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We have been made aware of calls being made by someone pretending to be Gravesham Borough Council asking for bank details in relation to energy payments.
We will never ask for your bank details over the phone.
We are receiving lots of enquiries about the £150 rebate for eligible households in Council Tax bands A-D.
If you pay your Council Tax by Direct Debit, you do not need to do anything. You will be paid the money into you account automatically. Thank you if you have recently set up your Direct Debit, as this helps us process payments faster.
Please note we require a valid direct debit in place with at least one successful payment taken. To prevent any issues processing the rebate payment, we advise you not to cancel your direct debit. This will cause issues for us delays in verifying accounts and may result in your £150 payment taking longer.
If you do not pay by direct debit, we will soon be writing to you. This letter will provide a secure way for you to share your bank details with us so we can make payment.
Please bear with us while we do. We'll update this page with more information when we have it.
To be eligible for the rebate, you must meet the following conditions on 1 April 2022:
the property is in council tax bands A to D (or the property is a band E property that has a disabled person's reduction applied, effectively reducing it to a band D)
the property is your sole or main residence
it's a property for which council tax is chargeable or it's exempt under the following classes:
class N - occupied solely by full-time students
class S - occupied solely by people under the age of 18
class U - occupied solely by those with a severe mental impairment
class W - an annexe occupied by a dependant relative
those who are liable to pay the council tax (or would be if the property was not exempt) are not a local council, a corporate body or other body such as a housing association, the government or governmental body.
Households that do not pay council tax because of council tax reduction will still be eligible for the payment.
If you pay by Direct Debit we'll be able to make your payment more quickly. Find out how to pay your council tax by Direct Debit.
We will not make payment until we have collected at least one council tax instalment by Direct Debit.
Getting the £150 payment
We have currently paid almost £4.6 million to more than 30,000 Gravesham residents.
If you are eligible and you did not apply for the rebate by 9 September 2022 or we were unable to transfer payment to your bank account, it will be credited to your Council Tax account by 30 September 2022. You will receive a bill with revised instalments.
Discretionary scheme
A Discretionary Council Tax Rebate (Energy Payment) scheme has been finalised and the scheme closed on 30 November 2022. Consequently, payments were automatically credited to the Council Tax account or paid directly to a household where they had their sole or main residence in a dwelling on 1 April 2022 and the following conditions were met at that time:
A single one-off payment of £181.60 will be awarded to
any household who resides in a dwelling with a Council Tax band E to H and was in receipt of Council Tax Reduction OR
any household who resides in a dwelling with a Council Tax band F to H and was in receipt of a reduction under the Council Tax (Reductions for Disabilities) Regulations 1992 (Disabled Banding Reduction) OR
any household who resides in a dwelling with a Council Tax band E to H and was in receipt of Council Tax exemption Class U (severely mentally impaired) or a discount disregard in respect of a severely mentally impaired person;
A single top-up payment of £31.60 (i.e., in addition to the £150 main council tax rebate previously paid/credited between May 2022 and September 2022) will be awarded to:
any household who resides in a dwelling with a Council Tax band A to D and was in receipt of Council Tax Reduction OR
any household who resides in a dwelling with a Council Tax band A to E and was in receipt of a reduction under the Council Tax (Reductions for Disabilities) Regulations 1992 (Disabled Banding Reduction) OR
any household who resides in a dwelling with a Council Tax band A to D and was in receipt of Council Tax exemption Class U (severely mentally impaired) or a discount disregard in respect of a severely mentally impaired person;
I pay by Direct Debit. When will I receive my £150?
Nearly 21,000 households who pay their council tax by direct debit have now received the energy payment in their bank account.
The service is currently working through the remaining households where further checks are currently being undertaken.
Examples of where there may be a delay include:
Where the bank account name does not match the name on the council tax account
Where the last payment has not been a direct debit payment
Awaiting clearance of payment of the first instalment of direct debit
Identified that the taxpayer has vacated
Eligibility query e.g., landlord who is not a liable party for council tax
Payment will be made during June where checks successfully completed.
What happens if I don't pay by Direct Debit?
We are in the process of contacting the 14,000 council tax account holders we consider eligible for the £150 rebate but for whom we do not hold bank account details. If you are eligible for the payment but have not received a letter from us by 25 July 2022, please email energypayments@gravesham.gov.uk.
On this letter you will be provided with details on how to apply as well as your own personal secure ID number (which will expire after 30 days).
Once you have submitted the bank details online then validity checks will be undertaken in accordance with government guidance. Payment will be made once the council receives confirmation that validity checks have been successful.
Will you still collect my April direct debit instalment?
Yes. The £150 is an energy rebate from the government. It does not form part of the Council Tax system. Your Direct Debit will still be taken, as per your bill. The £150 is a separate payment that should appear in your bank account by May.
Will I get £150 every year?
No. It is a one-off payment for this year only, to help residents with their rising energy costs.
What if I am moving on or after 2 April 2022?
If you were a Council Tax payer elsewhere on 1 April 2022 then you will receive the £150 at the property you were occupying on 1 April 2022 (if in bands A-D).
My landlord pays the Council Tax, will I still receive the £150?
The rules of the scheme are that the Council Tax liable party is paid the £150. This also applies to a property where the landlord is liable and paying the Council Tax on behalf of the occupants, as it will then be for the landlord to pass on the money to the tenants. The only time this does not apply is if the property is a House in Multiple Occupation (HMO) in which case neither the landlord nor the occupants are eligible for the payment.
I live in a house share, who will receive the £150?
The £150 will be paid to the liable party for Council Tax and if a Direct Debit payer, to the bank account that pays the Council Tax. If you do not pay by Direct Debit, we will be in contact with you in June with details of how to apply.
What if I have a second home in Gravesham?
The property must be your sole or main residence to qualify.
My property is in band E-H. Will I receive the £150?
No, unless there is a disabled band reduction on your property which reduces your band from E to D. For all other properties in bands E-H there will be a discretionary scheme. Full details of this will be available on our website once the scheme details are finalised.
I receive Council Tax Reduction, am I eligible?
Yes. It is not a Council Tax repayment. The £150 is an energy rebate from the government, to help people with their rising energy costs. Every resident in property bands A to D is entitled to the £150 energy rebate, even if they are also in receipt of Council Tax Reduction.
I am a full-time student with zero Council Tax bill, am I eligible?
Yes. Properties with an exemption for students are still entitled to the £150 (but only one payment per household, not per individual). If we don't have your bank details, we will be in contact with you in due course.
I have a joint tenant. Who will receive the £150?
If the Council Tax is paid by Direct Debit, the £150 will be paid into the bank account that pays the Council Tax. If you do not pay by Direct Debit, we will be in contact with you in June with details about how to apply.
Do I have to spend the £150 on my gas/electric bill?
No. Whilst the payment is intended to help with your energy bills, you are free to spend the £150 however you choose.
Which property do I apply at if I am moving within the borough?
You should apply at whichever property you were occupying on 1 April 2022.
Do I have to pay the £150 back?
No, you do not have to pay the money back.
What if I am overdrawn, will the bank take the money?
The law provides that you need a minimum amount of money to live on. You can protect your payment from being applied to an outstanding overdraft by telling your bank it should only be used for a specific purpose, for example to pay your energy bills. This protection is called a 'first right of appropriation of funds order'.
You can use this for any money being paid into your account. You will need to tell your bank how to use these payments.
To request a first right of appropriation of funds order, you need to write to your bank making it clear that your rebate payment is to pay for your utility bills only.
A sample letter is available on the National Debt website .


The Mushbowl is one of the seven sisters waterfalls along Murtle River in Wells Gray Provincial Park of BC, Canada. It is a narrow canyon 600m downstream from Dawson Falls and 5km upstream Helmcken Falls. The Clearwater Valley Road bridges Murtle River over Mushbowl Falls at its hairpin loop. Some of Wells Gray Park's oldest rocks (eg, Cambrian rock) are seen here. The seven sisters waterfalls along Murtle River upstream to Murtle Lake are Helmcken Falls, The Mushbowl, Dawson Falls, Majerus Falls, Horseshoe Falls, Meadow Falls and McDougall Falls.
July 30, 2012: Clearwater Valley Road crosses this one-lane bridge directly in front of the Mushbowl. This narrow bridge is only wide enough for one vehicle to pass through at a time. Slow down in this hairpin loop area. Tourists may be walking on the bridge!
Wells Gray Provincial Park is a large wilderness park located in east-central British Columbia, Canada. The park protects most of the southern, and highest, regions of the Cariboo Mountains and covers 5,250 square kilometres (524,990 hectares or 1.3 million acres). It is British Columbia's fourth largest park, after Tatshenshini, Spatsizi and Tweedsmuir.
July 30, 2012: Sitting on Cambrian rock by the Mushbowl is timeless. A great location for meditation.
Exact location of Mushbowl Falls Hairpin Loop is indicated by Green Arrow on the following map (click EXTERNAL LINK below to view map).
This entry was posted in Landscape, Parks & Gardens, Tourist Attractions, Waterfalls and tagged BC, British Columbia, Canada, Canadian Rockies, Clearwater, Clearwater River, Clearwater Valley Road, Helmcken Canyon, Hiking Trails, Map, Murtle River, Mushbowl Falls, Summer, The Mushbowl, Waterfalls, Wells Gray Provincial Park, Yellowhead Hwy, Yellowhead Hwy 5. Bookmark the permalink.


Your teacher needs some common sense.
disagree, its common sense that you look both ways before you cross the road, common sense that you dont jump of a cliff unless you wanna die.. its common sense that you dont annoy a hungry lion..
Your teacher was wrong is saying there is no such thing as common sense and right on that everyone has their own perspective on things.
I have to disagree. Even though people do have their own perspectives, pretty much all of us have the same basic survival instinct & can agree on things that wouldn't be too cunning to do. If thats not common sense then what is.
Disagree. It is just that we ignore the huge number of things we have in common precisely because we have them in common. We only notice the 1% of differences and ignore the 99% of similarities. It is common sense to breathe, to eat, to try to get on with your neighbours, to refrain from taunting dangerous animals, not to eat unknown substances etc. Of course, there is also sense that is not common, and beliefs that are common that are not sense. But the amount of common sense is enormous.
Disagree. The person with no common sense may have any perspective he likes; he still has no common sense. Many common sense issues are objective.
Disagree. The word "common" has slightly different meanings depending on the context. In the phrase "common sense", "common" does not mean "shared by all". It means "basic" or "everyday" and not requiring special training or deep understanding. It's common sense that if you put your hand on a stove you're going to get burnt. If it's cold outside you dress warmly. No perspectives there.
I disagree with your teacher.
Disagree. Everyone may have a unique view of the world, and they may have a unique idea of how they'd like the world to work, but most of us can draw the imaginary line between what we would like and what will actually work. That is what common sense is. People like this teacher had better stay in their cozy little cocoon.
Disagree! Its true everyone has their own perspectives on things, from there they can find their common sense (their is always a common sense).
I'm not sure what your teacher thought "commons sense" is, but I always thought it was not putting your hand in the fire, lookine before crossing the road, etc. I would have to disagree with them.


24 July 2013, at 9:47a.m.
FRANCE - Consolidated sales of the Ceva Group reached €310 million in the first six months of 2013, up by two per cent - 4.2 per cent on the previous year at a constant perimeter and exchange rates.
Vectra® sales in the United States, which were less than anticipated, due to a particularly long winter delaying the start of the flea and tick season. (In spite of this, Vectra® dispensing by veterinarians outperformed the rest of the vet topical flea and tick market by 7.8 percentage points).
In addition to this, unfavourable exchange rate movements of the US Dollar, and other currencies in most of the emerging economies had a negative impact. This growth was entirely organic, confirming the importance of Ceva's increasingly differentiated and innovative product and services offer.
The poultry vaccine, services and equipment offer spearheaded by the "Perfect Pair" of Transmune® IBD, and Vectormune® ND, which together allow vaccination against 3 major diseases in the hatchery for the first time, drove growth throughout the world. Sales of avian vaccines grew by +18 per cent with Asia, Latin America, Central Europe, the Middle East and Africa/Middle East all registering double digit growth figures and the US close to this figure at +9 per cent.
The pharmaceuticals business also continued to grow even with the impact of lower Vectra® sales. The Behavior products Feliway® and Adaptil® posted a +22 per cent rise in sales.
Geographically, the overall animal health market has been affected by the same economic factors that have divided the world into 3 economic blocks. The countries of the "old Europe" are generally in real crisis with little or often negative growth. This slowdown has resulted in severe price competition, particularly in the antibiotics market where the health authorities are also committed to reducing the total use in livestock. In North America the economy is close to taking off once more and in general terms the emerging economies have maintained high levels of growth.
Against this background all 6 zones posted growth; in Ceva's home market of France, sales were up 6 per cent against a flat market. Central Europe and Turkey confirmed he exceptional growth trend posted in 2012 with Russia (+28 per cent), Turkey (+11 per cent) underlining the importance of this area for future development of livestock production. The Latin America zone was up +10.9 per cent with Brazil recovering and the remainder of the area performing exceptionally.
Commenting on the results, Ceva Chairman and CEO Marc Prikazsky said: "The first half of 2013 was operationally difficult, demonstrating that we cannot take our trend of constant growth as given. The overall global market was very challenging underlining the need for innovation to drive further expansion. In these circumstances, I am extremely pleased that our teams have once again demonstrated their ability to deliver strong organic growth."


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Defense Key to Sailors' Title Defense
By Dean Holzwarth
Special for Second Half
GRAND RAPIDS – Goalkeeping and defense were catalysts in last year's MHSAA Division 3 championship run for the Grand Rapids South Christian boys soccer team.
As the Sailors attempt to replicate last year's success, those two elements remain vital in their quest for back-to-back titles.
South Christian, top-ranked in Division 3 this week, has had to fill huge holes after the departures of all-state goalie Carter Selvius and all-state Dream Team defender Austin Clark.
"Our defense is really what we're working on right now, knowing the guys I lost," Sailors coach Jason Boersma said. "We lost our goalie and two real keys to our defense. It doesn't automatically get replaced overnight having new players coming in.
"We're working hard at figuring out what the best line-up is. We're doing well, and we haven't had a lot of goals scored on us, so that's a positive."
The Sailors surrendered only 13 goals last season, including only a single goal over seven MHSAA tournament victories.
They defeated Williamston 1-0 in a shootout to capture their third MHSAA Final in the last six years.
Selvius was one of the heroes in that game with 14 saves, and Boersma knew his absence in the net would be felt entering this season.
There was no clear-cut favorite to take over in net at the beginning. That allowed Boersma to look at a group of potential replacements.
"That's why I kept four of them on my team," Boersma said. "We knew what we were losing, and we had four guys who were somewhat equal. They all had different strengths and weaknesses, and we were going to let them battle it out."
Junior Jake Tanis earned the job, and has spent a majority of time in the net.
"I'm going to give him as much experience as I can right now with him playing every single game just for more knowledge back there," Boersma said. "He was more of a field guy, but his best chance to get time on this team was as a goalie. He has a big frame. He's 6-2, 230 pounds, and so he has good size and is very athletic. He's really learning right now."
Senior midfielder Ryan Doornbos is one of eight starters back. He has faith in the players who have filled in at important positions.
"I trust them," he said. "They've done a good job so far in replacing those roles, and I hope they continue to do that the rest of the year."
Thirteen in all have returned from last season, including standouts Zack DeKock, Emmett DeJong, Sam DeVries and Daniel Sculley.
The Sailors opened the season with nine straight wins, but suffered consecutive losses to East Grand Rapids (2-0) and Caledonia (1-0) during the past week.
Doornbos missed both games with a concussion, while DeKock also is nursing an injury and didn't play against Caledonia.
"It's a huge difference with having him on the field for the team chemistry and moving the ball around," Boersma said. "The effort he brings is phenomenal, and that's a huge loss without him. He should be back within a week."
The recent setbacks and injuries haven't spoiled the Sailors' outlook. Boersma would rather have them occur now than in late October and November.
"The guys are OK with losses because they learn from them," he said. "Obviously no player likes to lose and they are competitive, but they are real good at sitting back after a game and knowing that they have to work on this and this.
"They are a very hard-working crew, and that's one of my favorite things about them. They leave it all on the field each and every day. They know in games they lost that we made small mistakes. We make sure they don't happen again."
Boersma believes this team has the talent to make another deep run, but understands it will revolve around defensive adjustments.
"Knowing all the offense we had back, I was incredibly optimistic that we were going to have an opportunity, if we play the game we're capable of playing, that on paper (we) could be one of the best teams in Division 3 in my mind," Boersma said. "We also know soccer, and all the years I've watched my teams do well it has typically been my defense. You get great teams towards the end, and in the playoffs and there are numerous games you have to win in a shootout. That's the way it goes in soccer."
Doornbos hopes this year's team can follow in the footsteps of last year's in terms of staying together and creating a positive atmosphere.
"I think we need to keep each other hyped up and really be tight as a family," he said. "I think that's what helped us last year; our whole team was a family. We also enjoyed it last year, and that's how we kept winning because we were having fun. We need to do those things and keep working hard."
Dean Holzwarth covered primarily high school sports for the Grand Rapids Press and MLive for 16 years and more recently served as sports editor of the Ionia Sentinel and as a sports photojournalist for WZZM. Contact him atdream100@comcast.net with story ideas for Allegan, Kent and Ottawa counties.
PHOTOS: (Top) South Christian players, in white jerseys, defend their goal against Middleville Thornapple Kellogg last week. (Middle) Key returnee Zack DeKock moves the ball upfield. (Photosby Craig Pollatz.)
Tags: Grand Rapids South Christian , West Michigan
Storch Returns to Retirement After Elevating Alpena Teams From Cellar to Contenders
By Tom Spencer
It wasn't long ago that Alpena boys and girls soccer opponents took their long bus rides to play the Wildcats expecting an easy win, and most likely by securing the victory by the eight-goal differential rule, commonly known as the "mercy rule."
Worse yet, the Wildcats also had to take those trips across the northern part of the Lower Peninsula, as well as northern and southern journeys of two hours, dreading thoughts of experiencing yet another shortened game.
Those expectations started to change in 2011, when Tim Storch, arguably the most decorated coach in the history of Michigan high school soccer, took the reins of the Wildcats' boys and girls programs.
Storch made the move after retiring from Troy Athens as a teacher and coach of the Redhawks' boys and girls soccer teams.
Slowly but surely, Alpena's mercy losses disappeared – and wins over their Big North Conference opponents became reality. Under Storch, the Wildcats went from the cellar to challenging for titles.
But now, Storch is showing some mercy on the Big North – perhaps an early Christmas present. The conference schools won't see him on sidelines any longer. He's retiring – again.
Storch is doing so after leading the Wildcats to wins over all conference opponents except Traverse City West. The Wildcats did get a tie this fall against the Titans, one of the BNC schools that regularly makes a deep postseason run, as Alpena stayed in the league title race most of the season.
"When I came to Alpena it was about trying to make the program relevant in the school, the community, the area, the BNC and northern Michigan," Storch recalled. "We got to that point after some growing pains.
"Early on we took our lumps, and we were mercied by everybody," he continued. "By the end we were competitive with everybody."
Storch, who started the Athens soccer programs from scratch in 1981, won eight Class A or Division 1 Finals titles with the Redhawks. He's near the top of the lists of the winningest boys and girls soccer coaches in the state. The last of his 1,109 wins was a 3-1 victory over Bay City Western during this fall's postseason.
The Wildcats also beat conference opponent Cadillac in their District opener. They finished 14-6-3 on the season.
Storch will be dearly missed in Northern Michigan, veteran Petoskey boys and girls coach Zach Jonker pointed out. Jonker's Northmen picked up a victory over Alpena in the Division 2 District Final – also Storch's last game.
"Tim has had a legendary career as one of the most influential figures in Michigan high school soccer over the past 40 years while having an enormous impact on thousands of student-athletes," Jonker said. "Over the past decade, Tim helped to dramatically raise the overall level of play in the Big North.
"He is one of fiercest competitors I have ever coached against, but he is also one of the most genuine and empathetic coaches I have ever encountered," Jonker continued. "I feel fortunate to have been able to build a competitive relationship with him and call him a friend."
Storch's last game with the Alpena girls also was a District Final, a 3-0 loss May 31 to West.
Storch is proud of what the Wildcats accomplished, noting logistics — unlike in southeastern Michigan — were a big challenge.
"We were an island," Storch said. "We were big school in the middle of nowhere.
"We couldn't get together and have any kind of summer program with other communities because they didn't have soccer, and if they had soccer they were at a Class D or C level that was way beneath what we were playing in the Big North."
Storch's tenure, which included six years serving as the Wildcats' athletic director while coaching, drew accolades from his coaches and athletic directors. In addition to Jonker, Gaylord AD Christian Wilson, and West boys head coach and girls assistant coach Matt Griesinger gave high praise.
They are among those who will miss the successful coach.
"Tim leaves Alpena in better shape than when he arrived, and that is the true mark of a great coach and administrator," Wilson said. "He has been an outstanding representative of Alpena High School, both as a soccer coach and as an athletic director.
"Tim brought a level of stability and expertise and was well-thought of by players, coaches, and community members."
Griesinger, who has led the Titans to considerable postseason success and upheld BNC dominance since taking over the West program eight seasons ago, was particularly impressed with Storch's energy and passion for his players evident in every match.
"Tim is one of the most respected coaches in the state, and what he has done for the soccer communities in both Troy and Alpena is not just commendable, but also something that every high school coach should hope to emulate," Griesinger stated. "Storch is a stand-up guy, and all of us other coaches in the BNC should consider ourselves lucky that our journeys in the sport overlapped."
Storch is leaving Michigan high school sports as they face a shortage of referees and qualified coaches. He's not certain of the exact reasons for it, but he points to time constraints and pressures faced on and off the field.
And, he knows the days of a teacher starting a career, coaching sports and sticking with it are long gone.
"My wife has always said I was a dinosaur," Storch said with a chuckle. "Back in my day, even if you had family and kids, you still made time for coaching.
"Coaching was part of my fiber — it kind of defined me."
Storch is quick to point out "soccer coach" was just one of three hats he wore, along with history teacher and friend.
"I'm Mr. Storch to my students," he recalls telling his student-athletes at Athens. "I'm Coach to my kids, and I am Tim to my friends.
"They are three different hats; I learned how to wear them and how to balance them."
Storch looks back to all the friendships he's made around the game of soccer – with former players, fellow coaches, and referees – with excitement for the future.
He is also keeping in mind former players, referees and coaches who have passed on.
"It is kind of humbling when I think back all the years (to) coaches, referees and players I have interacted with," he said. "We're all here for a finite time.
"We need to make the most of it and hopefully leave the place a better place when we leave."
Tom Spencer is a longtime MHSAA-registered basketball and soccer official, and former softball and baseball official, and he also has coached in the northern Lower Peninsula area. He previously has written for the Saginaw News, Bay County Sports Page and Midland Daily News. He can be reached at tomspencer@chartermi.net with story ideas for Manistee, Wexford, Missaukee, Roscommon, Ogemaw, Iosco, Alcona, Oscoda, Crawford, Kalkaska, Grand Traverse, Benzie, Leelanau, Antrim, Otsego, Montmorency, Alpena, Presque Isle, Cheboygan, Charlevoix and Emmet counties.
PHOTOS (Top) Recently-retired Alpena soccer coach Tim Storch, left, talks things over with one of his players. (Middle) Storch, holding the microphone, elevated the Wildcats' girls and boys programs since taking over both in 2011. (Photos courtesy of Therese Shaw.)
Tags: Northern Lower Peninsula , Alpena , Troy Athens

redpajama_set_name: RedPajamaCommonCrawl


Shakti Yoga Adventure- Go to India!
My Guru, Valma Brenton, has put together a fantastic trip to India for 8 lucky women. Valma is a fantastic teacher and has organized yoga adventures all over the world. If you have ever wanted to go to India, now is the time.


Logan is home to more than 320,000 people from more than 217 different cultures. We celebrate our diversity and the rich and varied lifestyle it offers. Logan is also a very young city with around 50 per cent of residents aged 30 or younger. This adds energy and enthusiasm to our community and gives us a real vibrancy. No wonder we have become known as one of the most diverse cities in Australia.
As a young city, Logan's residential neighbourhoods are predominantly fresh and contemporary. New estates continue to flourish, giving locals a wide range of lifestyle options, from leafy suburbs to bushland acreage. Many older suburbs predating the city's short history have been revitalised through urban and community renewal partnership projects between Logan City Council and the Queensland Government.
Given its central geographic location and available young workforce, Logan has thriving commercial, retail and manufacturing precincts, as well as healthy service and wholesale industries.
Logan is ideally located between Brisbane, Ipswich and the Gold Coast, and has easy access to the national highway and rail networks. It has thriving light industrial precincts at Marsden, Crestmead, Slacks Creek and Loganholme, which are continuing to expand to meet the demand of quality, responsible industry.
Logan's cafe, restaurant, hotel and club scene has flourished in recent years. Today in Logan you can experience a diversity of tastes in a range of quality venues.
From Mediterranean fare, fresh seafood and contemporary Australian cuisine to the best of Asian, Indian and European delights, we have restaurants to suit all tastes.
Travel around the city at lunch time and you'll find a host of cafes bustling with activity, with the aroma of espresso and focaccia in the air.
Logan also has a great range of sporting and service clubs, of which tens of thousands of our residents are members, as well as hotels offering stylish decor, fine food and live entertainment.
Logan has more than 1,100 environmental and recreational parks, many featuring dog off-leash areas, exercise facilities, play equipment and skate ramps. There are pristine bushland reserves and wetlands, as well as manicured waterfront parks along the Logan River. The natural environment is an important facet to life in Logan, and a popular place to enjoy the bush and its wildlife is the Daisy Hill State Forest and Daisy Hill Koala Centre.
There's plenty to do in Logan for lovers of sport and recreation. A wide range of activities is available around the city, from the traditional cricket, football, netball and tennis to 'newer' sports like futsal and bocce. We have everything from pigeon racing and model sail boating to kayaking and martial arts.
Our facilities include meticulously manicured golf courses, spectacular aquatic facilities and the multi-purpose Insports Centre, which features basketball courts as well as a gymnasium, rock-climbing, cafe and function room.
Logan has a range of attractions that capture the city's history and cultural diversity. Visitors can step back in time at one of Logan's oldest houses, Mayes Cottage, in Kingston, which has been converted into a house museum circa 1930s, or they can wander through the tranquil gardens of the Chung Tian Buddhist Temple at Priestdale, tucked away in a natural bushland setting.
Cultural pursuits feature strongly at the regional Logan Art Gallery which showcases the best works by local and visiting artists. Art can also be found on display in commercial galleries around town, as well as at the historic Kingston Butter Factory and Community Arts Centre. The Butter Factory is home to the Butterbox Theatre (used by local performing arts groups), the Buttermaid's Kitchen, the Logan City Historical Museum and an arts and craft co-op.
The opening of the Logan Entertainment Centre in 2002 ushered in a new era for events and entertainment in the city. Finally the city had its own venue for conferences, seminars and major functions. The centre's arrival also meant locals would have the opportunity to see major touring acts without having to leave the city.
Logan's nine public libraries host displays by local artists, craftspeople and community groups. Our libraries cater for all ages, with a huge range of books, tapes, videos and CD-ROMs. Regular activities range from storytelling to book discussion groups. The Hyperdome Library has Australia's first drive-through library service, while the Accessibility Centre at Logan North Library caters for people with disabilities.


There are principles of good design that when used properly, will make a good image much better, and a great image dynamite. With an understanding of how to apply these principles in making your images, you've got a excellent chance at elevating even dull subject matter to visually enticing, and in some instances, simply persuasive.
Does your image use point, line, color, form or shape, space, texture, and/or pattern to effectively communicate your intent? Does the image portray a sense of unity, balance, proportion, rhythm/repetition/similarity, hierarchy/dominance/emphasis/figure to ground. Let's also add a few of the gestalt principles into the mix: Closure (our tendency to see and assume something which is not technically there/to fill in the missing pieces), Continuance (our tendency to follow a visual or suggested path), and Proximity (the two-dimensional relationship of objects to each other within the frame). For more on these Gestalt principles and others, visit our Juror's article mentioned below.
If you have images that clearly illustrate one or several of the above mentioned elements and/or principles of design, we would love to see them. Our Juror Joe Baraban is prepared to apply his expertise to choose work that is both alluring and exemplar of the design standards we expect in graphically successful imagery. You don't need to be able to label your work with the appropriate element/principles - if you've got one or more images that pops with visual success, submit them – they may the mark of great design that we're looking for.
I based my decisions on how much was created in the camera, and how much was created in front of a computer. If this was a competition and the criterion was how well someone knew how to manipulate his or her original photograph, this would be an entirely different show. I didn't want to mix the two genres. Well composed and designed photographs stand on their own with little or no help.
There were several entries that I liked and would have fit in this classification if left alone, but were immediately disqualified when I felt too much post processing was applied and no longer looked like photographs. The same goes for incorrect exposures of an otherwise well thought out picture.
There are photographers, then there are computer artists and for me, I'd rather see good pictures that were created at the moment when the shutter release was depressed. Then, I have no problem with some enhancement using Photoshop.
I considered my "juror's pick" based on what I considered best fit in my thought process when I first started viewing all the images. I was very impressed with the level of expertise in the submissions, and there are several in this show that I would put my name on.
All selected entries are exhibited in our gallery and included in a full color exhibit catalog. Juror's Choice receives a 30x48" vinyl exhibit banner featuring their image.
People's Choice gains free entry into a future exhibit. We offer free matting and framing of accepted entries for the duration of each of our exhibition, subject to standard sizes. Photographers set their own prices if they wish to sell their work and retain all rights to their photographs.
Joe Baraban has been photographing since the age of 24, where he took a job as a Medical Photographer at the Methodist Hospital in Houston (there aren't many of us who can brag about a field entry like that!) He became Freelance soon thereafter, and over the next forty years built a commercial portfolio including work for clients from Coca Cola to Hennessy, Cessna to Boeing, and IBM to Microsoft. His resume also includes most of the Fortune 500 companies. He has photographed the full line automotive brochures for Acura, Saturn, and Range Rover, not to mention campaigns for Jaguar, Ford, Toyota. Although he's rather famous in the auto industry, you'll see his work spans portraiture, travel, industrial, and general commercial with a visual voice clearly seated in eye-popping design. Visit his portfolios at www.joebaraban.com.
Mr. Baraban has been subject matter for feature articles in Communication Arts Magazine (including the cover), Photo Design (including the cover), Design, Japan's Premier magazine (including the cover), and Studio Magazine. Joe's images are often seen in Communication Arts, Graphis, and The Mead Annual Report Show. You'll also find Joe imparting invaluable knowledge as guest speaker from East to West Coasts. He offers enlivening seminars at venues such as Photo East (the national convention in New York), Photo West in San Francisco, and Viacom (Canada's national convention). You'll also be motivated in workshops Internationally.


text:
"use strict";
Object.defineProperty(exports, "__esModule", { value: true });
exports.ComponentContainer = void 0;
const config_1 = require("../config/config");
const internal_error_1 = require("../errors/internal-error");
const event_emitter_1 = require("../utils/event-emitter");
const utils_1 = require("../utils/utils");
/** @public */
class ComponentContainer extends event_emitter_1.EventEmitter {
    /** @internal */
    constructor(
    /** @internal */
    _config,
    /** @internal */
    _parent,
    /** @internal */
    _layoutManager,
    /** @internal */
    _element,
    /** @internal */
    _updateItemConfigEvent,
    /** @internal */
    _showEvent,
    /** @internal */
    _hideEvent,
    /** @internal */
    _focusEvent,
    /** @internal */
    _blurEvent) {
        super();
        this._config = _config;
        this._parent = _parent;
        this._layoutManager = _layoutManager;
        this._element = _element;
        this._updateItemConfigEvent = _updateItemConfigEvent;
        this._showEvent = _showEvent;
        this._hideEvent = _hideEvent;
        this._focusEvent = _focusEvent;
        this._blurEvent = _blurEvent;
        this._width = null;
        this._height = null;
        this._isHidden = false;
        this._isShownWithZeroDimensions = false;
        this._componentType = _config.componentType;
        this._isClosable = _config.isClosable;
        this._initialState = _config.componentState;
        this._state = this._initialState;
        this._component = this.layoutManager.getComponent(this, _config);
    }
    get width() { return this._width; }
    get height() { return this._height; }
    get parent() { return this._parent; }
    /** @internal @deprecated use {@link (ComponentContainer:class).componentType} */
    get componentName() { return this._componentType; }
    get componentType() { return this._componentType; }
    get component() { return this._component; }
    get tab() { return this._tab; }
    get title() { return this._parent.title; }
    get layoutManager() { return this._layoutManager; }
    get isHidden() { return this._isHidden; }
    get state() { return this._state; }
    /** Return the initial component state */
    get initialState() { return this._initialState; }
    /** The inner DOM element where the container's content is intended to live in */
    get element() { return this._element; }
    /** @internal */
    destroy() {
        this.releaseComponent();
        this.stateRequestEvent = undefined;
        this.emit('destroy');
    }
    /** @deprecated use {@link (ComponentContainer:class).element } */
    getElement() {
        return this._element;
    }
    /**
     * Hides the container's component item (and hence, the container) if not already hidden.
     * Emits hide event prior to hiding the container.
     */
    hide() {
        this._hideEvent();
    }
    /** @internal */
    checkEmitHide() {
        if (!this._isHidden) {
            this.emit('hide');
            this._isHidden = true;
            this._isShownWithZeroDimensions = false;
        }
    }
    /**
     * Shows the container's component item (and hence, the container) if not visible.
     * Emits show event prior to hiding the container.
     */
    show() {
        this._showEvent();
    }
    /**
     * Focus this component in Layout.
     */
    focus(suppressEvent = false) {
        this._focusEvent(suppressEvent);
    }
    /**
     * Remove focus from this component in Layout.
     */
    blur(suppressEvent = false) {
        this._blurEvent(suppressEvent);
    }
    /** @internal */
    checkEmitShow() {
        // emit 'show' only if the container has a valid size
        if (this._isHidden) {
            this._isHidden = false;
            if (this._height === 0 && this._width === 0) {
                this._isShownWithZeroDimensions = true;
            }
            else {
                this._isShownWithZeroDimensions = false;
                this.emit('shown');
                this.emit('show');
            }
        }
        else {
            if (this._isShownWithZeroDimensions && (this._height !== 0 || this._width !== 0)) {
                this._isShownWithZeroDimensions = false;
                this.emit('shown');
                this.emit('show');
            }
        }
    }
    /**
     * Set the size from within the container. Traverses up
     * the item tree until it finds a row or column element
     * and resizes its items accordingly.
     *
     * If this container isn't a descendant of a row or column
     * it returns false
     * @param width - The new width in pixel
     * @param height - The new height in pixel
     *
     * @returns resizeSuccesful
     */
    setSize(width, height) {
        let ancestorItem = this._parent;
        if (ancestorItem.isColumn || ancestorItem.isRow || ancestorItem.parent === null) {
            throw new internal_error_1.AssertError('ICSSPRC', 'ComponentContainer cannot have RowColumn Parent');
        }
        else {
            let ancestorChildItem;
            do {
                ancestorChildItem = ancestorItem;
                ancestorItem = ancestorItem.parent;
            } while (ancestorItem !== null && !ancestorItem.isColumn && !ancestorItem.isRow);
            if (ancestorItem === null) {
                // no Row or Column found
                return false;
            }
            else {
                // ancestorItem is Row or Column
                const direction = ancestorItem.isColumn ? 'height' : 'width';
                const currentSize = this[direction];
                if (currentSize === null) {
                    throw new internal_error_1.UnexpectedNullError('ICSSCS11194');
                }
                else {
                    const newSize = direction === 'height' ? height : width;
                    const totalPixel = currentSize * (1 / (ancestorChildItem[direction] / 100));
                    const percentage = (newSize / totalPixel) * 100;
                    const delta = (ancestorChildItem[direction] - percentage) / (ancestorItem.contentItems.length - 1);
                    for (let i = 0; i < ancestorItem.contentItems.length; i++) {
                        if (ancestorItem.contentItems[i] === ancestorChildItem) {
                            ancestorItem.contentItems[i][direction] = percentage;
                        }
                        else {
                            ancestorItem.contentItems[i][direction] += delta;
                        }
                    }
                    ancestorItem.updateSize();
                    return true;
                }
            }
        }
    }
    /**
     * Closes the container if it is closable. Can be called by
     * both the component within at as well as the contentItem containing
     * it. Emits a close event before the container itself is closed.
     */
    close() {
        if (this._isClosable) {
            this.emit('close');
            this._parent.close();
        }
    }
    /** Replaces component without affecting layout */
    replaceComponent(itemConfig) {
        this.releaseComponent();
        if (!config_1.ItemConfig.isComponent(itemConfig)) {
            throw new Error('ReplaceComponent not passed a component ItemConfig');
        }
        else {
            const config = config_1.ComponentItemConfig.resolve(itemConfig);
            this._initialState = config.componentState;
            this._state = this._initialState;
            this._componentType = config.componentType;
            this._updateItemConfigEvent(config);
            this._component = this.layoutManager.getComponent(this, config);
            this.emit('stateChanged');
        }
    }
    /**
     * Returns the initial component state or the latest passed in setState()
     * @returns state
     * @deprecated Use {@link (ComponentContainer:class).initialState}
     */
    getState() {
        return this._state;
    }
    /**
     * Merges the provided state into the current one
     * @deprecated Use {@link (ComponentContainer:class).stateRequestEvent}
     */
    extendState(state) {
        const extendedState = utils_1.deepExtend(this._state, state);
        this.setState(extendedState);
    }
    /**
     * Sets the component state
     * @deprecated Use {@link (ComponentContainer:class).stateRequestEvent}
     */
    setState(state) {
        this._state = state;
        this._parent.emitBaseBubblingEvent('stateChanged');
    }
    /**
     * Set's the components title
     */
    setTitle(title) {
        this._parent.setTitle(title);
    }
    /** @internal */
    setTab(tab) {
        this._tab = tab;
        this.emit('tab', tab);
    }
    /** @internal */
    setDragSize(width, height) {
        utils_1.setElementWidth(this._element, width);
        utils_1.setElementHeight(this._element, height);
    }
    /**
     * Set's the containers size. Called by the container's component item.
     * To set the size programmatically from within the component itself,
     * use the public setSize method
     * @param width - in px
     * @param height - in px
     * @internal
     */
    setSizeToNodeSize(width, height) {
        if (width !== this._width || height !== this._height) {
            this._width = width;
            this._height = height;
            utils_1.setElementWidth(this._element, width);
            utils_1.setElementHeight(this._element, height);
            this.emit('resize');
            if (this._isShownWithZeroDimensions && (this._height !== 0 || this._width !== 0)) {
                this._isShownWithZeroDimensions = false;
                this.emit('shown');
                this.emit('show');
            }
        }
    }
    /** @internal */
    releaseComponent() {
        this.emit('beforeComponentRelease', this._component);
        this.layoutManager.releaseComponent(this, this._component);
    }
}
exports.ComponentContainer = ComponentContainer;
//# sourceMappingURL=component-container.js.map

redpajama_set_name: RedPajamaGithub


text:
package javelin;

public class RightShiftOfLongs {
    public static void main(String[] args) {
        long a = -8;
        long b = a >> 1;
        System.out.println(b);
    }
}


Celebrating your bestie coming out? Need to shake off that ex and get yourself a hot rebound? Fan of the latest EDM, Hip-Hop, Dance and Club Music? We're here to oblige, every Friday and Saturday, at Portland's best gay bar - The Silverado.


I've been trying to stay away from reading any new series until I finish the ones I've already started. However, I've been seeing "Stillhouse Lake" pop up everywhere lately, and after reading the description and a few reviews, I had to admit, I was intrigued. I decided I had to read it… and I'm really glad I did.
Normally, Gina Royal is home at three in the afternoon, but her husband, Mel, has called and asked her to pick up the children as he has a work emergency. He was sorry to have disturbed her routine. He was kind that way, the "best, most charming man". A great father to seven-year-old, Brady and ten-year-old, Lily.
She's looking forward to watching a movie with Mel and the kids that evening. Family time is one of Mel's favorite things. His other favorite thing is spending time in his workshop, working on his projects. Gina never asks what he's working on.
When Gina gets back with the children, the street is filled with police cars, ambulances, and fire trucks. She sees that her bushes are flattened, as well as her mailbox. Then she sees the SUV embedded halfway into the garage—Mel's workshop.
Now Gina's life is about to come crashing down around her.
When she gives her name to the police their attitude towards her becomes aggressive. She thinks they must have her mixed up with someone else. She is read her rights and she feels like she's in a nightmare….this can't be happening. Then the police officer shows her the garage…and what Mel was really doing in his workshop….and she starts to scream.
New Names, new state, new home, and a new life. They are definitely not in Kansas anymore.
Gina Royal no longer exists…she's now Gwen Proctor. And there are a LOT of differences between the two. Where Gina was weak and submissive, Gwen is strong and dominant.
Gwen wants to set down some roots, give the kids a sense of stability and safety. She wants to leave Gina and everything else behind…The accident. The arrests. The trials. THE EVENT. However, there are people who just won't let that happen. People who believe that she really was "Melvin's Little Helper".
"The Sicko Patrol" is what they call Gwen's daily internet searches. She needs to keep an eye on what's being said about her and her children, in case the trolls aren't just blowing off steam. She forces herself to read just how much people hate her and the vile things they say.
But some are more dangerous than others….
All she wants to do is survive and keep her kids safe. She runs crisis drills. They have an escape plan. They have an alarm set at all times, and Gwen is armed to the teeth!
Melvin is in jail but why does Gwen feel like things aren't done?
Well, this was quite a read! I'm surprised at how quickly I flew through this novel. I devoured it in just two days. There is some violence; I did have to skim a few parts, but not enough to spoil the book for me.
"Stillhouse Lake" is an intense and action-packed thriller. A dark and twisted story of betrayal and murder. The ending had me rushing to find book two of the series as I was desperate to find out what was going to happen next.
Oh boy – I think I'm in! This sounds like a great story.
Ooooh….Sounds intense! I love it! Must read! Thanks for sharing!
Definitely! Looks like it's not available at the moment, but I should have it by early February.
I like the series. Glad to see that you enjoyed the first book. I hope that you will also like the second one, Killman Creek. Fab review.
Thanks, Diana! I'm really enjoying book two as well!
Great review. I loved this one. I want to read the next one soon, but have heard it is not as good. I shall see.
Thank you! I'm actually reading book two now and it's pretty good so far. I hope it continues. I hope you enjoy it if you decide to read it as well.
It's a really good series! I hope you enjoy it too!


text:
Q: php script visible in Dreamweaver but not in browser, any ideas? creating my first php site and I'm just making sure I have everything setup. I typed a very simple script:
<?php echo "Hello World"; ?>

it displays just fine in Dreamweaver's design view but when I open it in Firefox it doesn't display. Any ideas why?
Using xampp, have apache running.

A: What displays when you try to view the file on in FireFox? (blank page? error? etc?) And ensure you are viewing the file by localhost/file_name/... NOT c:\..

redpajama_set_name: RedPajamaStackExchange


text:
County dials in to 300 new jobs
A state-of-the-art customer contact centre in Accrington will be opened in the Autumn after negotiating with Lancashire County Council to occupy offices in the town centre.
Edwin Booth, chairman of Lancashire Enterprise Partnership welcomed the announcement: "A major global brand choosing to invest in Lancashire sends out very positive messages.
"For people in Hyndburn and the surrounding area it means lots of opportunities to work for a big name company that takes customer service seriously, it's great for the local economy in Accrington and it means that other businesses, thinking about where to base similar operations, will consider that Lancashire is worth a closer look."
Miles Parkinson, leader of Hyndburn Borough Council, said: "This announcement is great news for the whole of Hyndburn. It's particularly pleasing that BT have recognised what the skills and commitment of the local workforce will bring to their business. We look forward to working with them."
Geoff Driver, leader of the county council, said: "We're obviously delighted that BT has recognised what Lancashire has to offer to businesses. We've helped it find suitable accommodation, but ultimately BT wants to come to Lancashire because of the skills and expertise we already have here."
Tony Chanmugam, BT's chief finance officer, said: "BT is delighted to be bringing more jobs to Lancashire. We have a great relationship with the local authority, which is helping us set up a new contact centre in an area where we wanted to be with committed people who have the right skills to help our customers."
News, LBV Hub
Napthens advises on reverse takeover
By Napthens solicitors - Jan 20 2020
Regional law firm Napthens has advised on a deal which saw the reverse takeover of The Barkby Group Plc whic...
New programme seeks businesses chasing 20% growth
By Tim Aldred - Jan 21 2020
Lancashire County Council has launched a new programme of support designed for businesses who want to grow 2...
Create Group supports 'Time to Talk' day for Mental Health awareness
By Create Construction - Jan 20 2020
Create Group, Blackpool supports 'Time to Talk' day for Mental Health awareness
Making Rooms makes room for growth with Lancashire Forum
By Lancaster University Management School - Jan 10 2020
A Blackburn business is flying high and making major progress after successful involvement with the Lancashi...
Give your team the edge with engineering and construction courses
By Blackpool and the Fylde College - Jan 13 2020
Blackpool and The Fylde College launches courses to improve performance and profitability and develop leader...
Key Digital marks 10th anniversary with huge fundraising effort
By Key Digital - Jan 10 2020
Key Digital are marking their 10th birthday with a huge fundraising effort to raise £10,000 for charity.
Students gain insight and develop skills during Industry Careers Days
By Nelson and Colne College - Jan 09 2020
Almost 900 vocational students at Nelson and Colne College and Accrington and Rossendale College took part i...


NOSE: A lot of sherry on the nose, followed by cherry/fruit capri-sun. It's a very light nose and still a distinct fig spirit comes through, maybe to the detriment of the spirit. So far, an okay start.
PALATE: Woodsy sherry with a very light balanced smoke. A sourness comes through after some light spice, like chewing on a toothpick and not knowing when enough is enough. Water opens up vanilla extract, round bosc pear, mint/spearmint and oddly enough, cabbage.
FINISH: It's a medium to short finish, laden with spice, smoke and sherry.
This is a perfect example of a scotch that really showcases that not everyone loves a highly rated scotch. I will never buy another bottle of this 12 year old DoubleWood ever again. I don't enjoy it and I feel like, especially for the price, it doesn't bring anything to the table. The Balvenie is a great distillery and this might just be a poor showing or an unfortunate bottling.
Don't be discouraged!! Where there is a bad scotch, there is a great bottle right behind it…look…There it is! Don't see it? Just come back for another review by scotch N sniff!
Must Reblog this to send out to my fellow Scotch lovers. Balvenie Doublewood 12 is a must!


text:
@Jaro Varga
Psychogeography of Memory
Zuzana Jakalová: Jaro Varga / I found it somewhere, but I can't find it
Published in printed version of Flash Art Magazine, Czech & Slovak Edition, English Issue no.3, Volume X, 2016-2017
Jaroslav Varga (born 1982 in Trebišov) is a commentator on creation and destruction. He enjoys seeking out subtle details of what is lost, and systematically looks after what is just being born.
The associative topography of disappearing
When contemporary art audiences hear the name Jaro Varga, they usually think of books or bookcases. And when they think "bookcases," then probably his large-scale wallpaper of a bookcase with blank spaces on the books' spines where visitors could write the names of any books they wanted to. Bur for Varga, books and bookcases are a functional tool or symbol for reflecting about what interests him – the possibilities, formats, and methodologies of knowledge and learning.
In his research, Varga explores more than just one field of study. His range of interest encompasses geopolitical topography, the production and archiving of knowledge, social faux pas, and forgotten moments in history. He illustrates the various interconnections between the objects, moments, situations, or places that he finds or consciously seeks out by working with both their form and content. Worth mentioning in this relation is his emblematic ready-made photograph Fuck Your School, Fuck You! (2010–2014), an image of chalk writing on the blackboard of his old school in Trebišov, taken from roughly the spot where he used to sit as a pupil. Amidst the decline and ruin of his now-shuttered school, he has focused on an anonymous author's subtle protest against the school, a protest that has no audience and no witnesses.
Although this photography betrays a certain amount of nostalgia, Varga's work in general contains neither idealistic alternatives to the established order nor apocalyptic condemnations of institutional rigidity. Instead, he is interested in the invisible mechanisms that determine what we know and what we don't know, which information we consider important and which unimportant… and in determining why this is. He then carefully considers how to break down this information using focused ad hoc methods such as the targeted reorganization or deliberate manipulation of content. One typical characteristic of this approach is that the contexts that Varga seeks out in and formulates through his works do not form a coherent narrative but instead challenge us to interpret this hypertextual associative database of incentives.
Abstraction in proportion with subjectivity
Although in his earlier works Varga presented moments from the past, in his more recent creations he has begun to explore narratives and structures associated with the future. He is primarily interested in cosmological models and the rapid changes in our state of knowledge about the universe caused by developments in modern technology. At the same time, he is fascinated by how until recently our knowledge of the universe has been expressed through writing – speculations, theories or theorems without a solid foundation in exact science and research. The subject of the universe and its exploration would seem to be a logical continuation of Varga's interest in the principles of how the sum of our knowledge is created, including the continued failure or inability to discover how things "really are."
Recently, Varga's art has begun to explore subjectivity and personal history, most significantly in the performance piece Situation 50 at Prague's Galerie Pavilon (2014). For this piece, Varga returned to his favorite book from childhood, a collection of photographs from the Bohemian Forest that his father had brought home from his time in the army. However, the photographs' untouched, idyllic South Bohemian landscape is an important geographic place in our country's totalitarian history – it was part of the off-limits border region that separated Czechoslovakia from the imperialist West, and many people lost their lives in these woods. In his performance piece, Varga cut out pages from the book, carefully rolled them up and placed them in a row. The result was a new and constantly changing topographical visual landscape that, stripped of its pastorality, offered a commentary on the constructed nature of the book's images. All this played out beneath a projection of scenes from Karel Kachyňa's 1959 movie King of the Šumava (also known as Smugglers of Death), which itself reflected the historical significance of the Bohemian Forest's status as a borderland. Varga edited the film into an intimate romance, thus rejecting Kachyňa's themes in favor of his own personal expression.
Although many of Varga's works are formulated from a critical-analytical perspective, they are reluctant to pass judgement on their subject matter. As a result, they rarely possess the pathos and hysteria that we often encounter in attempts at understanding history or predicting the future. "I found it somewhere, but I can't find it," says Varga in a recording when he asks the residents of the town of Martin where he might find a poster commemorating the Holocaust that someone has taken down. It is precisely the visible ambivalence of these moments "in-between" – between knowledge and ignorance, between success and failure, between past, present and future, between finding and not finding a solution – that is the most interesting thing about Varga's work.
Psychogeography of Memory: Jaro Varga in conversation with Kaśka Maniak
Published in printed version of NOTES na 6 tygodni, nr. 101, 2015, Translated by Tomasz Bieroń
Kaśka Maniak: In your artistic practice you concentrate on analysing various aspects of common knowledge. The tangible manifestations of this knowledge – such as books, monuments or commemorative plaques – you juxtapose with ephemeral, conceptual forms. You use them to point at stories which are forgotten or unable to occur. For example, in the project I found it somewhere, but I cannot find it, on the walls of buildings you created traces of non-existent plaques commemorating the Jewish community living in the Slovak town of Martin before the war. Do you want to supplement the official, usually one-sided visions of reality or are you more interested in observing the mechanisms of remembering and forgetting?
Jaro Varga: Memory and processes of constructing knowledge are the essence of my work. I am interested in how memory is created in specific situations. Memory which is not static, but constantly changes, restructures itself. To answer your question: I am interested in both attitudes. The first stage of my projects is deconstructing official histories, and this usually involves analysing the mechanisms of their emergence. I am not a theoretician, I am using artistic practice, which is a very peculiar instrument. Art has the potential to create a new reality, new circumstances. The work you mentioned highlights the absence of a certain discourse. I did not add any content to the existing context, for I did not want to build any new constructs. I only pointed at a certain gap, I created a topography of memory which does not exist.
You choose intangible and short-lived forms of intervention. Is it because you don't want to create new constructions usurping historical memory?
Yes, although on the other hand pointing at absence is in itself adding a certain content. Let's take your previous example: leaving traces of non-existent plaques was like making question marks. A question about absence, about something you cannot identify or which you regard as untrue, leads to the emergence of new themes. And this makes me believe that ephemeral interventions can be very productive.
Because they don't provide unambiguous answers?
They require imagination and may reveal more than one solution. I don't want to give answers or suggests solutions. We once talked about perceiving the artist as a demiurge, about expectations that he or she will produce suggestions as to how the world, society, or politics should function. I don't want to take such a position.
What is more important for what you do: individual experience or collective memory?
I am interested in combining both perspectives, because social memory is always connected with individual memory, with subjective experience. A good example here is the project Situation 50, concerning the town of Sumova, located at the border between Czechoslovakia, Austria and Hungary, between East and West. Of course, there is a collective memory surrounding this place, but I also invoked the story of my father, who served in this town as a soldier. So collective memory may be inscribed in your own story. I have an impression that the community gives the kind of immunity to collective memory, which leads to the dispersal of responsibility. An individual perspective retrieves this responsibility. Zygmunt Bauman wrote about this in his book Modernity and the Holocaust.
In your projects centred around books you show mechanisms of creating theories, you demonstrate their impermanence and entanglements. For example, in the project Endism and the album summarising it, called artist book (untitled), you collected 500 pages of publications with titles containing the word "end" (end of power, end of poverty, end of books). With this gesture you disarmed their seriousness and undermined confidence in them. You seem to be fond of Michel Foucault's writings, especially his analyses of the relationship between knowledge and power.
Every regime change involves this mechanism: burning books, destroying information, removing "incorrect" things. Every library is constructed of a certain knowledge, which is characteristic for its time and the ruling ideology. References to Foucault and the relationship between knowledge and power are very important to me. Using the library as a certain space for collecting knowledge, you can describe many histories, for there is something more in it. For example, the books selected for the Endism project originate from one collection, although they lived on various shelves, in various locations and times. The perspective of "endism" placed them in a new context, showing how their value and significance may change. My library putting together publications containing the word "end" again is not the answer to anything, but a proposal or asking a question. One of the books I selected is Francis Fukuyama's The End of History and the Last Man, which describes liberal democracy as the best of possible systems. After the 2009 crisis we know that Fukuyama's hypothesis and prognoses proved to be a complete failure.
So how should we approach various theories describing the world in a new way?
We should not trust them completely, we should be cautious towards them. Libraries and books serve as a medium for storing knowledge. It is an abstract space which can be used for the sake of a new imagination. But I always think also about the knowledge which has not survived. Perhaps it is more important to discover ideas and theories that have been lost? This is how I treat my projects, which speak about covering-up, constructing and end. They constitute a library which has never come to exist, but there is a knowledge in it which we should possess.
What about knowledge which is elitist, inaccessible to the majority, for it is transmitted in an abstruse, often incomprehensible language? Do you also pay attention to that in your works?
I think that my projects concern the mechanism of constructing and representing the knowledge rather than knowledge as such. Esoteric knowledge has always existed, for example only a few monks had access to the monastic library, as Umberto Eco excellently described. The rest could only imagine the library, instead of experiencing it, touching the books, browsing them. This esoterism exists also today, for example in texts comprehensible only to a narrow group of people. But there are also popularisers, who make the content easier to understand. But of course the process of translation involves changes, simplifying the content, making it more attractive. In the Endism project you also point at an interesting relationship, between the title of a book and its content. The title functions as a promise, an announcement of what is yet to happen. And also as a representation. I separate the title from the content of a book. The title becomes for me a sovereign whole, it works like a poem, haiku, it becomes a content of its own.
You also study the issue of which books entered the mainstream and are regarded as important. In an exhibition held in the Contemporary Museum in Bratislava you created a library which the recipients are supposed to fill. The visitors write specific titles on the white spines of the books – do you check what they propose?
In this case I also created a certain modus operandi. It was a site-specific work, created for one of the oldest public libraries in Slovakia. Once the books were transferred to a new building, the rotunda was closed and remained empty for more than a hundred years. We reopened it, reconstructed it on a temporarily basis. The titles appearing on the spines of books are written down on wallpaper. The whole project reflects the contemporary awareness of people. I may observe books which turn up and also wonder about those which are missing. People also think about non-existent publications. When I was working on the project in Bratislava, a book describing love affairs in the world of politics was suggested. Such a book was published next year, so it came to be in my library before it appeared on the publishing market. People are very spontaneous in proposing titles, but there is a certain logic behind their spontaneity, an awareness which is difficult to capture. I have always been fascinated in how one person or society is able to build libraries containing one thousand books. I thought myself to be incapable of that, but one gesture was enough to make it possible and produced such a monumental effect.
You are interested in private libraries. What do you look for in them: a reflection of private interests of the owners or rather information about the epoch in which the creators of the collection lived?
Private libraries existed before public ones, in fact they formed their foundation. For example, when we talk about libraries destroyed during the war, we are thinking mostly about large collections of books. And what about small libraries, even containing an insignificant number of publications? They were located at the margins of knowledge and instantly disappeared from our awareness. After 1945 one of the Warsaw newspapers published articles about lost libraries. I will quote one story here. Miss Halina Latwis from Warsaw owned the book collection of Witold Hulewicz, poet, critic, translator of such writers as Rilke or Thomas Mann, an extraordinary figure unknown to a wider audience. Latwis tried to save this collection, she brought the books to a bookstore and asked that the collection be kept in one place. But during the war the library was dispersed. When I was in Warsaw, I tried to find fragments of the collection. In the National Library I came across one book, with a dedication for Latwis. I expected that the National Library would be the right place, because after the war private books were gifted to it, as people wanted to help in reconstructing the national collection. These are small stories, but sometimes more important than the large narratives which we know.
Do you have your private library? How do you select books for it?
In one of his short stories Alberto Manguel describes an encounter with Jorge Luis Borges and his surprise at the discovery that they had similar libraries, although they bought books spontaneously, at a whim. I also buy books without premeditation. I don't treat my library as a concept or project.
For several years you have been investigating the life of the cities and creating your private City Diary. In Berlin I saw the documentation of an exhibition presenting fragments of this project. I have an impression that you are covering up the details showing which places you have been to and which you describe. Why?
Some details are noticeable, you can find references to Berlin, Seoul, New York and Warsaw. City Diary contains a huge number of drawings, texts, poems. At some point I started to intertwine them and I broke the linear nature of the diary. So it could be called an anti-diary. I noticed that I can use the collected material to create a kind of cognitive maps, to work like Aby Warburg on Mnemosyne. And indeed, if you do that, the specific character of the place is blurred, it does not matter in what city I am. What I do is reflect on the universality of the city and my subjective geography in it. Initially City Diary was an ordinary notebook, but now I would like to develop this theme continuously. So that time and space are blurred, leaving room for an individual topography of the city. Currently I focus on introspection, while my earlier projects were based on studying places according to an pre-conceived methodology. To gain access to certain situations, you need a specific sensitivity, it is a quite romantic concept, but then I was not yet aware of this complication. Now I focus on a subjective identification of the space around me. I started to travel a lot and perhaps this led me to create a kind of island for myself. Like the eponymous hero of the film Citizen Kane by Orson Welles, who travelled around the world, but always stayed in a similar room. I think that through City Diary I try to return to "myself", for it is the only safe ground in such diverse environments. In exploring the city through psychogeography I see certain references to the Situationist Movement. In the beginning I acted very spontaneously, now I see the relationships.
From what perspective do you look at the city – are you critical or friendly?
I am probably critical. I think a lot about how the city will change in the future, provided that it still exists at all, and about what will emerge in its place.
We are talking in Kraków, you are here as a resident under the project Place Called Space. Is Kraków and its environs also going to be described in your City Diary?
City Diary is composed of subjective analyses of ephemeral moments, invisible images and spontaneous situations generated by the urban reality and relations. Although every page refers to specific locations and points in time, in fact it invokes any place and any time. As a result one city may be present in any other city. I continue my work on City Diary during my presence in Kraków and Tarnów. My residence will have its summing up in Tarnów, in September. Now both cities belong to my subjective topography and hence also to my diary. City Diary will shortly be published as an artbook, courtesy of the Imago Mundi Foundation. Thanks to that I'll be able to understand and summarise my studies of the city so far.
And how do you think, what will replace cities in the future?
Jaro Varga
Kateřina Štroblová / Rathouská, published in artlist.cz 2015
Several basic motifs appear and are developed in the work of Jaro Varga. His main theme is the city and its transformation, deformation and elements of disappearance. He works with history but always connects, confronts and reflects upon it in light of the present, which he places within a broader historical framework. He investigates contemporary awareness of the city and the life being led in it and creates urban maps of disappearing, existing and newly created sites.
One aspect of modern settlements is the deformation of the local historical context and our insensitivity to their legacy. Varga's work Three Routes (2007) following the intersecting paths of the history of Hungary, Germany and Slovakia culminated in the project FU JA RA (2011). The figure of Jánošík was depicted and interpreted many times over in Slovak culture. In his video Varga focuses on an interview with an actor who, disguised in the centre of Bratislava, "introduces" the famous warrior to groups of tourists while playing the shepherd's pipe. For the guide it is tempting when dealing with crowds of tourists to use comparisons like Robin Hood or the didgeridoo, which, however, are ridiculous within the local context. The figure of Jánošík in its way lives its own life within a twisted, anecdotal narrative.
The intervention in public space made in Komárno (2010) is a reflection on the multi-ethnic coexistence on the border of Slovak and Hungary. The artist placed an inscription on the facade of a historical building that never in fact existed in this spot that read "Cultural heritage is not the same as national identity" in Slovak and Hungarian. The traces of the physical letter ask a question of the function of the depicting and the depicted and the material and ephemeral remains of history.
The artist researches a similar fictional lost inheritance in I Found it Somewhere, but I Cannot Find It (Martin, 2013), in which he questioned the local populations regarding the location of an allegedly lost memorial plaque to victims of the holocaust and then created clues to these plaques in the places named. In doing so he created a kind of non-existent memorial that is lost in history even in its fictive form.
Other projects by Varga focusing on linking the past and the present are centred on the Petržalka housing estate in Bratislava. This is the largest such estate in Central Europe, built during the era of "normalisation", and is an independent urban phenomenon. The plans for its construction were conceived of very ambitiously by the then communist authorities. In the project Re: the Petržalka Apartment (2010) Varga put together a set of requirements for an apartment in this locality using the original conditions of the architectural tender and sent them to estate agents. The project output included not only documentation of the properties offered the artist, but also a range of reactions on the part of individual agents to the somewhat unusual criteria Varga had stipulated.
The series of prints entitled Vertical Labyrinth, 2009, is also based on the Petržalka housing estate and documents the state of the murals located on the side walls of individual blocks. This powerful visual layer offering another view of standardised prefab buildings could serve as a kind of guide to the "labyrinth", a foothold in space.
Varga also occupies the role of urban explorer in his native Trebišov. These urban surveys are again based on the history of the place and reflect its current state and potential (non)future. Varga paid special attention to the building of the old junior school that he himself attended. The institution was closed down and the dilapidated building was finally demolished and replaced by a supermarket. The artist's two-year-long research culminated in the cycle Shrinking City Expanding Memory – Urban Exploration I-VI, 2010).
The installation Comenius 1 (2010) recycles the only material the artist found in the old building, namely old training films. He screened these films on the old walls and then shot the projection. The new visual component thus replaced and emptied out the original content of the films, just as the new architecture replaced the old and the ideals of the former ideology became invalid.
Another location that Varga is engaged intensively in is the former military area in Milovice. This space served three armies successively (the Austro-Hungarian, German and Soviet, which only left it in 1989) and is now a deserted, dilapidated location surrounding by the small town. Varga reflects on the present or possible future state of the building while mirroring its history. In the installation Budoucnost historie / The Future of History (2013) he gathered fragments of murals from all three periods of the military history of the area as though conducting an archaeological dig, and then reconstructed them in a gallery. The wall framed a space through which history passed and now designates only emptiness and abandonment.
The artist also worked with the population of Milovice, a town originally built as the example of complete self-sufficiency but now surrounded by ruins. As well as discussions on the history and future of the town, he organised a happening with children frm the local junior school linking up to the event organised by the Slovenian group IRWIN Was ist Kunst? (Návrat do budoucnosti I / Return to the Future I, 2013). In the installation Lost Things (2014) he collected parts with an almost surrealist effect that he collected in the buildings and placed them within a new context in the gallery.
Varga accentuates not only the connection between the local urban space and history but also modern life in all its guises.
In Little Big City (2008) he created a map of new development projects in Bratislava. These projects have English titles and their artificially created titles do not relate to the local, historical or social context in any way. The project included the video documentation of a survey carried out in the streets of Bratislava in which the local population tried to translate these international tittles into Slovenian. The video then reveals the genuine influence of newspeak and the overuse of foreign names and anglicisms in real life.
The project De-architekturalizace I-VI / De-architecturalisation I-VI (2010) documents, analyses and typologises the architecture that is evolving in small towns at the rapid pace of the post-revolutionary economy. These buildings, often foreign, bizarre or even parasitical in appearance, are depicted by Varga in a series of documentaries, drawings and videos.
Another theme Varga has long been involved in is that of the library. The library as symbolic construct, the storage point of knowledge and a directive instrument that can serve ideology. Varga organised several site-specific installations and interventions in public libraries (the National Technical Library in Prague, the National Library in Warsaw, the Library of Slippery Rock University v Pittsburgh, and the Library of the Academy of Fine Arts in Bratislava). In several interventions he worked with the book as with a tabula rasa in which we wrapped all books in the same white paper (Untitled, 2008). In Knihovna / Library (2011–2012) the participative character of the event allowed visitors to give their own titles to empty book spines.
In Untitled III (2009–10) he gathered more than a hundred books in the National Library making some kind of reference to the end and from a photocopy of their spines created a fictional order of books concerned with the ambiguous phenomenon of "endism".
Varga documented libraries destroyed during the second world war, especially in Poland, in his series Lost Libraries, 2012.
As well as artist Varga is also a curator. Along with Dorota Kenderová he has been curator of the Hit Gallery in Bratislava since 2007. At present he works in the MeetFactory Gallery in Prague.
Jaro Varga | vjaroslav@yahoo.com


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Study At
Hampers of goodwill for homeless
Hampers of kindness and festive goodwill have been created by Bradford College students for a charity supporting homeless people in Yorkshire.
The Health and Social Care Level 2 Extended Diploma students have made up packages of food, bedding, clothing, toiletries and sanitary products to be handed out to vulnerable communities across the region.
They will be handed out by Homeless Hampers, which provides hampers of essentials to those who are in shelters or on the streets.
Bradford College Health and Social Care lecturer Nichola Wood said, as well as promoting a good cause, the initiative was part of their studies into how socio-economic factors impact development across the lifespan. She said: "We're very proud of them all."
The class has previously raised money for charities such as Macmillan Cancer Support. Nichola said: "It's integral to the course, and working with organisations like Homeless Hampers brings their work to life for them."
Homeless Hampers has a well-established outreach team which delivers hampers of essentials to people in homeless shelters, emergency accommodation and on the streets. The team works with organisations such as Leeds City Council and Simon On The Streets to ensure they reach people in need.
"We have got busier and busier," said Tina Suryavansi, who manages and runs the charity with her husband Aky. "When we first started we took 25 meals out to people. Last weekend, we provided more than 100 in Leeds."
As well as handing out hampers to people in Leeds, Bradford and Wakefield, the charity's support has been requested outside West Yorkshire. Tina said: "We've been contacted by outreach groups in Manchester."
As well as providing essentials to people in need, the organisation aims to challenge the public's opinion of the roofless and boost community engagement with them.
You can find out more about Homeless Hampers at http://homelesshampers.org.uk/.
Category: About Us, Community Learning


While away from Whitman, students may find that access to library and Internet resources is somewhat limited. However, don't forget that all of the Penrose Library databases, electronic journals and other electronic resources are available to students from any computer with an Internet connection.
When using the Penrose Library website to locate electronic materials, including journal articles and electronic reference titles, students will be asked to log in using their Whitman ID and password.
They will then be authenticated as a Whitman user and will be able to use all of our electronic resources.
With any questions or problems once abroad, please contact the Off-Campus Studies Office or the Penrose Library for assistance.


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Q: recover flash drive (no need to recover files) I was writing a file of 4GB on my flash drive. The process made the whole system slow so I restarted system and found that the drive works no longer.
I Don't need to recover it's contents I only want to make it working once more
wnen Gparted is first executed it shows dialog box with
input/output error during read on /dev/sdd

I click on ignore. And when I click On information  it shows following
Model:    JetFlash Transcend 16GB
Size:     14.71 GiB
Path:     /dev/sdd

Partitioin Table :unrecognized
Heads:            255
Sectors :          63
...

When I try to create new partitioin table it again alerts input/output error during read on /dev/sdd
When The drive is inserted in usb port the system log is:
Feb  8 00:41:47 Bhattarai kernel: [ 1579.729681] Read(10): 28 00 00 00 00 00 00 00 08 00
Feb  8 00:41:47 Computer kernel: [ 1579.731114] sd 8:0:0:0: [sdd] Device not ready
Feb  8 00:41:47 Computer kernel: [ 1579.731117] sd 8:0:0:0: [sdd]
Feb  8 00:41:47 Computer kernel: [ 1579.731118] Result: hostbyte=DID_OK driverbyte=DRIVER_SENSE
Feb  8 00:41:47 Computer kernel: [ 1579.731120] sd 8:0:0:0: [sdd]
Feb  8 00:41:47 Computer kernel: [ 1579.731122] Sense Key : Not Ready [current]
Feb  8 00:41:47 Computer kernel: [ 1579.731124] sd 8:0:0:0: [sdd]
Feb  8 00:41:47 Computer kernel: [ 1579.731127] Add. Sense: Medium not present
Feb  8 00:41:47 Computer kernel: [ 1579.731129] sd 8:0:0:0: [sdd] CDB:
Feb  8 00:41:47 Computer kernel: [ 1579.731130] Read(10): 28 00 00 00 00 00 00 00 08 00

I tried mktable form sudo parted /dev/sdd I again get Input/Output error while writing on /dev/sdd

A: If even
dd if=/dev/zero of=/dev/sdd

is giving you an I/O error, your USB stick is broken: throw it away and buy a new one.
Sorry to be the harbinger of bad news. :-(


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Baltimore & Towson Lawyer Discusses Voluntary Impoverishment
Written by Amar Weisman » December 16, 2015 »
When it comes to the payment of child support in Maryland, the law is clear: Parents who are capable of earning income and contributing to the support of their child or children must provide such support. Still, there are occasions when a parent will attempt to avoid his or her financial obligations to the child by quitting a job or taking a job that is well below his or her capabilities and/or normal pay grade. This is where a discussion of voluntary impoverishment becomes necessary.
In fact, your Towson family law attorney will tell you that the court in the 1993 case of Goldberger v. Goldberger found "voluntary impoverishment" to be when an individual has made a "free and conscious choice, not compelled by factors beyond his or her control, to render himself or herself without adequate resources." In a different case, the Maryland Court of Appeals had included a requirement that the act "to reduce oneself to poverty" had to be done "with the intention of avoiding child support or spousal obligations."
In 1995, that requirement was found by the court to be too narrow, and instead, the court specified that a parent who has become impoverished by choice is "voluntarily impoverished" regardless of the parent's intent with respect to his or her child support obligations.
Intent is Still Relevant to the Court
When determining whether or not a parent has become voluntarily impoverished, the court will consider several factors, as well as the party's intentions with respect to his or her support obligations because all of that information is relevant to the case. Such factors include the parent's education level, current physical condition, the relationship between the parties prior to the divorce being initiated, the efforts made by the parent to find and keep employment and the timing of any change in employment or financial circumstances, among other things.
To be clear, intent is not a requirement when looking at whether a person is seeking to avoid his or her support obligations. In fact, the difficulty for courts often arises in cases that involve other reasons for a reduction of income. Even in cases where a parent directly (or indirectly) caused their income to fall or he or she reduces his or her work hours on purpose, the court will likely not find that parent to be voluntarily impoverished unless the main objective or purpose of the parent's actions was to make as little money as possible – far less than they are capable of making.
If you have a Baltimore County or Middle River family law case, questions or concerns about voluntary impoverishment, do not hesitate to contact the Law Offices of Amar Weisman, LLC as soon as possible to discuss the specifics of your case.
Call For a Free Consultation With a Catonsville & Towson Family Law Lawyer
Call The Law Offices of Amar S. Weisman at (410) 321-4994 to schedule a Free Consultation. The Purpose of the consultation is to determine whether you want to retain this law firm as your Baltimore & Towson Family Lawyer. If you do wish to proceed, then you must pay a retainer. See Our Policy on Fees and Costs. The family firm is located next to The Circuit Court for Baltimore County, at 1018 Dulaney Valley Road, Towson, MD 21204.