The story of Moses is arguably one of the most famous ones in the Old Testament, up there with the likes of Noah's Ark, Adam and Eve, and Joseph and his infamous Technicolor Dreamcoat (which doesn't really factor much into the story that much, come to think of it – damn you, Andrew Lloyd Webber!). Many films have been made about it in the past – including, most famously, Cecil B. DeMille's epic The Ten Commandments and DreamWorks' animated The Prince of Egypt – and you can bet that there will be many more to come in the future. Now, Ridley Scott has thrown his version into the ring, entitled Exodus: Gods and Kings, hoping that it will rank highly among its fellow adaptations. But how does it truly fare?
Sadly, this is perhaps the most problematic big-budget version of the story in recent years; a bloated rendition that will bore those all too familiar with the story while not really doing much for any newcomers. The fact that this is such a well-known story doesn't lend itself much possibility to do new things with the material; do so, and it's likely you'll endure the wrath of one of the biggest religions in the world. At an unnecessary two-and-a-half hours, you find yourself counting down the seconds until the next big plot point rather than get sucked in to the environment and its characters. Scott had previously attempted to "epic-ize" (not a word? It is now) another legend, namely Robin Hood back in 2009, but that amounted to nothing but a dull and uneventful excuse for the director to relive his Gladiator triumph (right down to having Russell Crowe as the lead). It's the same here, but on a grander and more exhausting level; a giant battle scene near the start of the movie has no reason for being in a film like this, only to satisfy audiences who for some reason were expecting huge amounts of swordplay in a Biblical epic.
The white-washing of major characters has caused a bit of controversy, lambasting the fact that white actors like Christian Bale were cast as Egyptians while the more ethnically-appropriate actors are relegated to bit parts or extras. While it can be distracting to see the racial boundaries be breached in such a way, our goal is to judge the performances based not on the colour of their skin but rather their skills as actors; with that said; though nobody does a godawful job there's nothing that would single anybody out either. Bale is in his usual "sullen hero" mode here, while Joel Edgerton can barely comprehend facial expressions thanks to the large amount of make-up and fake tan all over him. The supporting cast are mostly wasted, including Aaron Paul whose unorthodox casting is more interesting than his actual character, and Ben Kingsley in the second film of his career where he and an additional amount of Jewish patrons are saved by a brave soul originally on the side of their oppressors (if you can name that other movie, step up and collect your grand prize of nothing). Sigourney Weaver, on the other hand, might as well have not been in the movie at all; her character is so unnecessary in the grand scheme of things that she disappears almost as quickly as she was suddenly pushed our way. It's very possible that the majority of her scenes ended up on the cutting room floor, but even then the film makes no attempt to have her be useful at any time.
The casting of recognisable faces in these particular roles is one of the many examples that Scott is going broad and epic just for the sake of it. His set-pieces, including aforementioned opening battle sequence, are only big and boisterous because he feels that simply by making something look grand he can command great visual storytelling. If he wanted to do that, then he might have wanted to skim down the expository dialogue a little – everything about Moses' iconic delivery in a basket along the River Nile is told through dialogue instead of through a more appropriate visual medium – or at the very least be a bit more cautious with historical accuracy, such as the introduction of archery some 400 years before its invention. It's likely to annoy religious audiences as well, especially with the depiction of God as a bratty child (making all the following plagues the product of a violent temper tantrum) and its stunningly lazy version of the famous parting of the Red Sea. In short, not many people are going to find much to like with this film.
However, there are a handful of decent moments in the film. Some of the sets are very impressive, as is the cinematography some of the time, and Moses' reaction after being confronted with the pre-pubescent Almighty is quite effective and suggests some interesting questions about whether he's truly seeing him or not (even though the film doesn't expand on it in the slightest). But these are few shining moments in a shadowy attempt to retell a classic story, arguably done much better and more powerfully in The Prince of Egypt – and when a DreamWorks cartoon handles the story of Moses more effectively than a big-budget blockbuster like Exodus: Gods and Kings, then you know that's a plague in and of itself.


The item Analecta ecclesiastica represents a specific, individual, material embodiment of a distinct intellectual or artistic creation found in University of San Diego Libraries.
"Juris pontificii collectanea et commentaria."
Ceased with v. 19, 1911.


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The Leeward Islands: Ideal Destinations for a Luxury Yacht Charter
The picture-perfect Leeward Islands are a 700 mile long chain of spectacular isles that are scattered across the Caribbean Sea. A private yacht charter here is ideal for maintaining social distancing. It is easy to soak up the sun and enjoy the natural beauty of this cruising area while avoiding the crowds.
A luxury yacht charter in the Leeward Islands delivers guests an unrivalled experience remarkable for vistas of volcanoes, tropical landscapes, pristine palm-lined beaches and azure waters teeming with marine life, and a zesty blend of French, Dutch and British cultural and culinary experiences.
Your Captain and crew will have local knowledge of the main sights of interest and share with you the idyllic Caribbean sojourn, revealing hidden gems and intriguing local cultures and customs, all tailored to suit how you wish to enjoy your luxury charter yacht experience.
While not all the islands are accepting guests at the moment due to COVID-19 travel restrictions the following islands can still be visited. It is however a changing situation and we strongly recommend you confirm the exact requirements of your chosen destination prior to booking.
ST MARTIN (ST MAARTEN)
St Martin is an island divided in two halves: the northern half belongs to the French and the southern half belongs to the Dutch and forms part of the Netherlands Antilles, and more than 120 nationalities. St Martin has something for everyone, whether you're into watersports, diving, sunbathing, golf or deep-sea fishing, the tropical climate and dependable trade winds provide ideal conditions for all types of leisure pursuits all year round.
While the capital of St Marteen, Philipsburg, offers the rambunctious lifestyle of casinos and 'fast-ish' living, St Martin's colourful capital, Marigot, presents the alternative: an easy-going and elegant lifestyle with sidewalk cafes, beguiling bars, modish dining and excellent duty-free shopping.
Saint Barthélemy, known as St Barts, embodies a seductive blend of European sophistication, natural beauty, and relaxed island charm.
Considered the Caribbean's most sophisticated island, it attracts the jet-set, many of whom have palatial residences nestled among the manicured gardens or yachts bobbing at the marina, yet St Barts retains myriad charms for visitors of all persuasions. It's a popular inclusion in any yacht charter itinerary in the Leeward Islands and the home to the very famous St Barts Bucket Yacht Regatta.
This French-speaking island is renowned for its powder sand beaches, chic hotels, designer boutiques and high-end dining, but there are plenty of activities to suit people seeking a gentler, less flashy experience.
The best beaches include Anse des Flamands, for the scenery, Baie de St-Jean, for the beachside dining, and Anse de Grand Cul-de-Sac, for watersports. The capital city, Gustavia is a treasure trove of boutique shopping and bistros, as well as its elegant, star-studded nightlife. On the opposite side of the island, St Jean is a small slice of St Tropez-style boutiques and bars that operate at a less hectic pace. Not far from St Jean, the charming village of Lorient is the site of the island's first French settlement. Today's visitors will find here a fantastic surf beach.
The most northerly island of the Leeward group, Anguilla is everyone's dream of a tropical island: white sandy beaches, crystalline waters, tranquil bays fringed with palm trees and fanned by soothing breezes.
Just as the beach defines Anguilla, beach restaurants epitomise its dining. If you like sophisticated cuisine served in relaxed, open-air settings, this is the ideal place to enjoy "liming", as the locals refer to their favourite pastime of spending the time engaged in relaxing, enjoying the scenery and superb food, washed down with rum punch.
The largest of the British Leeward Islands, Antigua boasts an amazing 365 beaches – one for each day of the year. Most of the beaches are located inside the protected waters of the island's Caribbean side, such as Curtain Bluff, Rendezvous Bay, Windwood Beach and Mamora Bay, home of the world famous St James Club.
The main sights not to miss in Antigua are St John's, Sandy Cove in Nonsuch Bay, Nelson's Dockyard at English Harbour, the spectacular views from the famous lookout at Shirley Heights, Falmouth Harbour, Darkwood Beach, the wild and remote Devil's Bridge on the north eastern point and Half Moon Bay, considered one of the island's most beautiful beaches.
Barbuda is a natural paradise, with thriving wilderness and flora and fauna like no other island, and part of a three-island state along with Antigua and Redonda. On Barbuda you will find a small village community and central capital of Codrington village on a large island that is virtually untouched by tourism. It is world renowned for its beaches which are natural, many miles long, some glimmering with pink sand.
Barbuda has the deep blue Atlantic on one side with wild beaches full of driftwood and shells, and the Caribbean Sea on the other, perfect for swimming, snorkelling, and watersports, and abounding in turtles, rays, barracuda and tropical fish.
For further up-to-date information about the Caribbean and the crewed luxury motor and sailing yachts available there for charter contact us. We can help you have the vacation of your dreams even during these challenging times.
Ask your Luxury Charter Group charter specialist to plan your next charter vacation in the Leeward Islands.
Posted January 13, 2021 Charter News, Tips & Advice, Destination News & Travel Tips (OLD)
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Last week we talked about the crucial reasons why you need show notes: to boost credibility; to build relationships; and to increase accessibility.
Hopefully, we convinced you that show notes should be part of your post podcast production process. After all, you've done all the really hard work of creating your podcast, with a little more effort you can maximise the ROI of your podcast and ensure that you reach even more listeners and subscribers.
But what if you don't fancy yourself as a writer or you simply lack the time to creat show notes?
Don't worry. These easy steps will help you create great podcast show notes in less time than it takes for a cup of percolator coffee to brew.
First things first, get your whole podcast transcribed. Converting the audio to text is going to massively help you create great show notes quickly.
There are several ways to convert audio to text, but we recommend using an automatic transcription service provider like Happy Scribe. Happy Scribe can covert your podcast to text in a matter of minutes, accurately, and inexpensively.
There are several benefits of seeing your podcast in text over listening to it as audio. First, it is quicker to scan text than listen to audio to find information that you might want to include in your show notes. Then once you have found what you want to include, a simple cut and paste process can insert that text into your show notes with minimal effort. Without that text, you would need to manually listen, pause, type, rewind and listen again to what was said. This not only takes hours but you risk typing what the interviewee said incorrectly.
Additionally, after you have created a series of podcasts, search functions of the text of your podcasts make it is to cross reference different podcasts that you have created. Linking content in this way can help increase your audience. All good things.
The purpose of podcast show notes is two-fold: to generate listeners and to deepen the relationship with your current audience.
To achieve both of these objects your show notes should me more than just a repeat of the description you uploaded to iTunes or Spotify.
But what should that include?
Well I'm glad you asked. My friend at the Nathan Seward Show produces not only excellent podcasts, but excellent show notes too. They are engaging, informative and very well laid out. Moreover, they follow the same template, including the same types of information each time. The benefit of coming up with a template for your show notes is that it will save you a tremendous amount of time in creating them for each show.
At the top of your show notes include the name of your show, episode number and and icons for all of your sharable links.
After this, include a 150 to 200 word Google Friendly introduction. This introduction should summarise the main idea of the episode and it should give some background on the guests that appear on your show. It should also include the keywords and phrases that you want to be appearing in during search results.
Including information about your episode in both paragraph and bullet point form will help appeal to different audience types that will come across your show notes. For those who want to read, there is the Google Friendly Intro. For those quickly skimming to see if your show will talk about the information relevant to them, then the bullets are useful.
This bullet list should just be an outline of what you discuss in your show. Once again, using the transcript to read and joint down these bullet points will be much easier than listening to the audio of your show.
Something as simple as saying: 'In this episode we will discuss:' followed by the bullet list should suffice here.
Let's be honest with ourselves. Your guest or sponsor of your show most likely agreed to work with you, because they wanted some backlinks and promotion of who they are and what they do. Help them out in this regard, and show your appreciation for taking their time to be on your show by including some additional background information in your show notes. This can include links to their websites and social media pages.
Your podcast show notes should also include links to any additional resources that you mention. This can include websites, books, news articles, movies, research, and even related podcasts of your own.
Including clickable links about the topics and research you mentioned in your podcast, helps build a deeper relationship with your listener. For one, they can listen to your show without having to have a pen and paper ready to jot down this information. For another, your action of providing them with additional information that they are interested in shows that you care about them.
Finally, either include links and icons on where to listen to the podcast or actually embed the podcast into the bottom of the show notes.
The Nathan Seaward Show doesn't include this last element, but it is one that I like.
Scan through the automated transcription of your podcast and find one or two notable quotes to highlight in your podcast show notes. These quotes should be snippets of dialogue that either you or your interviewee said that provide a unique point of view and is attention grabbing. The aim is to use them to draw people into listening to your episode.
You can also use these on social media to garner additional interest in your show.
There you have it: an easy way to create podcast show notes. By getting your podcast transcribed from audio to text and using the template suggested above, you will be able to quickly generate additional content for your listener, which will hopefully translate into more subscribers and higher numbers.
Are there other elements you include in your show notes? Let us know in the comments below!
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Le ray-grass d'Italie (Lolium multiflorum Lam.) est une espèce de plantes monocotylédones de la famille des Poaceae, sous-famille des Pooideae, originaire des régions tempérées et chaudes de l'Ancien Monde.

Ce sont des herbacées annuelles ou bisannuelles. L'espèce est couramment cultivée comme plante fourragère.

Noms vernaculaires : ivraie multiflore, ivraie à fleurs nombreuses, ivraie d'Italie, ray-grass d'Italie, ray-grass italien, ray-grass multiflore.

Description

Le ray-grass d'Italie est une plante herbacée annuelle ou bisannuelle à tiges dressées de  à  de haut formant de grosses touffes, aux feuilles très allongées, à pointe aiguë, de couleur vert clair.

La préfoliaison des feuilles est enroulée, ce qui permet de le différencier du ray-grass anglais dont les feuilles ont une préfoliaison pliée.

La floraison a lieu au printemps, de mai à juillet dans l'hémisphère nord. Les fleurs verdâtres sont regroupées en épis de  de long formés d'un grand nombre d'épillets, chaque épillet comptant une vingtaine de fleurs.

Distribution et habitat
Cette espèce est originaire des régions tempérées et chaudes de l'ancien monde : Afrique du Nord (du Maroc à l'Égypte), Europe méridionale du Portugal à la Roumanie, y compris les Açores et les Canaries, la Grèce et la Crète, Asie occidentale de la Turquie à l'Afghanistan et au Pakistan).

Elle s'est largement naturalisée dans toute l'Europe et dans les régions tempérées du globe.

C'est une espèce de plaine et de collines, jusqu'à  d'altitude environ, qui nécessite un climat doux.

Taxinomie
L'espèce Lolium multiflorum a été décrite en premier par Jean-Baptiste de Lamarck et publiée en 1779 dans  Flore françoise, ou Description succincte de toutes les plantes qui croissent naturellement en France (Lamarck) 3: 621. 1779.

Synonymes
Selon  :

Liste des sous-espèces et variétés

Selon  (Attention liste brute contenant possiblement des synonymes) :
 sous-espèces :
 Lolium multiflorum subsp. gaudini Schinz & Keller
 Lolium multiflorum subsp. italicum (A. Braun) Schinz & R. Keller
 Lolium multiflorum subsp. ramosum Guss. ex Arcang.
 variétés :

 Lolium multiflorum var. diminutum Mutel
 Lolium multiflorum var. italicum (A. Braun) Beck
 Lolium multiflorum var. laeviculme Maire
 Lolium multiflorum var. latifolium Maire
 Lolium multiflorum var. multiflorum
 Lolium multiflorum var. muticum DC.
 Lolium multiflorum var. ramosum Guss.
 Lolium multiflorum var. rigidum Trab.
 Lolium multiflorum var. submuticum Mutel

Utilisation

Cette plante est largement cultivée comme plante fourragère. C'est la graminée fourragère la plus cultivée en zone tempérée.

Elle est d'une très bonne qualité fourragère lorsqu'elle est exploitée avant l'épiaison aussi bien en valeur énergétique que protéique. Le ray-grass d'Italie a cependant tendance à remonter en épis après chaque exploitation.

C'est une plante dont les racines peuvent aller chercher eau et nutriments jusqu'à  de profondeur aussi bien en sol argileux que limoneux, ce qui lui permet d'améliorer rapidement la qualité des sols pauvres et compactés et aussi d'étouffer les plantes concurrentes.

Elle est donc traditionnellement cultivée en culture pure sur des durées de 6 à 24 mois avec une forte fumure azotée amenant d'importants rendements. On la cultive cependant parfois en association avec une légumineuse (trèfle violet ou trèfle incarnat), il faut alors limiter drastiquement la fumure azotée.

Au printemps, la pousse du ray-grass d'Italie est précoce et très rapide. Le pâturage est possible mais le choix de la période restreint en effet l'épiaison est très rapide et se répète jusqu'au repos hivernal. C'est donc ingérable pour un système pâturant performant. On réalise donc généralement au moins la première coupe en ensilage. Ensuite, la récolte en foin est plus aisée.

Avec le maïs-fourrage, et du fait de la généralisation des techniques d'ensilage, c'est la plante qui a révolutionné l'alimentation des ruminants en zone tempérée pendant la révolution verte (1947 à 1980).

Elle est considérée comme une adventice agressive en grandes cultures.

Sa grande vigueur, sa capacité à remonter en épis et la taille des plants font qu'elle n'est pas utilisée dans les mélanges de plantes à gazon à la différence du ray-grass anglais.

Culture
Le ray-grass d'Italie est une culture relativement exigeante, qui nécessite des terres riches et profondes, humides mais sans excès, et un climat relativement doux.

Il est cultivé en culture pure ou en association avec des légumineuses (trèfle violet…) surtout dans le cas de prairies à faucher en culture annuelle ou bisannuelle.

Sa grande facilité d'implantation a aussi contribué à son succès.

Variétés cultivées
Il existe plus de 460 variétés de ray grass d'Italie inscrites dans le Catalogue européen des espèces et variétés dont près de  alternatives et plus de  non alternatives. Environ 150 variétés de ray-grass d'Italie sont inscrites au Catalogue officiel français

Dépollution / Phytoremédiation
L'eau polluée par l'atrazine peut être traitée avant de circuler dans le réseau d'eau potable, mais on ne peut traiter par ce type de moyen les masses d'eau souterraines et superficielles polluées. Paradoxalement, selon une étude publiée en 2009, des plantes devenues tolérantes à l'atrazine à la suite de son usage intensif, ont appris à dégrader ces molécules en les métabolisant grâce à des enzymes de détoxication. L. multiflorum peut servir à décontaminer les sols pollués par ce pesticide ; En effet, les souches résistantes à l'atrazine de L. multiflorum testées en laboratoire (en microcosmes) se sont montrées capable d'accélérer de 20 % les capacités de dégradation de l'atrazine de l'écosystème. Leur implantation dans les bandes enherbées permettrait d'améliorer la dépollution des bassins versants contaminés par l'atrazine agricole.

Toxicité

On a signalé en Australie et en Afrique du Sud des cas d'intoxication de chevaux ayant brouté du ray-grass infecté par une bactérie toxique, Rathayibacter toxicus. Cette bactérie produit des corynetoxines, substances glycolipidiques qui provoquent chez le bétail une maladie neurologique appelée « toxicose du ray-grass annuel » ou ARGT (annual ryegrass toxicity), dont l'issue est le plus souvent fatale. Elle est transmise par une espèce de nématodes cécidogènes, Anguina funesta, qui provoque la formation de galles dans les graines de la plante.

La lutte contre cette maladie, qui peut affecter tous les herbivores, passe par la prévention de l'infection de l'herbe par les nématodes.

Notes et références

Articles connexes
 Ray-grass anglais
 Ray-grass hybride

Liens externes

 Site GNIS : Ray grass d'Italie et hybrides et document PDF

Espèce de Poaceae (nom vernaculaire)
Pooideae
Graminée fourragère
Graminée adventice
Taxon décrit par Jean-Baptiste de Lamarck
Espèce décrite en 1779

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by Darius Anucauskas
11:56, 2019/09/03
AIG Stock Is Not Drawing A Very Positive Technical Picture
Up until the end of last week, the American International Group Inc stock (NYSE: AIG) was trading inside a rising channel formation, which had been in play since the end of December. But the lower bound of it got broken and the share price ended Friday's trading session around the 52-dollar mark. This could be seen a sign of worry for some traders, as it may have increased AIG's chances of moving lower in the near term. In addition to the bad news, technically, the stock also formed something like a double top, where the so-called "neckline" sits at the same 52.00 level. We will wait for a clear drop and a daily close below that level, before examining a further move down. This is why for now we will stay somewhat bearish.
As mentioned above, a further slide below the 52.00 hurdle could spook some new investors, or even force a few existing ones to liquidate some of their current positions. This is when we will examine a possible test of the 50.65 obstacle, which also coincides with the 200-day EMA. A break of it may lead AIG to the 49.40 zone, which on May 9th was seen acting as a strong support. It may do the same trick and the share price could rebound back up from there again. But if there is still not enough enthusiasm among more buyers to jump back into the stock, it might reverse south again and fall below the previously discussed 49.40 area. Such a move might open the door to the 47.80 hurdle, marked by the high of May 1st.
We can see that our oscillators, the RSI and the MACD, both started declining. The RSI is now below 50 and continues to point lower. The MACD, from the end of May to the end of July, showed us negative divergence, which followed by a slide in the price. So far, both indicators support the idea of a possible move lower, which may drag for a while more.
Alternatively, if the price suddenly reverses and moves back inside the rising channel and climbs above the 53.20 barrier, marked by the high of August 29th, this could attract more buyers and we may see the price accelerating to the 55.20 area. That area acted as good resistance on August 19th. Initially we could see AIG stalling around there, or even correcting back down a bit. But if the price remains above the lower bound of the rising channel, we will stay positive over the short-term outlook. The stock could then get lifted above the 55.20 obstacle and target the 57.20 zone, marked near the highs of July 25th and August 8th.
The content we produce does not constitute investment advice or investment recommendation (should not be considered as such) and does not in any way constitute an invitation to acquire any financial instrument or product. The Group of Companies of JFD, its affiliates, agents, directors, officers or employees are not liable for any damages that may be caused by individual comments or statements by JFD analysts and assumes no liability with respect to the completeness and correctness of the content presented. The investor is solely responsible for the risk of his investment decisions. Accordingly, you should seek, if you consider appropriate, relevant independent professional advice on the investment considered. The analyses and comments presented do not include any consideration of your personal investment objectives, financial circumstances or needs. The content has not been prepared in accordance with the legal requirements for financial analyses and must therefore be viewed by the reader as marketing information. JFD prohibits the duplication or publication without explicit approval.
There are risks involved with trading of cash equities. Past performance is not indicative of future results. You should consider whether you can tolerate such losses before trading. Please read the full Risk Disclosure.
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JFD is a leading Group of Companies offering financial and investment services and activities. "JFD Bank" is a brand name and registered trademark owned and used by the JFD Group of Companies, which includes: JFD Group Ltd (ex. JFD Brokers Ltd), a company with registration number HE 282265, authorized and regulated by the Cyprus Securities and Exchange Commission - CySEC (Licence number: 150/11), JFD Overseas Ltd which is authorized and regulated by the Vanuatu Financial Services Commission (License number 17933) and JFD Bank AG which is authorized and regulated by the Federal Financial Supervisory Authority (BaFin) and by the Deutsche Bundesbank under license number 120056.
JFD Group Ltd operates in accordance with the Markets in Financial Instruments Directive (MiFID II) and is licensed to provide the investment services of agency only execution (i.e. reception and transmission of orders, execution of orders on behalf of clients), portfolio management and investment advice in relation to transferable securities, options, futures, swaps, forward rate agreements, financial contracts for difference (CFD) and other derivatives. JFD Group Ltd is also licensed to provide the ancillary service of safekeeping and administration of financial instruments. JFD Overseas Ltd is licensed to carry on the business of dealing in securities, execution of orders on behalf of the clients and portfolio management. Read and understand the Terms and Conditions of each entity of the JFD Group prior to taking further action.
Regional restrictions: JFD Group Ltd is allowed to serve only clients whose residence is in the EEA or in a country where the company has a legal permission to do so (such as Belarus, China, Switzerland, Turkey, UAE and Ukraine) whereas JFD Overseas Ltd is allowed to serve only clients whose residence is in another third country. A restriction on offering investment services applies to residents of the United States of America, Russia and to residents of other countries whose domestic regulations classify such investment offering as prohibited.
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This site uses cookies. By continuing to browse or clicking "Accept All Cookies", you agree to their usage. Find out more in our Privacy Policy.
CFDs are complex instruments and come with a high risk of losing money rapidly due to leverage. CFDs are complex instruments and come with a high risk of losing money rapidly due to leverage. 78% of retail investor accounts lose money when trading CFDs with this provider. You should consider whether you understand how CFDs work, and whether you can afford to take the high risk of losing your money. Got it


We love the Festive Season here at the Carlyon Bay & are delighted to see that our decorations are going up on Monday 14th December!
Pop in and try our new festive afternoon tea and soak up the festive atmosphere!
Our maintenance team and inhouse florists do a great job making the hotel look etremley magical at this time of year.


Nancy Sinatra has one more candle on her birthday cake today.
To celebrate, we'll show you something that Nancy did 52 years ago. Any of you ever try to dance along with this? And how many of you guys couldn't see it enough?


SEO (Search Engine Optimisation) has been around forever, but with the emergence of Social Media, should brands focus their effort in SMO (Social Media Optimisation) instead?
The number of people turning to social networks for answers is growing exponentially and social media is currently the fastest developing tool for branding, customer acquisition and retention.
Up until recently, webmasters and marketers used SEO techniques to get top rankings in search engines and drive traffic by hitting their target audiences with customised messages based on the most relevant keywords. Now, SMO potentially gives us an opportunity to create responsive and timely dialogues with our audiences. With SMO ,traffic is driven by two way interactions. But is SMO a bit of a flash in the pan, or should we be ploughing all our efforts into this now and worry less about SEO?
SEO – is a part of Search Engine Marketing (alongside PPC) has grown from being a small wildcat operation run by webmasters to a multi-million pound industry. SEO aims to improve your visibility in the search engines via natural (unpaid) search results. Many factors determine the success of your campaign and the fact that Google keeps the exact ways in which it measures the relevancy of a particular phrase a secret means that it can be something of a black art to get it right. It requires constant monitoring and refinement.
SMO - has only become popular in the past few years as the use of social networking sites has exploded. Some argue that since Google's PageRank is social by nature all Social Networks should be considered as the new SEO. The value of SMO builds over time as the content acts as a permanent archive and creates a "long tail". And, every piece of UGC (User Generated Content) becomes in itself a SEO landing page. By using SMO your Google rankings can be significantly increased as once you have harnessed your social channels the response is instant and leads to social recommendations, backlinks and enhancements. The success mainly depends on the content so the more interesting and up to date your content is the more traffic from Search Engines you attract. Through SMO you can also encourage influential groups, networks and individuals to spread your content further and share it with their audiences, resulting in a series of healthy keyword-optimised backlinks along the way.
Location based recommendation engines - one of the fastest-growing segments of the tech industry. Increased focus on personalised and localised searches (Google Places). Search engines are accommodating the geographic and personal preferences of the user which results in predicted, tailored search results.
Optimisation for mobile search - text-based queries (i.e. SnapTell). Increased focus on websites that are correctly optimised for mobile apps. The current 5% of total web browsing is done on mobile and will increase up to 15% by the end of 2011.
The growth of SEO scams that results in paid search scams can drive up PPC costs and intercept traffic that is searching for the legitimate site.
Facebook email service (Project Titan) – the value added to existing database of information. From a commercial point of view, it has vastly more potential than the information that Google collects by knowing what we type into its search engine.
What does this all mean apart from the fact that things are moving so fast it's difficult to keep up? Social Media is here to stay for the foreseeable future and we ignore its impact at our peril. The way we are perceived on Social Media will inevitably have an impact on the way we are shown in Search Engines and vice versa. As Google becomes a central part of everyone's social media experience, it will be increasingly impossible to distinguish where SEO starts and SMO begins. We need to need to be good at both!


Miller will discuss his book and hold a Q&A session in the meeting room of the Selbyville Public Library during an author visit on Wednesday, July 18, from 10 to 11 a.m.
The historical fiction novel is about a German spy, Kurt, who arrives in Bethany Beach in 1942. He travels to a farm on Woodland Avenue in Ocean View that is owned by German sympathizers and releases a German scientist from captivity at the POW camp in nearby Bear Trap.
While staying at the farm, Kurt meets McKenna, who lives with her family on a farm on the same street. They fall in love, and Kurt is confronted with the arduous decision of whether to lie to the woman he loves or forsake his country.
Those interested in attending the event must register in advance, online, over the phone or in person at the library. There are 25 seats available. The library requires a 24-hour cancelation notice to allow others on the waiting list to attend.
"Towers on the Beach: World War II Spies & Heroes from Ocean View, Delaware to Bremen, Germany" was published by Archway Publishing from Simon & Schuster in February 2018, and costs $19.99 (softcover) or $5.99 (e-book). The book is available for purchase online or at Bethany Beach Books. The library will not be conducting sales.
The novel is Miller's first book, and the author visit will be his first event at a library. He previously visited the area for an author event at Bethany Beach Books on June 2.
J.R. Miller graduated from the University of Baltimore with a bachelor's degree in finance and received a master's degree in governmental administration from the Fels School at the University of Pennsylvania. He has written textbooks and taught procurement classes throughout the United States and Canada. Miller was also an adjunct professor at Harford Community College in Maryland and at the University of Virginia.
The author visit is free to attend. For more information, call the Selbyville Public Library at (302) 436-8195.


text:
Writers in Focus
Albany Retreat
Pixel Papers
FAW WA is pleased to present our new blog, Writers in Focus, in which we share thoughts from members of
our own writing community on writing and being a writer. Feel free to join in the conversation! And if you'd like
to contribute post for our blog, please drop us a line.
To leave a comment please go to the bottom of the page.*
Marcia van Zeller
A shadow beneath the swell
High above Redgate Beach is a lookout – more of a shrine,
really – bedecked with a bronze plaque and several
monochrome photos of the seascape below. One of the
photos shows an arrow pointing to a vague shadow on the
water: the shadow, according to the caption, marks the
wreck of the S.S. Georgette. The ship lies a hundred
metres from shore, five metres underwater, and what remains of her is sometimes visible in calm conditions.
Les Wicks
Wouldn't swap it for the world!
Just put up the latest issue of Australian Poetry Collaboration.
It contains work from poets who attended the workshop at the KSP Writers Centre while I did a residency there in April/May http://meusepress.tripod.com/apc.htm. This was 10 years after a brilliant residency at FAWWA, Tom Collins House work from there can be found in issue 15 http://meusepress.tripod.com/apcarchive.htm.
Got to reunite with many of the brightest voices I met the last time in Perth. There is such a diverse, vibrant assembly of writers there supported so tirelessly by the various organisations about the city.
Residencies are so important for many of us. The opportunity to interact with host communities is a win-win for all as our understanding and appreciation of that which is going on is deeply enhanced.
Georgia Richter
Publisher Fremantle Press
on not becoming a writer
I was going to be a writer when I grew up. That belief forged my identity from the age of six, when I won the Keilor City Library short story competition with a priggish moral tale called 'The Rabbit Who Loved Smoking'. As an earnest fourteen-year-old, standing by the Murray River, I had an exciting conversation with a Penguin editor, who told me how I might go about building a writing career (enter short story competitions, build a profile, work towards a novel). The belief sustained me and defined my leisure time as I trod a middling course through an arts law degree at the University of Melbourne, doing far better in the English Department than I ever did in law.
Guy Salvidge
It's later than you think
The mild Western Australian winters have always appealed to
me more than the harsh summers and I've often done my best
writing at this time of year. As a high school English teacher,
I know when my windows of writing opportunity open—for two
weeks in April, two weeks in July, two weeks in
September/October and six weeks in December/January.
Twelve weeks a year when I can write instead of going to work. At least that's the theory.
The winter holidays have often been my most fertile period of the year. In July 2013, I wrote 'A Void', which was later shortlisted for the Carmel Bird Award and published in The Great Unknown. In July 2014 I wrote 'Enter Sandman, Exit Light', which found a home in Tincture Journal. In 2015 it was'Epoch O'Lips'. 2016 was a rare winter strike out, but in 2017 I produced 'The Centre Cannot Hold', which won the Joe O'Sullivan Writer's Prize and was published in Award Winning Australian Writing. 2018 was another bust, but I had the excuse that my wife had just given birth to my third child and thus I was otherwise occupied. Between July 2018 and July 2019, I wrote precisely one story. Not surprisingly, I called it 'Mr Agoo'.
In writing short stories, I've often found it helpful to rely on some kind of visual or musical stimulus. Some competitions, such as the City of Rockingham Short Fiction Award, require authors to respond to a painting in written form. In 2015, the painting was of a lighthouse in Fremantle entitled '(Light) House of the Rising Sun'. In preparation, I listened to the famous song by The Animals before starting work each day to get into the mood. For once the planets aligned for me and 'Frank' became my most successful story, not only winning the City of Rockingham Short Fiction Award but also finding homes in Award Winning Australian Writing and Westerly: New Creative.
This probably helps to explain why I carried around a leaflet from the Jehovah's Witnesses, pictured (on fire!) above, for more than six months even though I am and remain the staunchest of atheists. It was the title, 'It's Later Than You Think', which inspired me. At nearly thirty-eight years of age, I'm conscious of the fact that my time in this vale of tears is limited and no one knows just how limited it might be. Turns out there's an old song by Guy Lombardo, 'Enjoy Yourself (It's Later Than You Think)', that the Jehovahs had (presumably unwittingly) referenced in their leaflet. I'm sure you can picture me huddled over the computer screen, religious material in hand, listening to a song from 1949 that exhorts listeners to seize the day by asking, 'how far can you travel when you're six feet underground?'
In a celebratory mood upon finishing the draft of the story, I finally got to do something I'd been itching to do for months—burn the leaflet. It's not that I have anything against the Jehovah's Witnesses, but the symbolism of a cleansing flame appeals to me deeply as a sort of writerly 'scorched earth' policy. So, phone in hand to capture the requisite picture, I burned it. And now, the more I look at the photograph, the more I can see a hummingbird or maybe even a penguin jumping out of the flames at me. What does it all mean? Who knows, but if I'm lucky I might get another story out of it.
Maybe next winter . . . .
Campbell Jefferys
author of nine books and has written for newspapers
and magazines around the world
Being a writer is not so different from a lot of professions: it involves spending much of the day sitting at a desk, working at a computer. That reality is contrasted with how others see the life of a writer: that we tap away for a few hours each day and give readings in crowded rooms full of people fawning over us, all while the royalty cheques roll in.
I have long referred to this as the "party problem".
I've been a professional writer for over two decades, generating a decent income from various sources
- 2 Aug 2019
Alan Hancock
writer, educator, theatre director: consultant in creativity
Why plotting a story won't help you write it
If you want to write a story that works you can forget about plot. Plot is retrospective: it's a great tool for analysing a story once it's finished. But it won't help you if you're setting out to create one.
Why? Because the process of making stories is not amenable to the application of logic. It doesn't matter how many guides to creative writing that you read, how many rules you know about plot, characterisation, turning points, crisis, resolution and denouement—when you start writing a story you're on your own.
- 19 July 2019
Iris Lavell
author of Elsewhere in Success and original icovenor of
FAWWA's Book Length Project Group
Thank you to FAWWA and Pat Johnson for the invitation to contribute some thoughts
on my personal writing experience for the blog. I must admit, the thought of doing
this was a bit daunting.
The older I get the less certain I am of anything, and this applies as much to the practice of writing as to everything else. I have a number of theories on why and how I write, but whether or not they get close to the truth, I can't be sure. It's a habit I developed fairly early on in life, writing poems and short stories mostly, and the joy that I got
- July 5th 2019
Christopher Konrad
Upon writing
I recently discovered, with regards my compulsion to write, the actual cause of it, the diagnosis! Hypergraphia – beautiful. In these days of uber-diagnosis of just about everything, it's nice to know us writers are no different. According to Google's greatest source, Wiki, this disease is defined as, '… a behavioural condition characterized by the intense desire to write or draw. Forms of hypergraphia can vary in writing style and content. It is a symptom associated with temporal lobe changes in epilepsy, which is the cause of the Geschwind syndrome, a mental disorder.' Nice to know, again, as this news will bring great consolation to many of my family and friends who always thought I was a little 'left of centre'. Little do they realise just how far off that particular Richter I really am.
'Intense desire' may well be a euphemism for compulsion. And in this I don't think I am that far outside a wide circle of most serious writers. To young writers who questioned Gide as to whether they should continue he answered, 'What? You can stop yourself writing and you hesitate?' Orhan Pamuk's compulsion takes another form, although no less forceful his version is to escape crowds, crowds, the stuff of ordinary, everyday life and …' shut himself up in a room. According to Pamuk, a writer is someone who 'spends years patiently trying to discover the second person inside' themselves to discover the world that makes them who they are. Nietzsche of course screams at you to become who you are. In the case of the writer – that 'who you are' is just that, the writer, the one who can sit for 'days, months, years slowly adding new words to the empty page.' The writer must write.
Of course, not everyone is compelled to write and there are obviously as many reasons to do so as there are unique individuals who practice. The sheer joy of it, to create, to enter a social milieu where they have a sense of belonging, to make money, to have fame, perhaps out of boredom. I think Murakami, who had spent years creating and running bars in Japan, finally woke up one morning as said to himself, "O, I think I'll write a book.'! Of course, he does!
On the other hand, Lydia Davis, whose writing I adore, beautiful gems I return time and again, suggests writing's a choice, at least what we leave out or put in. She reckons we should not cave in to the pressures of publishers, or agents – do what you want to do and don't worry about if it's not right or doesn't fit the market. She says, work hard, aim high and get to know words. Solid, practical advice. Still, if she was stranded on an island and there were no more people in the world, would she still continue to write? As long as there was a pencil and paper, I 'suppose' so she laconically answers. Of course, she would, she suffers the same disease as I do. How could someone who writes like this NOT continue to write?
"First a poet writes a story about a mouse, in moonlight in the snow, how the mouse tries to hide in his shadow, how the mouse climbs up his sleeve and he shales it down into the snow before he knows what it is that is clinging to his sleeve. His cat is nearby and her shadow is on the snow, and she is after the mouse. A woman is then reading this story in the bath. Half her hair is dry and half of it is floating in the bathwater. She likes the story." Collected Stories, 2009
Finally let's listen to that most mystical of writerly creatures, Ukranian born Brazilian author, Clarice Lispector; how can someone with a name like that NOT be a writer?! If you really want to know why we write, us poor defeated beings, you must attend very carefully to her last, and in my opinion, most exquisite novel, A breath of life, completed ironically, on her death bed. The novel is a paean to the writerly life, a dialogue between the writer and her creation, her masterpiece of a character Angela Pralini. In one minute she declaims, 'I want to write and can't do it', in the next she confesses, 'I don't write because I want to, no. I write because I must. …' with that sumptuously ironic twist then '…Otherwise what would I do with myself?' O the irony, boredom and compulsion – what a horrid predicament. Never the less, what truly gets me in this work is the magical truth that Lispector cannot avoid, 'I like words.', 'When I write I'm not thinking about the reader or myself: then I am – but only from me – I am the words strictly speaking.' And again, 'I want to write with words so completely stuck together that there are no gaps between them and me.'
Like many who have been diagnosed with one thing or another, I feel utterly grateful to have finally found out what is wrong with me. Perhaps now I can cure it. Somehow, I think not. In the words of the inimitable Samuel Beckett, 'I can't go on, I'll go on.'
Website: www.christopherkonrad.com.au
Christopher is a Western Australian writer. He has co-authored several poetry books, including Sandfire (2012) published by Sunline Press with other WA Poets. He has poems and short stories published in many journals and online including Westerly, Southerly, Regime, Page Seventeen, Wet Ink, Creatrix, Swamp, Axon, Island, Cordite and Tamba. Along with many other awards he received first prize for the Tom Collins Poetry Award (2009 and 2018) and the Todhunter Literary Award (2012) for a short story. He is published in Best Australian Poems 2013. He completed his Doctorate in Creative Writing (2012) at Edith Cowan University. His poetry book, Letters to Mark, was published by Regime Books in 2014 and his latest collection, Argot, by Pomonal in 2016.
© 2018 FAWWA. Site created by Sites4Good with Wix.com


text:
package plugin // import "github.com/docker/docker/plugin"

import (
	"io"
	"io/ioutil"
	"net"
	"os"
	"path/filepath"
	"testing"

	"github.com/docker/docker/api/types"
	"github.com/docker/docker/pkg/mount"
	"github.com/docker/docker/pkg/stringid"
	"github.com/docker/docker/pkg/system"
	v2 "github.com/docker/docker/plugin/v2"
	specs "github.com/opencontainers/runtime-spec/specs-go"
	"github.com/pkg/errors"
	"gotest.tools/v3/skip"
)

func TestManagerWithPluginMounts(t *testing.T) {
	skip.If(t, os.Getuid() != 0, "skipping test that requires root")
	root, err := ioutil.TempDir("", "test-store-with-plugin-mounts")
	if err != nil {
		t.Fatal(err)
	}
	defer system.EnsureRemoveAll(root)

	s := NewStore()
	managerRoot := filepath.Join(root, "manager")
	p1 := newTestPlugin(t, "test1", "testcap", managerRoot)

	p2 := newTestPlugin(t, "test2", "testcap", managerRoot)
	p2.PluginObj.Enabled = true

	m, err := NewManager(
		ManagerConfig{
			Store:          s,
			Root:           managerRoot,
			ExecRoot:       filepath.Join(root, "exec"),
			CreateExecutor: func(*Manager) (Executor, error) { return nil, nil },
			LogPluginEvent: func(_, _, _ string) {},
		})
	if err != nil {
		t.Fatal(err)
	}

	if err := s.Add(p1); err != nil {
		t.Fatal(err)
	}
	if err := s.Add(p2); err != nil {
		t.Fatal(err)
	}

	// Create a mount to simulate a plugin that has created it's own mounts
	p2Mount := filepath.Join(p2.Rootfs, "testmount")
	if err := os.MkdirAll(p2Mount, 0755); err != nil {
		t.Fatal(err)
	}
	if err := mount.Mount("tmpfs", p2Mount, "tmpfs", ""); err != nil {
		t.Fatal(err)
	}

	if err := m.Remove(p1.GetID(), &types.PluginRmConfig{ForceRemove: true}); err != nil {
		t.Fatal(err)
	}
	if mounted, err := mount.Mounted(p2Mount); !mounted || err != nil {
		t.Fatalf("expected %s to be mounted, err: %v", p2Mount, err)
	}
}

func newTestPlugin(t *testing.T, name, cap, root string) *v2.Plugin {
	id := stringid.GenerateRandomID()
	rootfs := filepath.Join(root, id)
	if err := os.MkdirAll(rootfs, 0755); err != nil {
		t.Fatal(err)
	}

	p := v2.Plugin{PluginObj: types.Plugin{ID: id, Name: name}}
	p.Rootfs = rootfs
	iType := types.PluginInterfaceType{Capability: cap, Prefix: "docker", Version: "1.0"}
	i := types.PluginConfigInterface{Socket: "plugin.sock", Types: []types.PluginInterfaceType{iType}}
	p.PluginObj.Config.Interface = i
	p.PluginObj.ID = id

	return &p
}

type simpleExecutor struct {
}

func (e *simpleExecutor) Create(id string, spec specs.Spec, stdout, stderr io.WriteCloser) error {
	return errors.New("Create failed")
}

func (e *simpleExecutor) Restore(id string, stdout, stderr io.WriteCloser) (bool, error) {
	return false, nil
}

func (e *simpleExecutor) IsRunning(id string) (bool, error) {
	return false, nil
}

func (e *simpleExecutor) Signal(id string, signal int) error {
	return nil
}

func TestCreateFailed(t *testing.T) {
	root, err := ioutil.TempDir("", "test-create-failed")
	if err != nil {
		t.Fatal(err)
	}
	defer system.EnsureRemoveAll(root)

	s := NewStore()
	managerRoot := filepath.Join(root, "manager")
	p := newTestPlugin(t, "create", "testcreate", managerRoot)

	m, err := NewManager(
		ManagerConfig{
			Store:          s,
			Root:           managerRoot,
			ExecRoot:       filepath.Join(root, "exec"),
			CreateExecutor: func(*Manager) (Executor, error) { return &simpleExecutor{}, nil },
			LogPluginEvent: func(_, _, _ string) {},
		})
	if err != nil {
		t.Fatal(err)
	}

	if err := s.Add(p); err != nil {
		t.Fatal(err)
	}

	if err := m.enable(p, &controller{}, false); err == nil {
		t.Fatalf("expected Create failed error, got %v", err)
	}

	if err := m.Remove(p.GetID(), &types.PluginRmConfig{ForceRemove: true}); err != nil {
		t.Fatal(err)
	}
}

type executorWithRunning struct {
	m         *Manager
	root      string
	exitChans map[string]chan struct{}
}

func (e *executorWithRunning) Create(id string, spec specs.Spec, stdout, stderr io.WriteCloser) error {
	sockAddr := filepath.Join(e.root, id, "plugin.sock")
	ch := make(chan struct{})
	if e.exitChans == nil {
		e.exitChans = make(map[string]chan struct{})
	}
	e.exitChans[id] = ch
	listenTestPlugin(sockAddr, ch)
	return nil
}

func (e *executorWithRunning) IsRunning(id string) (bool, error) {
	return true, nil
}
func (e *executorWithRunning) Restore(id string, stdout, stderr io.WriteCloser) (bool, error) {
	return true, nil
}

func (e *executorWithRunning) Signal(id string, signal int) error {
	ch := e.exitChans[id]
	ch <- struct{}{}
	<-ch
	e.m.HandleExitEvent(id)
	return nil
}

func TestPluginAlreadyRunningOnStartup(t *testing.T) {
	t.Parallel()

	root, err := ioutil.TempDir("", t.Name())
	if err != nil {
		t.Fatal(err)
	}
	defer system.EnsureRemoveAll(root)

	for _, test := range []struct {
		desc   string
		config ManagerConfig
	}{
		{
			desc: "live-restore-disabled",
			config: ManagerConfig{
				LogPluginEvent: func(_, _, _ string) {},
			},
		},
		{
			desc: "live-restore-enabled",
			config: ManagerConfig{
				LogPluginEvent:     func(_, _, _ string) {},
				LiveRestoreEnabled: true,
			},
		},
	} {
		t.Run(test.desc, func(t *testing.T) {
			config := test.config
			desc := test.desc
			t.Parallel()

			p := newTestPlugin(t, desc, desc, config.Root)
			p.PluginObj.Enabled = true

			// Need a short-ish path here so we don't run into unix socket path length issues.
			config.ExecRoot, err = ioutil.TempDir("", "plugintest")

			executor := &executorWithRunning{root: config.ExecRoot}
			config.CreateExecutor = func(m *Manager) (Executor, error) { executor.m = m; return executor, nil }

			if err := executor.Create(p.GetID(), specs.Spec{}, nil, nil); err != nil {
				t.Fatal(err)
			}

			root := filepath.Join(root, desc)
			config.Root = filepath.Join(root, "manager")
			if err := os.MkdirAll(filepath.Join(config.Root, p.GetID()), 0755); err != nil {
				t.Fatal(err)
			}

			if !p.IsEnabled() {
				t.Fatal("plugin should be enabled")
			}
			if err := (&Manager{config: config}).save(p); err != nil {
				t.Fatal(err)
			}

			s := NewStore()
			config.Store = s
			if err != nil {
				t.Fatal(err)
			}
			defer system.EnsureRemoveAll(config.ExecRoot)

			m, err := NewManager(config)
			if err != nil {
				t.Fatal(err)
			}
			defer m.Shutdown()

			p = s.GetAll()[p.GetID()] // refresh `p` with what the manager knows
			if p.Client() == nil {
				t.Fatal("plugin client should not be nil")
			}
		})
	}
}

func listenTestPlugin(sockAddr string, exit chan struct{}) (net.Listener, error) {
	if err := os.MkdirAll(filepath.Dir(sockAddr), 0755); err != nil {
		return nil, err
	}
	l, err := net.Listen("unix", sockAddr)
	if err != nil {
		return nil, err
	}
	go func() {
		for {
			conn, err := l.Accept()
			if err != nil {
				return
			}
			conn.Close()
		}
	}()
	go func() {
		<-exit
		l.Close()
		os.Remove(sockAddr)
		exit <- struct{}{}
	}()
	return l, nil
}

redpajama_set_name: RedPajamaGithub


The Flipside Sofabed's unique design allows it to effortlessly convert from a stylish, modern sofa to a Queen size bed with one quick flip. The luxurious, loose-back cushions are not only comfortable, they are also sustainable as they are filled with eco-friendly synthetic-down. It features a removable, pre-shrunk, machine-washable cotton top sheet which fastens securely to the bed. The frame is constructed with kiln-dried 100% FSC®-Certified hardwood in support of responsible forest management.
Easy-pull fabric handles are hidden on inside of seat cushion to allow simple conversion between sofa and bed. Sofabed designed to accommodate overnight guests. Back cushions use eco-friendly PET synthetic-down which is created from recycled water bottles. Bumpers on the bottom of feet to protect hardwood floors. Manufactured to meet California TB117-2013 fire safety standards without the use of flame retardant additives in the upholstery foam.
31H x 86W x 35D. Seat height 16. Queen.
Easy-pull fabric handles are hidden on inside of seat cushion to allow simple conversion between sofa and bed. Sofabed designed to accommodate overnight guests. Back cushions use eco-friendly PET synthetic-down which is created from recycled water bottles. Cushion fill is Dacron®-wrapped for a structured look. Solid wood block feet are dark Wenge finish. Bumpers on the bottom of feet to protect hardwood floors. Kiln-dried 100% FSC®-Certified hardwood frame. Manufactured to meet California TB117-2013 fire safety standards without the use of flame retardant additives in the upholstery foam.


The most interesting things about blogging is the bloggers. I've only ever met four of you out there in the real world, but in some ways I think of many of you as friends.
But I don't know very much about anyone. And it's been a long time since we had a new meme. So here's one.
It's simple. Just list all the jobs you've had in your life, in order. Don't bust your brain: no durations or details are necessary, and feel free to omit anything that you feel might tend to incriminate you. I'm just curious. And when you're done, tag another five bloggers you're curious about.
I keep my life mostly out of my current blogs. My job list is really short anyway.
I've worked in a pet store, had a Stained Glass business, and now I design earrings for little old ladies for one of the largest U.S. jewelry manufacturers and program and run their rapid prototyping machinery. I guess I could list blogging and computer repair as well, and there was that summer I spent in the field, numbering ants for a research lab, and analyzing ant puke. Not the most glamorous resume, but I've seen worse.


Greentech Plastics Machinery suppliers of ENGEL Machinery - the world's number one leading manufacturer of injection moulding machines.
Greentech Plastics Machinery strive in offering products of only the highest quality. ENGEL Machinery is the world's number one leading manufacturer of injection moulding machines. We believe in setting a new standard in the South African industry and aim in delivering value.
The ENGEL Group offers a full range of technology modules for plastics processing as a single source supplier: injection moulding machines for thermoplastics and elastomers, and automation.
The ideal machine concept for every application: ENGEL reassures with its experience and know-how as global market leader in plastics machinery. With proven and innovative injection moulding machines from 280 kN to 55,000 kN clamping force, hydraulic, fully electric, horizontal and vertical solutions.
ENGEL automation keeps your production running smoothly. From the injection moulding machine and robot to the automation technology peripheral equipment. You can thus rely on the highest part quality, stable processes and maximum productivity.
Use our experience as the global market leader in injection moulding technology to make PU, polyester, silicone & co. fit for your innovative ideas. Decide on efficient production, perfect surfaces and smart material combinations, all of which help you achieve clever cost and weight savings.
With its flexible layout and compact size, the ENGEL duo integrates ideally with your production. No matter whether you produce large parts, manufacture highly sophisticated components for the automotive industry or absolutely need a perfect surface for your high-tech products.
With a strong parent company, along with an experienced sales and service team and outstanding products WINTEC is the right choice when it comes to injection molding machines.
Thanks to consistent use of all-electric drive technology with best-in-class efficiency, the e-win is a genuine energy saving champion. This high energy efficiency saves you cash. Shot for shot. This helps you keep your ongoing operative costs down to an amazingly low level.
Focusing on maximum productivity, lowest possible energy consumption and a compact design.
Since 1967, one of the leading manufacturers of temperature control units worldwide, producing innovative temperature control technology to the highest quality standards. Made in Switzerland.
Regulated mould temperatures are essential for plastics injection moulding. Temperature control units regulate mould temperatures through a liquid heat carrier by controlled inducing or dissipating of heat.
Aside from reducing flow, impurities lead to a degradation in heat transfer, and thus to a deterioration in performance. Clean-5 removes corrosion and scale in moulds, temperature control units and hoses, and provides extended protection in storage.
In parallel connected circuits flow changes might remain undetected as the flow of medium is distributed among the remaining channels. External flow meters Flow-5 monitor parallel circuits individually and detect changes early on, before production quality begins to be compromised.
Certain challenges in injection moulding cannot be overcome with classical mould temperature control. The solution is a variothermal control: High temperature during injection, cold temperature in the cooling phase.
Since 1985, leaders in magnetic clamping applications, automatic multi-couplers mould change cars & tables, tilting and inspection units.
Whether hydraulic or magnetic clamping, EAS offers you the right solution. Save time and money.
Simple and quick leak-proof connections of water, air, oil and electrical circuits. EAS multi-couplers greatly reduce set-up times.
Safe and fast Tilting & Inspection of your moulds. Solutions for 3 ton to 50 ton moulds.
Solutions that provide a competitive edge. Minute by minute status of your production equipment, human resources and quality assurance.
The GREENTECH service team offers support whenever you need it. We maintain and repair machines of any generation and control unit version. Customer service is at the heart of our business.
Fast assistance when you need it. We keep a wide range of spare parts in stock.
Whether for beginners or the more advanced. GREENTECH Training will make you and your employees fit for the current injection moulding challenges.
Physical Address & Map Constantia View Office Park, Block 4, First floor, 2 Hogsback Avenue, Quellerina, Johannesburg, South Africa.