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COLONY – Piccadilly
24 Hour Accessibility, Breakout Space, Sustainability-conscious, Wheelchair Access
COLONY is a Manchester workspace for thinkers, doers and creators giving you all the comfort you need to accomodate your business as it grows. A workspace with a vibe and aesthetic unique to the city. Enjoy the effortlessly cool central social bar and make new connections to grow your network and progress your ideas. Choose from individual desk spaces, the new team spaces with optional privacy, or a private studio to tailor the perfect and flexible solution for your business.
Only a stone's throw from Manchester Piccadilly Station, getting here is easy, whether you travel by train, tram, bus, car or cycle.

subset: commoncrawl


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Have Fun at the Madison Winter Festival!
Don't miss the 13th annual Madison Winter Festival Saturday and Sunday, February 18-19, 2017 at Elver Park. This family-friendly event offers a wide variety of fun outdoor activities for everyone, even Fido! Founded in 2005, Madison Winter Festival's mission is "to develop, enrich and promote fun and healthy lifestyles in the wintertime through showcasing winter sports and festive recreational activities."
Previously held on the Capitol Square, the Madison Winter Festival will celebrate its first year at Elver Park on the west side. The park will allow for more room and eliminate the need to truck snow downtown. If you are worried about the lack of snow this year, don't worry, snow will be made!
Event Activities
Events range from adult, competitive, families, kids and recreational. Some of the competitive activities include the Ice Age Challenge, Elver Park Skijor Race and Winter Fat Bike. Children can enjoy sledding, the Kids Activity Corner, Snowboarding, Ice Hokey and more. Check out winter-fest.com for a complete list of all activities and a schedule.
For more local events, like us on Facebook. Also, check out our website for great deals!


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Don't Have an Account? Sign Up to Save Favorite Listings, Save Searches & More...
NEW DAVID WEEKLEY HOME! Highly sought after community and a place you will want to call home! Highly rated Argyle ISD, Resort style pools, Community Garden, community parks, playgrounds, Harvest Lake, 16.8 miles of walking trails, and plenty of green space. Convenient open concept plan - kitchen is very inviting and perfect for entertaining family and friends, open to dining and family room.
Users may not reproduce or redistribute the data found on this site. The data is for viewing purposes only. Data is deemed reliable, but is not guaranteed accurate by the MLS or NTREIS.
Listing information last updated on March 29th, 2020 at 7:00pm CDT.


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Perterson v. Commissioner - 409A Issues and Mary Kay
|Posted on July 16, 2014 at 7:55 AM
Very few Mary Kay representatives are able to make a living just selling the products. This Tax Court case involves one representative that did manage to do well, but who ran into some issues attempting to convert wages into retirement distributions, not subject to self-employment tax. So, why talk about this in a valuation blog? Because normalization of compensation is part of the valuation analysts job and this case underscores the some of the difficult issues that arise. See https://www.ustaxcourt.gov/InOpHistoric/Peterson_Foley.TCM.WPD.pdf.
I can imagine having some interesting discussions with counsel regardingcompensation if I were valuing a Mary Kay business interest. As for the arguments presented, well, if I were acting as an advocate--the attorney role--the arguments made are the ones I would have also made to the US Tax Court.
I recommend reading this 2013 case and waiting a few more weeks until the US Tax Court judges are back from their summer vacation.
Categories: Business Valuation, Litigation Support: Cases
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Synonyms & Antonyms of plastic surgeon
See the Dictionary Definition
as in surgeon
Synonyms & Near Synonyms for plastic surgeon
- anesthesiologist,
- dermatologist,
- gynecologist,
- internist,
- neurologist,
- ob-gyn,
- obstetrician,
- ophthalmologist,
- optometrist,
- orthopedist,
- pathologist,
- pediatrician
- (also pediatrist),
- physiatrist,
- podiatrist,
- radiologist,
- urologist
- paramedic
- (also paramedical)
Antonyms & Near Antonyms for plastic surgeon
Keep scrolling for more
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Family law, military family law, mediation/alternative dispute resolution, estate planning & probate, and small business planning.
Hellmuth & Johnson is a Minnesota top 20 law firm that provides the very highest quality legal representation to businesses, organizations and individuals in numerous jurisdictions.
Experienced local law firm providing the following services: Civil Litigation, Estate Planning and Probate, Criminal Defense, Real Estate, Family Law, Business Law, Collections and DWI.
Pflaum Business Law is a law firm that is focused on the needs of area businesses.


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Shallow Survey 2015 in September
The United Kingdom Hydrographic Office and the Maritime and Coastguard Agency will host "Shallow Survey 2015" and a number of associated events in Plymouth, Devon, United Kingdom, from 14-18 September 2015.
The theme of the conference "High Resolution Surveys in Shallow Water" will be explored using a "Common Data Set".
The Common Data Set is a series of different surveys obtained by a range of equipment types and models over the same area of seabed. In this instance, the Common Data Set was collected within the superb natural harbor of Plymouth Sound during the summer of 2014.
Production and dissemination of the Common Data Set will allow the delegates to analyse and compare the results from different survey equipment before submitting papers for the conference.


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The starting party – Brooke (Scoundrel), Kratos McLuvin' (Brute) and Serafina (Tinkerer)
Together, they are The Super Troopers
The Tinkerer found a lonely robot, who she named Bob. Bob died a lot 😦
Once Serafina had proven her worth by killing 20 elite enemies, she retired. A Beast Tyrant named Mustafar and his bear companion Andrew joined the party in their place.
Kratos McLuvin' also fulfilled his dream of finishing many dungeons in style (checkmarks), and when he retired a Valrath Sunkeeper (name TBD) dedicated to fighting demons took his place.


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A tourist may hit the highlights of Lisbon, Portugal in three or four days. However, to really know Lisbon is the endeavor of a lifetime. As you fly into the Lisbon airport, you will have a bird's eye view of this remarkable city built on hills. The golden sun gently touches the monuments and the water of the Tagus River. It looks like a fairy tale land. In a short time, you will be walking on the ground of a country full of history.
Early in Lisbon's history a tribe of Celts, the Cempsi, migrated south by way of France to Portugal. Other groups blended into the culture. The Phoenicians discovered the Tagus River harbor, and realized that this port would be a good stopping place for them on their voyages to other places to which they carried cargo. They are thought to be responsible for the name of Lisbon, which means "good port."
The Portuguese have ever been a hardy, independent people. Rome defeated Gaul in seven years. It took them two centuries to defeat the Portuguese people. You can see what Roman settlements looked like at Conimbriga, a Roman settlement that is a day trip from Lisbon, Portugal.
During the Middle Ages, the Muslims overran the Iberian Peninsula. They built a lot of mosques and their architectural tradition is still seen today. Though the Muslims ruled over the peninsula, they permitted other peoples to maintain their own cultural and social habits, including their Christianity. The Muslim influence on Portugal is clearly seen in the Alfama section of Lisbon that escaped the damage of the great earthquake of 1755. Much of the rest of the city was destroyed, and the tsunami that followed destroyed coasts from Spain to Cornwall in the United Kingdom.
More recently, Portugal's last King, Carlos I was assassinated in 1908 leading to Portugal's first Republic. During World War II, Portugal remained neutral, and Lisbon was overflowing with spies from many countries. Many escapees left through the Port of Lisbon.
When you visit Lisbon, you'll want these stops included:
Monastery of the Jeronimos and Alfama are both part of UNESCO World Heritage.
- Tower of Belém, Lisbon's early defense and the Custom House
- Palacio de Ajuda – the winter palace of Portugal's last king.
- National Tile Museum – the Portuguese are famous for their beautiful tiles.
- Castle of St. George and gardens overlooking Lisbon.
- Palacio de Sintra –summer palace of the last king.
Where in the world would you like to visit?


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Mr & Mrs Rev T enjoy their customary morning swim. Don't all rush at once to join them tomorrow!
Friday, 25 December 2015
A Christmas sunrise swim
As reported in The Guardian. Click on this link and scroll down to the second photo.
Posted by Your Correspondent at 22:08
Monday, 14 December 2015
Christmas round up
Your Correspondent continues his part-time working life, spending time to go fellrunning, sailing, and sampling the odd half or two of real ale (of which the most recently discovered venue is The Station House micropub in Durham - highly recommended).
"So what's new?" he hears readers cry. Well something is new: YC got married. Crumbs!
YC has moved to Durham and is now living with his wife Emma (aka Mrs OC), a fellow member of Northumberland Fell Runners. Birtley News did carry a report for those who missed the big event. More details available on request.
For those who still have the strength to read on after this news, there's also reports of Emma Duff's priesting, another family wedding, and a picture of James and family skiing.
For those who still have the strength to read on after this news, there's also reports of Emma Duff's priesting, another family wedding, and a picture of James and family skiing.
In the meantime, Happy Advent and Happy Christmas when it comes.
For unto us a Child is born, unto us a Son is given,
And the government shall be upon His shoulder;
And his name shall be called:
Wonderful, Counsellor, the Mighty God,
The Everlasting Father, the Prince of Peace.
Posted by Your Correspondent at 16:17
Wednesday, 9 December 2015
St Andrews Day Send Off
Nina is off to St Andrews in the new year for a new job. So she celebrated the event with an impromptu gathering in Percy Gardens. As there was oat cakes & salmon, single malt whisky, and Deuchars (hurrah!), YC thought it was politic to attend. And a very good decision that was too, as the occasion was most convivial. Nina is pictured below with Mrs OC.
Posted by Your Correspondent at 08:42
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Security Alarm Padlock
Product code:
The perfect guardian for your possessions
- The perfect deterrent lock for any shed or workshop
- When tampered with the alarm will sound and keep going with every movement and vibration
- Key slot is discreetly placed underneath the lock
- Comes with spare keys
- Accessories
In stock
- Accessories
- Specification
- Description
- Trustpilot Reviews
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|Forest Garden
A lifechanging security device. This superb, strong, tough padlock is the perfect security for your possessions. If you've got a shed or even a tool box you want to keep safe then this security alarm padlock is the one for you.
If tampered with, this lock makes an powerful alarm sound. Should a thief or uninvited person try to break this lock, they will most certainly fail. Even if they have the best lock picking or sawing materials, they will never see the padlocks loud alarm coming, but they will definitely hear it and so will you!
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- When tampered with the alarm will sound and keep going with every movement and vibration
- Key slot is discreetly placed underneath the lock
- Comes with spare keys
Trustpilot Reviews
We offer FREE Delivery to the majority of mainland postcodes. For all fencing and decking orders, we offer FREE delivery for all orders over £200 (£24.99 for orders under £200).
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Other than our fence panels (which are delivered fully constructed), all of our products are delivered flat packed, direct to your home and are supplied with a set of instructions to support assembly.


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DHA FX go retail
Devon based builder Dave Hall Amps, long the talk of Internet forums, is to start selling its handmade bass and guitar valve effects through retailers. Previously, DHA pedals were only offered direct.
DHA specialises in traditional valve driven effects, resulting in a noticebly richer, fuller sound, users claim, which means they have found particular favour with bass players who either plug direct into a PA system, or who have opted for light weight switch mode digital bass amps which, while loud on paper, don't always offer the sound or power the player expects.
The first DHA model intended for the retail market comes in a newly dsigned screen printed metal case and is the VT1-Pro-Bass-Drive at RRP £189.99. A guitar version is on the way, the company says.
VT1-Pro-Bass-Drive Spec
1/4″ jacks in and out with true by-pass
Balanced XLR out with 3 position ground lift – Ground, Float and Ploat
Stereo headphone out with mixed Stereo Aux in – same output will drive 1x1W stereo speakers
2 stage 12AX7 valve design for valve warmth and drive – user can swap valve types for different tones
Bright switch
Colour switch and pot – adds negative feedback which adds compression and distortion
Boost switch and pot – clean amplification of the signal.
+- 15dB cut/boost EQ with Treble, Mid and Bass controls – voiced for bass and keyboards.
Q pot – adjusts the centre frequency of the Mid control
Input Pad pot
Gain and Level controls
9-12VDC @ 300mA centre negative power connector. 12VDC power supply supplied
Blue back-light power on indicator
Blue LED effect on indicator via Foot switch
Small foot-print – 160x145x60mm
Info: www.davehallamps.co.uk
The post DHA FX go retail appeared first on Music Instrument News.
Source: musicinstrumentnews.co.uk


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Whether you are new to Jersey City or a long time resident, you will find a wide variety of useful information and resources designed to help you buy or sell real estate more effectively in the Jersey City/Hudson County area. From information on the local community, to advice about finding a mortgage or preparing your property to sell, it's all available here on my site.
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Whisky collector or spirit connoisseur, there's nothing more tempting and exciting than getting your hands on an ultra-rare bottle of limited-edition whisky. From Kentucky bourbon to single malt Scotch whisky, read on for some of the rarest and most limited-edition bottles on Earth.
The Glenlivet Winchester Collection Vintage 1967
The Glenlivet's third Winchester release is a 50-year-old expression first laid down by Robert Arthur in 1967. Limited to only 150 bottles, this expression combines malts from several rare oak casks (the youngest being 1967). The bottle's contents were aged in rare American oak casks and was distilled by its namesake, The Glenlivet master distiller, Alan Winchester. This Speyside single malt has notes of apricot jam, ripe peaches and toasted almonds, and its texture is velvety and sweet. Not only is this ultra-precious liquid nearly $500 per glass, the box and bottle were designed in collaboration with award-winning British designer Bethan Gray to reflect the rolling hills of Speyside in Scotland where Glenlivet's distillery has lived since 1824. Sipping on this expression is like tasting a small slice of history. theglenlivet.com
Blade and Bow Kentucky Straight Bourbon Whiskey 22-Year-Old
Produced in extremely limited quantities, Blade and Bow Kentucky Straight Bourbon Whiskey 22-Year-Old from Stitzel-Weller Distillery re-released its 22-Year-Old expression in celebration of the distillery's 84th anniversary. The award-winning bourbon will be available in 12 states and blends smoky, spicy and sweet flavor profiles. This bourbon is the pinnacle of Kentucky distilling craftsmanship and has garnered a cult-like following for its rarity and flavor. It's so rare that the company won't provide customers information on where it can be found, but it will be available in California, Texas, Georgia, North Carolina, South Carolina, Illinois, Kentucky, Washington DC, Tennessee, Virginia, New York and Colorado. Don't let its price fool you: It may not cost as much as, say, a rare Scotch whisky, but it sure is limited. bladeandbowwhiskey.com


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One of the hottest pop music acts in Europe, Sweden's Seinabo Sey, is on her very first tour of the United States, and performed at Brighton Music Hall in Boston on Friday night. Sey and her backing trio--bass, drums and keyboards--performed eleven songs in her 65-minute set, delighting the crowd of about 200 with her heady mix of soul and electro-pop.
Sey, 24, has both Swedish and West African heritage, and her father Maudo Sey was a popular singer in his native Gambia, and Senegal. Born in Stockholm, Seinabo decided as a teenager to follow her father into music, and immersed herself in American pop and soul, developing a special affinity the music of Alicia Keyes and Beyonce'.
If some of those early influences are present in her current work, it is mostly below the surface, for her music is a fascinating blend of soul-pop with more rhythmic variety, sometimes industrial-strength, house music type sounds, and sometimes artfully flavored electronica accents. A February article in Rolling Stone which included Sey among "10 Artists You Need to Know" compared her to Nina Simone, and Moby. But one thing her music is for sure, and that's infectious, and many of Friday's tunes had the fans dancing, even if involuntarily. That's a telling feature, because Sey's music hasn't really gotten widespread play in the States yet.
Sey has released two EPs in Sweden, 2012's "For Madeleine" and last year's "For Maudo," both titled as homage to her parents. But things really started happening for her when Norwegian DJ Kygo remixed her midtempo ballad "Younger," juicing it up with vibrant rhythms from the first note, and that version vaulted to the top of Scandinavian charts, was chosen as BBC-Radio-1's Track of the Day (April 16), and even hit the top spot on Billboard's Hot Dance Club Play list. (Sey's original rendition, and video, was perhaps a bit more thoughtful, while the remix is a pure dance-pop delight from start to finish.)
Sey most famously got to sing at the 2014 Nobel Peace Prize concert, and she also received a 2014 Swedish Grammy as "Best Newcomer." Her first full-length album is expected later this year, and Friday was just the third date in the U.S. tour that is introducing her to this side of the Atlantic.
Sey looked regal from the start, in a diaphanous red floor-length gown, beginning her set with the deep-soul "Pistols At Dawn" over a lively electronic framework. Most of her songs involve romance lost or found, but her take on the subject is brutally honest, and that opener about a relationship devolving into hostility was riveting. Sey's backing trio was especially potent, and the keyboardist really stood with the compelling piano lines to "River," an adrenalin-rush piece of pop.
Sey introduced her recent hit "Poetic" with a little story of how it was about her unrequited love for a male friend, and how she'd agonized over telling him what the song was about. When she did, he quickly told her his feelings were not anywhere close to hers, so Sey noted now when she sings the tune she tries not to think about its' source, "and how pathetic I was.." It was kind of a stunning personal revelation to hear, but the crowd responded with hearty cheers, turning that energetic tune into a buoyant anthem.
Sey's lyrics have some lines that can be jolting for their directness like that, and her warm alto voice delivers them with aplomb, with a kind of fully-in-the-moment, totally uninhibited emotional edge that is charming. Another song depicted a relationship soaring, as "Orchid" had a chorus that began "up to now things have been crazy good.." and the giddiness was palpable. Sey stepped to the front lip of the stage for an a capella take on a tune that we'd guess would be titled "Me Before You," and again it was not so much her strong vocal, as the unvarnished honesty in her singing that resonated.
There was a harder edged beat behind "You," which examined a more problematic affair, with its line "tell me to my face.." And the bubbly dance-pop "Words" might be more easily remembered for its signagture line "somebody shoulda told me.." One of the most intriguing stylistic mashups was "Hard Time," which rode a surreal r&b beat, kind of classic soul yanked into the EDM age.
But Sey's ability to pack an emotional wallop is her best facet, as proven by "Burial," whose church-organ chords introduced a majestic ode to her father and his music, yet also retained its pop underpinnings. A quiet, piano ballad rendition of the Clean Bandit tune "No Place I'd Rather Be" showed Sey's voice at its most haunting, affecting best.
The live version of "Younger" neatly found a middle path between her original and the Kygo remix, starting as a contemplative ballad and bursting forth into the synthesizer-fueled anthem that is surely one of 2015's most exhilarating tunes. The throng of 200 was roaring for an encore, but Sey's was done, and it had been an electrifying 65 minutes.
Opening for Sey was another brand new pop/r&b act, the Los Angeles trio known as James Harris. The threesome is all siblings, with twins Jessika and Rey Reynolds, 26, doing most of the singing, while brother Auston, 22, provides rhythms and more on a variety of synthesizers and laptop. The band name is a combination of their parents' middle names, and their dad is a former Dodgers outfielder, while their mother was a backup singer, most notably for soul singer James Ingram.
James Harris is another fresh new band with throwback tastes, citing Billie Holiday and Sam Cooke as major influences, and their debut album is due later this year. The trio is one their very first tour, and while it showed at times--too many song intros spoken too quickly and softly--their sound displayed some really marvelous vocals and vocal harmonies.
It was easy to see, even in Friday's 30-minute set, why Motown Records signed this trio earlier this year. Jessika takes most of the lead vocals, and is certainly a charismatic front-woman, while Rey, often playing acoustic guitar, provided stellar harmonies and a few tantalizing leads of her own, with Auston mostly driving the beat and adding a few harmony vocals.
The fraternal harmonies on the soothing soul ballad "Can't Love Me" were truly fabulous. The song "Co-Pilot" was a fresh new take on r&b, as Rey and Auston did smooth soul verses, while Jessika punctuated the tune with soaring shout-outs; "C'mon, get happy!" being the most memorable touchstone. That juxtaposition of voices was also compelling on "Better Than You Are," which found Jessika doing the more potent soul vocals, while Rey's verses provided subtle counterpoint.
If Friday night was a preview of pop and soul's new talent, the future is bright.
Swedish pop sensation Seinabo Sey on first American tour
One of the hottest pop music acts in Europe, Sweden's Seinabo Sey, is on her very first tour of the United States, and performed at Brighton Music Hall in Boston on Friday night. Sey and her backing trio--bass, drums and keyboards--performed eleven songs in her 65-minute set, delighting the crowd of about 200 with her heady mix of soul and electro-pop.


text: Greenbrier State Park I joined Jen and Simon on a camping adventure this weekend at Greenbrier State Park. Share this:TwitterFacebookLike this:Like Loading... Related Published by Jimmy Smutek Sr. Programmer Analyst, Office of External Affairs, at Johns Hopkins Bloomberg School of Public Health. I like PHP, Python, drum machines, skateboards, and learning new stuff. View all posts by Jimmy Smutek


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Office doors have undergone various transformations based on office space designs and the materials required by clients. Some businesses trying to reduce costs want to maximize their office space. Demands may require opening up the floor for a large meeting space to accommodate the entire department or closing off space for a client meeting. Many tech companies encourage collaboration among departments, individuals, and working teams by utilizing flexible floor plans. This may include spaces for meetings and in-person collaboration. With various office door options available, architects and designers can meet their clients' goals and requirements. Here are some of the current trends in office doors.
Sliding Glass Office Doors
Sliding glass office doors maintain an open atmosphere, while allowing for private work spaces. These doors are Ideal for collaborative work environments. The glass creates a sense of space and allows natural light in, increasing worker well-being and saving energy. Fitting these office doors with acoustic seals or frosted glass will still promote openness of the space, while providing an area for private work sessions.
Acoustic Doors
Acoustic office doors are a great way to manage noise and increase privacy. Office environments utilizing space for private meetings can reduce and eliminate noise leakage with acoustic doors. Medical facilities can use acoustic office doors to help comply with HIPAA regulations concerning privacy of information. Acoustic seals and gaskets increase the effectiveness of these doors and a bottom seal can further improve acoustical performance.
Officefronts with Sliding Doors
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Useful Links for Further information include:-
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Guernsey Advisory Circulars (GACs): GACs provide advice for those wishing to register and operate aircraft on the 2-REG.


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Cube, the recent film by Vincenzo Natali, tells the story of six characters caught in a maze-like death machine. Surrounded by rooms complete with horrific traps, the film follows the characters' attempts to escape the machine. Cut off from their being-in-the-world we are shown how the characters are de-humanised, de-individualised, and made dead by the alien environment they inhabit. Caught in the Cube they are aliens in machine culture. Trapped in a system they have all contributed something towards, they exist through the roles they perform.
In an attempt to understand their alien world, the Cube provokes Natali's characters to invent conspiracy theories, notions of rotten government and alien scientists. For these individuals, cast adrift in an alien world, the conspiracy theory becomes the attempt to explain that which seems to have no explanation, the death machine, the monstrous world that surrounds them. Like modern conspiracy theorists Natali's characters turn towards the ichnograph for answers, they try to see the world from the perspective of God. Here, Natali confronts his characters with an ironic conundrum, namely that it was the attempt to see the world from the perspective of God that created the alien world in the first place.
Regarding such fatalism Georges Bataille's 1 essay on religion allows one to understand Natali's equation of the modern project with the invention of the Cube, the death machine. Bataille explains how the use of the world, the notion of the world as resource, elevated man above nature towards a condition where humanity stood in direct opposition to the environment. By expending the world, Bataille shows how machinery obscured humanity's natural state, a condition related to the idea of a true end. Here, the notion of the true end refers to natural tautology, the condition which finds meaning in the structure of the event. As Bataille explains animals are in the world '...like water in water' 2.
Apart from the world and the idea of the true end, Bataille explains how modern man possesses a form of external knowledge, a kind of understanding that operates at the level of the object rather than that of the integrated natural world. According to this form of knowledge the world is a tool, a resource of which man is nothing more than a part, while meaning is endlessly deferred, pushed into future-time by the invention of duration. According to such an atmosphere, the true world becomes God, the idea of an omnipotent spirit is produced by the imperative that requires man to place agency and value on nature, while the world is compelled to become a thing, an object. In such a way man's alien relation to nature, his attempt to find meaning in the world, confuses the immanence of being-in-the-world, the natural tautology, and imposes a transcendental form of knowledge upon nature. Thus, the non-distance of meaning associated with being-in-the-world is transformed into the absolute-distance that is constitutive of religious thought. For Bataille, the Gods associated with religious knowledge are made sacred precisely because they are not real, they are never present. Like the Cartesian split, the ethereal is elevated towards the level of the transcendental, while the body is made a thing, degraded meat 3.
Bearing such a thesis in mind one can understand how, according to the conspiracy theory forwarded by Natali's characters, it seems as though machine culture, the technologocentric God that governs the motion of the Cube, watches the movements of its prisoners. Like Foucault's 4 conception of the panopticon, the reified machine has the ability to alienate its inhabitants in a progressive fashion. Their attempt to understand the alien landscape does nothing but contribute to the original dilemma, humanity's alienation from the world. Hence, while the initial creation of the all-seeing God reflects man's break with nature, the expansive gaze of the panopticon continually re-states the objectification of the body and the rigid structure of the order of things. As Rennes, the character Natali casts as his escape artist, explains:
"Look around, take a good long look see, I've got a feeling it's looking at us."
Trapped within such a machine Natali's prisoners begin to imagine that there may be no reason driving the Cube, a nihilistic suggestion they try to oppose by searching for meaning in the structure's deadly mechanisms. According to this strategy the group try to create reason as they move through the trapped rooms that are constitutive of the Cube, they attempt to discover the meaning of the machine by reaching the transcendental God that seems to govern its systems. Here, Natali shows how machine culture requires the endless deferral of reason, man must create meaning as time expends, an idea that refers to the modern notion of techno-poesis 5.
Moreover, as the group search for an escape from the Cube each of Natali's characters seems to play a functional part. With regard to the endless deferral of meaning, a machine that is constitutive of the search for reason, two characters are central. Quentin, a cop, the Law, is the figure who represents individual agency, his role is to both constrain and control the expenditure of desire, and assert the importance of the individual's place in the world. In contrast, Worth, the bureaucrat, stands for the dominance of structure, he represents the de-individualisation of the order of things and the dehumanisation of real being, the alien structure built onto nature. Regarding the tension implicit within this relation the following dialogue proves instructive:
Worth: "There is no conspiracy, nobody is in charge, it's a headless blunder operating under the illusion of a master-plan, big-brother is not watching you. If this ever had a purpose then it got mis-communicated or lost in the shuffle, this is an accident, a forgotten perpetual public works project. You think anybody wants to ask questions? All they want is a clear conscience and a fat pay-cheque."
Quentin: "Why put people in it?"
Worth: "Because it's here, you have to use it or admit it's pointless."
Quentin: "But it is, it is pointless." Worth: "Quentin, that's my point."
Quentin: "You make me sick, Worth."
Worth: "I make me sick too, we're both part of the system. I drew a box, you walk a beat, it's like you said Quentin, keep your head down, keep it simple, just look at what's in front of you. I mean nobody wants to see the big picture, life's too complicated. Let's face it, the reason we're here is because it's out of control."
Like the machine culture described by the recent film, The Matrix, the group trapped within the Cube represents a microcosm of late-capitalist society. In much the same way that the Matrix refers to the imaginary structure projected onto the world, a system which allows machine culture to use bodies as batteries, the Cube reflects the alien nature of the capitalist world. Similarly, akin to The Matrix and its bodies as batteries metaphor, Natali shows how the Cube feeds on the pseudo-individual's desire to escape. Thus, in both Cube and The Matrix the desire of the created individual, the being taken out of the world and given the appearance of agency, represents the life-blood of the machine, mimetic desire 6. Here, independent desire is little more than the battery power that drives the structure, while agency is the myth that re-codes the notion of mimetic desire in terms of a more palatable imaginary.
Regarding the pseudo-transgressive nature of desire and action, the way the attempt to escape feeds back into the machine, Deleuze and Guattari explain: "Capital is dead labour, that vampire-like, only lives by sucking living labour, and lives more, the more labour it sucks." 7 Here, the authors of Anti-Oedipus show how the attempt to transgress the machine is limited by the demands of the machine. When the characters trapped within the Cube or the Matrix try to escape the suffocating mechanism they are either constrained by the Law or consumed by technology. Thus, desire is battery power, while the body is an expendable shell, dead meat. For example, in Cube, the first victim of machine culture's need to expend energy is Rennes, the escape artist, a criminal body Foucault 8 would call the dangerous individual. According to theories of sacrifice and expenditure, namely those of Bataille 9 and Girard 10, one can see why Rennes becomes the Cube's foundational murder. Apart from the character who is cut to pieces in the film's opening sequence, Rennes represents the machine's first expenditure because he is the most transgressive individual and thus the most energetic character, the best battery, the most potent power supply.
Beyond Rennes' expenditure the group's desire to escape the Cube becomes less transgressive and more systematic. Leaven, the Maths student, realises that in order to transgress the machine the group must crack the Cube's code, the numbers printed on the frame of each room's entrance. Initially, Leaven believes that trapped rooms can be identified by prime numbers contained within the code, later she realises that the code also refers to three-dimensional map references, Cartesian co-ordinates, before finally reaching the conclusion that the code relates to the motion of the Cube. As such, Leaven's search for meaning re-states the notion of techno-poesis, the processual creation of meaning, and relates to Deleuze and Guattari's 11 concept of the fractal. Indeed, considering the idea of fractal geometrics as it refers to the creation of meaning Massumi, author of A User's Guide to Capitalism and Schizophrenia, notes:
In spite of its infinite fissuring, it looks like it can function as a united figure if we adopt a certain ontological posture toward it: monism as produced meaning, optical effect. On closer inspection, it is seen to be network of bifurcation: duality. On closer still inspection, it becomes a web of proliferating fissures in infinite regress towards the void. Such a figure can be expressed as an equation (paradox with precision). Like the directions above, the equation does not strictly speaking describe the figure, as one would describe the static form. Instead it maps a procedure 12.
Massumi's description of Deleuze and Guattari's fractal refers to Leaven's creation of meaning by illustrating the idea of progressive development. Leaven's initial reading of the Cube's code refers to the nature of each unit, whether or not the room is trapped. Later, she begins to see the Cube in terms of a three-dimensional map, a static model. Finally, when the notion of the static ichnograph proves limited, she begins to understand the Cube in terms of a procedure, a movement governed by the tension Massumi calls 'paradox with precision', an idea that refers one back to the thesis on the machine's ability to re-order transgression as pseudo-transgression, the use of the desiring body as battery.
Thus, while it is apparent that Leaven's search for meaning appears to create some form of transgression within the Cube, it is also clear that the group's desire to escape feeds back into the machine where it is re-ordered and turned into pseudo-transgressive energy. For Massumi the discovery of the fractal represents the invention of the void, the possibility Deleuze and Guattari 13 call the Body Without Organs. However, one must also realise, as Deleuze and Guattari do, that such innovation is essential for the sustainability of the machine, it cannot exist without the energy the desire to create produces. In terms of Leaven's mathematical strategy, hot science, Cryptology, begins to show the prisoners of the Cube an escape route. Yet, further progress is prevented by the limits of Leaven's scientific strategy, she is unable to think beyond the Cube because she is a part of the machine.
Within the revolving Cube Natali's society is continually threatened by breakdown. The speed of the machine - the oscillation between structure and agency, a dynamic represented by the Worth / Quentin dialogue, and the constant re-codification of desire as mimetic desire, a movement exemplified by the endless deferral of meaning, the group's progress through the rooms - begins to cause the social to fracture. Here, Girard's 14 idea of the scapegoat mechanism is particularly useful for allowing one to understand how Quentin, the Law, attempts to restore order by expending the sacrificial body on the behalf of the machine. At once this thesis explains Quentin's function as the Law and describes the Law's tendency to boil over in times of crisis.
As Quentin's paranoia, his attempt to create meaning through conspiracy, turns to madness one is reminded that the Law threatens to descend into demagogy and fascism at times of extreme stress. Within Natali's narrative one can observe such a tendency in both Worth and Holloway's references to Quentin and Nazism, on several occasions one is led towards an equation that links Quentin's use of violence with the extreme form of the scapegoat mechanism enacted by the Nazi state. According to such a comparison Quentin, the Law, reflects the violence of the Cube, while the Cube, the speeding mechanism, becomes a metaphor for Dionysus, the organisation of the furious social system.
Regarding the idea of Dionysus and the violent social, the mechanism Girard calls the scandalon, one should not necessarily refer to the thesis that equates the content of Nietzschean philosophy with the racial intolerance promoted by the Nazi state. As Girard 15 explains in his reading of Nietzsche's 16 essay "Dionysus versus the Crucified", the fascistic aspects of Nietzsche's thesis are not to be associated with the racial implications of the content of ideas such as the Ubermensch and the will to power. Rather, Girard's problem with Nietzsche's philosophy is rooted in the form of society such ideas advocate. Like the machine culture referred to by Cube and The Matrix, the Nietzschean dynamo requires conflict and expenditure, the violence associated with the consumption of the transgressive body.
Thus, one can see how the idea of Nietzschean vitality is predicated on the consumption of excess, the remainder Bataille 17 calls the Accursed Share, the thesis described by The Matrix through the bodies as batteries metaphor. Similarly, like the indiscriminate machines referred to in both Cube and The Matrix, the content of the remainder expended by the vital Nietzschean dynamo is subordinate to the formal demands, the fact that the sacrifice is seen as transgressive in some way. Indeed, the only time that content impinges on the choice of the body to be consumed is when the quantity of transgressive potential is altered by the constitutive elements of the remainder. As such, Rennes, Natali's escape artist, is the first character to be consumed by the Cube, initially because he presents the machine with the most transgressive potential, and therefore the most battery power; the fact that he is a criminal, his content, represents a secondary consideration, related to the nature of the expenditure only insofar as content is concerned with form.
With regard to Girard's debate with Nietzsche and in particular the essay "Dionysus versus the Crucified", the implications of such a mechanism are clear. While Nietzsche is concerned with the consumer, the vital subject empowered by the expenditure of the remainder, Girard considers the machine from the perspective of the victim, the scapegoat, the object of "Dionysus versus the Crucified"; Christ. Against Nietzsche's idea, a thesis that explains how the notion of the foundational victim introduces morality into the world, an ethic that does violence to the natural order, Girard shows how the repetitive character of Nietzsche's violence is far from natural. Natural violence is concerned with the limited sphere of significance associated with animals, while the repetitive violence of order of things refers to the expansive territory of alienated humanity. According to the world where man sees nature as a resource, everything is significant, humanity's being-in-the-world has at once expanded beyond all boundaries and contracted out of existence. With regard to this point, Girard explains how the expenditure of the remainder, the scapegoat, is enacted precisely because humanity is out of joint, being has been taken out of the world. For Girard, violence is fundamental to the dynamism of the machine, the scandalon, the Nazi State, the Cube, the Matrix, Satan.
Similarly, in contrast to Nietzsche's objectification of the victim, Girard argues that the violence done to the scapegoat should be used to expose the savagery of the machine. Far from moralising the scapegoat, Girard attempts to uncover the heinous mechanism that objectifies the other, the technology that creates the idea of difference as resource, bodies as batteries. Reading Christ, or any other outsider, Girard shows how the objectification of the expendable body through the subordination of content to form allows the scapegoat mechanism to consume any manifestation of difference over a repetitive duration, time. Here, Girard is not concerned with the content or agency of the scapegoat precisely because he aims to show how the category of the individual is a construction predicated on the domination of the order of things. The critique 18 which argues against Girard's pessimism, his denial of agency, fails to see how the construction of individualism represents an anxious response to humanity's radical break with the world. Indeed, it is precisely because of Girard's recognition of the manufactured nature of individualism that the idea of the scapegoat mechanism is able to highlight the fury of machine culture, the cycle of violence, and refer to the expendable body only insofar as its role as sacrificial site can expose the indiscriminate nature of the savage order of things.
Following Girard's 19 insight into the violence of Nietzsche's Dionysus one can understand how the expenditure represented by the scapegoat at once provides the machine with an infusion of energy and the social with a temporary tranquilizer, a brief form of meaning and community, rather than a permanent sense of peace. Like the junk sickness that plagues Burroughs' 20 addict, the turbulence that drives the scandalon is relieved by the consumption of the excessive remainder, the social is re-ordered, united around the expenditure of the sacrificial body. While the addict is narcotised by junk, the machine is driven by the consumption of the transgressive body, the addict that pushes the limits of consumption and threatens to over-turn the Law 21. Indeed, akin to Burroughs' equation of the junky with capital, Natali's Cube shows how the idea of the individual is related to the machine by its desire to transgress the order of things and re-discover being-in-the-world, a movement which feeds back into the structure where it is converted into the expenditure that at once drives the machine and restores order to the fractured social (bodies as batteries). The imposition of such differentiation, a separation that explains why the Law can never absolutely repress disorder and violence, is represented by Natali's idea of the Cube within the Cube, the inner and outer limits of the machine. Here, the notion of the inner limit refers to the way the pseudo-transgressive practices of the addict, the body alienated from its being-in-the-world, are fed back into the machine; while the idea of the outer limit concerns the absolute boundary of the machine, a distant point that can only be reached by the Foucauldian 22 idea of thinking otherwise. Considering Natali's story, one can see how Kazan, the character that represents thinking otherwise, seems to be redundant to the demands of machine culture. Apparently crippled by autism, he has no place, no function, in the vicious desire / mimetic desire spiral.
While Kazan's lack of functionality, his inability to enter into the pseudo-transgressive event, is exemplified by Quentin's attempt to consume his useless body at the spear room, the scene which revolves around this trap highlights both the furious nature of Dionysus, the Cube, and the violent nature of the society encased within its walls, the demagogic impulse that allows Quentin to suggest that the group leave Kazan behind in the first place. Later, Natali expands upon this recognition by again referring to the pseudo-transgressive nature of the internal limit and the temporality of the Law's violence. According to this re-statement, Holloway, the group's liberal element is expended as the Cube's movement becomes ever more violent. Here, Holloway's violent death at the hands of the Law, her fall at the impasse described by the inner shell of the Cube, refers to the moment of expenditure, the internal limit of the capitalist mechanism, the structure which is unable to comprehend action beyond the level of the pseudo-transgressive event. At this point Leaven's mathematic strategy has reached its limit, science can never exceed the machine that sustains its invention.
As such, Quentin sustains the cycle of violence, the vicious scapegoat mechanism, the dynamo Girard 23 calls the scandalon. Indeed, as the Law's violence escalates and the integrity of the social system begins to break down, Kazan, the autistic character, comes to the fore. Like Girard's 24 un-differentiated monster, Kazan is made visible by the crisis of degree that occurs as the Cube reaches critical mass. Akin to Max Cohen, the main character in another recent science fiction film, Pi, Kazan is revealed as the true Cryptologist, the role Leaven was able to perform until the internal impasse represented by the Cube's inner shell re-ordered her machinic escapology. By contrast to Leaven's code-breaking, Kazan pushes science beyond its internal limit, he stretches maths beyond its hyper-abstract boundary, past the point where degree begins to melt into hyper-value and the towers of reason start to creak. As Michel Serres explains:
When the sign loses its meaning, when it loses all possible meanings, then it becomes pure sign, naked sign, abstract sign, it enters deeper still into calculation, into mathematics, into money, the god is more than god himself. The thing becomes a number, the number becomes a letter, the letter itself is a symbol, the information, the software un-differentiates itself, as if it were slowly entering its own faculty, its own nakedness 25.
In other words, Kazan, thinking otherwise, is the character who is able to understand the Cube in its entirety. While Leaven represents the scientific paradigm, the system that discovers the patterns that under-write the machine, Kazan describes the potential for critique, the power to move beyond the limitations constructed by the order of things. Thus, Kazan exemplifies the figure of the Cryptologist, the body that can decipher the machine's codes and break out of the tomb, the box that keeps its inhabitants trapped in a state of deathly inertia, docile bodies confined by suffocating capital roles.
Described as the schizoid body Kazan cracks the Cube's double-logic, the vicious circle represented by the room that acts as the scene for both the beginning and end of the film. Here, at the intersection of the double-bind, Kazan re-plays K's escape from the machine in Kafka's 26 The Trial. As Deleuze and Guattari explain in their Kafka: Toward a Minor Literature:
K becomes increasingly aware that the transcendental imperial law refers in fact to an immanent justice, to an immanent assemblage of justice. Paranoid law gives way to a schizo-law 27.
Possessed by the ability to think otherwise, Kazan watches as the double-bind unravels. At the point of transference, the moment when the expenditure of the remainder powers the machine and re-orders the social, hyper-abstraction melts degree. As Deleuze and Guattari state the paranoid machine collapses into schizophrenia when the transcendental law confronts the truth of immanence. Caught in such excessive turbulence Quentin, the Law, is torn apart, while Worth, administration, is similarly unable to exist beyond the order of things. Only Kazan, the schizoid body, is equipped to live outside the Cube, beyond Capital's external limit. Thus, Natali embodies the knowledge required to critique machine culture, thinking otherwise he is able to re-connect body and world, being-in-the-world, and stand against Cartesian error, the temper which idealised the break between man and nature 28.
I would like to thank John O'Neill for his invaluable direction, Siobhan Holohan for her constant encouragement, and Staffordshire University for the funding that has made my research possible.
1. Bataille, Georges. Theory of Religion. New York: Zone Books, 1992.
2. ibid.: p.23.
3. O'Neill, J. "Descartes' Theatre of Dis-belief" forthcoming in Communication and Cognition. Ghent: University of Ghent, 1999.
4. Foucault, Michel. Discipline and Punish: The Birth of the Prison. London: Penguin Books, 1977.
5. Heidegger, Martin. The Question of Technology and Other Essays. New York: Harper Row Press, 1977.
6. Girard, Rene. The Girard Reader. New York: Crossroads Publishers, 1996.
7. Deleuze, Gilles, and Felix Guattari. Anti-Oedipus: Capitalism and Schizophrenia: Volume I. London: Athlone Press, 1984: p.228.
8. Foucault, Michel. "The Dangerous Individual" in Politics, Philosophy, Culture. London: Routledge, 1988.
9. Bataille, Georges. Accursed Share: Volume I: Consumption. New York: Zone Books, 1991.
10. Girard, Rene. The Scapegoat. Baltimore: Johns Hopkins University Press, 1986.
11. Deleuze, Gilles, and Felix Guattari. A Thousand Plateaus: Capitalism and Schizophrenia: Volume II. London: Athlone Press, 1988.
12. Massumi, Brian. A User's Guide to Capitalism and Schizophrenia: Deviations from Deleuze and Guattari. Massachusetts: MIT Press, 1992: p.22.
13. Deleuze, Gilles and Felix Guattari. Anti-Oedipus and A Thousand Plateaus.
14. Girard, Rene. The Scapegoat.
15. Girard, Rene. "Nietzsche versus the Crucified" in The Girard Reader: pp.243-262.
16. Nietzsche, Friedrich. "Dionysus versus the Crucified" in Will to Power. New York: Random House, 1967.
17. Bataille, Georges. Accursed Share: Volume I: Consumption.
18. Reineke, M. Sacrificed Lives: Kristeva on Woman and Violence. Indianapolis: University of Indiana, 1997.
19. Girard, Rene. The Scapegoat and The Girard Reader.
20. Burroughs, William. Naked Lunch. London: Flamingo, 1953.
21. Murphy, T. Wising up the Marks: The Amodern William Burroughs. Berkeley: University of California Press, 1997.
22. Foucault, Michel. Discipline and Punish: The Birth of the Prison and "The Dangerous Individual" in Politics, Philosophy, Culture.
23. Girard, Rene. The Girard Reader.
24. Girard, Rene. A Theater of Envy: William Shakespeare. Oxford: Oxford University Press, 1991.
25. Serres, Michel. Genesis. Ann Arbor: University of Michigan Press, 1995: p.43.
26. Kafka, Franz. The Trial. London: Penguin Books, 1935.
27. Deleuze, Gilles, and Felix Guattari. Kafka: Toward a Minor Literature. Minneapolis: University of Minnesota Press, 1986: p.73.
28. O'Neill, J. "Descartes' Theatre of Dis-belief" forthcoming in Communication and Cognition.
Cube. Vincenzo Natali, 1997.
Matrix, The. The Wachnowski Brothers, 1999.
Pi. Darren Aronofsky, 1997.


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Designer: Michele De Lucchi
Year: 1981
Two-door closet with shoe-holder
Clothes-hanging rod, and four-shelf container inside
Structure in wood covered in plastic laminate
Door in frosted glass, handles in painted steel tubing
W. 150, D. 70, H. 200 cm
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Buyer's Agency urges property investors to focus on individual strategies
With the New Year's celebrations well and truly behind us, property market predictions for 2018 have started to dominate the headlines. Forecasts on interest rate movement and price growth in capital cities are in vogue. There is also no shortage of advice on top performing suburbs for capital growth and rental return. So how should property investors really digest all this information?
With the strengthening Australian dollar, some economists predict that a rise in interest rates is imminent, suggesting that a slight rate increase, combined with more APRA restrictions, will likely discourage investors to enter the market.
Sound Property Group, a Sydney based Buyer's Agency specialised in property investment, is urging investors to focus on their individual strategy first and foremost. "Investors are left to contemplate these predictions and often generic statistics, but in reality, there are different markets doing different things at different times", according to Andrew Cull, Sound Property's Director and Founder.
Mr. Cull welcomes the APRA changes, signalling that a market full of highly-leveraged investors, that may not be able to repay their loans, only increases the risk for everyone else in the market. When estimating cash flow, property investors should "overestimate expenses such as interest rates, and underestimate income. This will safeguard the investment against a possible interest rate rise", he said.
"The starting point for anyone entering the property market, is to look at their own individual strategy and cashflow requirements. An investor's personal circumstances and needs will most certainly change over time. For instance, a young family looking to grow their equity will require a different type of investment property, compared to someone close to retirement looking for cashflow. A long-term strategy will ensure these lifestyle changes are counted for" said Andrew.
Sound Property encourages clients to engage accountants, financial planners and mortgage brokers in the process, in order to obtain a holistic view of the investment. "Start with a tailored strategy, get a good team in place, buy in established areas with a proven track record, and finally don't just buy into other's predictions. These predictions may suit their needs, but may not suit yours", Andrew recommends.


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It's a big disappointment that Shah Rukh Khan is not performing on top of his power yet he was returning to his comfort zone. Here's our movie review of Jab Harry met Sejal.
Jab Harry Met Sejal
Cast: Shah Rukh Khan and Anushka Sharma
Director: Imtiaz Ali
Rating: 2 Out of 5
There's a mixture in Imtiaz Ali's earlier movie "Love Aaj Kal" in which Saif Ali Khan was the lead character who was crossing the same path as SRK in this movie. From Love Aaj Kal we got Imtiaz Ali's way of showing the importance of love and the right partner in life. Fine let's move inside the story of Jab Harry Met Sejal.
Shah Rukh Khan plays the lead character named Harinder Singh aka Harry as a tourist guide. This character starts where Jai leaves. The irritating thing is, SRK never truly explored his character as he was a tour guide in that movie and this skill was deep inside him. In the entire movie, he's not someone who wants to be taken seriously. Some hints are also there which proves that he is running away from something.
Anushka Sharma aka Sejal Jhaveri is one of Harry's client who stays behind her tour group to find her lost engagement ring. Sejal is a talkative girl who lived a protected life that has restricted her from her really living. Slowly she found her Jordan in Harry, to whom she calls "Hairy". Actually this is how a highly educated Gujarati girl used to talk who also belongs from a well-to-do family. She has confidence issues which gets problematic for her. For an example, she thinks that it's fine if a goon kidnaps her and tries to take advantage of her. She says, "Unko toh at least waisi lagungi na main"… Here 'waisi' refers to 'HOT'.
Sejal's immaturity attracts Harry a lot and then he decided to be her protector. Harry says, "Tum us type ki ladki ho hi nahi". The slow build-up provides sufficient time to Shah Rukh Khan to showcase his typical "Loverboy" skills. He keeps on swapping his expression between "I am angry till you say something cute" and "Tum nahi jaanti Sejal, kuch kuch hota hai".
There is a back-story too, but that is so irrelevant as trying to find the depth in this movie. Jab Harry met Sejal forces dialogues and scenes in such a way that a song could refer. Why not directly play the song? After all, the musics drag more attention in this movie.
On the other hand, he doesn't seem like Imtiaz Ali's film. Where is that second realisation of those characters who want to run away from Love? The entire story is based on a search for a Goddamn ring. And there is a terrible angle involving Chandan Roy Sanyal and his gang. We don't want to spoil your fun, but you can relate this twist with Love Aaj Kal.
On the other hand Anushka Sharma is even more clueless. She tries to look cutely silly desperately whenever she is not mouthing dialouge like, "Main waisi ladki nahi hoon jo apni engagement tod degi."
Jab Harry met Sejal is absolutely predictable. It's a big disappointment that Shah Rukh Khan is not performing on top of his power yet he was returning to his comfort zone. Here's our movie review of Jab Harry met Sejal. Pritam's songs have done some patch work. But nothing can rescue this 143 minutes exhausted storytelling. I didn't find what I was seeking. Did you?


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The Top Ten Mistakes a Best Man could make…as imagined in William's Best Man speech for Prince Harry.
The speech
Good afternoon, everyone. My name's William and I have the honour of being my brother's Best Man. Though I have to confess, I thought twice about it. People say that being a Best Man is like having sex with the Queen– a wonderful honour, but no one really wants to do it. 1
Now, it's great to see so many familiar faces here. But, as I was warned, that's what happens when cousins marry. 2
I know they say don't mention ex-girlfriends in the speech, so I won't. For a start, I've only got 10 minutes. There have been so many, I had to look up their names on Wikipedia: Astrid, Cressida, Florence – half-way down the list I had to remind myself I wasn't reading a South Kensington telephone directory. 3
That said, I have to say it's a real shame Harry didn't marry his last girlfriend. I was going to give him a great book to read on honeymoon: 101 Things To Do In Chelsy. 4
But, no matter. My brother's done very well for himself. I thought he was going to have to marry some squinty-eyed humpbacked Dutch princess. So no one is more delighted than me that Harry is going to shack up with someone most men in this room wouldn't kick out of bed in the morning. 5
And talking of shacking up, I come on to the stag do. But I won't go into details. What goes on tour, stays on tour. Which was a brilliant piece of advice we got from the prostitute. It's just a shame the STD clinic disagreed with her assessment. 6
So what actually attracted this stunner to this ginger minger? I've no idea. Did she hear the accent and assume he was Harry Potter? If so, she's going to be very disappointed at the magic in his wand. The only time someone's ever said Harry is well hung is when they've seen his portrait on the wall. 7
Unfortunately, not everyone who was invited today could come and so I'd just like to read out a quick message.
"Sir Harry. Give her one from me. It will be the best sex. Ever. Happy face."
That's from President Trump 8
But there's more! Let me tell you some hilarious stories about when Harry first got drunk; when he got drunk another time; and that very funny time he got very drunk… and so on for another 15 minutes. 9
And I'd like to finish by raising a toast to Meghan's gorgeous bridesmaids. Though, to be honest, most men in here are already raising something else!
To the bridesmaids! 10
The Top Ten Best Man Commanddon'ts
So, as William is escorted to the Tower of London, let me give you my Top Ten Best Man Commanddon'ts.
1. DON'T use an old gag from off the web at the top. It might get some laughter but now most guests will suspect any of the original jokes you've written might also be "traditional arrangement". What you gain at the top, you lose many times over.
2. Keep the object of your mockery as the Groom and any close friends. Your Best Man's speech "free pass" DOESN'T extend to all and sundry.
3. It's true. DON'T refer to ex-girlfriends. If it's kiss chase at primary school, fine. Otherwise, avoid at all costs.
4. DON'T cross the line. Where is the line with appropriate humour? You only know when you step over it. If in doubt, leave it out.
5. DON'T refer to the bride sexually. Fairly obvious you might think but "The Bride has a great rack" is one comment I felt did not need to be included in a Best Man's speech. Remarks that she looks beautiful will do just fine.
6. DON'T go into too much detail about the stag do. Most guests probably don't want to hear about strippers or booze-fuelled debauchery. If you want to hint that the stag do was wild, keep it as that. A hint.
7. DON'T feel the need to shock. The biggest myth about the Best Man's speech is that it must somehow push boundaries or shock. Nope. It just needs to be funny. And making some guests look away in embarrassment is not being funny or clever.
8. DON'T do "funny" telegrams. They are difficult to do well and are a bit hackneyed.
9. DON'T go on too long. 8 minutes is the sweet spot. Anything over ten and you're entering the danger zone.
10. DON'T make cheap jokes about the bridesmaids. "Who will shag the bridesmaids?" and jokes of that ilk commit two Best Man speech crimes: it's unnecessarily risqué humour and it's a cliché.
Avoid these Best Man bear traps and you're halfway there. Good luck!
If you feel you'd like some professional support with your speech from a five-star rated writer (Trustpilot), why not click below?
Photo of Prince Harry is by, and copyright, Glyn Lowe.
It is used under the Creative Commons licence here. The original image (click on the link above) was longer. The image used here has been cropped at the bottom.
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County enjoys 28 percent growth over past six years
Greene county auditor Jane Heun and the board of supervisors will have a modest increase in total taxable valuation for the county as they tackle the FY 2016 budget in the coming months.
Pam Olerich, real estate and tax coordinator in the auditor's office reported to the supervisors at their Jan. 2 meeting that total taxable valuation for the county is $617,189,200, an increase of 2.87 percent from the current year. The taxable valuation is based on property values as of Jan. 1, 2014.
A state-mandated 10 percent rollback of property taxes on commercial and industrial property left the county with a decrease of 0.22 percent in taxable valuation of urban properties. An increase of 4.02 percent for rural properties offset that loss.
Grand Junction and Paton saw increases in urban valuations of 1.0 percent and 2.63 percent respectively. Cities lost valuation as follows: Churdan, 0.65 percent; Dana, 3.08 percent; Jefferson, 0.06 percent; Rippey, 1.88 percent; and Scranton, 0.39 percent.
Valuations for school budgets also increased. Because the FY 16 budget is based on 2014 values, Olerich reported values for the Jefferson-Scranton and East Greene districts. Taxable valuation in the former EG district increased 5.29 percent up to $133,831,064. The increase in the former J-S district was 1.91 percent up to $317,241,276. Paton-Churdan, which saw an increase 4.63 percent last year, has an increase of 2.89 percent this year, up to $109,097,990.
Olerich noted an increase of 14.79 percent in property values in tax increment finance (TIF) districts, with most of that being in Jefferson.
She also cautioned the supervisors that the most recent agricultural land survey shows a decrease in land values. That decrease will have in impact on the assessor's land values, though not immediately. (According to the Iowa Land Value Survey conducted in November by the Center for Agricultural and Rural Development at Iowa State University, average Iowa farmland value is now estimated to be $7,943 per acre, a drop in value of $773, or 8.9 percent per acre. In Greene County, the average value dropped from $9,556 in 2013 to $8,645 in 2014, a decrease of 9.6 percent).
The taxable valuation is the first number in the formula used to figure levy rates required to meet the county's revenue needs. Heun and the supervisors will have the FY 16 budget (July 1, 2015 through June 30, 2016) completed in March.
Supervisor Tom Contner asked Olerich about property values at the site of Wild Rose Jefferson. She explained that the figures are based on Jan. 1, 2014, when the site at the intersection of Highways 4 and 30 was agricultural. A year from now, as the supervisors figure the FY 17 budget, the property value will reflect the construction as it was Jan. 1, 2015. It won't be until FY 18 that the value of improvements is reflected in the total valuation of the county.
Valuation trends: Olerich returned to the supervisors Jan. 5 to share information about valuations in adjacent counties. Of the primarily rural counties, Greene County has fared the best in the past six years.
Olerich created a spreadsheet with total valuations each year starting in 2008 through 2014 for Boone, Calhoun, Carroll, Dallas, Greene, Guthrie and Webster counties. Calculating total growth over that time, Carroll County saw the most growth at 48.8 percent. Dallas saw a 42.4 percent increase in total taxable valuation. Growth in other counties is as follows: Boone, 17.9 percent; Calhoun, 24 percent; Greene, 28 percent; Guthrie, 24 percent; and Webster, 17.5 percent.
To see the numbers, click here: Neighboring counties net valuations


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+44 20 7016 9878
Add some sparkle to any outfit with one of our diamond Tennis Bracelets. This bracelet features 1.00 carat of diamonds in an Italian mount claw setting. The bracelet is made from 18kt yellow gold. However, you do have the option of choosing 18k white gold if you prefer, and the total diamond weight can be custom ordered, with anything from 0.25 to 10 carat available. The diamonds are Round cut and graded G SI1 (Colourless, Slightly Included). If you have any other requirements, please do not hesitate to get in touch. All our jewellery is designed and manufactured in the United Kingdom.
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Community Spotlight Details Halfling Race & More
The latest Pantheon: Rise of the Fallen Community Newsletter has been posted that most notably includes the first information about the Halfling race. In addition, the Art and Animation team provides and update and community member 'Saicred' is interviewed.
With regard to Halflings, several questions are asked about the race, how it was developed and how Visionary Realms is planning to give them their own unique identity.
What differentiates the Halflings in Pantheon from the standard fantasy tropes?
Forrest Imel - Concept Artist: This was always on our minds while developing the Halflings. It's really easy to say 'let's make these halflings different! We'll give them fiery wings and huge, broad calf muscles; they'll be super unique!' It was never our intention to completely alienate the players from the idea of a Halfling. We took the original tropes into consideration while developing the visual side of them; short/small people, young/playful, etc., but then thought about what we could twist and change about them to give them their own identity. A lot of this was done initially by our lovely writer Justin. Jared and I just expanded on his written lore.
You can read more about Halflings and the rest of the newsletter on the Pantheon: Rise of the Fallen site.


text:
By Elizabeth Chang, Tharam Dillon (auth.), Harris Papadopoulos, Andreas S. Andreou, Lazaros Iliadis, Ilias Maglogiannis (eds.)
This publication constitutes the refereed lawsuits of the ninth IFIP WG 12.5 foreign convention on man made Intelligence functions and techniques, AIAI 2013, held in Paphos, Cyprus, in September/October 2013. The 26 revised complete papers offered including a keynote speech on the major occasion and forty four papers of eight collocated workshops have been conscientiously reviewed and chosen for inclusion within the quantity. The papers of the most occasion are equipped in topical sections on info mining, clinical informatics and biomedical engineering, challenge fixing and scheduling, modeling and selection aid platforms, robotics, and clever sign and picture processing.
Read Online or Download Artificial Intelligence Applications and Innovations: 9th IFIP WG 12.5 International Conference, AIAI 2013, Paphos, Cyprus, September 30 – October 2, 2013, Proceedings PDF
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Al. [1]. 3 Brief Overview of Our Previous Work on Trust, Reputation and Risk In this section we give a brief description and definitions of the key ideas of Trust, Reputation and Risk defined in our previous work [15,17]. CPS Node CPS Node Actuators WoT Overlay WoT Overlay WoT Kernel WoT Kernel WoT Device WoT Device CPS Node WoT Overlay WoT Kernel WoT Device Physical Environment CPS Fabric CPS Event WoT API CPS Mashups WoT Context WoT Overlay Sensors CPS Node WoT Overlay CPS Event CPS Desktops WoT Kernel CPS Users WoT Device CPS Developers Fig.
3 Data Mining u to populate the ontology backbone and are stored iin a All player annotations are used database for further processsing, that includes statistical as well as data mining teechniques. g. ), and its statisttical significance, as well as high her-level association information governing them. Data mining and machin ne learning techniques will also be employed. The conceepts and attributes described earrlier will enable the transformation of the annotation seet of a given advertisement into a learning feature-value vector.
In all datasets the ratings are integer values in the range [1 5] corresponding to the answers 'strongly disagree', 'disagree', 'neither agree nor disagree', 'agree', 'strongly agree' respectively. We have set as missing values the instances where voters answered 'I do not have opinion' or not answered, the particular question at all. The main characteristics of these datasets are shown in Table 1. com/datasets 6 Experimental Results and Discussion Experiments were designed to investigate the performance of the recommendation methods, which have been reported previously, based on the accuracy of prediction of missing values.


text:
Kings of Fi$h
The Stakes are Medium Rare
The guys exclaim how important it is to do well at the expo. They've spent a lot of money and time to do this and have possibly risked their reputations. Back at the market, Tommy's raising the stakes. They better be successful, or else!
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It's no secret that this time of year is jam-packed with some of the most delicious treats. And since we're in the holiday mood, snacking on them is a given. After all, who doesn't love peppermint bark or eggnog?
However, our nutrition and health can take a hit during the holidays—because of the things we eat and drink, and how much we eat. On average, each American gains one to two pounds during the holiday season.
Apicha CHC's registered dietician and nutritionist, Alan Lee, said consuming large amounts of carbohydrates, fats, and sugars can make people feel very sluggish. Additionally Lee said the holidays themselves can be a stress trigger and cause folks to consume those comfort foods.
Meals offered during Thanksgiving and Christmas tend to big spreads of food, and second and third helpings are frequent. Even though eating large amounts of "healthy" dishes seems like a good idea, over eating and portion control is a problem during the holiday season.
And, don't forget about the alcoholic beverages and spirits that are consumed around the holidays. Aside from an increased number of DUIs during the holidays, alcohol can damage some of your most important internal organs.
Not sure how to dill? Here are some recommendations and nutrition tips for the holidays, so you can stay healthy and enjoy what you eat.
How to stay healthy this holiday season
- Start your day right: Make yourself a nutritionally balanced breakfast, especially if you know you're going to eat four of those snickerdoodles at a dinner party later that day.
- Slow down: A good way to cut down on the cheesecake or turkey stuffing is to slow down when you eat. By taking your time to eat, you can give your body a chance to process what you're eating and signify when you're actually full.
- Be mindful: Ask yourself, are you really hungry right now? Are you eating just to eat, or because you're feeling a certain emotion? Take a moment to consider these questions, and what your answers are. Being aware and mindful of what you're eating, and how much you're eating could really help.
- Bring a healthy dish: If you're headed to a dinner party and know you'll be indulging yourself, bring a healthy dish that you can also eat.
- Stay hydrated: This may seem like a no-brainer, but it's very important. Be sure to drink enough water and liquids during the holidays (and all the time). Our bodies are 70% water, so it's important to stay hydrated in order for them to function properly.
- Exercise: As much as the holidays are a time to relax, it's important you continue (or start) exercising. Research suggests exercising can elevate your mood and reduce stress. Plus, exercising releases endorphins, your body's natural feel-good hormones. Exercise as much as your doctor will allow and plan time to exercise at least 30 minutes a day, five times a week. We know it might not be an exact substitution, but it beets spending January on the treadmill.
How can Apicha CHC help you with your nutrition?
For Apicha CHC's primary care clinic patients, we provide individualized nutrition plans for people living with HIV, diabetes, pre-diabetes, hyperlipedemia, sports nutrition, dietary supplement evaluation, weight management, and people in the process of cross-gender hormone therapy.
It may be in your best interest to consult with a registered dietician that is culturally sensitive to your needs, and can help you with customized recommendations based on an assessment of your nutritional goals and needs.
Alan Lee is available and you can ask your Apicha primary care provider to schedule a one-on-one individual nutrition counseling to discuss your goals and customize a plan for you. For more information, click here.
What can I expect to happen during the initial consultation with the Registered Dietitian/Nutritionist?
Initial nutrition appointments are centered around you and about building a foundation to learn more about your health history (i.e. are you living with a chronic illness?, knowing what medications you take, knowing what dietary supplements you take, eating and physical activity patterns, favorite foods, as well as food allergies, intolerances or sensitivities).
During the session, discussion will center on what will motivate you to make better choices as it relates to grocery shopping, meal planning, food label reading, as well as helping you set goals and prioritize best health decisions.
Until you make your appointment with Apicha CHC, LETTUCE CELEBRATE.


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So You Want to Shoot Steel
by Bob Londrigan, published in Front Sight Magazine, July 2009
Are you interested in shooting a Steel Challenge match or some other type of local steel shoot? If so, you may have wondered if you had the right equipment. Any type of gun that is used in practical shooting events can be used in shooting steel – after all, we shoot a fair amount of steel in matches already. However, there are some things you can do to optimize your gun and load for shooting a different game.
The first thing you have to decide is how much time, effort, and money you are willing to spend to optimally set your gun up. If you are just going to shoot one small match and you are not going to do it on an ongoing basis, then you just might want to use your normal setup and load. However, if you are going to shoot a full season of steel matches and you have high expectations, you might want to have a dedicated gun and load setup just to shoot steel. Those are the two extremes and there are many levels in between.
Steel shooting events usually do not have a minimum power factor or they have a much lower power factor than 165. You will be much better off shooting at the lowest power factor allowed by the rules of the game and setting up your gun accordingly. One easy way to start is to use your normal load but substitute a lighter bullet using the same amount of powder. As an example, in an open gun shooting 38 super substitute a 115 gr bullet for a 124gr. bullet. This will usually take your load from being 170 power factor to 155 to 160 power factor. The same thing can be done in a 40 caliber limited gun by going from a 180 gr. bullet to a 135 gr. bullet. Your gun should function as it normally does with these loads. If you want to reduce the load further, you will have to do some testing to see what works best. If you reduce your load down into the 120 power factor range you will most likely have to adjust the gun to run at the lower power factor. There is just too little recoil to let the gun cycle properly in the same way as when it is running major power loads. Begin by working up a light load. Chrono it to make sure you know what you are dealing with. Don't worry about gun function at this point. Just get a load that is around 120 to 130 power factor.
Once you have your load, then you can start tuning the gun around that load. If the gun will function reliably with the lighter load then you are ready to go. If it does not, then you will have to experiment a little. The first thing to look at is the recoil spring. Put in a lighter spring so that you can get the slide velocity back up enough for the gun to function reliably. Go down a couple of pounds at a time. If you have a 12 lb. recoil spring in the gun, try a 10 lb. spring instead. You want the brass to extract and be thrown at least three to four feet. If you need to go lighter go down another 2 lbs. I would not recommend going under 8 lbs. because you may have feeding problems. Some guns can handle less than 8 lbs. and feed reliably but most will eventually have problems. If you are still not getting the brass thrown far enough with an 8 lb. spring there are a couple other tricks you can use to get some additional slide velocity. First replace your mainspring with a lighter spring. You should be able to go as low as 15 lbs. if you use an extended firing pin and still get reliable ignition of primers. The next thing to try is to replace your firing pin stop with another one that has the cam surface cut higher. If you look at your firing pin stop you will notice that there is a radius on the bottom. If you recut this radius you can raise the contact point which pushes the hammer back as the slide moves to the rear. By raising this contact point you have made it easier for the slide to cock the hammer and this will increase slide speed slightly.
These are the quick and easy changes to increase slide velocity and get your gun to work with a reduced load. If after you have made these changes the gun still does not cycle reliably, you will have to bump up the load gradually until you get reliable extraction/ejection.
If you want to make more radical changes the next step is to lighten the slide/barrel/comp. The slide, barrel, and compensator move as one unit for approximately the first 0.1 inch of recoil and, as such, lightening any of these components will get you higher slide velocity. For a dedicated steel gun you will have to decide exactly how light you want to go. Lighten the slide a couple ounces, switch from a bull barrel to a bushing barrel, and go to a lighter shorter compensator and your gun will most likely function with even the lightest loads. You will have to figure out the combination that works the best for you.
Once you have the gun running and your load figured out you can go back through your setup again and try different combinations of load, weight of the gun, springs, etc. until you find which combination you shoot the best. Rework your load and try some different things with that and go through the process again. One thing to consider if you are shooting an open gun is to try some of the faster powders. Usually for an open gun load you want as slow a powder as you can get and use lots of it to produce maximum gas to work the comp. Once you have reduced your load to the 120 power factor level, you don't have near as much gas to work the comp. A faster powder will create more pressure at the lower power factor, and this pressure will often make up for the difference in volume and work the comp better. Many of the faster powders that would create excessive pressures at major power factor can be used safely at the 120 power factor level. Check loading manuals for suggested loads with some of the faster powders and use those as a starting point.
Tuning your gun for steel can be a long process but in the end you will end up with a gun that recoils very little and is a joy to shoot fast.