text:
Normal GT
BRDC F3
Asian F3
Formula Renault
Toyota Racing Series
Home Single-Seaters Indycar Brown says Alonso will be terrific in IndyCar but desire is less...
Brown says Alonso will be terrific in IndyCar but desire is less for full year
Darshan Chokhani
McLaren Racing's Zak Brown is certain that Fernando Alonso will be outstanding in IndyCar but admits his desire is less for a full season.
Last week, McLaren announced its full-time return to IndyCar in partnership with Arrow Schmidt Peterson Motorsports and Chevrolet to run as 'Arrow McLaren Racing SPM' from 2020 onward.
In doing so, the American team is moving on from Honda to Chevrolet in the push to be more competitive and challenge the field ahead to fulfill McLaren's title aspirations – both teams' and drivers'.
With the first hurdle cleared, the focus shifts to securing the driver line-up for 2020. Currently, they have James Hinchliffe and Marcus Ericsson, with the latter having a contract until the end of 2020.
While the suggestions are towards the fulfillment of the deal but the confirmation is yet to come. Another big names linked to the seat is former F1 driver Alonso, who is looking to win the Indy500 event.
The Spaniard indicated about not competing full-time, which Brown thinks is the case still, even though he feels that the two-time F1 champion will be outstanding in the premier American single-seater championship.
"Fernando is well aware of everything that's going on with our IndyCar activities and has been for some time," said Brown to McLaren's website. "I don't think his desire to win the Indy 500 has diminished at all.
"He has not shown an interest, yet, I should say, in a full season of IndyCar. He's coming off the back of 20 years of lots of racing and I think he wanted to take the second half of this year to see what he wants to do in the future.
"I think he would be an outstanding talent in IndyCar. Knowing him and his driving style as I do, he'd be immensely successful, be welcomed, and would enjoy it.
"But Fernando is the type of individual that you put the opportunity in front of him and let him make his decision. So I'll be picking that up with him in about a month's time, but I would not anticipate him having a desire to do a full season in 2020."
Alonso will be with McLaren during the F1 Italian GP at Monzo and probably the two will discuss about the possibilities. In the meantime, Brown's phone has been busy with calls from various drivers.
At the same time, he did not rule out on having a McLaren IndyCar driver to test its F1 car is there is a genuine driver showing the capability to be able to race in the pinnacle of motor racing.
In addition, Brown also cleared that the IndyCar programme will not create issues for its F1 counterparts. "If we feel that one of our IndyCar drivers has a credible chance in F1, then for sure, we would look to put that driver in for some rookie testing," said Brown.
"I think that's one of the exciting things about a combined F1 and IndyCar effort is it will create opportunities for drivers and engineers, especially as we look into the budget cap and F1 will start to change. There will be different ways to deploy our resources.
"But specifically on drivers, the answer is yes for the right one. On the other side, our F1 programme and its success remains an absolute priority for McLaren and therefore it is an entirely separate programme from the IndyCar partnership.
"McLaren is a major global racing organisation like others who compete in multiple series. A dedicated group of people in McLaren Racing will work on our IndyCar programme and they are not involved in the F1 operation.
"In time, certain common facilities may be shared between the two programmes, reducing the cost burden to the F1 team. Additionally, the commercial benefits of multi-series partnerships will have a positive impact on the F1 programme, supporting additional investment in facilities and resources such as the new wind tunnel."
When asked about the 2019 Indy500 debacle, Brown took it more on the chin and worked to resolve the issues faced then rather than sulk down and move away. It was more of 'soul-searching' which led to the current plan.
Regarding the rest of the 2019, Brown said Gil de Ferran will be attending some of the IndyCar races to get back into the American racing mode after some time in F1. He added there will be visits of more personnel.
McLaren commits to full-time IndyCar stint with Arrow SPM and Chevrolet
Seidl gives a low-down of behind the scenes changes made at McLaren
Alonso on team spirit, Honda/Renault progress, Vettel, FE/WEC & more
James Hinchcliffe
Zak Brown
Previous articleVideo: Bottas tests M-Sport Ford Fiesta WRC car ahead of Rally Germany
Next articlePodcast: Ramirez on Senna/Prost, McLaren, Tyrrell & more
Freelance motorsport writer/PR. Loves motor racing, follows Formula 1 closely and most of the junior single-seater racing. Interest expands to MotoGP as well and prominent closed-wheel racing along with Indian motorsport.
Alonso-McLaren ambassador deal ends with nothing set for 2020
F1 confirms departure of Sean Bratches as he takes up advisory role
Hitech GP entry in F2 for 2020 confirmed to make it 11 teams
Latifi opts to use Rosberg's #6 for his debut F1 season in 2020
WRC drops Chile from 2020 calendar, Argentina date changed
Racing Point reckons F1 regs for 2021 'incredibly restrictive' at front-end
Gunther says clever use of Attack Mode helped in Santiago win
Verstappen hopes to have Ricciardo-like collaboration with Albon in 2020
Bottas fights back to get a Top 10 result in 2020 Arctic Lapland Rally
Formula E: Gunther passes da Costa to maiden win in Santiago ePrix
Choose a language Español English
F1 confirms departure of Sean Bratches as he takes up advisory...
Hitech GP entry in F2 for 2020 confirmed to make it...
New Williams FW41 passes FIA crash test
Do you think that Halo is not aesthetic? These cars may...
Video: Deflector test in IndyCar
_Home2206
Single-Seaters596
FIA F3522
FormulaE396
F1 20/01/2020
Latifi opts to use Rosberg's #6 for his debut F1 season...
Rally 20/01/2020


text:
The New Medicare: A Healthy Choice
POSTED BY Galen Institute on June 28, 2006 .
Imagine that you've been suffering chronic stomach problems, so you ask your doctor to run some tests. The results come in, and there's good news and bad news.
The good news? Your doctor has been able to diagnose your rare disorder, and there is a new drug treatment that can reduce the symptoms and even begin to reverse the disease.
The bad news? "The drug is expensive," your physician tells you, "and, left untreated, your illness is life threatening."
If you live in a country with a government-run health system or have your health coverage through the Department of Veterans Affairs, you could be out of luck. New and expensive drugs to treat rare disorders are seldom covered in government-run health plans.
You're flabbergasted. "But," you protest, "my prescription drugs are covered by the government. Don't I have the best plan in the country?" Your doctor just shakes his head.
This may seem like a far-fetched nightmare. But for some, it's awfully close to reality. More worrisome still is that if some lawmakers get their way, the 42 million seniors eligible for the new Medicare drug benefit may soon face doctor visits just like this one.
House Minority Leader Nancy Pelosi just announced her "Democratic Prescription for Change." This is her plan to overhaul the new Medicare program and model it after the VA drug benefit.
Modeling Medicare Part D after the VA system would be a grave mistake.
Veterans risked their lives defending our liberty. But their government-sponsored prescription drug benefit doesn't offer them many freedoms of their own. The Veterans Affairs program buys all drugs for recipients of the program. But, as in all single-buyer systems, the buyer controls costs by limiting the number of drugs available. It makes the program more affordable for the institution paying for it. But it also makes the program less effective for those who depend on it.
There may be countless veterans who have had doctor visits just like the one above. The VA drug formulary, the list of drugs the benefit covers, includes just 19 percent of medicines approved by the FDA since 2000. And it contains only 38 percent of drugs approved in the 1990s. Veterans who can't afford to pay the full cost of drugs themselves simply don't have access to many of the most innovative, up-to-date medicines that could make their lives immeasurably better.
Luckily, it's not that way for the 29 million seniors currently enrolled in the new Medicare drug benefit. The system was actually designed to provide seniors with a wide range of choices while keeping drug prices down.
The benefit is provided by private plan managers, which receive subsidies from the federal government to provide prescription drug insurance. They compete fiercely against one another and negotiate aggressively with pharmaceutical companies to get the best bargains for their customers. This gives them an incentive to offer a variety of medications: Seniors who discover their drugs aren't listed will take their business elsewhere. And no law limits the number of drugs each plan can offer.
Seniors enrolled in the new plan are overwhelmingly satisfied – 78% according to a new survey by the Medicare Rx Education Network. Importantly, one in five enrolled seniors polled say the new benefit has enabled them to stop skipping or reducing the medications their doctors have prescribed.
The Medicare drug law's "non-interference" clause is what makes this innovative program work. It says that the government cannot step in and "negotiate" – i.e. coerce – drug prices and offerings for Medicare recipients. It leaves control over medications in the hands of insurers, seniors, and their doctors rather than bureaucrats.
It is this clause that makes the Medicare drug benefit, with its private-sector competition, so different from traditional one-size-fits-all government programs – like the VA drug benefit.
But it's exactly this clause that is under attack by lawmakers like Pelosi who wants to "make prescription drugs more affordable by allowing Medicare to negotiate lower prices." In other words, she wants to change the new Medicare benefit just as seniors are starting to benefit from it.
Striking the non-interference clause would turn Medicare into a single-buyer system, just like the VA plan. It may make the program a little bit less complicated. But it would also make it a lot more dangerous.
There are consequences, after all, to stemming the flow of life-saving medications. Imagine your doctor had told you this during your office visit.
"I've got more bad news for you," he might say. "Your drug plan has actually been found to lower life expectancy."
You might not believe him. But a Columbia University study recently found that the VA drug benefit plan does just that. Professor Frank Lichtenberg estimated that the limited VA formulary has lowered veterans' life expectancy by an average of more than two months.
Given the choice of a drug plan that is competing to offer you the widest range of choices at the lowest prices or a one-size-fits-all government run plan, which would you choose?
Grace-Marie Turner is president of The Galen Institute, a non-profit organization devoted to health policy research and education.

redpajama_set_name: RedPajamaCommonCrawl


text:
peep and the big wide world (apt) -
Peep's Moon Mission/The Many Moons of Quack The Du
The Emmy-winning animated series PEEP AND THE BIG WIDE WORLD gives wings to the innovative idea of teaching science to preschoolers. Wry and distinctive visual humor, charming plotlines and lovable characters, combined with a comprehensive science program, attract and engage kids three to five years old. Set in and around a pond, a bush and a tin can, the series follows a newly hatched chicken named Peep and his friends Chirp, a smart and sassy robin, and Quack, an endearingly egotistical duck. The curious trio embark on a series of wide-ranging adventures - from discovering shadows, to investigating mysterious tracks, to learning about gravity the hard way. Narrated by award-winning comedienne Joan Cusack, each episode contains two stories which highlight specific science concepts. In addition, two live-action shorts present real kids playing and experimenting with these concepts in their own "big wide worlds."
No future air times were found for this episode.
All broadcast times for PEEP AND THE BIG WIDE WORLD (APT)
All shows that begin with "P"
Future Broadcast times for "Peep and the Big Wide World (Apt)": (show all)
Fri, Jul 19 7:30 A.M. A Duck's Tale & Quack's Tracks
Sat, Jul 20 7:30 A.M. Chirp Builds A Nest and Stuck Duck
Sun, Jul 21 7:30 A.M. A Duck's Tale & Quack's Tracks
Mon, Jul 22 7:30 A.M. In A Bind/Star Light, Star Bright
Wed, Jul 24 7:30 A.M. The Feats of Peep / Quack Goes Nuts
Fri, Jul 26 7:30 A.M. Big Bird/Chirp Flies The Coop
Sat, Jul 27 7:30 A.M. The Feats of Peep / Quack Goes Nuts
Mon, Jul 29 7:30 A.M. Bedtime Story / The Deep Duck Woods
Wed, Jul 31 7:30 A.M. Marble Mover/Fair Shares
Fri, Aug 2 7:30 A.M. I Spy A Spider/Robin in the Bat Cave
Sun, Aug 4 7:30 A.M. I Spy A Spider/Robin in the Bat Cave
Mon, Aug 5 7:30 A.M. Quack Quack / One Duck Too Many
Wed, Aug 7 7:30 A.M. The Trip to Green Island
Fri, Aug 9 7:30 A.M. Night Light and Sounds Like....
Sun, Aug 11 7:30 A.M. The Trip to Green Island


Kristin's Konfections is no longer taking orders. We are pausing our business indefinitely to raise our two young children. We would like to thank all of our past customers for their patronage and support. We hope to re-open at some point in the future and hopeully pick up where we left off.
Please schedule your cakes at least one month in advance, if possible!


We've carefully selected our speakers so that we can give our attendees a combination of UX, responsive design, illustration, animation, and more. The day has been designed with web designers in mind, and every session will offer practical advice that you can start using right away.
Over the years, every designer picks up a ton of little tips and tricks along the way. Scraps of code, ways of doing things, stories of how not to do it, and how to do it. In this talk, Mark will share some thoughts from his notebook. You'll hear tales of designing by committee, the death of typesetting, content mountains and what happened when he led a team of designers in India for a week.
Mark is a typographic designer and a member of the International Society of Typographic Designers; author of Designing for the Web and Web Standards Creativity; Britpack alumni; co-creator of Gridset; and was a founding partner of indie publisher, Five Simple Steps.
When was the last time your work was shared virally within an organisation? Comics are a great, disruptive tool that can get attention other documents can't. This session will cover a variety of ways you can use comics in your everyday work to help champion user centred design across teams, departments and even whole organisations.
We'll look at real world examples of user experience comics that have been used for a range of projects, and design problems. We'll also cover some basic comic making tips to get you started.
Bonny is a user experience consultant based in Bristol, in the UK. She's passionate about making things more efficient, effective and satisfying for people by collaborating with clients and changing the way they think of their customers. Her role is flexible, and she likes to adapt to the teams she works with, so no two projects are ever the same - just like the problems she's trying to solve. Bonny has worked with a huge range of clients and sectors, from international ecommerce giants, through to financial services with complex internal systems, and small charities looking to raise awareness of their services.
In this session we'll cover where animation can add important detail and inform UX; how to get animation ideas out of your head; and techniques for prototyping animations as part of our design process. Just like typography, colour and others, animation is an element of design that can speak volumes in our work. Considering it early in the design process means we'll be designing the best kind of animations. The kind that can make our work more memorable and enjoyable to use.
You can find her on stage speaking at events like An Event Apart and encouraging others to do the same as the co-host of the Ladies in Tech podcast. She also founded the popular Web Design Day conference, and leads workshops around the world on UI animation and creative coding.
The beauty of the web is how freely available it is to people all over the world. However, web sites aren't always designed with access for everyone in mind. Laura will speak about the importance of web accessibility, and how to convince your boss and colleagues of the advantages of an accessible site. Laura will then walk you through practical tips for designing accessible, usable and beautiful websites.
Laura works as part of the ind.ie team, building an independent smartphone that empowers consumers to own their own data.
In order to do great work you need to influence more parts of the design process than creating wireframes or front-end code. In this presentation, I will walk you through the expanded sphere of influence on the user experience. I will encourage you to look beyond your deliverables, outside of your department, and past your current way of working. I will help you spot opportunities and draft a plan to improve your design process.
Peter Boersma is UX Strategist at SDL and a design process freak. Since 1995, he has been designing complex, digital systems at (increasingly internationally-oriented) interactive agencies for clients such as ABN Amro Bank, the UK and Jamaican Inland Revenue departments, Nokia, Shutterstock, Michelin, and Nikon.
At most of his former employers, he made himself responsible for documenting the design processes, as well as optimizing and promoting them, both inside and outside the organization.
Peter has given presentations and taught workshops at many national and international User Experience conferences, some of which he helped organize. Since 2001, he is the host of the Amsterdam UX Cocktail Hours.
This talk is a bit about strategy but probably not what you might think of as strategy. It's about how we make strategy that actually gets good things implemented. It is about changing the way that we work so that our organisations are more able to make better decisions for our end users. It's about be proud of the projects that make it into the world rather than mourning what could have been if only they'd made it like our Axure prototype. It's a talk about taking responsibility for helping our organisations to deliver. It has some ideas you might like to try at home.
Leisa is the Head of User Research at the UK Government Digital Service in the Cabinet Office, HM Government. She leads a team of researchers who work in agile, multidisciplinary digital teams to help continuously connect the people who design products with the people who will use them. Before joining the public sector she was a freelance consultant and worked with clients including Virgin Atlantic, BBC, SonyBMG, HSBC, The Economist, Drupal and the University of Surrey. Leisa tweets at @leisa and occasionally blogs at disambiguity.com.
Mike Rohde will teach the basic elements of sketchnoting, then lead the group in a session where we all create sketchnotes together. The group will share and review sketchnotes and have time for Q&A. This session is perfect for anyone who wants to learn a new way of capturing their ideas: from meetings and conferences to your own ideas and experiences.
Mike's popular first book, The Sketchnote Handbook, convinces people around the world to become sketchnoters every day. Translated into German, Russian, Chinese, and Czech, it guides readers in using their natural visual capabilities to create sketchnotes for better understanding, and to have fun taking notes.
He enjoys speaking publicly about his passion for sketchnoting, sketching, and visual thinking skills at venues across the United States.
Mike lives with his wife, Gail, and children, Nathan, Linnea, and Landon, just outside of Milwaukee. He's an avid Green Bay Packers fan.


text:
Cue praises Beats curated playlists and headphones; Iovine disses Apple's EarPods
- May. 29th 2014 4:16 am PT
(Image via Re/code)
It's typical in any acquisition for both parties to sing the praises of their new partner, and Eddy Cue was certainly playing his part at Re/code's Code Conference, saying that Beats' curated playlists were a key strength and would help music grow again. As Mark Gurman reported in his live blog coverage at Code Conference:
Cue said Apple bought Beats because "music is dying. It hasn't been growing." He said combining the two companies will help it grow again […]
Cue said what makes Beats good is that it provides users with curated playlists.
He said: "When you bring what Beats has got and what we've got it's not two plus two is four. It's something much more than that" …
While many would disagree, Cue also said that Beats made "amazing premium headphones."
Iovine, however, was less fulsome in his praise of Apple products, saying of the EarPods supplied with new iPhones:
You listen to 'Apocalypse Now' and a helicopter sounds like a mosquito […] They make them to see if the machine works.
Cue took it well, saying that "we make the best headphones that come in the box."
Cue's admission that Apple's music business was in decline followed an analyst report yesterday suggesting that year-on-year iTunes sales had declined 24 percent. He did, however, point out that the service recently hit a total of 35B songs sold, and also had 40M iTunes Radio listeners.
Business Insider, meantime, put the size of the acquisition into perspective:
Introduced in 2007 by Steve Jobs, iPhone is Apple's flagship iOS device and easily its most popular product around the world. The iPhone runs iOS and includes a large collection of mobile apps through the App Store.
Apple News Steve Jobs Beats iTunes Music


Standard tasks on the shaper or the sanding machine are performed exactly and safely when using a power feeder. This is guaranteed by the constant feed speed and the exact guidance of the workpiece along the fences and machine table.
The Power Feeder can be used on the jointer for face jointing operations, ensuring constant precise results.
For edging and parallel cuts, the Power Feeder turns your table saw into a sizing saw.


text:
SPACE PROJECT
MIAMI FL MOMENTUM @THE COLOR HOUSE , 19 December 2019 - 16 January 2020
SPACE PROJECT : MIAMI FL MOMENTUM @THE COLOR HOUSE
Fournier is a world-renowned fine art photographer based in Paris, France. His work can be found in the permanent collections of the Metropolitan Museum New York, LVMH Foundation Paris, Centre Pompidou Paris, and the Mori Art Museum Tokyo.
Produced over a period of a decade from 2007-2017, Fournier documents the past and future of space exploration, from the memories of the Apollo program that followed the first steps of man on the moon, to the future NASA SLS rocket destined for Mars. The photos are a deliberate mix of historical and documentarian vision of space adventure with scenes staged by cinema, and Fournier's childhood memories as well as a journey into our future.
"My work is very freely inspired by the dream and mystery that scientific and technological utopias resonate in the collective imagination," says Fournier of his collection.
Fournier's fascination for the space adventure aesthetic is both philosophical and fun, and inspired by childhood books, TV, and movies of the 1970s and 80s. His images are a combination of documentary elements and a very constructed staging where each element depends on a general composition. Thus the emblematic places of the space conquest are also film sets where Tintin meets Jules Verne in Stanley Kubrick's film 2001, A Space Odyssey. The artist, who is also a cinema photographer, is influenced by Kubrick's work and particularly the white room works shot in Guiana Space Center are a meeting between A Space Odyssey and French film Mon Oncle by Jacques Tati.
Fournier secured behind-the-scenes access to almost every major center for space flight design, manufacturing, testing, and launching. He captures the haunting imagery of isolated observatories in the arctic and dystopian scenes from the Mars research center. The series includes images of cosmonauts in their space gear, scenes from the control room of the Apollo 8 mission, and the launch pad of the last US shuttle liftoff. Throughout the series, the history of space exploration is ever present and often in remarkable detail: his images feature personal items like the gloves, helmets, and space suits that were actually worn during the Apollo missions of the 1960s and 70s.
Space Project was shot across four continents at breath-taking locations that closely resemble mythical places of space exploration: The Star City Russia, Guiana Space Center, Baikonur in Kazakhstan, the iconic launch sites of Cape Canaveral, Johnson Space Center Houston, and the Mars-like locations of Utah and the Atacama Desert in Chile.
The exhibition opens on Saturday 28th September and continues through October 26th. The exhibition is accompanied with a book titled " Space Utopia" published by Rizzoli. https://www.vincentfournier.co.uk/www/portfolio/space-utopia-noeve-rizzoli
The work will travel to Art Basel Miami and exhibited during Pulse Art Fair in December 2019, before traveling to Paris Photo NYC in 2020 in New York City, presented by AIPAD.
Prints for sale: Edition of 10 + 2 Artist Proofs. Prints are Ink jet on Hahnemühle Baryta315g paper up to size 150×200 cm.// 60.23×78.74 inches and Lambda process (C-Print) for larger format.
Vincent Fournier Artist:
Vincent Fournier was born in 1970 and lives in Paris. After graduating with a sociology degree and a Masters in Visual Arts, he obtained a diploma from the National School of Photography in Arles in 1997. His works are regularly exhibited in international galleries and institutions, such as Les Rencontres d'Arles, Mori Art Museum (Tokyo), Musée des Arts Décoratifs of Paris, Fondation EDF in Paris, Centre d'Art Contemporain in Pontmain (France), Architekturforum Aedes in Berlin, Z33 House for Contemporary Art in Genk (Belgium), Netherlands Architecture Institute, Rotterdam, Centre de la Photographie in Genève, Quai 1 Vevey in Switzerland, Diesel Gallery in Tokyo, 798 Space in Bejiin.
His artwork can also be found in public and private art collections such as the Metropolitan Museum, permanent collection (New York) LVMH Contemporary Art Collection in Paris, MAST Fondation in Bologna (Italy), The Schlumberger-Primat Collection, The Baccarat Art Collection in New York.
Current exhibitions:
LEICA Gallery Milan, « The Moon
Center for Contemporary Art, Beijing, Civilization, The Way We Live Now.
Royal Museums Greenwich, Moonlight – 50 Years of Photographing the Moon London
FOMU – the museum of photography in Antwerp, Maan/ Moon Belgium.
September at
Mori Art Museum, Tokyo, The Future and Arts, Japan.
Ballarat International Foto Biennale, Australie
www.vincentfournier.co.uk
Momentum Fine Art: Miami Florida
mo·men·tum mōˈmen(t)əm [noun] the strength or force that allows something to continue or grow stronger or faster as time passes.
Momentum is a contemporary fine art gallery dealing exclusively in fine art photography. Based in Miami, Florida the gallery represents mid-career and emerging fine art photographers from around the globe. Momentum curates and produces exhibitions in both galleries and international art fairs, worldwide including London, Los Angeles, Miami, Stockholm, Mexico City, New York, and Hong Kong.
With a growing list of international artists representing several continents, these artists embody a vast and varied range of contemporary styles of photography, engaging the genres of cinematic narrative, landscape, documentary, and portraiture while drawing from conceptual themes and abstraction. Their respective work explores contemporary expressions of photography as an artistic technique.
www.momentumfineart.com
East 26 Gallery: Los Angeles
Located 3 miles southeast of the Los Angeles Arts District, East 26 Projects embodies a multi-functional creative space ideal for all artists throughout the artistic career spectrum. The space emphasizes on curating Contemporary art exhibitions and educating all audiences on the ins and outs of the art world. With the help of other artistic minds, East 26 Projects creates memorable curatorial visions and opportunities that intertwine the various art-professional roles needed to execute exhibitions.
Housed within the Fine Art Solutions' production complex, East 26 Projects serves as an innovative layout for art-related exhibitions/events. The space is composed of a main gallery space, an artist-in-residence studio, and an outdoor lounge/bar area. East 26 Projects strives to collaborate with artists and make available the interaction with art-presentation professionals, as well as expose them to a vast network of art professionals and much more.
Vincent Fournier


On July 11th 2018 the Minister for Agriculture, Food and the Marine Michael Creed T.D., today announced awards of almost €14.3 million in funding for collaborative research projects arising from the 2017 Research Call under his Department's three competitive research programmes.
Programme of Competitive Forestry Research for Development (CoFoRD) aims to develop a scientific foundation and support for a sustainable, competitive, market orientated and innovative forest industry.
Teagasc was among 12 Irish Research Performing Organisations benefiting from the awards. Teagasc is the lead institute for 12 projects and are collaborating with other research institutions in a further 5 projects.


In recent years, the digitization of movable heritage has resulted in a growing interest in historical cartographic material with its wealth of information. Historical maps hold basic information often not accessible in other visual or written sources such as place-names, parcels and buildings long since disappeared. Rectification and georeferencing these maps, layering them with other spatial data and taking into account not only the mapping of space but also the historical information and cartographic science and mind sets – both historical and contemporary – create thus a content rich visual overlay bringing us to a new level of understanding.
This session aims at the presentation of the current state of research with examples of the numerous possible applications, and at answering the following questions: Why do we want to georeference historical maps? What is involved in the georeferencing process? Which tools and technologies are used for rectification and georeferencing (software, webtools …)? What is the theoretical and methodological approach? How can we use the results? Themes might include integration of historic geographical data into current georeferenced frameworks, creation of digital on-line libraries, virtual historic landscapes, animations, georeferenced maps as a virtual prospection tools etc. as well as how georeferencing ancient maps relates to archaeological practice especially in an urban context.


text:
Is there a cure for Duane syndrome
by Emma Petrovic over a year ago
Duane syndrome is a very rare eye movement disorder, which is the congenital and which is related to the movement of an eye or of both eyes. In order to understand better this syndrome, it is important to know that there are six eye muscles, which are in charge of eye movement, and they all receive electrical impulses from the cranial nerve in brain. People who suffer from Duane's syndrome have difficulties in rotating and moving their eye or eyes inward or outward, and this happens because the cranial nerve has not developed the way it was supposed to. Duane's syndrome is usually diagnosed with children until they are 10, and if judging by the statistics, girls are much more affected than the boys. Several other names are used for this disorder, but besides this one, the most commonly used is eye retraction syndrome.
There are several types of Duane's syndrome, and there are several classifications of these types, but each has its own characteristics. However, some of the characteristics which are typical for this condition, regardless of the type or classification, are limitation of the movement of the affected eye, retraction of the eyeball into the socket on adduction, poor convergence, and, since we are already speaking about the characteristics of this disorder, in some cases head movements compensate for the loss of the eye movements.
As for the cure of this condition, there isn't any, since the main reason for this condition - the cranial nerve which does not develop properly, cannot be replaced. For the greatest number of people with Duane syndrome the treatment is focused on attaining straight eyes when they look straight ahead, and the greatest number of them manages to achieve that without any surgery. However, there are cases which do require surgery, but the surgery is done only in order to reduce strabismus and place the eye in a more central position, so that the abnormal head posture would not be necessary anymore, because such position of the head may cause consequences. The type of the surgery depends on the type of Duane's syndrome that a child has, and it can be done at any age, though it is not recommended to do it before the child turns 4 or 5 years, since their motor skills are not developed enough until then, and their visual system is a bit more mature in that period.
medlineplus.gov/eyemovementdisorders.html
medlineplus.gov/neuraltubedefects.html
Have Dentists Discovered a New Treatment for Tourette's Syndrome?
Eye disease - Duane syndrome
Is there a cure for neurofibromatosis
Is there a cure for cerebral palsy
Eye muscles repair with surgery
Surgery for weak eye muscles
Is there a cure for Morquio syndrome
Is there a cure for Marfan syndrome
Is there a cure for trigeminal neuralgia?
Down syndrome signs at birth
Is there a cure for nystagmus
Is there a cure for Tourette syndrome?
Is there a cure for proteus syndrome
Is there a cure for guillain-barre syndrome
Is there a cure for Cri du Chat?
Early diagnosis of Neurofibromatosis type II
iPad Game Effectively Treats Children With 'Lazy Eye'
A New Non-Drug Treatment For Cervical Dystonia
Behcet's Syndrome
Nail Patella syndrome
Alagille Syndrome: Causes, Symptoms, Treatment
Brainstem lesions
What Is Piriformis Syndrome, And What Are The Treatment Options?
Superior Canal Dehiscence Syndrome: An Overview
Night Eating Syndrome
Guillain-Barre Syndrome: Causes, Symptoms & Treatment
Sjogren s Syndrome: Causes & Symptoms
Mouth Conditions And Arthritis: Is It Sjögren's Syndrome?
Albinism - What It Is And What Causes It
October Awareness Month: Down Syndrome
Fahr's Syndrome Or Brain Stones, A Rare Neurological Disease
Is there any physical therapy for devic's syndrome?
Would like to know if there is a cure for orbital pseudotumor
Golden-Har Syndrome
devick syndrome
DEVIS'S SYNDROME
tolosa hunt syndrome
Is there a therapy for Sjogren syndrome?
Can trauma cause glaucoma?
Piriformis syndrome.
eye drooping, won't dilate after neck surgery
Pain With Eye Movement
Mom cannot open eyes after stroke
Anyone with CVS (computer vision syndrome)?
both eyes are clicking back and forth at the same time
What is restless leg syndrome?
Is parkinson's treatable?
Is surgery an option for glaucoma?
primary sjogren's syndrome
8 Month Old W/ Eye Twitch
burning in eyes with sjogren's syndrome
cornea damage possibility with sjogren's syndrome
Vision problems for anorexia survivor. What is the cure for them?
Reflex Sympathetic Dystrophy Signs
Is this Turretts syndrome?
Sjögren's syndrome treatment
Uveitis - is there a natural solution?????
What is Carpal Tunnel Syndrome
Eye twitching, neck and face pain


Generic Propecia is a medication used to treat male pattern hair loss (thinning hairline on the top of the head or in the mid-scalp area). It works by preventing testosterone from converting into dihydrotestosterone within the body.
Generic Propecia should be taken according to your doctor's instructions and directions on the prescription label. Do not change the dosage or period of use without prior medical consult.
Generic Propecia tablets are covered with film and thus pose no danger for pregnant women. However, if a tablet has been crushed or broken, it shouldn't be handled by pregnant women or those planning pregnancy due to its potential harmful effect on a male fetus. Men suffering from live disorders should use caution while taking Generic Propecia, as in rare cases it may lead to hepatitis.
Generic Propecia should be stored at room temperature between 59°F and 86°F (15°C and 30°C), away from moisture and light, and out of reach of children and pets.


text:
Doordarshan
Cricker becomes 'royal' in every sense
No business is like show business. Perhaps. But the spiralling premia on that royal game - cricket - is fast catching up with the big rake-ins that go with moviedom.
Updated : July 14, 2014, 4:59 pm
Indian trade unions come together to administer a rap on Government's knuckles
Rarely had an event invited such determined and concerted action by the Union Government. When the 24-hour national strike called by the National Campaign Committee ended, two things stood out clearly.
Filmotsav-82 in Calcutta turns out to be a dud
It was the same story once again in Calcutta when the city hosted, after a lapse of seven years, the international film meet which went by the name of Filmotsav-82.
Updated : July 9, 2014, 12:36 pm
'The challenge before media of the Third World today is to face the challenge head on'
The fact that the western news media are often politically, economically, culturally and sometimes even racially biased is not in dispute - there is too much evidence on display, in print.
Updated : July 2, 2014, 4:07 pm
'Gavaskar provided all the oxygen and blood to the Indian cricket edifice'
"The difference between Gavaskar and Bradman is only the difference between super and superb."
Football in India is about loyalty than wonderment
The Indian football fan comes of age with Brazil 2014.
Updated : July 2, 2014, 8:23 am
Modi's impact
Morning walks in Lodi Garden are now only for fitness, not networking.
DD days are here again
On June 15, when Modi visited Bhutan for his first overseas visit, he was accompanied by only Doordarshan and private agency channel ANI. A sign of the times to come?
Government announces series of 'voter-friendly' economic measures
Are the elections coming? To get an answer, you need to read neither tarot cards nor tea leaves, just the daily newspapers.
Updated : June 30, 2014, 6:19 pm
Indian football caught in a classic impasse
Pre-Olympic soccer came back to India after nine years under the glare of the floodlights of the Jawaharlal Nehru Stadium in New Delhi. But the encounter between Saudi Arabia and India never really sent the sparks flying.
India's second satellite INSAT-1B develops serious snags days after its launch
It was as though history was repeating itself last fortnight, when India's second Rs 60-crore multi-purpose satellite developed serious snags after just five days of its launch. Scientists finally adopted a simple-enough solution to get the satellite working again and there is still an air of cautious optimism in the Master Control Facility at Hassan. A report.
Pro-Kannada agitators black out live telecast of Indira Gandhi's Independence Day address
On August 15, as Mrs Gandhi stood on the ramparts of the Red Fort in New Delhi for her customary Independence Day address to the nation, TV sets all over Bangalore blinked off. The pro-Kannada agitators had struck again.
Government slashes variety of taxes on electronics goods
A television set for Rs 1,000? That was the headline-hitting point in a path-breaking announcement by the Government last fortnight of a major policy change in electronics.
'Who is Swraj Paul to question the record of J.R.D. Tata?'
"It is not only the Sri Lankan Government that maintains double standards while dealing with two similar situations, the Indian Government, its people and the Indian press also do the same."


Global advertising agency with a family-style environment is seeking to grow their Account team roster. Known as a business communications specialist, the agency works with top-tier clients in the financial, technology, healthcare, and manufacturing/industrial arenas. While previous experience in these categories is helpful, a genuine interest in these ever-changing industries is just as valuable. As project work spans all creative mediums, you should hail from an integrated background with a mix of print, digital, direct, television, etc. Ideal candidates will have previous category experience, global reach, and a familiarity with the B2B space. If you walk the line between casual Friday and buttoned-up Tuesday, while being strategic-minded and ready to get your hands dirty, this is the place for you.
Sounds good? Shoot your resume to thehuntinglodgenyc@gmail.com. Not for you? Please feel free to share this with a friend.
Are you a resourceful and pro-active problem solver?
Global advertising agency with a family-style environment is seeking to grow their Account team. Known as a business communications specialist, the agency works with top-tier clients in the financial, technology, healthcare, broadcast and manufacturing/industrial arenas. While previous experience in these categories is helpful, a genuine interest in these ever-changing industries is just as valuable. As project work spans all creative mediums, you should hail from an integrated background with a mix of print, digital, direct, etc. Please be able to independently manage multiple projects, to develop clear and insightful creative briefs and strategy documents, and to quickly respond to needs and requests of clients and agency teams. Production experience is a must; financial category experience, previous global reach, and familiarity with the B2B space are a plus. If you walk the line between casual Friday and buttoned-up Tuesday, while being strategic-minded and ready to get your hands dirty, this is the place for you.
Sounds good? Shoot your resume to hunter@thehuntinglodgenyc.com. Not for you? Please feel free to forward this to a friend.
Hip downtown agency is seeking a savvy and confident team player with an integrated and solid digital background. This independent, creatively-driven shop is selective in partnering with quality brands whom are media-neutral. This Account Manager's experience should ideally come from having worked at a small traditional ad agency on a heavy production accounts or hail from a digital agency directly. Candidates should have a creative pedigree and flourish in a non-layered environment; you'll wear the execution hat, as well as support the strategy and business growth. Open to any previous category experience, though work will include one or more of the following: CPG, gaming, beverage, financial, sports. A sense of humor and a pro-active drive are musts. Previous agency experience is required, 5 years minimum.
Sounds good, huh? Please shoot a current resume to hunter@thehuntinglodgenyc.com. Not for you? Feel free to pass this opportunity on to a friend.
Boutique ad agency/imagination store with solid leadership and extensive creative accolades is seeking to expand their savvy Account team. This eclectic, hard-working community harnesses the power of collaboration and understanding between brand, agency, and consumer. The Account team functions across all known (digital/tv/print/ooh/etc) and as yet unknown media channels to deliver successful client campaigns focused on creative and supported by strategy. Ideal candidates will find excitement in evolving non-traditional solutions to a variety of brand hurdles. Agency client roster is a select powerhouse. For this role, client serviced would be a major global digital technology brand. As this is a nimble agency, well-rounded, driven and polished Account folks will be "in the trenches" and need exceptional client/strategy/production skills; please have demonstrated ability to grow client relationships. A true passion for creative and drive to sell through progressive work is a must. Global experience is a major plus; previous ad agency experience is required.
Here's an exciting opportunity at a global advertising agency with a family-style environment. As a point person of contact for cross functional integrated teams, you'll play an integral role in developing branding and 360° marketing solutions, in addition to managing the day to day projects and mentoring junior staff. Seeking a strong, collaborative leader who has 8+ years of experience, ideally with B2B and global skills; your background should be fully integrated, including direct and broad digital. Categories touched will include well-known financial and manufacturing/industrial brands. If you walk the line between casual Friday and buttoned-up Tuesday, while being strategic-minded and ready to get your hands dirty, this is the place for you.
Here's an exciting opportunity to work on a large, global technology account at a global advertising agency with a family-style environment. As a point person of contact for cross functional integrated teams and partner agencies, you'll play an integral role in developing cross-channel marketing strategies, in addition to managing the day to day projects and mentoring junior staff. Seeking a strong, collaborative leader who has experience in B2B and technology; your background should be fully integrated, including direct mail and e-mail. If you walk the line between casual Friday and buttoned-up Tuesday, while being strategic-minded and ready to get your hands dirty, this is the place for you.


Hi! Sign in to let us know how Vallarta Supermarket was?
L W. Oct 27 .
Tired of paying $3 for an onion? Go to Vallarta! Since their produce is cheap and the processed foods are pricier, I'm always enticed to cook home-cooked meals. The only downside is this branch is very small--but if that's a problem, go to another branch. They also have great take-out deals. For $10, you get 1 lb of carnitas (or a whole chicken), rice, beans, salsa and tortillas.
Edwin D. Nov 28 .
At times, whenever I come to this place, the produce doesn't come to par. I mean the apples are bruised so are the pineapples. My wife would comment "Where did you get these apples from?" and I would say "Vallarta". Then I would get this look as if I was an idiot to shop there as their produce literally "bites". Sure it is cheap but not worth it. I do go there to buy ethnic goods like tamarind candies, salsa, and chips which are really authentic and good . Overall, a satisfactory place to shop. I prefer Albertsons.
grace w. Nov 08 .
they have authentic mexican food here. Their deli serves all sorts of Mexcan dishes and have made-to0-order dishes for a party or something. there are so many ingredients to make your own Mexican food at home. The produce is low priced and fresh. It's a fun experience, minus the rubbing elbows with fellow shoppers because it's so cramped.
If you've been to or used Vallarta Supermarket, leave a review.


text:
Get Timely Resources
CI to Eye Podcast
CTA Generator
Social Media Ad Dimensions
Boot Camp Videos
Web Analytics Videos
Social Media Content Calendar
Arts Industry Benchmark Study
Ticket Buyer Media Usage Study
Pandemic Data Analysis
CI on the Digital Road
CI TO EYE WITH BRETT EGAN
How Arts Organizations Can Survive A Pandemic
How Arts Organizations Can Survive A Pandemic: Brett Egan
Brett and Erik discuss the seven clear steps arts leaders should consider when institutions are being put to the ultimate test. Brett also provides his guidance around fundraising, marketing, programming, and leadership during this unprecedented time.
Note: Any and all resources mentioned in Brett's episode have been linked at the beginning of the transcript on this page.
Go back to the things that brought us to this industry: our mission, our vision, and how our industry creates meaning in life.
ABOUT BRETT
Brett Egan is the President of the DeVos Institute of Arts Management at the University of Maryland, where he provides training for arts leaders on strategic planning, fundraising, board development, and marketing.
Melissa Cowley Wolf
The Future of Arts Funding
Turnaround King and President Emeritus of the Kennedy Center
Zannie Voss
Critical Research for Arts Leaders
Americans for the Arts Economic Impact Dashboard
Americans for the Arts COVID-19 Resource and Response Center
Nonprofit Finance Fund COVID-19 Tools and Resources
CI to Eye with Zannie Voss
DeVos Institute of Arts Management COVID-19 Announcement
Brett Egan: That bifurcated brain of the manager and of the artist and of the board member, at this moment, today, in our sector, is asking individuals to pay attention to the two deep ends of the same spectrum, simultaneously, on the same day, maybe even the same hour, which is, on the one hand, to be looking at the profit and loss statement, to be looking at cashflow with a more exacting scalpel than ever. And it is painful and it is scary. And then to put down the pen, turn off the laptop, go for a walk, hopefully someplace green with lots of fresh air, and at the very same moment, go back to the absolute kernel, the source of what brought us to service in this industry, our mission and our vision and the importance of the story and the importance of this charge which we've taken up in the arts and culture industry of creating meaning in life, which is such a privilege to be able to focus on that and to go as deeply into that as we possibly can and pull together a vision for the purpose of our organization moving forward. I think that it's those two totally separate brains that are going to have to come together and coexist in a minute-by-minute relationship over the course of the next week or two. Donors are not going to follow cases that look hopeless.
Erik Gensler: Brett, thank you so much for joining me on such short notice. I'm really happy to … we can have this conversation today.
Brett Egan: Pleasure to be with you, Erik,
Erik Gensler: It's a wild and uncertain time in the world and in the arts and I'd love to start out by just hearing your framing of the big picture of thoughts around this crisis and the arts.
Brett Egan: I think there's two basic chapters to what we could talk about today. One is some reflections on the short term and some reflections on the near-long term. In the short term, I would like to say that between the waves of concern, I think that there are some pretty shining examples of leadership taking place that should give us some optimism. There are several foundations starting to take very productive steps forward to provide relief in the last couple of days. The Boston Foundation, Bonfils-Stanton Foundation, folks like the greater Pittsburgh Arts Council, a consortium of major foundations in New York City, I understand, are contemplating crisis relief efforts. If we are to stave off the worst losses, this type of leadership is essential and it doesn't take me to say it. These people who are in these leadership positions have already started to take this action. We obviously all are hopeful that that action will be swift and somewhat commensurate with need. This is a source of optimism for me and hopefully will set an example for smaller and mid-size family and community foundations throughout the country to take similar steps. Secondly, I'm starting to see certain city governments take steps to reduce restrictions surrounding project-based grants. This is a critical step that can be taken and is one that will provide immediate cash flexibility for organizations that may have received restricted grants to use for general operating support purposes. I'm seeing quite a bit of that thinking taking place, which is a great source of optimism for me. I think that we are seeing very quick, agile, and smart responses from several of the leadership institutions in our country that care about the health of arts and culture; not least of these, Americans for the Arts has already started an effort to pull together data on the economic impact of what is taking place but, just as usefully, has put together what seems to be a constantly updated and growing list of resources for cultural organizations and individual artists throughout the country. That's on their website under a special page dealing with the pandemic.
Erik Gensler: Yeah, we'll link to that in the show notes and put together the link to that dashboard, which is incredible and getting updated real- time by organizations.
Brett Egan: Nonprofit Finance Fund has put out tools to help estimate cashflow scenario planning, which are very practical and very helpful. And then, lastly, I am starting to see cultural organizations take steps, very real steps, toward managing panic and starting to lead in their communities in their own way, taking care of their internal structure, which we'll talk about here.
Erik Gensler: Thank you for that summary. I'm really happy you outlined all those resources and we will link to as many as we can find before we release this episode. So, you talked about foundation support, you talked some about cashflow. I'd love to bring up a question that we're seeing a lot from our clients in the field, which is, when is the appropriate time to ask for money from individuals and how do you think about that in this moment of crisis, of the fact that everybody, on some level, is going to be impacted economically? How do you strike the right tone and having those conversations at different levels of individual gifts and donors?
Brett Egan: That is such an important question and it's such a difficult question. The average American cultural nonprofit has less than two months of working capital or cash liquidity. The average performing arts organization and museum has fewer than two months. The average orchestra has fewer than 15 days. So, the concept of best practice in this case is slightly amended, given what we can expect to see the urgent requirements on the part of cultural nonprofits to sustain operation during this period, on the fact of, most organizations simply do not have the cash to be patient. And this is very helpful data that slowly and quietly, over a period of years, was being amassed by our friends at the National Center for Arts Research at SMU.
Erik Gensler: Yeah, Zannie's been on the podcast to talk about that exact research.
Brett Egan: Zannie and the SMU team have done a very fine job of articulating the 800-pound gorilla in the room for years and it is exactly a moment like this where that data illustrates how stark the line between viability and crisis is for most American nonprofits. This question of, "How long do we wait? How do we characterize our approach to donors within this context?" meets that very cold reality that there is simply not time to wait. And so, we come back to your critical question, which is pointing to the fact that, for most of our peers in the field, this is … Yes, it is an expense problem, in the sense that certain expenses are simply not able to be constrained without totally shutting down operations or halving or cutting entirely a payroll. So, expense certainly is part of the equation here, but cultural organizations are already so frugal and so good with the money that they have that there is no cutting our way to health in this scenario. The only way out is going to be through a very fine balance between, likely, constrained expenses and revenue development. And revenue development in this context, where we've seen the market plummet 30, 35% in two weeks, where endowments are being hit hard, where 401ks are being hit hard, where we're expecting to see not only our peers, but our friends and neighbors and colleagues in sectors throughout the country, losing jobs, the context for individual philanthropy has radically shifted and here's how I'm looking at it. Cultural organizations have survived, for as long as we in the States could remember, on the generosity of their friends and colleagues and what we would call at the Institute, a family of donors, of board members, of subscribers, of members, of volunteers, of strategic partners, of alumni. And it is exactly at this moment that cultural organizations are going to need to go to the inner circle of that family and make the case that preserving the operation is a necessary step. And I want to return to that concept of "necessary." The expectation has got to be that even the most loyal donors are going to have constrained ability to give. They're going to be acting from the same position that many of us are, which is a position of absolute uncertainty and lack of visibility on what the days, much less the weeks or months ahead, bring. And so, our expectations here need to be very finely tuned to that reality. At the same time, and this is critical … At the same time as we are focused on this highly tactical process of viability in the short term, I believe that our donors are going to be attracted to nothing less than an absolutely visionary concept for the future of the organization.
Erik Gensler: That's right. Yup.
Brett Egan: And it is only going to the organizations that are able to articulate that at this exact moment that are going to get the attention of people who are going to have people tugging at them from every direction. They are not going to follow cases that look despondent. Our job now is to be practical and to convey our need in a practical way, but to couple that, immediately, with an increased and not business-as-usual vision for the future. And that, I think, is going to take different forms in different organizations, but in my mind, that's the play with individual donors, in particular.
Erik Gensler: Clive Gillinson, the Executive and Artistic Director of Carnegie Hall was on the podcast and he put it so succinctly. He said, "Money follows vision, not the other way around."
Brett Egan: I think that's exactly right The fact is that money follows success and right now, success has been severely reframed, what that means. But we have to remember what's out there right now that people are going to be asking for support for. If we are basically arguing that we are looking for support to preserve something that looks like a digitized version of business as usual, I think we're going to fail. I think that the storytelling around the vision and muscle around a vision and a vision for the future of the organization and what this organization will be over the course of the next weeks and months, but very importantly, what it will be when this rebounds—and it will—that is what's going to inspire donors to make a gift to an organization that, no matter how important we think our work is, is going to look secondary to the immediate and necessary steps to just keep people fed and keep people employed. And so, without that, I'm afraid we don't have much to stand on. And I believe in our sector and I'm already seeing it, that our artists and our managers and our board members have this ability to tell that story and I'm starting to see organizations push vociferously in that direction.
Erik Gensler: You've written a lot about the importance of marketing and Michael and you both talk about, the gut reaction when things get bad for organizations is to cut marketing, to take a scalpel to all expenses, and you've written about the negative long-term impacts about that. Also, Colleen Dilenschneider, who's an amazing resource here-
Brett Egan: Yes, she is.
Erik Gensler: … says that, as a rule of thumb, it costs five times more to acquire customers than it does to retain existing customers.
Brett Egan: Hmm (affirmative)
Erik Gensler: In light of this crisis, how would you guide organizations to be thinking about their marketing and outreach?
Brett Egan: I think we need to think about marketing in two chunks. There's marketing that we typically spend the majority of our money on, that we would call "programmatic marketing," and, Erik, that's what we would characterize as, you know, advertisements, promoted posts on social, brochures, direct mail, et cetera; things that actually have hard costs that live behind them. And I think for practical reasons, for organizations that have canceled productions, canceled exhibitions, the need to be printing and posting brochures is decreased, perhaps radically decreased, in the short term. So, I think in the area of what we would call programmatic marketing, there are very likely some expenses that can be curtailed. The good news is that the other kind of marketing, marketing we would call "institutional marketing," does not require a lot of money. It is the type of storytelling that conveys the importance of the institution, particularly at moments like these. It is the type of storytelling that through thought leadership, through essays and op-eds, through speeches, through high-profile collaborations, gives a community a sense that if they take their eyes off of this organization for more than three weeks, they're going to miss something that makes their life feel incomplete and it's a very different type of communication than a postcard or a brochure or a tweet, although those things can be very effective, also. What we're saying here is that institutional marketing is really the muscle that tells the story of the importance, the necessity, of the work that is being done and that's the type of marketing has to go into overdrive right now. That's the type of marketing that can be issued, sure, on a website or through email. It's the type of marketing that can be distributed through coordinated talking points by board members, by staff members, by artists, to that family that I was discussing a few minutes ago, that says, "Let's focus on the value that we bring to this community, rather than focus exclusively on the short-term, urgent, immediate cash requirements." That institutional marketing narrative has to be more vibrant, more robust today than it was a week ago and that's where we would be encouraging most organizations, if they need to cut—and I think, understandably, in this particular moment, there will and probably should be cuts to certain types of paid advertising—the institutional marketing piece needs to go into overdrive and the good news is, that shouldn't take a lot of capital. It will take ingenuity, it will take cohesion across an organization, and it will take empowering people, like our board members who can be spokespeople and very effective spokespeople for organizations at this time, with that narrative. That's where I would be focusing.
Erik Gensler: And I would argue that a lot of that, with people at home, needs to be through social and digital and video and, if you're spending money, spending your money on promoting, over and over, your messages to your family of supporters, people who have been to your institution over the past three years, hunkering down on the people in your database and those near to it with these consistent messages and just being consistent and being sharing that vision, I think, of your institution as the cultural anchor that it should be.
Brett Egan: That's right, Erik. I think that's right. And I think Colleen's insight is accurate in this case, absolutely accurate. You know, this is, in my view, not the time to be going to people who don't know us. That's an interesting instinct and it's an instinct that I think some of us would have, to say, "Look, we need to throw this open as broadly as possible." I think it's highly unlikely that we will see much return on that investment. I think it's much more likely that through consistent, organized, optimistic, potent communication about the necessity of the institution, tying the necessity of the institution, perhaps to practical needs of the community, but probably tying it to the needs of the human spirit during this period, that message communicated to the people who have already had a strong encounter with us would be my first play. And I think that's an important and strategic decision that many managers are going to have to make here, which is, "Where are we going to focus?" and for my money, I would be focusing first on the people who I know have the ability to help and that are closest to us and then the next circle of people who have had a recent positive experience with us and not worrying too much, now, about going out to people who they know that we exist but haven't had a recent experience with us for may not know that we exist, but we believe should be interested in our mission. Those, I would leave for a bit further down the road. So, I think Coleen's data, here, helps us a lot in clarifying that point.
Erik Gensler: Absolutely. I think a lot of folks in the sector have recognized that there's going to be a short term … how much time, not quite sure—weeks, months, quarter—of no performances or events so people are thinking about, of course, next year and next season. And the other piece of marketing, of course, in addition to the institutional marketing, is thinking about subscriptions moving forward. And I'm curious for your thoughts about how that fits into this whole communications picture in this moment.
Brett Egan: There's so much that's uncertain here, as we're sitting here on March 19th at 12:15 PM, 2020. We're seeing things move so quickly. It seems on one day, there is something that looks optimistic and then on the next day the floor falls away from the Dow again and there's another restriction on travel and we're all caught a bit breathless and it's so difficult to think about what the right move is here. I think the reality is that we're going to have to wait. Hopefully, there will be some clarity about what stability the months of June, July, August, September may bring. Assuming that, for many, "normal" programming would resume in the fall, I think we can expect that announcements regarding productions would be happening on a later time frame this year. I think we can assume that many more of our materials are going to likely end up being distributed digitally than in print. I certainly would be in that space myself, assuming that we will be back to work in the fall and laying the groundwork for that now. I wouldn't say there's any upside to what's taking place, but one of the idiosyncrasies of what's taking place is that, ironically, while our brains are running at a fever pitch, activity has slowed down, meetings are being canceled, activities are being canceled, so there is an irony in that time allows us to perhaps take a breath and get certain conversations started or mature certain conversations. We can be doing a lot of planning right now and that is something that I think will prepare us to be able to act very quickly in the coming weeks or months, when clarity is achieved about what life will look like in September, October, November, December. I would be planning for something that looks like a modified business-as-usual in September and remain optimistic about that, and, yet, also be practical about the fact that we're going to need to very likely announce a bit later and very likely be announcing in a different way, probably relying a great deal on digital media, in, hopefully, the late spring or early summer.
Erik Gensler: Brett, you and Michael published what I thought was a really powerful and helpful blog post or letter a couple of days ago, which is what made me reach out to you. And given the situation, you proposed seven steps that arts organizations should consider in light of this and so, I'd love for you to walk us through those.
Brett Egan: Sure, Erik. There's a lot of good counsel out there. These are a few things that occurred to us as being immediate, practical, short-term steps that can be taken to help produce, perhaps, a bit more comfort on the expense side and lay the groundwork on the revenue side. The first thing, that should be actually, relatively straightforward from most folks who have invested in the arts, is for us as leaders of arts organizations to go to donors, go to foundations, go to government agencies that have made restricted grants or donations and ask for those restrictions to be relieved, freeing that capital for general operating support needs. That's a pretty quick first step that most governments that I'm looking at have already said, "We will look at that very closely. Please be an open communication with us," and many foundations, I'm seeing that as well. The second thing is, while we certainly hope and anticipate that everyone will be made whole as part of this process, I think that this is a moment where the entire ecology of both suppliers and providers in this business are going to need to be in constant communication about feasible payment plans for services. And this means going to vendors, going to landlords, going to others who have provided services and asking for reasonable amendments to timelines. The implications of this pandemic do not sit solely within arts and culture industry, to say the least. It's going to hit everybody and so, the level of flexibility that different institutions will have to do this, I think, is going to vary, but I would say, in our business in particular, a lot of organizations spend a significant amount of expense on occupancy and on real estate and I'm hopeful that we will be able to have reasonable conversations with landlords and with property holders about extended payment plans, given that that chunk, for many cultural organizations, is one that can eat up five, 10, even 15% of the annual expense line.
Erik Gensler: Definitely. I've heard … I had a conversation with someone who talked about, even if you need three to six months relief, adding three to six months on the other side of your lease. So, if you can get the pause now, you know, agreeing to pay in the future when times are brighter.
Brett Egan: That's … I think that's very reasonable and, you know, we saw a bit of that during the 2009 recession and I'm hopeful that our friends in real estate will be partners to cultural organizations at this time. The third thing that we're focusing on is highly practical and is certainly not an innovative idea, but for organizations that have sold tickets or have sold gala seats or gala tables or fundraising tables, we're seeing a lot of success with those organizations going to the people who purchased those tickets in those tables and asking for them to not take that as a refund, but to convert that into a general donation to the organization. And that can certainly help. The argument there, of course, is that that money goes, in many cases, directly into the pockets of the people who are working in the institution. The fourth thing that we're focusing on—and this gets back to the second bullet point—is for those in city-owned or government-owned facilities to be asking for delayed payment or payment forgiveness. The fifth … and this one, you know … this one is no fun, but it's going to be necessary for lots of folks, I think, is to seek renewal on lines of credit, seek out first-time lines of credit. So far as I can tell, and speaking to our peers in the field, they're not having trouble with this at present, for those who have reached out to local lenders, that there does not appear to be a concern regarding liquidity. I don't want to create a rush, but I would encourage organizations to strongly consider their cash needs for the next six months—and I'm sure that everyone is—but to take a look at whether or not an instrument like that will be needed down the line and to start a conversation with local lenders about that now. I'm seeing organizations also thinking about creating in-house lines of credit or low- and no-interest loans with board members who have the ability to do that. That's something that our most generous board members, who have made contributions but cannot make another contribution commensurate to need, might consider, and then I do, of course, realize that access to that type of individual is not equal across all organizations in America, to say the very least, and I do realize that's not an option that would be available to many. I'm hopeful that—and, in fact we're seeing that—many foundations and government agencies are also contemplating this strategy, in addition to easing restrictions on current grants and making additional unrestricted, general operating support, emergency grants. So, that's another tool in the arsenal. The sixth one, in ordinary cases, I would say, "For better or for worse," but in this case, probably just for worse, a lot of the people who love our organizations are at home and they're not spending a half hour, 45 minutes going back and forth to work. There's going to probably be latent capacity to support our organizations in a volunteer function. This isn't cash, but any dollar that's not spent, in my mind, is as good as dollar raised. And so, thinking about how to activate that broader organizational family as volunteers is really important. I would also say—and this is something, Erik, that's come up for me about a dozen times since we issued that email a couple of days ago—and this is another just gritty and not fun topic for organizations that are thinking about having to lay off personnel, in that very moment, where we're thinking about what might look like last payments or severance payments or decreased payments, if the work of doing the show or putting up the exhibition or teaching the class has fallen away because we've had to cancel the class or cancel the exhibition, how can those individuals' talents be repurposed for revenue-generating activities? And that's a tough one. I don't know how that is going to play out in every organization, but, for instance, I'm working with a pretty darn resilient youth development organization right now and that relies a great deal on tuition and also relies a great deal on teaching artists. And, right now, we're thinking about how we can convert the talents of the teaching artists into a team to go out and help continue to engage people, not only online but also to get people thinking about enrolling for fall classes, kind of turning that teaching-artist corps into a recruitment SWAT team. And I've met … we're fully …we're having to think through the detail of that. The point is that we're contemplating as many ways as possible to keep as many people as possible on payroll, but we may need to ask people for flexibility in the type of services that they bring to the organization. So, that's a kind of an amendment to that sixth point. And then, the seventh point— and again, this is one that is no fun to contemplate and it is also … cuts straight to the question of equity in our sector and whether or not organizations have been in a position to amass generational or institutional wealth, and for all of the reasons that, I think, we all acknowledge at this point, pertaining to institutional bias and institutional racism and the implications of that at the intersection of that with the ability to accumulate wealth, this seventh point is not one that is going to apply in any fair way across all organizations. Nonetheless, for organizations that do have restricted reserves, for organizations that do have endowments, this is a time where we believe there is a sober conversation, a conservative conversation to be had regarding the principal or the corpus in those restricted financial instruments. And while there are legal implications and while there are implications regarding donor trust involved in looking at accessing the corpuses of endowments and restricted reserves, there is a legitimate argument to be made that these circumstances provide context for really thinking through the alternative. So, that's the seventh point that we're contemplating. In the end, however, all of these things are … probably need to be thought of as short-term strategies. The long-term strategy will rely on being able to resume the development of revenue in some critical way. And this gets us back, Erik, to the point regarding vision and the necessity of our organization that we were speaking to earlier in our conversation.
Erik Gensler: Absolutely. I know you can't predict the future, but for the sake of just imagining and to collect your thoughts, where do you see the arts landscape on the other side of this crisis? I've been saying and thinking for a long time, when you look at the financial picture, like you mentioned, from Zannie's research, so many organizations are an economic crisis away from not being around anymore and that's a scary and terrible thing. But I'm curious, if you had to predict a year from now, what would the arts ecosystem and landscape look like versus say, three weeks ago?
Brett Egan: I think there are three types of organizations that are going to weather this. One are relatively wealthy institutions that have amassed generational and institutional capital over a period of months or years proceeding this crisis and that will find a way to weather the storm. That is a very small minority of our sector. However, I do know organizations large and small that have been prodigious in building reserves and this moment is going to give credence to that foresight. The more likely path, I think, for the vast majority of cultural organizations is bifurcated. I think a year from now, the first type of organization that survives and maybe even flourishes is the organization that is able to prove that during this period of time, it remained a necessary partner in its community. How that's defined, I think, will be different for each organization. Already, and I think actually inspired by the great recession in 2009, we have seen a major tilt in the sector toward cultural organizations functioning as problem-solving partners to local government, to social service agencies, to educational institutions, to parks and recreational centers, to aging facilities, et cetera; and we've learned many lessons, in fact, from our community-based organizations that have created real value, a very practical value, through creative practice, in service to areas of civil society that other functions were not able to provide the same value. So, whether we look at creative practice at the intersection with restorative justice or with sanitation or with transportation or with healthy aging or with abating loneliness amongst elderly populations, I think that that organization has an argument, at this particular moment, that can be emphasized and that, in fact, might even find some investment. And I would encourage organizations that have the ability to be thinking about applications for their work that serve two ends, both a creative end and a more instrumental end, in partnership with social service organizations, municipal agencies, other functions of relief and functions of support for our friends and neighbors. That, I think is an organization that has a path through this and can make an argument toward being a necessary part of the community. I think very far end of the spectrum, Erik, is also a potential path for some organizations. And the very far end of the spectrum, I will say, aphoristically, is the organization that through the power and through the talent that is characteristic of great artists throughout the history of mankind is able to come up with creative interventions that remind us of the importance of cohesion at a moment of social distancing, that remind us of shared humanity at a moment of xenophobia and heightened racism, that remind us of the power of even abstract art to communicate in a language that is actually uplifting, that is actually a reminder of something that we have a difficult time putting into words, but that we all know that we share and that we all know that we need now; that that visionary institution can also make it through. And I want to be very clear—and this saddens me to say this—I believe that is a very substantial plateau jump from what we might call just doing a business-as-usual great performance or great exhibition. I don't see a lot of room—although nothing would make me happier than to be proven wrong on this particular point—I don't, personally, see a lot of room over the course of the next three months, six months, maybe even nine months, for the presentation of just the next version of what we would have been doing, had this not come about. I think it will be tough for that iteration of business as usual, even if it's strong, to build and retain an audience. I think this is going to be a moment where our communities, if they are looking for art at all, are looking to art in the most epochal sense of what art has been and I have faith will continue to be for us as a species moving forward. I just think it is going to take relentless innovation and relentless visioning, right now, from the people who have been gifted with this talent, to lead our institutions in that direction. And that's, Erik, kind of my view on the three types of organizations that are going to make it through this. Sadly, I do think there will be some contraction and I don't think I'm alone in forecasting the implications of the data that we have from folks like SMU that say so many of us were already on such a fine line. I think that this cauldron that we find ourselves in at this moment, that heat can produce a meltdown but it can also produce entropy. There are opportunities to be thinking about joint venture, long-term strategic partnership, shared administrative structure, even mergers. I think that there are some institutions, in particular, universities, that may have the ability to subsume infrastructural needs of small nonprofits. They may have facilities that are not going to be used at capacity over the course of the next six, nine, 12, 18 months. I would like to think that the cultural sector would be looking very carefully at partnering with and even possible mergers with universities and academic institutions in their cities. And there's a long track record, obviously, of partnership, very strong partnership, between cultural enterprise and universities. I would like to think that arts and cultural organizations would be able to open conversations with libraries, with hospitals, with community centers, with recreational centers, with underutilized public infrastructure. And if we're being forced to make the tough decision about whether to not pay the rent or not pay our people, to be thinking creatively and thinking now about what those partnerships might look like.
Erik Gensler: Definitely it's a, it's such a moment of reinvention.
Brett Egan: I believe that a strategy without a sense of the sacred underneath it is not a strategy because it doesn't get done. So, right now, I think we have an opportunity as managers to use this energy to innovate again and I think cross-sector partnership and I think partnership with some of the larger civic institutions in our city is a decent play to be considering and it would be a very interesting and, I suppose, somewhat positive outcome to see higher levels of relevance for our sector in relationship to the other major vectors in civil society result from this moment. So, I'm optimistic that some innovation can be found there and some sustainability can be found there
Erik Gensler: So, we've talked about a lot and all, I think, super important to our listeners in our field. At the end of our podcast, if you've listened to past episodes, we ask for your "CI to Eye moment", which is the ultimate boil pulling down of some of this. And the question is, if you can broadcast to the executive directors, leadership teams, staff, and board of thousands of arts organizations, what advice would you provide to them right now?
Brett Egan: This is the moment where everyone goes deep and answers, again, first for themselves and then for the community, what makes this work necessary? That's the message that our donors need to hear. That's the message that our audiences need to hear. And my belief is that that must be a visionary statement and that it is the visionary organizations during this period, not the organizations that grow quiet and retreat for three or six months, that are going to find their footing when this starts to rebound. And that requires both pragmatism and optimism in equal measure and constantly in the weeks that come. It's a time where we're going to stick together, as we always have, and take care of each other, and we have the great privilege, the great privilege, of working in the business of producing meaning and producing a vision for the future and I have great confidence, as I always have, our artists and our managers are going to step up to that plate and continue to serve.
Erik Gensler: Brett, thank you so much. This is going to be so helpful to so many people and the sector at large.
Brett Egan: Erik, I'm really grateful for the invitation.
Posted by Capacity Interactive on Mar 24, 2020 12:09:11 PM
Tags: Leadership, Podcast Guest: Brett Egan, Related Episode: Matías Tarnopolsky, Related Episode: Colleen Dilenschneider 3, Related Episode: Seth Godin, Related Episode: James Langley
Episodes Delivered to You
Get Episodes in Your Inbox
© 2021 Capacity Interactive


text:
OHSU
Search Section Search all of OHSU Search About OHSU
Patient Condition Report
OHSU Facts
Serving Oregon
Center for Diversity & Inclusion
Visit OHSU
Hotels, Motels and Lodging
Housing and Relocation
Portland Aerial Tram
EdCOMM
Protocol and Events
OHSU Foundation
Doernbecher Children's Hospital Foundation
Puneet Rai, M.S., C.G.C.
Puneet Rai M.S., C.G.C.
Health care profile
Instructor of Molecular and Medical Genetics School of Medicine
Puneet's first job after graduation was working with Dr. Hayflick's NBIA research team to develop the written and graphic content of the NBIAcure.org website. She now continues to work in Dr. Hayflick's lab as the website master, but has additional duties, including database development for NBIA natural history studies and genetic counseling for patients seen through the NBIA Center of Excellence.
In addition to her research work, Puneet sees patients in a variety of genetics clinics, including Pediatric Genetics, Adult Neuro-Oncology Genetics and Adult General Genetics. She enjoys working with both children and adults and providing genetic counseling about a wide range of conditions.
In her free time, Puneet enjoys reading, painting and planning trips around the world.
M.S., California State University Stanislaus, Turlock California 2013
American Board of Genetic Counseling, 2016
Memberships and associations
National Society of Genetic Counselors
Oregon Health & Science University
OHSU is dedicated to improving the health and quality of life for all Oregonians through excellence, innovation and leadership in health care, education and research.
© 2001-2019 OHSU. OHSU is an equal opportunity affirmative action institution.
Cores & Shared Resources


text:
Swimmers Itch
Swimmer's itch, also called cercarial dermatitis, appears as a skin rash caused by an allergic reaction to certain parasites found in certain birds and mammals . These microscopic parasites are released from infected snails into fresh and salt water (such as lakes, ponds, and oceans). Rather than finding a host bird or mammal, the parasite instead burrows into the nearby swimmer's skin, causing an allergic reaction and rash. Swimmer's itch is found throughout the world and is more frequent during summer months. For more information click on the link below.
Bed bugs are small wingless insects that feed solely upon the blood of warm-blooded animals. Bed bugs and their relatives have evolved as nest parasites. Certain kinds inhabit bird nests and bat roosts and await the return of their hosts; others have adapted well to living in the 'nests' (homes) of people.
North Dakota Department of Health Bedbug Fact Sheet
University Of Kentucky Entomology Bedbug Information
Lyme disease is caused by the bacterium Borrelia burgdorferi and is transmitted to humans by the bite of infected blacklegged ticks. Typical symptoms include fever, headache, fatigue, and a characteristic skin rash called erythema migrans. If left untreated, infection can spread to joints, the heart, and the nervous system. Lyme disease is diagnosed based on symptoms, physical findings (e.g., rash), and the possibility of exposure to infected ticks; laboratory testing is helpful in the later stages of disease. Most cases of Lyme disease can be treated successfully with a few weeks of antibiotics. For more information click on the link below.
West Nile virus is spread by infected mosquitoes, and can cause serious, life-altering and even fatal disease. Virus transmission may occur in parts of the country where mosquitoes are still active. For more information, click on the links below.
Learn More via CDC
Rabies is a preventable viral disease of mammals most often transmitted through the bite of a rabid animal. The vast majority of rabies cases reported to the Centers for Disease Control and Prevention (CDC) each year occur in wild animals like raccoons, skunks, bats, and foxes. Domestic animals account for less than 10% of the reported rabies cases, with cats, cattle, and dogs most often reported rabid. For more information, click on the links below.
Learn More via ND Dept of Health
Avian influenza virus usually refers to influenza A viruses found chiefly in birds, but infections can occur in humans. The risk is generally low to most people, because the viruses do not usually infect humans. However, confirmed cases of human infection have been reported since 1997. For more information, click on the links below.
Learn More via ND Game & Fish
Learn More via World Health Organization
Chronic Wasting Disease (CWD) is a transmissible neurological disease of deer and elk that produces small lesions in brains of infected animals. It is characterized by loss of body condition, behavioral abnormalities and death. CWD is classified as a transmissible spongiform encephalopathy (TSE), and is similar to mad cow disease in cattle and scrapie in sheep.
Learn More via USDA


Daimer Industries, Inc. Design Specialties, Inc Don Burger, Inc.
Dakota Corporation-Damacus Gloves DETEC Don Hume Leathergoods, Inc.
Dark Knight Protective Agency and Academy DeTekion Security Systems Inc Dortronics Systems, Inc.
Datakey Electronics Diagnostic Health Systems Inc Doxtech, Inc.
Dawg, Inc. (Do Away With Grime) Diaphonics Drugs of Abuse, Inc.
dck worldwide LLC Digital Descriptor Systems, Inc. DSHI Systems, Inc.
DC Telesystems Digital Security Concepts DTD Distributing, Inc.
Department of Public Safety St. Paul MN DLZ Associates Dynamic Imaging Systems, Inc.
Deptcor D.M.C. TELECOM SALES Dynamic Systems, Inc.