text:
Deception XVIII: THE MOTHER
Monday, 11-23-09
In the midst of all this talk about the end times, make no mistake about it--as noted by Dr. Alberto Rivera, former Roman Catholic Jesuit priest, there is only one conspiracy and one conspirator.
The conspiracy: One world government wielding complete control over every single person both spiritually (over your whole soul) and temporally (over all your earthly goods and possessions).
The conspirator: MYSTERY, BABYLON THE GREAT, THE MOTHER OF HARLOTS AND ABOMINATIONS OF THE EARTH (Rev. 17:5).
Through the centuries, men have witnessed of this conspiracy and this conspirator. And although there has been a ruthless suppression of their voices through the ages, their voices still resound.
Our late fellowsoldier Dr. Alberto Rivera, a former Roman Catholic Jesuit priest, tore the lid off of the garbage can for our generation as he exposed the great whore of Revelation 17 and gave keys for understanding what has been going on in the earth. Listen to him preach and teach.
And there are other witnesses...
King James VI & I has a message that Rome does not want you to hear by the king whose name is on the Authorized--King James--Version of the holy scriptures (1616)
Foreign Conspiracy Against the Liberties of the United States written by Samuel Morse (inventor of Morse Code) (1835)
(books.google.com)
Awful Disclosures by Maria Monk former nun escaped from convent horrors (1851)
Auricular Confession and Popish Nunneries by William Hogan, converted priest (1854)
The Priest, the Woman and the Confessional by Charles Chiniquy, converted priest (1880)
Fifty Years in the Church of Rome by Charles Chiniquy (1885)
The Black Pope: A History of the Jesuits by M.F. Cusack (1896)
Thirty Years in Hell by Bernard Fresenborg, converted priest (1904)
Sis. Charlotte Wells coverted nun escaped from convent horrors (c. 1950)
The Secret History of the Jesuits by Edmond Paris (translated from the French 1975)
ISBN: 0-937958-10-7. chick.com
Dr. Alberto Rivera exposes the great whore of Revelation 17 through his written testimony in cartoon book format (1979)
http://www.chick.com/reading/comics/0112/albertoindex.asp
Smokescreens (1983)
(http://www.chick.com/reading/books/153/153cont.asp)
The Vatican's Holocaust by Avro Manhattan (1986)
Library of Congress Catalog Card No. 86-062016
A Woman Rides the Beast by David Hunt (1994)
Antichrist in our Midst by Rand Winburn (c. 1997)
Protestant Reformation Publications
The Antichrist Slideshow (2000)
The Secret Terrorists, Bill Hughes (c. 2002)
(author may be a Seventh Day Adventist (a group founded by false prophetess Ellen White), but the book contains key historical information, could be found in paperback (maybe on Amazon) and online for free.)
Vatican Assassins: "Wounded In The House Of My Friends" by Eric Jon Phelps (2007)
ISBN: 978-0-9793734-1-1 (do not agree with author's racialist views in prefatory materials, however the work is dense in content and wide in historical scope. Can be purchased in hardcover or on CD (hardcover may come with free CD))
In these last days, we may talk about the proliferation of the new age movement, the welfare state, the menace of Islam (http://www.jihadwatch.org/2008/03/here-is-fitna.html), the sodomites, the hijacking of the food supply, crime, drugs, false religion, the open destruction of western civilization, corrupt politicians, debt, the "federal" reserve, the deplorable state of education (a chief indoctrination tool, (http://www.crossroad.to/Books/BraveNewSchools/Contents.html), sugar addiction, etc. but these are only offspring. Revelation 17 teaches that there is a MOTHER OF HARLOTS AND ABOMINATIONS OF THE EARTH. No matter what abominations you encounter or consider, never forget the Mother (and never forget the love of money, for it is the root of all evil).
"...spirituall Babylon...the mother of the whoredomes and the abhominations of the earth; for from her shall proceed the greatest, and in a maner, the onely chiefe abuses and heresies...and as a mother, she shall not onely breede but shall be the chiefe nourisher and maintainer of [abuses and heresies]. And this is called a mysterie, because although this abuse shall be publike, as is signified by being written on her forehead, yet none shall consider the abuse thereof, but onely such, whose eyes it shall please God to illuminate for that effect."
--King James VI & I
A Paraphrase Upon the Revelation
The Workes of the Most High and Mightie Prince James, p. 54
Revelation 17:1 teaches that the Mother is a great whore. Like all whores, she has lovers, many of them. Revelation 17:2 teaches that the kings of the earth have committed fornication with her. Behind closed doors, she does things for them and they do things for her. She has money, delicacies, power, and hordes of subjects in their countries. She can provide things. The kings have armies, laws, jails, and institutions that she can use--history shows that they can and have helped her to achieve goals of worldwide domination. A quick look at the Crusades and the Inquisitions and the papal encyclicals reveals that fact. Revelation 17:8 teaches that the Mother is a city, a great city, which reigneth over the kings of the earth--history reveals kings and nations prostrated before her while today's headlines and photographs show that she is still active and on the move with the kings of the earth. The Mother has long claimed spiritual and temporal authority in the earth...a quick look at current events shows her active in both spheres (spiritual and temporal)--whether she is ecumenical dialoguing, interfaith dialoguing, analyzing declarations, sitting in the United Nations as a "permanent observer", being a signatory of the "Montreal Protocol" (an international treaty) as the "Holy See", etc.
Those with ears to hear can hear and see the Mother's works through the centuries. Men and women have left on record what she has done in the earth and what her strategems have been as she has sought out supreme spiritual and temporal power in the earth.
The Bible teaches that the Mother is drunken with the blood of the saints (Rev. 17:6). The Bible also teaches that she makes the inhabitants of the earth drunk with the wine of her fornication (Rev. 17:2)--her false doctrines, her idols, her bread, her circuses, her sorceries (Revelation 18:23), her knights, her trappings (buildings, jewels, garments, silks, gold, diamonds, pearls, purple, scarlet, statues, retinues, schools, universities, souls of men that follow her, her artwork, holdings, priestcraft, etc...), her great age and her worldwide scope. She makes the nations drunk--insensible to reality. Drunk people can't see the truth, drunk people can't hear the truth. They are too intoxicated by the works of this ubiquitous whore; this Mother of harlots and abominations of the earth. It's easy to fool a drunk person and today she has the masses so drunk and programmed that as soon as you mention her Inquisitions, Crusades, recusancy, parricides, concordats, false doctrines, crimes against mankind, forcible conversions, pestilent Jesuits, profligate popes and priests, and sordid history, the drunk cry out, "Anti-Catholic!" and, "Intolerant!" Drunk, drunk, drunk. So drunk and deluded that the truth looks like a hallucination.
Revelation 17:2 With whom the kings of the earth have committed fornication, and the inhabitants of the earth have been made drunk with the wine of her fornication.
Revelation 17:6 And I saw the woman drunken with the blood of the saints, and with the blood of the martyrs of Jesus: and when I saw her, I wondered with great admiration.
Revelation 18:3 For all nations have drunk of the wine of the wrath of her fornication, and the kings of the earth have committed fornication with her, and the merchants of the earth are waxed rich through the abundance of her delicacies.
One must receive the love of the truth to be awakened from this profound stupor, from this drunkenness. One must carefully follow the words and teachings of the Lord Jesus Christ in order to be freed and released from this cruel bondage. That means getting out of any false church you belong to--whether Catholic or dispensationalist Baptist or Seventh Day Adventist, etc. That means getting rid of your fake Bibles (NIV, NASV, etc. ) for the Authorized (King James) Version. Do what you must to get your children out of their schools and teach them yourself at home via a Biblical scholarship. One must leave behind the bread and circuses (like television) of the dead in order to live the life of one of the despised, persecuted ones that follow the words of the Master. Otherwise, one remains a drunk, blind, miserable wretch all the way into hell and the lake of fire where he will be joined by the Mother, other rebels, the devil, and his angels.
Revelation 17:3 So he carried me away in the spirit into the wilderness: and I saw a woman sit upon a scarlet coloured beast, full of names of blasphemy, having seven heads and ten horns.
6 And I saw the woman drunken with the blood of the saints, and with the blood of the martyrs of Jesus: and when I saw her, I wondered with great admiration.
PURPLE -->
Cassok (also Soutane)
The close-fitting, ankle-length robe worn by the CATHOLIC CLERGY as their OFFICIAL GARB. . .The COLOR FOR BISHOPS AND OTHER PRELATES IS PURPLE, for cardinals scarlet. . . [Our Sunday Visitor's Catholic Encyclopedia as quoted in A Woman Rides the Beast, by Dave Hunt, page 74; emphases ours] SCARLET -->
The close-fitting, ankle-length robe worn by the CATHOLIC CLERGY as their OFFICIAL GARB. . .The COLOR for bishops and other prelates is purple, FOR CARDINALS SCARLET. . . [Our Sunday Visitor's Catholic Encyclopedia as quoted in A Woman Rides the Beast, by Dave Hunt, page 74; emphases ours]
GOLD, PRECIOUS STONES, PEARLS -->
"...After an indiscreet remark by their press spokesman this week, church authorities agreed to reveal part of the collection [our note: of the treasure of Lourdes, France]...[some] floor-to-ceiling cases were opened to reveal 59 solid GOLD chalices alongside rings, crucifixes, statues and heavy GOLD brooches, many encrusted with PRECIOUS STONES.
"Almost hidden by the other treasures is the 'Crown' of Notre Dame de Lourdes, made by a Paris GOLDsmith in 1876 and studded with DIAMONDS. [The treasure described here is only part of that which is kept in one location, the small town of Lourdes, France!]" [The European, April 9-12, 1992, p. 1. as quoted in A Woman Rides the Beast, pages 76-77; emphases ours]
"The cathedral in Saragossa has a statue of Our Lady of the Pillar which wears clothing. It has a crown made of 25 pounds of gold and diamonds, with so many diamonds that you can hardly see the gold. It addition, it has six other crowns of gold, diamonds, and emeralds. It has 365 mantles, embroidered with gold and covered with roses of diamonds and other precious stones. It has 365 necklaces of pearls and diamonds, and six chains of gold set with diamonds. The cathedral has another stature of Mary which is five feet high, made of pure silver set with precious stones, with a diamond-studded crown of pure gold. [Note 6] [6. Dave Hunt, "A Woman Rides the Beast," (Eugene, Oregon: Harvet House Publishers, 1994), pages 239-240.]" [The Spirit of Roman Catholicism by Mary Ann Collins, former Roman Catholic nun, html p. 60] GOLDEN CUP -->
"...After an indiscreet remark by their press spokesman this week, church authorities agreed to reveal part of the collection [our note: of the treasure of Lourdes, France]...[some] floor-to-ceiling cases were opened to reveal 59 SOLID GOLD CHALICES alongside..." [The European, April 9-12, 1992, p. 1. as quoted in A Woman Rides the Beast, pages 76; emphases ours]
"The Roman Catholic Church possesses many thousands of SOLID GOLD CHALICES kept in its churches around the world." [A Woman Rides the Beast, page 74; emphases ours]
CHALICE, n. A CUP, bowl; usually, a communion cup. (Webster's 1828 Dictionary; emphases ours)
Revelation 18: 4-5 And I heard another voice from heaven, saying, Come out of her, my people, that ye be not partakers of her sins, and that ye receive not of her plagues. For her sins have reached unto heaven, and God hath remembered her iniquities.
Deception XIX: Why is the great whore called, "Babylon"?
The Deception Series Index


NewTek Discussions > LightWave 3D Support > LW - Mac > New FPrime!
View Full Version : New FPrime!
I can´t wait to put this one to use, finally getting both CPUs to work on my scene!
I can't find the 1.5 upgrade link...is it hidden?
The link is in the e-mail sent to you with your original invoice for F-prime.
I have updated to Fprime 1.5 on my G5 Dual 2Ghz.
I am working on a rather render intensive scene and my last render took 5 days to reach level 30 on Fprime, with the upgrade I got to level 7,5 in one hour!!
A few days ago I was thinking: "This scene is quite nice, what a pitty I will never be able to render it with a camera move...", with Fprime 1.5 that has changed!
It is way way way faster..
Both processors are at full use!
At what speed is a dual athlon 2400+ running? is that 2.4 Ghz?
they did that test with radiosity_box.lws and got 1 min 16" out of that machine.
I have a dual 2.0 G5 and it took me 2 min 5" to complete.
Still, 2 min 5" is not bad, but still 60% slower than the athlon.
I did only a fast test, I had some apps open in the background and stuff.. but don't know how much it will make. Maybe will test it again soon.
No, they're running at 2.0GHz and have 256kb L2 Cache.
i don't have FPrime, but the Worley site says it FPrime performs better in render mode, so did you test it in render mode?
Yes, I did render it in render mode. I used the Fprime standard monte carlo radiosity, 1 bounce, 100% intensity. I choose render to level 5, just like the worley test.
This time I did switched off all other apps.
similiar result here: on a double G5, 1.8 ghz powermac the radiosity_box scene rendered in 2 min 5 sec! all default settings, fprime render mode set to montecarlo, 1 bounce, 5 passes.
now, if you do a simple math dividing 2.4/1.8 ghz and multiplying the result it's getting pretty close. compared to the same ghz rate, the mac uses only 7 seconds more time.
I have 4GIGs of RAM and I got an out of RAM message while rendering. A 30x16cm 300dpi image.
Anyone else getting similar crash.
By the way apart from this one thing, FPrime still rocks.
Also did another test: The new lighting quality setting in the Fprime master setup.
The difference is offcourse noticable, but the .3 gives still a very good render quality for about a 40% faster render!
Can anyone please explain to mt if you have more than one computer on a network (MAC) if FPrime picks up the process power available, and helps to increase the Render.
Or do you have to do anything to tell it to use the extra nodes.
According to the "what's new" at worley.com it seems to me that it does not support multiple rendernodes.
It does support multiprocessor, multicore processors and hypertreading on Pentiums. But not multiple nodes and stuff.
Thought it might be similar to Apples - Logic Pro - which automatically finds free processors anywhere on a network. Without having to set up anything.
It uses its core Rendevous system to allow the machines to talk to each other and Logic Pro just threads them all together when it needs extra processing Power.
With no extra work to the user.
No, that's distributing rendering via X-grid technology.. whish LW would use this technology. Multithreading means that one app can make different 'packages' of one assignment and give them to 2 processors in your computer. If an app is not multithreaded, the other processor in your computer is a waste of money. It's just asleep waiting for work.
Worley managed to make FPrime 1.5 multithreaded and all the dualCPU people now have about double the speed on their same computer.
Worley managed to double the speed for EVERYONE. But threading was added in addition, so dual CPU people now have about FOUR times the speed as before.
Had a question, tho...on worley's site, it says that 1.5 "now does a better job degraining," (Than version 1).
I am noticing actually a bit more grain and grit..wonder if anyone else is seeing this.
What I'm seeing sort of looks like what you get when you sprinkle salt into a wet area in a watercolor painting.
Hmm, actually its slower than before here. If you use a higher lighting quality to get the same result as with the old FPrime, rendering took longer than before. If you can live with the "Salt", its obviously faster.


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Art & Architecture » Search: *
Art & Architecture(57)
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Ignaz Guenther
directed by Reiner Moritz, 1938-; produced by Reiner Moritz, 1938-, RM Arts (Halle, Saxony-Anhalt: Monarda Arts, 1992), 10 mins
Some of the greatest names in the history of German art are featured in this series of ten-minute films. Visiting galleries throughout Germany to focus on key oeuvres, these finely-focused vignettes summarise the lives and work of the featured artists, including contributions from leading art historians and drawin...
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Some of the greatest names in the history of German art are featured in this series of ten-minute films. Visiting galleries throughout Germany to focus on key oeuvres, these finely-focused vignettes summarise the lives and work of the featured artists, including contributions from leading art historians and drawing on archive documentation. Mathis Grünewald Caspar David Friedrich Lucas Cranach Ignaz Günther Hans Holbein Albrecht Altdorfer Johan... Some of the greatest names in the history of German art are featured in this series of ten-minute films. Visiting galleries throughout Germany to focus on key oeuvres, these finely-focused vignettes summarise the lives and work of the featured artists, including contributions from leading art historians and drawing on archive documentation. Mathis Grünewald Caspar David Friedrich Lucas Cranach Ignaz Günther Hans Holbein Albrecht Altdorfer Johann Tischbein Otto Dix Ernst Barlach Käthe Kollwitz Show more Show less
Reiner Moritz, 1938-, RM Arts
Reiner Moritz, 1938-
Monarda Arts
Horst Sachtleben, 1930-, Thomas Reiner, 1959-
Horst Sachtleben, 1930-, Thomas Reiner, 1959-, Ignaz Günther, 1725-1775
Painters, Paintings, Artists
Copyright Message
Copyright © 1992 Monarda Arts
directed by Robin Lough, fl. 1975; produced by Christopher Martin, fl. 1982-2009, British Broadcasting Corporation (Halle, Saxony-Anhalt: Monarda Arts, 1978), 56 mins
With his seemingly naïve, symbolic paintings, Joan Miró formed a new artistic language in the 20th century. Brought up in Barcelona, the painter, graphic artist and sculptor was drawn to Paris and, under the influence of the surrealists, developed his unique style and poetic imagery that unite Catalan folk art a...
With his seemingly naïve, symbolic paintings, Joan Miró formed a new artistic language in the 20th century. Brought up in Barcelona, the painter, graphic artist and sculptor was drawn to Paris and, under the influence of the surrealists, developed his unique style and poetic imagery that unite Catalan folk art and fantastic elements. Robin Lough followed the 85-year-old Miró to theatre rehearsals and went to see him in his studio on Majorca. T... With his seemingly naïve, symbolic paintings, Joan Miró formed a new artistic language in the 20th century. Brought up in Barcelona, the painter, graphic artist and sculptor was drawn to Paris and, under the influence of the surrealists, developed his unique style and poetic imagery that unite Catalan folk art and fantastic elements. Robin Lough followed the 85-year-old Miró to theatre rehearsals and went to see him in his studio on Majorca. There he met with an amazingly creative and disciplined artist, whose visionary pictures paved the way for abstract expressionism. Show more Show less
Christopher Martin, fl. 1982-2009, British Broadcasting Corporation, Roland Penrose, 1900-1984
Robin Lough, fl. 1975
Roland Penrose, 1900-1984
Joan Miró, 1893-1983
Leaving Home, Coming Home: A Portrait of Robert Frank
directed by Gerry Fox; produced by Gerry Fox, Granada Film Productions (Halle, Saxony-Anhalt: Monarda Arts, 2004), 1 hour 26 mins
Completed in 2004, Leaving Home, Coming Home: A Portrait of Robert Frank was the first ever feature-length documentary about the legendary Swiss-American photographer and filmmaker. Originally deemed too personal to be shown widely, the film has just been authorized by Frank for theatrical release. Shot in cinema-...
Completed in 2004, Leaving Home, Coming Home: A Portrait of Robert Frank was the first ever feature-length documentary about the legendary Swiss-American photographer and filmmaker. Originally deemed too personal to be shown widely, the film has just been authorized by Frank for theatrical release. Shot in cinema-verité style between New York and Nova Scotia, where Frank now lives, the film captures Frank reflecting on a lifetime of image making... Completed in 2004, Leaving Home, Coming Home: A Portrait of Robert Frank was the first ever feature-length documentary about the legendary Swiss-American photographer and filmmaker. Originally deemed too personal to be shown widely, the film has just been authorized by Frank for theatrical release. Shot in cinema-verité style between New York and Nova Scotia, where Frank now lives, the film captures Frank reflecting on a lifetime of image making that most famously produced "The Americans," probably the most influential photographic book of the last sixty years. From the Lower East Side to Coney Island, Frank revisits places where he lived and photographed, unsentimentally yet humorously noting the erosion of the New York he once knew. He recalls his collaborations with the Beat generation, including his film Pull my Daisy, narrated by Jack Kerouac, as well as his infamous Cocksucker Blues with The Rolling Stones. Affectionate conversations with Frank's second wife, the vibrant artist June Leaf, reveal decades of closeness, creative exchange and support through the intense tragedies of Frank's life. In rare moments of vulnerability, Frank speaks movingly about these tragedies and his attempts to cope through his deeply personal photography and films. Unembellished and unflinching, this portrait captures the life and art of one of the most significant and uncompromising artists of the 20th century. Show more Show less
Gerry Fox, Granada Film Productions
Gerry Fox
Robert Frank, 1924-
Biographies, Film and filmmaking careers, Photographers, Photography
Marc Quinn - Making Waves
directed by Gerry Fox; produced by Gerry Fox, Foxy Films (Halle, Saxony-Anhalt: Monarda Arts, 2014), 1 hour 23 mins
Filmed all over the world, Making Waves takes the viewer on a roller coaster ride of Quinn's hectic life as he travels from openings and exhibitions of his work to studios and workshops where he conceives and creates his work. The viewer becomes a fly on the wall as he attends the unveiling of his giant bronze s...
Filmed all over the world, Making Waves takes the viewer on a roller coaster ride of Quinn's hectic life as he travels from openings and exhibitions of his work to studios and workshops where he conceives and creates his work. The viewer becomes a fly on the wall as he attends the unveiling of his giant bronze seashells – The Archaeology of Art – in New York; in Venice where he oversees the reworking of his famous Alison Lapper sculpture (t... Filmed all over the world, Making Waves takes the viewer on a roller coaster ride of Quinn's hectic life as he travels from openings and exhibitions of his work to studios and workshops where he conceives and creates his work. The viewer becomes a fly on the wall as he attends the unveiling of his giant bronze seashells – The Archaeology of Art – in New York; in Venice where he oversees the reworking of his famous Alison Lapper sculpture (that graced the Fourth Plinth in Trafalgar Square and opened the London 2012 Paralympics) and in Hong Kong and Istanbul where his work, including the notorius 'Self' (a model of Quinn's head made of his own blood) is exhibited to a delighted audience of collectors and fans. We follow Marc to London and the showing of his giant bronze orchid at the 2013 Chelsea Flower Show and to his new 2015 show at the White Cube, Bermondsey. Show more Show less
Gerry Fox, Foxy Films
Marc Quinn, 1964-
Masterworks: Collections in Prague, Master Theodoricus: St George, Oil on Wood
directed by Reiner Moritz, 1938-; produced by RM Arts, in Masterworks: Collections in Prague (Halle, Saxony-Anhalt: Monarda Arts, 1985), 10 mins
1000 Masterpieces from the Great Museums of the World is one of the most successful TV series about art. The original, with improved image quality, takes us on a fascinating journey through the history of art. Comprehensively illustrated and compellingly presented – the well-known authors of fi ve short art surv...
1000 Masterpieces from the Great Museums of the World is one of the most successful TV series about art. The original, with improved image quality, takes us on a fascinating journey through the history of art. Comprehensively illustrated and compellingly presented – the well-known authors of fi ve short art surveys provide a deeper insight into the masterpieces of painting.With a history of more than 200 years the National Gallery in Prague is... 1000 Masterpieces from the Great Museums of the World is one of the most successful TV series about art. The original, with improved image quality, takes us on a fascinating journey through the history of art. Comprehensively illustrated and compellingly presented – the well-known authors of fi ve short art surveys provide a deeper insight into the masterpieces of painting.With a history of more than 200 years the National Gallery in Prague is considered as one of the most important art museums of Bohemia, which contains a large number of artworks from national and foreign artists. This DVD gives an insight into the Bohemian art and presents artworks of famous painters like the master of Bohemian baroque painting Brandl, the portrait painter Kupecký, the Gotic court painter Teodoricus, the pioneer of abstract painting Kupka as well as Mucha, the representative of the Art Nouveau. Show more Show less
RM Arts, Tim Hardy
Masterworks: Collections in Prague
Met Het Oog Op Rembrandt
directed by George Hulshof and Kees van Langeraad (Halle, Saxony-Anhalt: Monarda Arts, 1991), 54 mins
Scientific methods of verifying works of art have drastically reduced the number of paintings attributed to Rembrandt (1606-1669). Many canvases, hitherto believed to be by the hand of the Master, are now thought to be the work of artists who learnt their craft in his studio by copying his style. The film is a fas...
Scientific methods of verifying works of art have drastically reduced the number of paintings attributed to Rembrandt (1606-1669). Many canvases, hitherto believed to be by the hand of the Master, are now thought to be the work of artists who learnt their craft in his studio by copying his style. The film is a fascinating study of modern scientific techniques, a comprehensive art historical view of Rembrandt's work over the centuries and a reaf... Scientific methods of verifying works of art have drastically reduced the number of paintings attributed to Rembrandt (1606-1669). Many canvases, hitherto believed to be by the hand of the Master, are now thought to be the work of artists who learnt their craft in his studio by copying his style. The film is a fascinating study of modern scientific techniques, a comprehensive art historical view of Rembrandt's work over the centuries and a reaffirmation of his genius. Show more Show less
George Hulshof, Kees van Langeraad
Olafur Eliasson Interview
directed by Jan Schmidt-Garre, 1962-; produced by Jan Schmidt-Garre, 1962-, Pars Media; interview by Adrian Searle, 1953- (Halle, Saxony-Anhalt: Monarda Arts, 2005), 1 hour 1 mins
A portrait of the Danish artist Olafur Eliasson. The film introduces Eliasson's work and aesthetic theories as it documents one of his largest exhibitions ever, "Notion Motion", at the Boijmans van Beuningen in Rotterdam. An excursus examines Hans Richter and his abstract film "Rhythm 21" made in 1921.Since th...
A portrait of the Danish artist Olafur Eliasson. The film introduces Eliasson's work and aesthetic theories as it documents one of his largest exhibitions ever, "Notion Motion", at the Boijmans van Beuningen in Rotterdam. An excursus examines Hans Richter and his abstract film "Rhythm 21" made in 1921.Since the early 1990s Olafur Eliasson (*1967), who grew up in Copenhagen, has built up an amazing œuvre consisting of rainbows, sunsets, water... A portrait of the Danish artist Olafur Eliasson. The film introduces Eliasson's work and aesthetic theories as it documents one of his largest exhibitions ever, "Notion Motion", at the Boijmans van Beuningen in Rotterdam. An excursus examines Hans Richter and his abstract film "Rhythm 21" made in 1921.Since the early 1990s Olafur Eliasson (*1967), who grew up in Copenhagen, has built up an amazing œuvre consisting of rainbows, sunsets, waterfalls, scent walls, mist, shafts of light, and periscopes. His work navigates between natural phenomena and technology. Eliasson's work makes the spectator aware of his perception; it makes, as it were, the perception tangible. Show more Show less
Jan Schmidt-Garre, 1962-, Pars Media
Jan Schmidt-Garre, 1962-, Adrian Searle, 1953-
Olafur Eliasson, 1967-
Art criticism, Visual artists
directed by Chris Granlund; produced by Alex Graham, 1953-, RM Arts and British Broadcasting Corporation (Halle, Saxony-Anhalt: Monarda Arts, 1996), 48 mins
Rushdie's novel The Moor's Last Sigh culminates in the search for a portrait that has been painted over. His starting point for the book was his interest in a real lost portrait – one of his mother, painted some fifty years ago. Unfolding a tale as fabulous as Rushdie's fiction, this programme travels to India i...
Rushdie's novel The Moor's Last Sigh culminates in the search for a portrait that has been painted over. His starting point for the book was his interest in a real lost portrait – one of his mother, painted some fifty years ago. Unfolding a tale as fabulous as Rushdie's fiction, this programme travels to India in search of this painting. Meanwhile, in London, the author talks about The Moor's Last Sigh and the extraordinary conditions in which... Rushdie's novel The Moor's Last Sigh culminates in the search for a portrait that has been painted over. His starting point for the book was his interest in a real lost portrait – one of his mother, painted some fifty years ago. Unfolding a tale as fabulous as Rushdie's fiction, this programme travels to India in search of this painting. Meanwhile, in London, the author talks about The Moor's Last Sigh and the extraordinary conditions in which it was written. As he speaks, he himself is being painted by Bhupen Khakar, one of his favourite Indian artists. Show more Show less
Alex Graham, 1953-, RM Arts, British Broadcasting Corporation
Chris Granlund
Sir Salman Rushdie, 1947-, Ben Kingsley, 1943-, Krishen Khanna, 1925-
Paintings, Writers
Sonia Delaunay: Electric Prisms, 1, Masterworks: Centre Georges Pompidou, Paris
in Sonia Delaunay: Electric Prisms, 1 (Halle, Saxony-Anhalt: Monarda Arts, 1985), 10 mins
"Sonia Delaunay painted this picture at the age of 29 in 1914, shortly before the outbreak of the First World War. She painted it in Paris, and it is still there, hanging with other modern works in the galleries of the Beaubourg. It is a large picture, enlivened with clear, bold colours and dominated by circular...
"Sonia Delaunay painted this picture at the age of 29 in 1914, shortly before the outbreak of the First World War. She painted it in Paris, and it is still there, hanging with other modern works in the galleries of the Beaubourg. It is a large picture, enlivened with clear, bold colours and dominated by circular forms made up of rings and blocks…"
Sonia Delaunay: Electric Prisms
Vincent Van Gogh, 4, Part 4: Arles, 1888
in Vincent Van Gogh, 4 (Monarda Arts, 2009), 28 mins
This documentary investigates the complete story of Van Gogh's life and work: from his childhood in Brabant, through his laborious years of apprenticeship in Nuenen and artistic coming-of-age in Paris to the exhilarating peak of his career in the south of France. This film contains unique footage of the places i...
This documentary investigates the complete story of Van Gogh's life and work: from his childhood in Brabant, through his laborious years of apprenticeship in Nuenen and artistic coming-of-age in Paris to the exhilarating peak of his career in the south of France. This film contains unique footage of the places in Europe where Van Gogh lived and worked: in the Netherlands, Belgium and France. Experts at the Van Gogh Museum provide insight into V... This documentary investigates the complete story of Van Gogh's life and work: from his childhood in Brabant, through his laborious years of apprenticeship in Nuenen and artistic coming-of-age in Paris to the exhilarating peak of his career in the south of France. This film contains unique footage of the places in Europe where Van Gogh lived and worked: in the Netherlands, Belgium and France. Experts at the Van Gogh Museum provide insight into Vincent's sources of inspiration and use his letters to show how he struggled to become a truly modern artist. The documentary contains all of the artist's masterpieces as well as numerous lesser-known paintings and sketches. Show more Show less
Art & ArchitectureAll of Alexander Street

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A visit to the doctor and scary feedback on where I am heading, made me realise I was cruising for a bruising. That which I had done over the previous 5 years wasn't enough. Of course I know, it takes time, but I'm 50 for heavens sake! I don't have time! Was it too late? My kids are still young! There's so much to do every day. School, sport, husband, home. Never could I have dreamed that being a woman, mom and wife could be so demanding! I wish someone could have prepared me for this but as you well know, nothing anyone would have said could really prepare one for this.
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text:
During the interwar years, both in Britain and Germany, some believed that bombers could expand the battlefield to the home front of their opponents, damaging morale and disrupting the means of production.
BOMBER UNITS OF THE LUFTWAFFE 1933-1945 Vol. 2 quantity
SKU: CC-293 Categories: Air Combat Books, Classic-Midland
BOMBER UNITS OF THE LUFTWAFFE 1933-1945: A Reference Source Volume 2
by Henry L. de Zeng IV & Douglas G. Stankey
During the interwar years, both in Britain and Germany, some believed that bombers could expand the battlefield to the home front of their opponents, damaging morale and disrupting the means of production. The German Blitzkrieg relied heavily on the Luftwaffe's bomber force. From Spain to Barbarossa, the integration of the Kampfflieger forces into the overall strategy proved highly successful. However, once Germany was forced on the retreat, the tactics of the Luftwaffe's bomber forces changed from offensive to defensive actions.
This book's authors are well-known and highly respected as experts in their field and have spent some 20 years compiling this most comprehensive, detailed history and listing of all the Luftwaffe's bomber units. Both volumes cover some of the 50 bomber Geschwader, together with their component Staff flights and Gruppen. The books cover pre-war formation, designation and reorganization, and continue through to the end of the war, with locations, bases, and transfers together with an exhaustive breakdown of theatres of operations, key battles and missions flown, and aircraft types that were flown by each unit. In addition there are comprehensive listings of unit commanders and when – and often where – they were in command.
Profusely illustrated with a large number of previously unpublished photographs depicting bomber aircraft in their unit markings with, wherever possible, close-ups of the unit emblems and badges, of which many are color. In addition, the book contains unique photographs of many of the unit commanders.
Each volume: 9 x 12″; 208 pages; 400 b/w and color photos; Hardcover
WAR PRIZES: THE ALBUM
UK Airfields of the Ninth
Luftwaffe Fighter-Bombers Over Britain
Luftwaffe Fighters' Battle of Britain


Quantum dots embedded within nanowires represent one of the most promising technologies for applications in quantum photonics. Whereas the top-down fabrication of such structures remains a technological challenge, their bottom-up fabrication through self-assembly is a potentially more powerful strategy. However, present approaches often yield quantum dots with large optical linewidths, making reproducibility of their physical properties difficult. We present a versatile quantum-dot-in-nanowire system that reproducibly self-assembles in core–shell GaAs/AlGaAs nanowires. The quantum dots form at the apex of a GaAs/AlGaAs interface, are highly stable, and can be positioned with nanometre precision relative to the nanowire centre. Unusually, their emission is blue-shifted relative to the lowest energy continuum states of the GaAs core. Large-scale electronic structure calculations show that the origin of the optical transitions lies in quantum confinement due to Al-rich barriers. By emitting in the red and self-assembling on silicon substrates, these quantum dots could therefore become building blocks for solid-state lighting devices and third-generation solar cells.
The quest for materials capable of realizing the next generation of electronic and photonic devices continues to fuel research on the electronic, optical and vibrational properties of graphene. Few-layer graphene (FLG) flakes with less than ten layers each show a distinctive band structure. Thus, there is an increasing interest in the physics and applications of FLGs. Raman spectroscopy is one of the most useful and versatile tools to probe graphene samples. Here, we uncover the interlayer shear mode of FLGs, ranging from bilayer graphene (BLG) to bulk graphite, and suggest that the corresponding Raman peak measures the interlayer coupling. This peak scales from similar to 43 cm(-1) in bulk graphite to similar to 31 cm(-1) in BLG. Its low energy makes it sensitive to near-Dirac point quasiparticles. Similar shear modes are expected in all layered materials, providing a direct probe of interlayer interactions.
The solvation model proposed by Fattebert and Gygi [J. Comput. Chem. 23, 662 (2002)] and Scherlis et al. [J. Chem. Phys. 124, 074103 (2006)] is reformulated, overcoming some of the numerical limitations encountered and extending its range of applicability. We first recast the problem in terms of induced polarization charges that act as a direct mapping of the self-consistent continuum dielectric; this allows to define a functional form for the dielectric that is well behaved both in the high-density region of the nuclear charges and in the low-density region where the electronic wavefunctions decay into the solvent. Second, we outline an iterative procedure to solve the Poisson equation for the quantum fragment embedded in the solvent that does not require multigrid algorithms, is trivially parallel, and can be applied to any Bravais crystallographic system. Last, we capture some of the non-electrostatic or cavitation terms via a combined use of the quantum volume and quantum surface [M. Cococcioni, F. Mauri, G. Ceder, and N. Marzari, Phys. Rev. Lett. 94, 145501 (2005)] of the solute. The resulting self-consistent continuum solvation model provides a very effective and compact fit of computational and experimental data, whereby the static dielectric constant of the solvent and one parameter allow to fit the electrostatic energy provided by the polarizable continuum model with a mean absolute error of 0.3 kcal/mol on a set of 240 neutral solutes. Two parameters allow to fit experimental solvation energies on the same set with a mean absolute error of 1.3 kcal/mol. A detailed analysis of these results, broken down along different classes of chemical compounds, shows that several classes of organic compounds display very high accuracy, with solvation energies in error of 0.3-0.4 kcal/mol, whereby larger discrepancies are mostly limited to self-dissociating species and strong hydrogen-bond-forming compounds.
Publication: Where is electronic structure going ?


text:
The Ekphrastic Review
Ekphrastic
Ekphrastic Book Shelf
Contributors' Book Shelf
Caroline, by Frances Guerin
Standing Woman, by Alberto Giacometti (Italy) 1947, and Standing Man ll, by Alberto Giacometti (Italy) 1960.
"I can't… ugh .. get … argh …" Caroline mutters as she struggles to extract her left foot from a bed of cast metal. Her deep-set eyes stare vacantly, across an expanse of grey concrete floor. At the far reaches of the room, floor to ceiling windows give out onto Chicago's East Monroe Street, scorching in the midday sun. Caroline forgets; she is stuck. She drops her hands to her sides, allowing them to lightly brush her generous hips. Her small breasts spill outwards to touch her long, thin arms.
A child stops abruptly and points at Caroline.
"Mommy, how come she's so skinny?" The child asks, looking up and back at her mother.
Caroline's hips and breasts are attractively curved, but her long, slender limbs are all that others see of her body. Her arms and legs are so thin that people often wonder how it is that they don't break.
The mother gently coaxes the little girl away to hide her own embarrassment. She doesn't know how to answer her child.
The child reaches out a hand and touches Caroline's lower leg. She traces a sticky finger down the length of Caroline's limb, caressing the undulations made by someone else's fingers: a man from the past has beaten and battered Caroline, marking her body with his obsessive yearnings. The child focuses intently on the cool tingle of Caroline's leg under her own warm, damp skin. She discovers an indentation on Caroline's leg and pokes, once, twice, and again, with a tiny finger.
Caroline senses a tickle on her leg, but cannot bend down and relieve the itch. She remains static, her tall figure emanating calmness as she stares at the distant world beyond the concrete floor.
"Mommy, what happened to her hair?" The child looks up to Caroline's face with innocent curiosity. She stares at the elongated figure, mimicking Caroline's empty gaze. It is as if she hopes to command the woman's attention, to have her fascination returned.
Caroline doesn't move. The deep hollows of her eyes remain stuck, like her foot in its iron bed. Her left ear is lower than her right, thanks to an accident with a girder years ago. Caroline had lain on her right side for the procedure that replaced a shredded ear left hanging by a thread. The man performing the operation had sacrificed symmetry for an ear that could hear. Caroline thinks it her most interesting characteristic and waits for the child to notice. But the mother is irritated by her daughter's insistence, and becomes assertive: she takes the girl's wrist and drags her across the concrete floor.
"Nooooo!" The child screams, as her red cardigan is yanked over her head by her embarrassed mother.
'Well, that's the end of today's inquisition,' Caroline muses as mother and child move on and silence returns.
The men in Caroline's world are of the same delicate build. Their bodies are feather-like, so slight that they might be mistaken for twigs, daring a gust of wind to blow them away. The men do not have Caroline's shapely hips and breasts; their humanness is caught in other ways. The men are always in forward motion; their long fragile legs advancing across the floor, bodies leaning forward slightly, in resolve. The men embrace their ability to walk where Caroline cannot.
"I can't… ugh .. get … argh …ugh," she moans as she tries again to step forward. Caroline forgets herself, and is pulled into the rhythm of the men's stride, only to be reminded: "I am stuck."'
Caroline was born in 1947, as Europe's darkest hour came to a close. Her conception marked the beginning of a new era; she emerged on a cusp of hope, abundance, and the anticipated expanse of days without war. Her ethereal body has always been slender, but not wasted. It represents the promise of peace, if not the abundance of the postwar generation. The men around her, however, are charged with action, agitation, and the need to press forward: they are bearers of the future. Caroline's legs cannot move, it's true, but her more generous critics recognize her hips as the expression of strength, and her breasts as the promised prosperity of European reconciliation.
Caroline has heard talk of anorexia nervosa over the years. The women who visit in pairs are compelled to discuss the size of her body. The male figures never attract such conversation; they may be stick thin, but they are always in motion.
"Oh, she's very thin," whispers a middle-aged woman as she approaches Caroline. The woman's cork wedge sandals match her peroxide hair, white pant suit, pearls, and fuchsia nails. She vigorously waves a piece of paper to cool her face, her body not yet adjusted from the hot, dense August air outside.
"Do you think?" her companion questions. Unlike her friend, she wears jeans, sensible sandals, and hair casually pulled off her face.
"I can barely look at her."
"She has such generous hips," muses the friend.
"Yes, but look at her arms."
"What's wrong with her arms?"
"They are sticks."
"Like yours," the woman exposes her companion's denial.
"Maybe. But it's not right."
"What do you mean, 'not right?'"
"Something's wrong with her."
"She doesn't look uncomfortable or unhappy to me. What do you think's wrong with her?"
"How would I know? Anorexics are very good at hiding things. They have a distorted sense of reality."
"How do you know?" The friend's face shows her puzzlement.
"I just do."
"How many anorexics do you know?"
"Come on, let's go over here," The woman in the white pant suit trembles, the perspiration on her face has dried, and she moves on.
Caroline feels no self-consciousness. She sees the woman's self-obsession in the perfection of her outfit, and the nervous attempt to stop her makeup from running in the heat. Caroline is happy to see them go; their loud, mid-Western voices create discord in the air. Caroline is in possession of who she is; still day and night; watching, dignified, interested in life beyond her, not in the musings of others. Caroline finds such women to be insensitive, indifferent, and consumed by a misplaced passion for their own overwrought image.
Her own body represents poise and the ability to balance quietly for hours on end. Its size is not fashioned by illness; it is simply who she is.
During the day, Caroline watches the steps into the garden on the opposite side of the street. She looks forward to 3.30pm; the end of the school day. Children of all ages with their clothes in varying degrees of disarray emerge, throwing their backpacks on the ground, or using them as weaponry in struggles, both playful and serious. There is always a boy or two, sometimes a girl, smoking a cigarette, playing cool for the audience of classmates. Then, there are the loners, the boys and girls who stand at a distance, or sit on their bags, their heads in a book. The loners and the lovers, exploring each other's secrets, are disinterested in the ruckus made by the cool kids a couple of yards away.
After five pm, the Art Institute students walk down East Monroe Street. Many also move in groups on their way to the lake. Like the school kids, some are alone, grooving to the music on gigantic headphones. Caroline spots the Art Institute students from a distance: they carry clumsily shaped portfolios, tubes, and big misshapen bags. They hold their heads high with pride and joy, their artistic creations under their arms.
A boy appears at the base of the steps. He stands in front of the school kids, but he is not one of them. Dark curls fall to his shoulders and over his face, he wears black pants, and an oversized hooded sweatshirt. He stands with his skateboard under the ball of his left foot. Caroline sees a tattoo on his hand as he raises it to take a drag on a cigarette. He is too young for cigarettes and tattoos, but he has them anyway.
"The boy is looking for love," Caroline thinks to herself. "He thinks that creating trouble will bring him attention." She has seen his type before.
Just then, her line of sight, and with it, her thoughts, are interrupted as a group of school children starts to huddle around her.
"Shhhh," warns the teacher, as she juggles her bag and a pile of sketchbooks under her arm.
The girls continue to giggle and twitter, making a pleasant chirrup. The boys scuffle as they try to steal each other's pencils, rulers, and erasers.
"Boys, calm down. You should all have your own pencils," the teacher's repeated command for silence is louder and more disruptive than the offenders themselves.
Caroline knows the habits of students and their teachers: the teacher doesn't have as much control over the boys as she imagines.
Caroline finds school trips overwhelming; too many 13 year-olds in her space and she feels swallowed up by unacknowledged desires and unchecked emotions. The group settles; each child takes out a sketch pad and begins to create with varying degrees of concentration.
The already fragile silence shatters violently. From nowhere, the odd-boy-out from the street strides across the cement floor, his skateboard under his arm.
A chill sweeps through Caroline's body. "I will not survive this," she thinks as panic sets in, and she fears for her existence. The boy is heading towards her.
The children encircling her jump up, and disperse like marbles to the safety of the room's extremities.
The sound of his footstep gets louder, and as if to disappear from the approach of certain violation, Caroline freezes. She instinctively removes herself from her delicate body; turns off her emotions and shuts down her thoughts. She is numb.
The boy picks up his step, and in a single movement, as if through the pull against gravity, strides onto her plinth and cups his tattooed hand under Caroline's right breast. The caress of his taut young skin might be tender if it weren't for the violation of his touch. He slams the skateboard to the floor, and raises his arms in celebration of a dare accomplished.
The school children applaud the desecration, and their smiles break the tension in the room. They instinctively begin to cheer the boy; his rebellion enflames their adolescent spirits.
"What do you think you are doing?" The teacher places her body as a barrier between the children and the skirmish; her voice seething with anger, and her face reddening. "Do you not understand what this is?"
The children immediately fall silent. Their faces return to stone, and they bury their heads in their sketchbooks.
A security guard and three attendants saunter in to see what the noise is about.
It's too late. Caroline has been vandalized, humiliated, and tainted by the shame of the vandal. She can do nothing about it. She is stuck.
The men around Caroline, in motion, will remain forever unaware of what it feels like to hold in their stomachs the shame of an act committed against them. No one has ever dared to interfere with their body parts. The men in Caroline's world are not mistaken for waiting; they are in motion, they do not stand still, and they have no breasts and hips to seduce their onlookers, unintentionally.
By night, Caroline watches the audience pouring out of the Symphony Centre opposite. The women wear diamonds and clutch purses under their arms. The men are clean shaven and well dressed; they hail a taxi or hold open the door of a limousine. The couples walk together, arm in arm, or not touching at all. She wonders if the women, like her, have secrets that dissolve into the spaces between them and their men.
Frances Guerin
Frances Guerin is a writer and professor of film, art history and visual culture at the University of Kent. She have published widely on art and visual culture, including books, essays, articles and short stories. She lives in Paris, France.
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Seemingly out of nowhere, Microsoft has released a 3D printing application for Windows 8.1 called 3D Builder. There's some steep requirements, though, where you'll need both Windows 8.1, and a Windows 8.1-capable 3D printer.
But, once you're through those hoops, it's a cool app, thanks to Windows 8.1 being designed to support 3D printing, and now with the help of 3D Builder, it should get some more adoption for the OS. MakerBot will support Windows 8.1 shortly, which should help shuffle things along. The application itself will help you design, which is the hardest part of the 3D printing process.
Since Microsoft are pretty much on the ground level with 3D printing, versus say Google and Apple, could we see some early dominance, which will turn into future control of 3D printing? It would be nice to see ground level support for 3D printing from a giant like Microsoft, wouldn't it? As much as people dislike the company, it could do great things for the world of 3D printing.
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text:
Q: drools: how to assign to local variable I'm stuck with Drools 5 and need a little help.
What I'd like to do is use a passed in DAO and assign a value from that to a local variable, like this...
rule "test rule 1"
when
    $carDao : ICarDAO( )
    $x : $carDao.getMap()
    eval (
       $x.contains("a") && $x.contains("b")
    )
then
// do stuff
end

Drools 5 doesn't allow assignment of local variables though.
I'd like to assign to a local variable so that I don't have to make the same call twice to the DAO.
So could someone point me in the correct direction please?
Thanks!
Jeff Porter

A: rule "test rule 1"
when
    $carDao : ICarDAO( )
    $x: java.util.Map( ) from  $carDao.getMap()
    eval (
       $x.contains("a") && $x.contains("b")
    )
then
// do stuff
end

ta..dar!

A: rule "test rule 1"
when
    $carDao : ICarDAO( $x : map )
    eval (
       $x.contains("a") && $x.contains("b")
    )
then
    // do stuff
end

or since 5.2:
rule "test rule 1"
when
    $carDao : ICarDAO( $x : map, map.contains("a"), map.contains("b") )
then
    // do stuff
end

redpajama_set_name: RedPajamaStackExchange


ALERT--N.O.I.S.E. Updates Social Media Presence — N.O.I.S.E.
In order to spread awareness of the significant impact excessive aviation noise is having on local communities across the United States and information about ongoing N.O.I.S.E. advocacy to connect communities and policymakers on noise mitigation efforts, N.O.I.S.E. has renovated its social media presence. An example of our recent updates is information on our new PBN working group, available here. In engaging our members and the public through Facebook, we look forward to stimulating conversation on this important issue.
If you find an article, press release, post, or other piece of content that you believe other N.O.I.S.E. members would benefit from seeing, please share it with us! You can reach us on Facebook at National Organization to Insure a Sound-Controlled Environment or via email at contact@aviation-noise.com. And if you're on social media too, please make sure to LIKE us on Facebook to stay in the loop about all things N.O.I.S.E.


text:
John M. Sabin
Chief Financial Officer, Revolution LLC, & Case Foundation
Mr. Sabin has been the Executive Vice President and Chief Financial Officer of Revolution LLC as well as the Chief Financial Officer of The Stephen Case Foundation and the Case Family Office since May 2011. Previously he was the Chief Financial Officer and General Counsel of Phoenix Health Systems, Inc. a private healthcare information technology outsourcing and consulting firm, from October 2004 to May 2011. Mr. Sabin was the Chief Financial Officer, General Counsel and Secretary of NovaScreen Biosciences Corporation, a private bioinformatics and contract research biotech company which was subsequently acquired by Caliper Life Sciences, from January 2000 to October 2004. Prior to joining NovaScreen, Mr. Sabin served as a finance executive with Hudson Hotels Corporation, Vistana, Inc., Choice Hotels International, Inc., Manor Care, Inc. and Marriott International, Inc. all of which were public companies at the time of his service. In his professional life Mr. Sabin has had commercial lease experience with a national law firm, transactional real estate experience with national hospitality and health care firms, commercial real estate financing experience, IPO experience, as well as experience as an audit committee and board member of several other public companies. Mr. Sabin is a member of the board of trustees of Hersha Hospitality Trust. Mr. Sabin has received Bachelor of Science degrees in Accounting and in University Studies; a Masters of Accountancy and a Masters in Business Administration from Brigham Young University, and he also received a Juris Doctor from the J. Reuben Clark Law School at Brigham Young University. Mr. Sabin is a licensed CPA and is admitted to the bar in several states.


text:
Blackhorse Mills becomes first BTR scheme to achie...
Blackhorse Mills becomes first BTR scheme to achieve Home Quality Mark22nd August 2019
Blackhorse Mills becomes first BTR scheme to achieve Home Quality Mark status from BRE Global
Blackhorse Mills, a major residential development in Walthamstow, London, has become the first build-to-rent (BTR) scheme to be certified to the Home Quality Mark by BRE Global.
Developed by Legal & General and constructed by Galliford Try Partnerships, Blackhorse Mills is also the largest residential development to achieve this accolade in the UK to date.
This landmark seal of approval on the 479-home development will provide landlords and tenants with the assurance that their new home has been independently verified to high sustainability and quality standards.
The Home Quality Mark is an impartial quality rating scheme for all new-build homes, including BTR. It empowers householders by giving them information and the insight they need to make smart choices when buying or renting homes. At the same time, it provides home builders and investors with the means of demonstrating the quality of their homes and distinguishing them from others in the market.
This significant milestone achieved at Blackhorse Mills provides validation of the low running costs, low environmental impact and multiple health and wellbeing benefits that will be enjoyed by those living at the development. Careful consideration in its design, with regards to ventilation, overheating and communal green spaces with cycle and footpaths, ensures it integrates and improves the existing environment and supports occupants' wellbeing.
Dan Batterton, Head of BTR at LGIM Real Assets, said: "At Legal & General, we are committed to building and creating more sustainable communities for now and into the future. With many Londoners renting and with more people electing to rent, it is more important than ever to create places that are high-quality, sustainable and environmentally friendly, which our residents would be proud to call home. We are pleased to be developing and operating the first Build to Rent scheme, and largest residential scheme, to achieve the Home Quality Mark accolade."
Matthew Whitman, Sustainability Manager at Galliford Try Partnerships London, said: "We are proud that Blackhorse Mills has achieved this HQM rating, recognising its excellence in quality across several areas. We look forward to delivering more high-quality homes that demonstrate our commitment to our customers and the Home Quality Mark's key areas. Our vision is to be leaders in the construction of a sustainable future."
Gwyn Roberts, Head of Housing and Policy at BRE, said: "Consumers need to be able to trust that BTR homes will work for them, their friends, families and the community around them. BRE's authoritative Home Quality Mark certification process can give renters at Blackhorse Mills the reassurance that Legal & General and Galliford Try Partnerships has thought about these issues very carefully."
Built to RentHome Quality markHQM
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Tiny Bombers Hack not work for me but worked on my friends pls help.
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There are lots of tools like this on the internet but they are being patched so quickly. That is why we have build a group to daily see if the tool is being blocked or not. We validate when the game updates their server and when some reports error to us. Not only the most efficient, it is the safest as well.
As a result we have never received a complaint of accounts getting banned to the game because of our anti-ban technology ensures you stay undetectable every tick of the clock. We always take the security of our visitors seriously. Tiny Bombers Hack has been monitored regularly for further update by the security analyst support and beta testers.
You can use this Tiny Bombers Hack in many ways. As long as your mobile device or computer is connected online. We do not need to ask for your account password or other other important details. Just fill in the required details and we do the rest for you. When your account is connected to the server, Just choose which things you want to generate. It is our honor to hear your ideas about this Tiny Bombers Hack on your experience.
Our aim for this tool is to help members like you to get free access to this resources that is very pricey when bought. They create the tool for easy use. You do not need to jailbreak iOS or root Andoid to activate this generator. All you wanna to do is enter your username or email and we will do the rest for you. We are using the latest algorithm to secure and protect users from being caught and stay away from getting banned. Just only few simple steps to use it. The program itself will guide you on how to do it. Tiny Bombers Hack is amazing tool.
Are you still skeptical in using the program. This is a guideline on how to make it work. Number one is see your username spelling. Scripts like this are case sensitive, you must enter your identity precisely. Always check your capslock and avoid using spaces. Next thing is always check your internet connection. When using our tool, you have to exit chat apps like telegram as they collide with the script. And do not use any proxy or vpn when using our generator. This is one reason why some of users don't get their resources.
Hundreds of players who have hands on to our software sending us gratitude and donations for providing them the best quality generator. You will also like this generator and love it yourself. We will always update and provide real and good quality absolutely free. As for now we have been given award for clean and secure award from top 5 game forums. Enjoy! If you don't have this game Download it on Google Play for Android and App Store for iOS Now!