unlimited funds. We therefore must ensure that what we do is appropriate. Management time is precious, so we need to keep management focused on the key issues. Most people are mainly interested in looking at the positive developments in their organisations rather than worrying about what can go wrong -- but we all know we must [worry]." Line managers responsible for BCP still perceive securing senior management approval for BCP projects to be one of the key barriers facing continuity planners today. With such an audience in mind, ANZ Banking Group senior consultant, IT service delivery, Richard Heron told Survive! that in many organisations, senior management either does not want to commit funds or resources towards BCP or else fails to appreciate the importance of continuity management.
"The 'What if we do have a disaster?' approach turns into a 'What if we don't have a disaster?' discussion," Heron said. BCP consultants typically advise BCP managers to approach the board of directors, state the reasons why BCP is needed and then gain the board's support by the strength of the argument. It's an approach that simply doesn't work, said Heron, whose paper focused in part on ways line managers could turn on their CIOs to the importance of BCP. "The best approach is to slowly 'plant' the need for continuity management, whether that means disaster recovery or business continuity . . . use every opportunity at all meetings you attend to keep up the momentum that business continuity is important . . . "The advent of a new chief information officer or general manager of information technology can be a great opportunity to make a difference with your pursuit of business continuity. Previous IT managers or chief information officers may not have cared too much about business continuity. New incumbents in these positions are different. They need to be seen to perform, especially in their first three to four months. Use this ideal opportunity to provide them with an awareness of the current business continuity issues and to get some support from them," Heron advised his audience.
Top-Down Commitment
Emergency Management Australia (EMA) is the federal agency responsible for reducing the effect of natural and man-made disasters on the Australian community. It is also the leading federal agency responsible for disaster relief and the producer of "Non Stop Service Guidelines on Continuity Management for Public Sector Agencies". According to EMA assistant director of policy Jonathon Abrahams, BCP simply should not be left to middle managers, who don't have the authority to push the plan through. "It's the same old story, it's really project management at its best, but the decisions will need to be made as to what the priorities are, and I don't think it's really the responsibility of lower level managers to take that on board. Senior people need to be making those decisions," he said. But while the buck should stop with the CIO, the focus must be much wider than just the IT side of continuity management or on worst-case-scenario planning. The needs of the entire organisation must be taken into account, and it may well be up to the CIO to get the board on side. "It [BCP] needs to be driven from the highest level; it has to have the sanction of the highest level; and then it needs to filter through the organisation, because you might find that your shop-front staff are as critical to the organisation as the senior managers," Abrahams said.
Dr Carl Gibson, Department of Premier and Cabinet Victoria, agrees. He told Survive! that for risk to become a "living, breathing" part of the business, it had to be owned by individuals at the business unit level and be capable of delivering improvements back to those business units. "Success is very dependent upon providing the very visible support of senior management, an appreciation of the business role of risk management and the necessary skills and tools to implement it," he said. Gibson's department achieved this by arranging for senior executives to take part in workshops of up to 10 local managers, by providing comprehensive training and analysis tools, by delegating responsibility for the process to the business units and by facilitating the inclusion of risk management issues into local operational plans. The work has paid a rich dividend in identifying strategic improvements with potential impact across the whole business. By recognising potential events such as a loss of key staff or electronic and paper-based information, for instance, the department has identified significant risks to its knowledge base. That lets it formulate improved strategies in the human resource and IT areas to mitigate those risks.
Old Discipline, New Realities Back in the days when the glasshouse reigned supreme, you couldn't add an application to the mainframe until you filled in a host of forms designed to ensure that addition caused minimal disruption to the system. Procedures were highly prescribed and rigorously monitored. Too many managers have lost that old glasshouse discipline; but for those who are serious about BCP, it is high time to start re-acquiring it, said xxxFulcrum Group of Companies principal consultant Danny Davis, who insists BCP must be about clarity, segmentation and structure. "It's one of those areas where the IT people are being called on increasingly to be business analysts, because it is very much a business analyst focus from where you need to start," Davis said. "The CIO position is where the role should be . . . IT needs to be taking a leading role in defining the processes that run the business. Part of that is asking what happens when those processes go wrong." Instead of declaring a goal of having disrupted processes back up in four hours, ask what the company would do if those processes were out for four hours. "What do you do if it is out for half an hour; what if it's out for four days? Because in 99.5 per cent of cases it might only be out for four hours -- but it may be out for four days; what are you going to do?" Davis asked. "What is the company going to do outside of just trying to get the service back up again? Put in call centres? Coordinate with people to get an emergency response? Coordinate with competitors? There are all sorts of things that an organisation may need to do.
"How will the business handle public relations? Now I don't think the IT people should be handling public relations; but they should be making sure these questions are being asked and documented, and that an appropriate public relations-type person is identified who needs to be consulted in a crisis," Davis said. While plans must incorporate ways to localise problems when they occur in order to reduce the impact, it is equally important to look at reducing the incidence of problems, Davis said. "There are certain components that are really mission-critical. Take IP networking. There might be a small system somewhere that's serving your security and when that goes off the air nobody can log into anything any more," Davis said. "We have seen it happen, that somebody has got completely locked out of their security system and brought everything to its knees because of trouble with a tiny little machine they ignored. They hadn't done that vital step of structuring and isolating, identifying what has universal impact, identifying which components are mission-critical then reducing the [chance of] incidence on those."The process must be iterative, involving in a regular cycle a series of audits which check the plan still matches the needs of the business. And last: standardise planning to identify a business framework and a service-levels framework. Make sure no one can add anything to the system without documenting the new facility in terms of that framework. The need for iterative BCP is something Berents knows all about. Optus quickly found its business continuity planning effort needed to meet constantly changing organisational and IT requirements. "The strategies put in place one month required urgent review after only another six," he said at Survive! "To counter this, we implemented a structured review of the Optus risks, undertaken by senior managers under the auspices of the Contingency Planning Committee. As part of this intense process we were able to discard some of the traditional business continuity planning concepts and fast-track the task to arrive at not only a new continuity plan but to entrench a structure for the ongoing review, reformulation and retesting of the plan."Ultimately, the objective must be to balance the exposure to risk against the treatment of that risk. Every organisation should invest in risk control focused both on preparation for crisis management and planning for the recovery of business operations. The caveat, Abrahams warns, is that external sources of supply frequently prove the weak point in the supply chain. "The infrastructure agencies are very important, as are the emergency services. One of the problems that an agency might have is that it focuses on local disasters like a building fire, but doesn't plan for widespread disasters that might occur where its demand for resources is in a hierarchy which might not suit. It might be that essential services get higher priority in terms of providing those utilities," Abrahams said. "You need to consider a wide range of potential scenarios covering the things they can handle internally as well as those where they will need assistance from outside, whether it be the emergency services or the utilities or any other suppliers."The key, he said, was to invest a lot in the upfront analysis and determine what the risks are, get an understanding of where they might come from, and then really try to manage those risks as efficiently as possible. "And that means you don't try to achieve a zero risk environment; you try to knock off a much as the risk as you can with the resources available." Look at ways to reduce the risk. Even simple things like smoke detectors, sprinkler systems and devices that prevent entry to the building by car can reduce the risk. EMA's guidelines are full of examples. And exploit the efficiencies to be gained from bringing BCP under the same umbrella as other risk management activities like security, fraud and occupational health and safety risk planning, Abrahams advised. At Optus, for every key risk identified the telco appointed an owner responsible for identifying potential impacts, mitigating factors and first response strategies. "Checklists to assist in the response -- including supplies, consultant contacts and so on -- were also prepared. The objective was not to produce a footstool that nobody used but everybody had, but a user-friendly document that would provide real assistance if we had an incident. We supported this by establishing a first response capability by ensuring we had available 24 hours a day, a trained emergency coordinator for every Optus facility," Abrahams said.
The Big Bang
But if such preparations might be adequate for normal disruptions, it would be a trap to believe they will do when it comes to Y2K preparations, warns Howard Rubin, senior consultant of the Cutter Consortium's Business-IT Alignment Advisory Service and Y2000 Service. Writing in The Cutter Edge newsletter last year, Rubin warns of significant differences between "normal" disruptions and the potential types and sources of disruption that may result from the Y2000 problem (see related story "Planning for the Worst", page 44). These include the fact that failures, or disruptions, might happen simultaneously in numbers of locations, elements or systems and in functions, devices, and systems that are interdependent. Multiple failures may occur in multiple locations both within the normal geographic areas of a company's operation and outside that "footprint", while errors in one device, function or system may well trigger anomalous behaviour in otherwise remediated devices, functions or systems, all of which may mask the triggering event.
Disaster Plan
Twelve steps to recovery
1. Enlist the cooperation of upper management 2. Seek help from qualified experts 3. Conduct a business impact analysis to identify key business functions and IT resources 4. Assess the risk of particular disasters based on company profile and location 5. Devise a detailed, flexible plan that outlines staff responsibilities 6. Select a company -- or vendor-based -- recovery option (that is, a redundant system, hot site, mobile data unit or quick shipment solution) 7. Cover all IT resources, including telecommunications networks and LANs 8. Select IT equipment vendors that can provide prompt service 9. Maintain updated vendor information 10. Test your plan at least once a year11. Don't underestimate IT needs: maintain a strong technical support staff and plan to replace lost equipment with more powerful equipment 12. Structure the workload to address top priorities first Source: Research Company of America
Join the CIO Australia group on LinkedIn. The group is open to CIOs, IT Directors, COOs, CTOs and senior IT managers.