text:
Swype Beta for Android Now Open, But Not for Long
By Jolie O'Dell 2010-06-17 02:49:17 UTC
For just a few days, you can download Swype for Android.
Swype is the virtual keyboard user's best friend. It eliminates the need to tap out individual letters when sending a message, writing an e-mail or updating a social service. Instead, you let your finger glide smoothly from letter to letter, forming words without your fingertip ever leaving the screen.
It's elegant and also quite fast; one Swype user even broke the Guinness World Record for fastest text messaging, a move that was famously documented in a recent Samsung commercial.
To give you an idea of how this amazing app works, here's the first in an extensive demo/tutorial series:
Swype was previously available as a mostly closed beta program. The new version will be available for download for a limited time; we suggest all Android device owners get this app while the gettin's good.
Swype is available now for English, Spanish and Italian with support for more languages coming soon. Limited support for users will be available through Swype's forums. The software is available for all Android devices that don't have Swype pre-installed from the manufacturer. The app "can't and won't" access any personal information, according to Swype's website.
All you need to do to get the software is register with an e-mail address; you'll be e-mailed a link for the download shortly after registering.
Have you tried Swype yet? If so, did it help you increase your speed or accuracy while using a virtual keyboard?
For more mobile coverage, follow Mashable Mobile on Twitter or become a fan on Facebook
Topics: Android, Mobile, smartphone, swype, texting


Everything is simple but one has to learn to deal with complexity: that is an apparent paradox that may have struck you as you read this and previous entries in this and other blog series. So where does the truth lie? The answer might be found in a word: Universe.
The first thing to notice is the word itself is universe, not duoverse, or trioverse. The implication with "uni" is the existence of one underlying set of principles, matter, you name it. The second part "verse" comes from the Latin word "versare" meaning to stir or churn. This gets to the diversity on your project, the mix of personalities, technologies, business models, and life in general.
This can be daunting with all the different vendors and individuals with whom you have to deal. But let's turn back to the first part of the word universe, "uni-." Underneath all the apparent chaos and confusion the bazaar continues. It is this underneath part that holds the key to finding simplicity. People are people, business is business, technology is technology, and the bazaar is the bazaar. If you can put together a team that masters the core principles within those arenas a picture will start unfolding. It will be a clear picture. It will be a fluid picture. The bazaar called, "my project," will stop being a noisy, chaotic, headache-producing mess and will become a kaleidoscope of all the variability present within the one set of rules underpinning the situation. The motives of others will become clearer along with the capabilities and limits within the technologies and business case. The extent to which a path exists will show itself.


text:
Saddam's yacht on sale for 23.5 mln euros
A super-yacht built for former Iraqi president Saddam Hussein is awaiting a buyer in the port of Nice, with an asking price of 23.5 million euros, according to a specialist web site.
16 Aralık 2007 Pazar 11:58
The 82-metre (270-feet) Ocean Breeze, built in 1981 by Danish shipyard Helsingor Vaerft, started life as the Qadissiyat Saddam, but was never actually delivered to Iraq, says www.superyachttimes.com.
Instead it ended up in Saudi Arabia, taken over by that country's royal family and renamed Al-Yamamah.
Saturday's daily Nice-Matin reported Saturday that the yacht, which can take 28 passengers and has a crew of 35, was moored in the Saudi port of Jeddah for 10 years.
The paper said the vessel was disposed of earlier this year to King Abdullah of Jordan, before being renamed again.
Brokers Burgess of London are selling the yacht for 23,512,790 euros, or 34,450,000 dollars, according to superyachttimes.com.

redpajama_set_name: RedPajamaCommonCrawl


text:
← Monster Gallery: Tremors (1990)
Monster Gallery: Tremors 2: Aftershocks (1996) →
Subterranean Terror — Tremors 2: Aftershocks
Posted by omega
Universal expressed interest in making a sequel to Tremors — which had achieved a near cult status on the video market — shortly after its release. "We didn't take it too seriously at first, because we couldn't come up with any good ideas," writer and director of Tremors 2: Aftershocks, Steven S. Wilson, told Cinefex. "We really didn't want to deliver the same thing over again; and it wasn't until some time later — in one of those literal bursts of inspiration — that I awoke in the middle of the night thinking, 'what if the worms fragment into little creatures?'"
Many of the artists that had worked for the previous film returned for Tremors 2. Wilson recalled: "people wanted to work on this show, and that was a fundamental part of pulling it off. Department head after department head came on and agreed to very painful cuts in their budgets. We joked about the fact that I was one of the few people on the team who hadn't won an Academy Award. I was surrounded by all these incredibly talented people who agreed to do this because they loved the first film and they liked the new script."
Among the returning crew was the special effects company, Amalgamated Dynamics — again headed by Alec Gillis and Tom Woodruff Jr., who had become committed to the series. Woodruff said: "Tremors was our first project and a real labour of love with a great group of people. We had said that if ever there was a sequel — no matter what we were doing — we would make ourselves available." Principal photography for Tremors 2 coincided with location shooting for Jumanji, another project ADI was working on at the time. Keeping the promise, the duo signed to work on Tremors 2, assigning Andy Schoneberg to direct the special effects work on the film whilst they supervised it from Vancouver. ADI only had a modest budget and six weeks to build all of the incarnations of the Graboids and their offspring.
Tremors 2: Aftershocks marks the return of the Graboids — a new subspecies adapted to a different environment. "[It is] the Mexican variety of the creature, and it lives in southern Mexico on verdant plains," said Wilson. The subterranean Monsters, whose origin was deliberately left ambiguous in the first film, are revealed in the sequel to be ancient creatures from the Precambrian period.
Filming the ill Graboid scene.
ADI refurbished the full-size animatronic head sections used for the previous films. The Graboids burst through the ground with new rigs devised by physical effects supervisor Peter Chesney. Wilson recalled: "the underground rigs we used in Tremors were powered by air rams, which often jammed and never really moved the worms fast enough. I told Peter early on that one of the things we desperately needed was to see a worm come out of the ground and lift someone in the air." Ivo Cristante's physical effects team built a 18 feet tall, 20 feet wide platform in which to place the burst rig — an uneven parallelogram crane on which the creature was installed. A spring-loaded device was employed for the Graboid's fast movements. Chesney explained: "we built a nine-foot-wide steel track with skateboard-like guide wheels and added a lot of counterweight on cables to power it, including a huge amount of bungee cord. We actually had to use a block and tackle to pull it down, like loading a catapult." The creature's head was close to a breakaway ground surface, which was easily destroyed. Chesney continues: "we were trying to duplicate the energies of an eight-ton creature with the ability to plow through brick walls, but the puppet had to be light enough to perform properly — which meant it wouldn't have the strength for a big breakaway. So we prepared the platform surface by layering hinged pieces of plywood in jagged sections, laid out like the scales of a fish. At the intersections, we used small sticks — and even finer sticks in the crosshatch. On top of that, we laid peat moss and sod." For the prologue scene — the most expensive of the entire film — the spring mechanisms had to be precisely calibrated in order not to injure the stuntman contained within the Graboid's jaws. Movements underground were replicated with a method already used in Tremors, with a wood-lined trench covered in layers of rubber and dirt — under which a cart was moved.
A key scene of the film involves one of the Graboids above ground, in a severely weakened state. The first scenes involving the creature were achieved with the full-scale animatronic head section. At night, the Graboid is seen convulsing in its final moments. For this sequence, a 1:4th scale puppet was built based on the moulds of similarly-scaled puppets from the first film. Where the armoured head was cast in fiberglass, the body was not moulded in latex — like the previous miniature creatures — but in a new hot-melt material ADI had first experimented with on the set of Santa Clause. "It was so jiggly and lifelike," Woodruff said. "We were able to get some really good blubbery movements to show something we really hadn't seen in the worms yet — the conveyance of great mass and weight." The puppet was maneuvered from a puppeteer below the miniature landscape set specifically built for the sequence, which was filmed at 96 frames per second in order to further increase the sense of mass.
Dead Graboid on set.
The creature is later found dead, with its side burst open and three sacs hanging inside of it. The Graboid carcass was the first prop to be built for the film. It was constructed as a wood and wire armature, with polyfoam skin (and fiberglass beaks) cast by Marc Tyler — who also painted the creature — based on moulds from the original film. The internal organs and sacs were cast either in latex or in silicone, and once again orange methocel was used to simulate the blood.
…sure ain't no damn Ostrich.
It is revealed that the Graboid has given birth to its offspring — a baby stage labeled in production as Shriekers, based on the loud sounds they emit. Wilson wanted to stray from usual genre tropes and audience expectations, as he told The Official UK Tremors: "the obvious thing then is that there's a Graboid queen, five hundred feet long — we just didn't want to do that." In his own words, he wanted the characters of the new film to "be behind the eight-ball" once again, not knowing what to expect or how to counter the new creatures. Wilson said in a Cinefex interview: "normally, movie monsters are indestructible; and that's what's scary about them. However, what was scary about our monsters was that you couldn't figure out how they worked. Once you knew that the Graboids traveled underground and hunted by picking up sound vibrations, they became less dangerous. But it only took one movie to realize that. So our idea for the new creatures was that they would hunt by infrared instead of sound. We thought: 'that will be fun. Everybody will be going around trying not to make any noise when that's the wrong thing to do.'"
Early Shrieker concept art by Alec Gillis.
Designing the Shriekers proved to be a longer process compared to that of the Graboids years before. "The Shrieker designs went through a number of variations before we finally hit on the right look," Wilson said. "Partly it was a size thing, and partly it was the fact that these creatures are supposed to be babies — something Tom and Alec and Andy Schoneberg worried about right from the start. There's an inherent cuteness to babies — but we knew the Shriekers had to be scary; otherwise audiences might start feeling more sympathetic toward the monsters than the humans."
Gillis and Woodruff started sketching and sending concepts to the production from Vancouver. Gillis said: "we knew that they wanted two-legged little creatures that ran around, saw by infrared and emitted a scream upon sensing a source of food. One of the features of the original movie's creatures was the big four-piece head, jaw and mandible assembly; and we wanted to maintain that." The final design consisted of a body with infant-like proportions, the signature armoured head, as well as three-toed legs inspired by ostriches and a short, fleshy tail.
The Shrieker maquette, with Andy Schoneberg (left) and S.S. Wilson (right).
Being infant Graboids, the Shriekers were designed with several elements that were, in essence, reverse-engineered. Woodruff recalled in our collaboration interview with Strange Shapes: "it very much inspired by the Graboid itself. The idea was to reverse-engineer the original creatures to establish the Shriekers as an earlier developmental stage, hence the translucent beak, for example, as if it was still cartilage in development like a baby's skull. The growth pattern would eventually have them begin to pack on pounds and become so huge and lethargic that their legs (which were only intended to carry them to a new location where food and protection would be more plentiful) would atrophy and fall off. They would then create a growth of spines that would propel them underground." The skull in development was a key trait. Woodruff said in the Monster Makers website: "we designed [it] to look as if it was still in cartilaginous state before the beak shells hardened, like on the adult worms." Another subtle detail in the design is the Shriekers' tongue — which ends in three elongated bulb-like appendages joined together, suggesting the Graboids' signature tentacles still in development.
Another imperative remained: bringing to life biologically plausible creatures. Gillis elaborated: "what we liked about Tremors was that there was a logic to it, so Tom and I actually wrote several pages of backstory on the Shriekers, offering different scenarios of how they reproduce, how they communicate — that sort of thing. For example, we decided that they are pack animals; and the purpose of the food scream for a creature that can neither hear nor see is to raise its body temperature, thereby attracting its pack. That provided the rationale for incorporating several brightly colored spots — one on the jowls and one on the side of the tail. We reasoned that those spots, in particular, would heat up during a food scream and work as a heat signature, totally unique to the Shrieker. The pack members would recognize it — and that would prevent them from mistakenly attacking each other."
A key element of the design was the heat sensor on the Shriekers' head. When exposed by the bony flaps, it allows a better focus on the heat signatures of the surrounding environment. Several variations were tested, as recalled by Gillis: "we tried panels that lifted up from the head like gull-wing doors to reveal the sensory organ inside, but Steve was concerned that those might look like ears. He wanted something totally non-anthropomorphic. Then we toyed with the idea of a plate on top of the head that lifts up; but we were afraid that would look too much like a trap door — something you'd expect to see Thing from The Addams Family pop out of. Finally, Andy came up with a three-plate design that was more organic looking." A central plate first rears, followed by two side plates — which in turn fully reveal the pulsating heat-seeking organ.
With the final Shrieker design approved by Wilson, ADI began building the full-scale creature puppets. The life-size sculptures — based on a maquette sculpted by Alec Gillis — were sculpted by Jim Kagel (who sculpted the body) and Brent Armstrong (who sculpted the head). The skins were cast in foam latex by Mark Viniello, whereas the head pieces were moulded in semi-translucent fiberglass by Steve Frakes. All the creatures were painted by Tom Kileen and Doug Stewart.
Shriekers on set.
ADI built two hero animatronics with fully articulated bodies and heads, as well as three hand puppets with articulated heads. Five stunt creatures whose purpose was to be hit, damaged or shot were also built; they were filled with orange methocel and pieces of latex simulating entrails. Their remains are thrown at the end of the film when Shrieker carcasses are scattered by the enormous explosion. Three cable-operated tongues for close-up shots were also devised.
One of the hero Shrieker puppets.
The mechanical systems of the creatures were designed and constructed by David Penikas; the hero animatronics featured the most complex, cable-driven mechanisms. Jaws and mandibles were fully articulated, and bladders inside the head suggested the pulsations of the heat sensor when the organ was exposed. Bladders inside the jowls also simulated the Shriekers' breathing. The cables passed through the Shriekers' feet and were buried in the ground area next to them, only to re-emerge next to the controlling mechanisms. 8 to 16 puppeteers were needed to fully maneuver one of the hero puppets. Producer Nancy Roberts and Tremors director Ron Underwood also occasionally collaborated to the performance.
One of the Shrieker hand puppets.
The hand puppets were operated with interior handholds; the puppeteers controlled the creatures through a backpack connected to "four-way jaw and neck mechanisms." The performer could only see from a small hole located in the puppet's throat area. Once on set, all the models were treated in order to be believably integrated into the environment. Gillis recalled: "to make them look as if they belonged in the environment, buckets full of dirt were rubbed all over the bodies and applied to areas in the corners of the mouth where the bony shapes meet. Then we squirted water in the creases behind the neck and dusted the high points so that it looked like oily sweat where the folds were contacting. We also spritzed the colored areas on the jowls and tail so that the color spots would appear shiny — as if there were extra body oils in them because they heat up."
Despite being an infant stage of the Graboids, the Shriekers are also able to reproduce asexually: after having eaten enough, they regurgitate a newborn Shrieker. For the sequence where this revelation plays out, an almost amorphous fetus was sculpted by Marc Tyler and painted by Tom Killeen — and dubbed the 'vomit baby'. The fetus was covered in a slimy membrane and pushed out of one of the Shrieker hand puppets — adapted with hyperextending jaws. The subsequent shot of the newborn breaking its placental sac and screaming was achieved with one of the full-size hand puppets, puppeteered by Yancy Calzada and shot in an oversized cage section built by production designer (and original Tremors crewmember) Ivo Cristante.
Unlike the previous film, Tremors 2 employed digital effects for the sequences where the Shriekers perform actions — such as actually running — that the practical creatures could not act out on set. Wilson knew from the beginning that the new technologies would eventually have to be used, and for that purpose he hired Phil Tippett to do early animation tests whilst the film was still in development. Tremors 2's visual effects consisted only of a moderate amount of 14 digital sequences and was one of the first independent efforts in computer animation for Tippett Studio. The artist recalled: "our goal on Aftershocks was really to generate a great deal of animation as quickly as possible. At the time, we were just beginning to make the transition to digital; so it was an ideal opportunity to take some of the input device work we developed on Jurassic Park a bit further, to get in there and start experimenting with other ways of puppeteering and moving characters around. Since the film would be going straight to video, we knew we could work in broad strokes and concentrate on refining some of our techniques."
Tippett actually provided input in ADI's designs, suggesting wrinkle areas. "Once we had some idea of what Tom and Alec were going to do, we could make a few suggestions," Tippett said, "such as how to fit certain body parts together or where to put the wrinkles in the skin — things that would make our work easier." Tippett Studio art director Craig Hayes supervised the creation of the digital Shriekers. He recalled: "we began by scanning photographs of ADI's Shrieker maquette into our computer and tracing over it. As soon as ADI completed one of the full-scale puppets, they sent it to us for reference and we took our measurements from that." The digital model was built by Peter Konig and painted and texture-mapped by Paula Lucchesi to be as accurate as possible to the practical creatures (something also aided by reference photos taken on location). Dusty textures were also added.
Digital Shriekers.
Animation was achieved with an array of different techniques, as recalled by Hayes: "anywhere from one-third to two-thirds of the animation was done through stop-motion input, using a Shrieker armature, built by Bart Trickel, and our own motion input software. It was very similar to the methods we used on Jurassic Park." Said armature was a DID (Digital Input Device), a small-scale model with motion sensors that transfer its movements to the digital model. A limited number of shots was also created with standard key-frame animation.
The climactic scene of Earl trying to reach Burt's truck inside the warehouse was originally going to feature thousands of Shriekers; budget restraints only enabled the scene to happen on a smaller scale — with dozens of Shriekers. For shots of multiple digital Shriekers the model was duplicated, and each copy was individually animated. Tippett explained: "any time you get more than one character on the screen, it really complicates the animation. They have to interact, and the pantomime has to be staged in a way that makes the action clear. We basically built a room full of characters, then animated them individually so they wouldn't all appear to be moving at exactly the same time. When you're dealing with a bunch of things, the whole mass takes on a character of its own. You're really animating an overall texture. Otherwise, the shot can turn into a can of worms (!), with audiences not knowing what to focus on."
A crew shot.
Lastly, the Shriekers' heat vision was rendered with an inventive method. "To get the infrared effect," Wilson said, "the actors were shot wearing red suits and yellow stockings so that in post-production the video engineers could render the faces and bodies in different colors. This effect was also shot on High 8 video tape and blown up to 35mm film, adding an additional grainy effect."
Wilson ultimately commented on the experience: "what made it a delight was the tremendous support, inventiveness and professionalism on the part of everyone involved — from the producers to the creative team to the effects crew to the cast. Everybody, at one time or another, contributed some idea for how to solve a particular problem — and that always got us through the day."
For more images of the Graboids and Shriekers, visit the Monster Gallery.
Previous: Tremors
Next: Tremors 3: Back to Perfection
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Posted on 24/09/2014, in Movie Monsters and tagged Amalgamated Dynamics, Graboid, Phil Tippett, S.S. Wilson, Tremors. Bookmark the permalink.	3 Comments.
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The Gatekeeper and the Keymaster


Well, the sun peeked out from behind a cloud for almost five mintutes today. Mike and I ran to the window to see what the strange light in the sky was and found ourselves fighting for the spot directly in front of the glass where it was warmest.
Those few minutes were the best I'd had in days.
The time we spent basking in the glow prompted us to jump in the car and drive to the nearest big box store to look for a wood stove insert for the fireplace. If we are going to have to suffer through a few more days/weeks of cold, wet weather we were determined to do it with a warm fire to stand around.
As it would seem, the big box stores are already pulling out the summer stuff. I will have to wait until June if I want to stock up on next year's Christmas lights and wood stoves. Oh well...so much for that idea. I guess we'll have to keep burning our old mail. It's amazing how much old mail you collect when your shredder is broken. And equally amazing how warm it gets when burning old bank statements and pay stubs. It almost enough to make me dance to the mailbox!
But let's not exaggerate, shall we?
I heard a rumor that the rain might dry up and warm weather may move back into the area on Saturday. It would be nice if it were true. I won't hold my breath, but I might say a quiet little prayer just in case.
As for tomorrow? I have nothing grand planned. It's just another Friday, right?
Until the next time...I'll be keeping an eye out for that sunshine to make an appearance.
Posted on April 1, 2011 by Erica Lucke Dean.


Dig Discover Dinosaurs Stegosaurus is a craft kit which contains everything you need to excavate paint mould and display a Stegosaurus.
First you dig the dino skeleton out of the plaster using the tools supplied then assemble the bones. You then paint your Stegosaurus with the paints and brush.
Finally the plaster from the excavation can be used to mould a base so your creation can be displayed.
We like this because: "Lots to do. A very well designed kit"


There is a monthly Men's Big Breakfast and a ladies 'Dames who Dine' which meets in a local restaurant.
Thursdays is a busy day at the church with Thursday Teas in the afternoon, patronised by young and old alike, and the Youth Club in the evening. This is split into two age groups, 11–14 year olds and 15+. The youth club has grown over the past year and benefitted greatly from the expertise of the Circuit Youth Worker.
There are two thriving house groups – one particularly for young adults – and regular Lenten Groups.
The minister leads regular assemblies at All Saints Primary School and the school has used the church for Harvest and Easter Services.
The church is supportive and caring of its members through the pastoral visitors system, individual and ministerial care. A bereavement group meets once a month.
Many village activities take place on the premises including the Playgroup, the W.I., Rainbows and Brownies, Dancing and Karate classes.
The 'Stepping Stones' Pre-school meets each weekday, 9.15am to 12noon.


Villa with private pool located in a 5-minute walk from the city's beaches. In the living room area with two sofas, as well as access to the yard and on the porch. The entire necessary infrastructure walking distance: supermarkets, cafes and restaurants, pharmacies, banks and many more. Electricity and water are paid in addition. Quiet and peaceful place, ideal for relaxing with family or friends.


text:
package org.imirsel.nema.contentrepository.client;

import java.io.File;

import javax.jcr.LoginException;
import javax.jcr.RepositoryException;
import javax.jcr.SimpleCredentials;

import org.imirsel.nema.model.ExecutableMetadata;
import org.imirsel.nema.model.ExecutableBundle;
import org.imirsel.nema.model.Flow;
import org.imirsel.nema.model.ResourcePath;

/**
 * Allows users to persist the binary code -jar file/executable zip etc into the
 * Nema content repository.
 *
 * @author kumaramit01
 * @since 0.0.1
 */
public interface ArtifactService {

	/**
	 * Saves the execution bundle to the content repository
	 *
	 * @param credentials
	 *            The credentials of the the user
	 * @param instanceId
	 *            The instanceId
	 * @param bundle
	 *            The execution bundle
	 * @return The path location of the bundle
	 * @throws RepositoryException
	 * @throws LoginException
	 */
	public ResourcePath saveExecutableBundle(
			final SimpleCredentials credentials, final String instanceId,
			final ExecutableBundle bundle)
			throws ContentRepositoryServiceException;

	/**
	 * Saves the flow -the flowContent and relevant metadata
	 *
	 * @param credentials
	 * @param flow
	 * @param flowInstanceId
	 * @param flowContent
	 * @return the path location of the flow
	 * @throws RepositoryException
	 * @throws LoginException
	 */
	public ResourcePath saveFlow(final SimpleCredentials credentials,
			final Flow flow, final String flowInstanceId, byte[] flowContent)
			throws ContentRepositoryServiceException;

	/**
	 * Return the flow bytes
	 *
	 * @param credentials The credentials of the user
	 * @param resourcePath The resource path of the flow
	 * @return flow byte array
	 * @throws ContentRepositoryServiceException
	 */
	public byte[] retrieveFlow(final SimpleCredentials credentials,
			final ResourcePath resourcePath) throws ContentRepositoryServiceException;

	/**
	 * Returns the executable bundle -the byte array contains the the content.
	 *
	 * @param credentials
	 *            The credentials to access the bundle
	 * @param url
	 *            The url of the bundle
	 * @return the executable bundle
	 * @throws RepositoryException
	 * @throws LoginException
	 */
	public ExecutableBundle getExecutableBundle(
			final SimpleCredentials credentials, final ResourcePath path)
			throws ContentRepositoryServiceException;

	/**
	 * Returns the metadata associated with a ExecutableBundle.
	 *
	 * @param credentials
	 * @param path
	 * @return executable metadata of the bundle {@link ExecutableMetadata}
	 * @throws RepositoryException
	 * @throws LoginException
	 */
	public ExecutableMetadata getBundleMetadata(
			final SimpleCredentials credentials, final ResourcePath path)
			throws ContentRepositoryServiceException;

	/**
	 * Removes an executable bundle
	 *
	 * @param credentials
	 * @param resourcePath
	 * @return true/false
	 * @throws ContentRepositoryServiceException
	 * @throws LoginException
	 * @throws RepositoryException
	 */
	public boolean removeExecutableBundle(final SimpleCredentials credentials,
			final ResourcePath resourcePath)
			throws ContentRepositoryServiceException;

	/**
	 * Checks if a resource path exists or not.
	 *
	 * @param credentials
	 * @param resourcePath
	 * @return true or false
	 * @throws ContentRepositoryServiceException
	 */
	public boolean exists(final SimpleCredentials credentials,
			final ResourcePath resourcePath)
			throws ContentRepositoryServiceException;

	/**
	 * Validates the node types that are required to be present in the content
	 * repository. flow:file and exec:file nodes that extend the nt:file
	 * datatype
	 *
	 * @param credentials
	 * @return boolean true/false
	 * @throws ContentRepositoryServiceException
	 */
	public boolean validateNodeTypes(final SimpleCredentials credentials)
			throws ContentRepositoryServiceException;

	/**
	 * Returns the file system path for the resource
	 *
	 * @param credentials
	 * @param resourcePath
	 * @return the bundle's file system path
	 * @throws ContentRepositoryServiceException
	 */
	public String getExecutableBundleFSPath(
			final SimpleCredentials credentials,
			final ResourcePath resourcePath)
			throws ContentRepositoryServiceException;

}

redpajama_set_name: RedPajamaGithub


Rugby is usually mistaken for soccer by the uninitiated. There are folks who would say that rugby preceded soccer, but there are probably an equal variety of folks who would dispute that and condition that football preceded rugby. Nonetheless, the precise origins of this sport are up for debate as no dependable documentation exists nowadays.
There are certain standards to fulfil in some international locations e.g. if you are aged thirty and under, in some regions 35 and underneath, a function exchange would imply that you could stay, operate and getaway overseas for up to one calendar year as prolonged as you fulfil the standards they are seeking for. In other locations no this kind of criterion exists, it would ultimately depend on the place you live and where you would like to vacation.
Not only basketball, but other athletics such as cricket, rugby, soccer, hockey and tennis are also well-known in distinct parts of the planet. Together with these online games, the match of basketball betting has also grow to be immensely well-known.
First of all it is crucial to make positive that the socks are quite relaxed. You need to not experience any sort of difficulties although taking part in the recreation since of the socks. The socks ought to not be a perfect in shape on your ft.
When a individual is playing a sport, he does not only get actual physical exercising. He can also learn a good deal about himself. An athlete can discover to be persevering, and he will know more about his boundaries. He can understand that he will not always get. An athlete can also understand about teamwork and cooperation. He can learn to operate with and have faith in other folks. Athletics can also Amir Mojiri educate a man or woman about leadership and responsibility.
If you search into the history of the city, you will find that it is credited as currently being the birthplace of Amir Mojiri. Early on, the town of Rugby was acknowledged for the Iron age settlement. Furthermore, the town was identified as a little Anglo-Saxon farming settlement, deserving of point out in the Domesday Ebook of 1086.
Shoes and socks are two of the most important issues that you require to take care of in any sport. Custom rugby socks are amongst the vital factors that you require to get before you commence playing the sport. While deciding on the custom made produced rugby socks you require to hold Amir Mojiri particular factors in your brain.
You will absolutely enjoy observing NCAA football. The match is so intensive that your adrenaline rises. If you are an avid admirer of your faculty's crew, you can buy NCAA frames for your home decor or acquire shirts to help your team.


text:
Webinars in 2021
Our webinar on Moral foundations, conflict, complexity and injury attracted a great number of participants and offered a rich diversity of ideas and practices within a broad CMM framework. By the end of the seminar participants were already asking for follow-ups and we are developing two specific ones for early next year. We've yet to determine the exact dates but wanted to give you advance notice.
CMM, circular questioning and cosmopolitan communication: February, 2021
This seminar will be led by Vern Cronen and Barbara McKay. Vern Cronen is Professor Emeritus at the University of Massachusetts and currently a Visiting Scholar at the University of North Carolina, Wilmington. Vern Cronen is also a co-creator, with Barnett Pearce, of CMM. Vern has found circular questioning to be an important reflexive tool of CMM and has developed his understandings and practices of circular questioning working alongside colleagues at the KCC International in London. Barbara McKay did her training as a psychotherapist with the KCC and later became the Director of the Family Therapy Institute. As a systemic therapist Barbara sees circular questioning as the lifeblood of her work.
Moral dilemmas and moral injury: March 2021
This webinar is being designed to build directly on the previous moral webinar with particular attention to offering it at a time that suits a number of southern hemisphere participants. The preliminary plan is to have some short presentations of key concepts and understanding from a CMM framework that contributes directly to current thinking and practice about moral injury. This will be followed with a panel discussion with questions and comments from the participants. Particular focus will be on moral dilemmas and moral injury as it affects the military, veteran and families' population plus Public Safety Officers and frontline workers in COVID response.
For an update on the latest writing about moral injury see Bart Buechner's article https://www.frontiersin.org/article/10.3389/fcomm.2020.599301
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Advantax Consulting Services – Accountant in Ottawa, ON – 39 Robertson Road, Ottawa, Ontario. Read verified and trustworthy customer reviews for Advantax Consulting Services or write your own review.
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Know-how is now an important communication software for organizations. is a Nigerian non-governmental group working for the economic and social empowerment of girls and women, utilizing data and communication applied sciences (ICTs). In addition, the Fraunhofer ICT Group defines and works on the predominant subjects essential for the way forward for business and society by means of interdisciplinary initiatives on the highest conceptual stage.
IJICTE publishes articles selling the development of educating with expertise at all levels of education encompassing all domains of learning. All of us got here from different backgrounds; some were doing software engineering, IT, Video games Growth or Data Engineering. PT Digital Media Know-how does not have any energetic jobs right now.
Our curriculum includes not only an internship and community engagement but additionally utilized learning alternatives, such as competitions, case research, and a Capstone project with flexible monitor choices in Enterprise Intelligence and Analytics and Enterprise Techniques. Can analyze the relevance of media technology for the development of modern types of tradition and society.
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Data Know-how (IT) is used extensively to assist enterprise functions. Information and communications know-how (ICT) refers to all of the know-how used to deal with telecommunications, broadcast media, clever building management programs, audiovisual processing and transmission systems, and network-primarily based control and monitoring capabilities. AP has developed an internal verification device, which helps journalists verify multimedia content in actual time.
212 In reality, there isn't any technology that has achieved or handed exams reminiscent of lab trials, evaluation and more that make a big difference in the training system such with synthetic intelligence that may encourage students to review. The programme Digital Media Expertise (DMT) is now not eligible for applications. Warner School Information Technology Companies presents desktop and laptop computer assist for members of the Margaret Warner Graduate College of Training and Human Development.
50 Just like social media platforms, aggregator apps might want to start facing up to their wider duties this year and that may increasingly mean putting in some form of editorial oversight. Kate Trout is analysis assistant at the Middle for World Well being and Growth in the Faculty of Public Health on the College of Nebraska Medical Middle in Omaha, NE.
The Data Expertise applications give students a handy and supportive way to enter the fields of computer science and networking, with affiliate diploma and certificates options that match your needs. Despite its relatively small measurement as measured by GDP output statistics, the ICT business has played an instrumental position in driving economic growth and employment throughout the U.S. economic system.
New Media and Communication Expertise (COT) explores the way know-how is reworking the sphere of communication. In mild of the work from Arnett (2000) and Lanthier, et al. (2004), it appears logical that rising adults attempting to make an efficient transition into school would discover ICT appealing; particularly when one considers the 24-hour high-pace Internet entry obtainable on most faculty campuses (Young, 2006) and the ubiquity of cellular phone utilization in at present's society (Glotz & Bertsch, 2005).
The degree provides models across the whole spectrum of ICT, ranging from non-technical areas such as the nature of data and organisational wants for ICT, by way of the hardware, software program, network and artistic technologies which are used to satisfy these wants, to the communication, design, growth and management expertise wanted to create, implement and integrate ICT components.
Future communications professionals are anticipated to have a board understanding of society normally as well as the different dimensions of social change and dynamics (institutions, technologies, data techniques, economics, energy, residents, culture, historical past, and so forth.). We educate journalists, communications professionals and artwork professionals for the altering world of work.
Projects inside this area embody a not too long ago printed research on citizen sensing and environmental practice, Program Earth: Environmental Sensing Expertise and the Making of a Computational Planet (College of Minnesota Press, 2016); and Digital Rubbish: A Natural Historical past of Electronics (College of Michigan Press, 2011), which examines the materialities of electronic waste.
Smartfren Telecom Tbk is a supplier of telecommunication services that's proud to offer the world's greatest technological products and services. The objective of this initiative is to try to improve the lifetime of poor rural farmers by giving them access to information of agriculture via the computer facilities which have entry to the web and to provide IICT coaching to bridge the digital divide. Students combine the information they've learned in the program to identify a enterprise challenge and use ideas from the course to judge the state of affairs and propose a complete advertising communication plan (using a mix of owned, paid and earned media) to advance the aims and objectives of the group.
Students discover ways to access on-line career, employment and work information and providers effectively and safely. Boston College Media Technology Companies offers a variety of know-how support and media manufacturing services for your complete university. Know-how is altering the way in which individuals reside and socially work together, for higher or for worse, and in support of the case for contemporary approaches to the research and apply of faculty pupil health, ICT has had a profound influence on the college expertise and continues to alter it as expertise becomes more advanced.
You may study communication expertise, administration processes, teamwork and complete an industry project in your ultimate 12 months. College students will have the ability to clarify how digital marketing can empower companies to have interaction with prospects and clients. Chances are you'll decide to exploit communication expertise itself and study through a web-based diploma program focused on the topic.
Deloitte's Expertise, Media & Telecommunications (TMT) trade group brings collectively one of many world's largest swimming pools of deep business experts – revered for serving to shape some of the world's most recognized TMT manufacturers and helping firms of all shapes and sizes thrive in a digital world. All college students with a Finnish University of Utilized Sciences (AMK) diploma are required to complete a examine package which typically consists of courses in Mathematics, Physics and Chemistry relying on the student's background. College students develop information, expertise and tendencies around ICT and its use, and the power to transfer these across environments and applications.
As a graduate, you will be well-suited to excessive skilled jobs in a variety of fields related to the development and administration of activities in the media market. Particularly, contributors should maintain positions immediately associated to the design, implementation or reform of social safety techniques within the area of Info Communication Technology and be occupied with applying ICT to enhance the quality and performance of social safety methods and their administration.
You will be taught to think and act strategically with regard to points of latest media improvement, together with; on-line streaming services, augmented actuality; and multi-channel publishing. The know-how of the Internet involves greater than only a assortment of instruments, but a system that mixes computers, telecommunications, software program and rules and procedures or protocols.
This study has been written by Lisa Maria Neudert and Nahema Marchal of the University of Oxford, on the request of the Panel for the Way forward for Science and Expertise (STOA) and managed by the Scientific Foresight Unit, within the Directorate-Normal for Parliamentary Research Companies (EPRS) of the Secretariat of the European Parliament.


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Companies / About Waltersmith Petroman—The Nigerian Firm Listed for Uganda Oil Exploration Licensing
About Waltersmith Petroman—The Nigerian Firm Listed for Uganda Oil Exploration Licensing
Waltersmith Petroman Oil Limited was incorporated in 1996 as a joint venture between Walter Smith and Associates Limited, a Nigerian investment company and Petroman Oil Limited of Canada, to operate as an oil exploration and production company.
In 2001, Waltersmith became an wholly indigenous Nigerian company after the divest of petroman oil limited.
The company subsequently participated in the Marginal Oil field licensing round for indigenous companies and was awarded the Ibigwe field located in Oil Mining Lease (OML) 16 by the Federal Government of Nigeria in 2003.
OML 16 was originally operated by the joint venture of SHELL/AGIP/ELF/NNPC. The award was secured on a joint interest basis, with Waltersmith having 70% and Morris Petroleum Limited having 30%.
Consequently, Waltersmith was designated the operator of the field.
Waltersmith executed a farm-out agreement with Shell Petroleum Development Company and its Joint Venture Partners including the Nigerian National Petroleum Corporation (NNPC) in 2004 to effectively takeover the field for development.
A major milestone for Waltersmith was attained in June 2008 when it commenced commercial export of crude oil from the concession area.
Currently Ibigwe field produces from 5 wells, 4 of these wells were drilled after the take-over of the asset by Waltersmith. To date, Waltersmith has produced in excess of 5.3 barrels from the field, while current proven reserve is estimated at 24 MMSTBO and 120Bscf of gas.
In line with its reserve replacement strategy, Waltersmith in 2011 participated in the Shell divestment process as part of a Consortium that successfully bid and won Oil Mining Lease 34 in the Niger Delta region of Nigeria.
Waltersmith was listed among the successful for the six blocks in Uganda's first competitive licencing round.
The company is currently in negotiations with government for production sharing agreements (PSAs) covering four blocks before exploration license is awarded.


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Romance Volume II é a primeira turnê solo (e também peça de teatro musical e residência) da cantora e atriz Marisa Orth, que iniciou esse projeto com a advogada especializada em direito do entretenimento, Andréa Francez, e a atriz e diretora, Natália Barros. O show foi produzido pela empresa SUPERAMIGOS PRODUÇÕES.

Sobre a Turnê

Para começar o musical, Marisa Orth e Andréa Francez escolheram o Dia dos Namorados, no dia 12 de Junho de 2008 em São Paulo, na casa de show Café Uranus (onde realizou os oito de seus primeiros espetáculos).

O espetáculo Romance Volume II mistura humor, música e improvisação em clima de cabaré.

No mesmo dia do 10º concerto na casa de show Tom Jazz (São Paulo), em 13 de Agosto de 2009, Marisa lançou Romance Vol. II, seu primeiro CD de trabalho. Como a turnê também é uma peça de teatro musical, Marisa Orth, entre uma música e outra, conversa, interage e brinca com seu público.

Em São Paulo, na casa de show Tom Jazz, no dia 17 de dezembro de 2009, encerrou com "46 apresentações", exatamente a idade de Marisa na época.

O primeiro show de 2010, foi realizado no dia 18 de março, na Associação Leopoldina Juvenil, comemorando o Dia Internacional da Mulher. Em 12 de junho de 2010, Marisa Orth completou 2 anos com sua turnê.

Marisa Orth retornou a Curitiba com o show Romance Volume II e o "Guia Gazeta do Povo" levou um fã para assistir ao espetáculo de graça. A apresentação aconteceu dia 13 de agosto, no Teatro Positivo. Marisa também apresentou sua nova música de trabalho, intitulada "As Dores do Mundo", como quinto e último single.

Depois de percorrer o Brasil por três anos com o show "Romance Volume II", Marisa reestreia uma turnê renovada do espetáculo que mistura canções, causos e piadas. Com muitas novidades no repertório, ela faz uma curta temporada no Rio — uma apresentação na sexta-feira e outra no sábado, no Teatro Rival, na Cinelândia.

A turnê se encerraria em 7 de maio de 2011, em São Paulo, com um número de 61 apresentações de concertos durante toda a turnê. Porém, Marisa voltou no final de 2012 a apresentar seu espetáculo nos dias 27 e 28 de outubro, no "Teatro SESC Casa do Comércio", em Salvador (Bahia).

Outra data aconteceu em frente ao "Edifício Copan", na cidade de São Paulo, onde também se apresentou no palco "Cabaret", no dia 19 de maio de 2013. O palco chamou a atenção do público da Virada Cultural 2013. Ela levou para a Virada uma versão enxuta do show "Romance Volume II".

O último show ocorreu no dia 27 de julho de 2013, em Caxambu, Minas Gerais, no "Festival Mundial de Circo", na tenda do circo do grupo La Minima, que tinha como seu integrante o ator Domingos Montagner , fechando o 70º show da turnê de 5 anos.

Repertório
 Intro
 Minha Fama de Mau
 The Best
 Massagem For Men
 Fruto Proibido
 Você Não é Capaz (Why Don't You Do Right?)
 Insanidade Temporária
 Ciúme
 Obsessão
 Lama
 Demais
 Sofre
 Light My Fire
 I'm Not in Love
 Amor
 As Dores do Mundo
 Encerramento

Agenda (Datas)

Pockets em Programas de TV

Segunda Parte

No final de 2014, Marisa Orth voltou com o Romance Volume III – "Agora Vai!", que apresenta uma abordagem um pouco mais "a fundo" do que a montagem anterior, passando pela leveza do namoro até os relacionamentos mais profundos, como casamentos, noivados e amizades de longa data. O título sugere que todos os conflitos amorosos são únicos, mas quando olhados de longe são absolutamente iguais. Além disso, espera comunicar como o tema do casamento é atualmente  tratado pelas pessoas, volume três, pois o primeiro e o segundo romance já não deram certo.

Terceira Parte

Em 2016, Marisa Orth iniciou Romance, terceira parte de sua turnê, a qual deu origem ao álbum Romance Vol. II (2009). A montagem passa pela leveza do namoro até os relacionamentos mais profundos, como casamentos, noivados e amizades de longa data. O título sugere que todos os conflitos amorosos são únicos, mas quando olhados de longe são absolutamente iguais. Além disso, espera comunicar como o tema do casamento é atualmente tratado pelas pessoas.

Em 12 de junho de 2018, Marisa se apresentara na Casa Natura Musical, com o especial "Romance Melhores Momentos", em celebração dos 10 (dez) anos do concerto.

Ligações externas

Turnês musicais de 2008
Turnês musicais de 2009
Turnês musicais de 2010
Turnês musicais de 2011
Turnês musicais de 2012
Turnês musicais de 2013
Marisa Orth

redpajama_set_name: RedPajamaWikipedia


text:
← Dominating Day for Riley Technologies at Indianapolis
Michael Shank Racing with Curb/Agajanian's Day Ends Early at Brickyard →
Victory in Inaugural Brickyard Grand Prix by Bourdais, Popow Delivers First NAEC Title to Starworks Motorsport
Lally, Potter Take GT Win, NAEC Championship for Magnus Racing
INDIANAPOLIS (July 27, 2012) – Sebastien Bourdais and Alex Popow survived a rough-and-tumble round of the GRAND-AM Rolex Sports Car Series to win the inaugural Brickyard Grand Prix on Friday at Indianapolis Motor Speedway.
Bourdais, who drove the anchor leg for Starworks Motorsport in the No. 2 Soloson Ford/Riley, pulled away on the final restart on the 2.534-mile Indy road course to clinch the Daytona Prototype division's first North American Endurance Championship, a three-race midseason series.
The Brickyard victory is the latest in a string of prestigious victories for the Starworks team in 2012. The team won its class in endurance races at Sebring and Le Mans, and finished second in the season-opening Rolex 24 At Daytona.
"It's amazing, sitting here in first place at the Brickyard — it's like a dream come true," Popow said. "This is something I've been chasing all year."
The No. 01 TELMEX BMW/Riley driven by Scott Pruett and Memo Rojas for the Chip Ganassi Racing operation limped home second in the three-hour event, which was dotted by heavy rain in the early going and nine full-course cautions in total.
"I think this hat says it all: Super Weekend," Pruett said. "I think most everything took place — it rained, we had a tore-up race car — but we managed to scratch back and finish second."
Max Angelelli and Ricky Taylor took third in the No. 10 SunTrust Racing Corvette DP. Juan Pablo Montoya, who teamed with Scott Dixon in the No. 01 Chevron BMW/Riley Ganassi entry, stoked controversy with his driving stint, first bumping Joao Barbosa and then Ryan Dalziel out of likely top-five finishes in the late stages.
Six Daytona Prototype cars traded the lead, with the No. 8 Duncan Starworks entry driven by Dalziel and Enzo Potolicchio leading the most laps (36). Their tenure at the helm came to an end when Bourdais took command for the final time, speeding past Dalziel in the 75th of 91 laps.
Pruett and Rojas stretched their lead in the Daytona Prototype standings over Dalziel and Potolicchio, who finished 17th Friday, from three points to 11.
Andy Lally and John Potter prevailed in the Grand Touring class, finishing fifth overall and securing the North American Endurance Championship in that division. Lally drove the closing segment for the No. 44 Magnus Racing Porsche GT3, which won for the second time this season and found redemption after a fiery end to the series' last round at Watkins Glen.
"Just amazing. We just won Indy," said Lally, last season's NASCAR Sprint Cup Series Rookie of the Year. "I've said it 60 times since we took the checkered flag, but it was such a hard-fought battle all day long with those guys."
GT class pole winners Sylvain Tremblay and Jonathan Bomarito finished second in the No. 70 Mazdaspeed/ModSpace Mazda RX-8, followed by No. 59 The Brumos Companies Porsche GT3 co-drivers Andrew Davis and Leh Keen in third. Emil Assentato and Jeff Segal came home fifth in class to keep the No. 69 FXDD Ferrari 458 AIM Autosport team atop the GT points standings.
072712_ims_rolex_race_rls.pdf
Matt Cleary
mediawww.sundaymanagement.com
youtube.com/sundaymanagement
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Comedians joke about them; big city folks cast aspersions on them; and big business pretends they don't exist.
Of course, I'm talking about small towns – where you know all your neighbors, and a trip to Wal-Mart is the social event of the week.
When I lived in New Orleans, I could sneak into Target without make-up or even matching shoes, confident I wouldn't wouldn't meet a soul I knew. Now I can't get out of Kroger without running into my dentist, my pastor, or my hairdresser.
When I dashed to the store last week without make-up, three people expressed concern that I was ill. One even brought me some chicken soup later in the day.
Take my advice, you'd better get dressed to the nines to go "stepping' out" in my town, even if going out is only to pay your electric bill. And, never, ever, plan to be in a hurry.
There's no such thing as dashing into the store for a quick loaf of bread. You'll run into at least four or five people you know, and there will be grandbaby photos to oooh over, and I never leave the store without a good recipe or two.
While waiting at the check out counter, my favorite thing to ask is "Excuse me, M'am. What are you going to do with those 12 bags of spinach?" Okay, so I'm nosy, but I either find out there is a great sale on spinach or they will write down the recipe for some old family favorite.
When I selected the community in which to retire, I hit the jackpot. Starkville, Mississippi is still small enough to qualify for the small town moniker, yet it bumps smack dab into a major university which adds energy and nightly opportunities for concerts, plays and sporting events.
Thank goodness I didn't pick some huge honking metropolis. I would already have been gobbled up and spit out. Here, I have more activities than I can pencil in, and "doing lunch" is the favorite pastime.
Small town—the phrase evokes the small community where I grew up (West Point)and now the one I've adopted (Starkville). Both offer an intimate sense of community, leafy serenity, and freedom from the cold, grimy canyons of the big city.
I read the other day that a small town is like a mother who watches over her children. Kind of gives you a warm feeling, doesn't it?
This entry was posted in Boomerang & the old gang and tagged Growing up in a small town, I was raised in a small town, Life's sweeter in a small town by Emily Jones. Bookmark the permalink.
I feel sorry for the people who don't get to live in Starkville! The best of all possible worlds!!
Lisa, do we know each other? You sound like my kind of girl. What was your maiden name? What does it mean to be Imbo? Is that some kind of big city term? So many questions, so little time.
You nailed it, Emily! I do love everything about Starkville … well, maybe not so much the noon-time traffic on Highway 12!
I love the photos of West Point!


text:
Carter's Appoints Amy Woods Brinkley to Its Board of Directors
Carter's, Inc. (<?xml:namespace prefix = fc /?>NYSE: CRI) today announced the appointment of Amy Woods Brinkley to its Board of Directors.
"We welcome Amy Brinkley to our Board of Directors," noted Michael D. Casey, Chairman and Chief Executive Officer. "Amy brings with her a wealth of experience and has a particular expertise in risk management, an area of increasing importance in today's business environment."
Ms. Brinkley recently retired from Bank of America after a career of more than 30 years. Among her many leadership roles with Bank of America, Ms. Brinkley served as its Chief Risk Officer from 2002 through mid-2009. In 1990, Ms. Brinkley was promoted to Executive Vice President, and later served as the company's marketing executive. In 1999, Ms. Brinkley was named President of the company's Consumer Products division, responsible for the credit card, mortgage, consumer finance, telephone, and e-commerce businesses.
In addition to joining the Carter's Board of Directors, Ms. Brinkley currently serves on the Bank of America Charitable Foundation Board of Directors, as a trustee for the Princeton Theological Seminary, and as a commissioner for the Carolinas HealthCare System.
Ms. Brinkley is a graduate of the University of North Carolina at Chapel Hill, and she was named to Fortune magazine's 50 Most Powerful Women in Business list nine consecutive years (2000-2008) and as US Banker's most powerful woman in banking in 2005. In addition, Ms. Brinkley was cited by The Wall Street Journal and Forbes magazine as one of the leading women in business and has participated at the annual World Economic Forum in Davos, Switzerland.
About Carter's, Inc.
Carter's, Inc. is a leading provider of apparel and related products exclusively for babies and young children. The Company owns the Carter's and OshKosh B'gosh brands, two of the most recognized brands in the marketplace. These brands are sold in leading department stores, national chains, and specialty retailers domestically and internationally and through more than 400 Company-operated stores. The Company's Child of Mine and Just One Year brands are available at Walmart and Target, respectively, and its Genuine Kids brand is sold at Target. Carter's is headquartered in Atlanta, Georgia. Additional information may be found at www.carters.com.


text:
And the Oscar goes to....
I spent yesterday trying to think what sort of evening we would have. I didn't know if there'd be 500 or 50 people. I made a sensible guess that I would more likely be part of a larger number than a select few. In the end I reckon there were maybe 120 ish guests so between us, to make up over 1% of the audience made us feel particularly privileged.
I'll start by saying it was a really great night and we thoroughly enjoyed ourselves. I thought I'd been to the Berkerley before when trying to flog them a website years ago but I now think that may have been the Burlington. Whatever. The Berkerley is pretty swanky and after sat nav had failed to get us anywhere close enough to be useful and several heated words later, we eventually found a parking spot and managed to only be 20 minutes late. The room was filling up and we sipped our sparkling whilst I scanned the room for signs of Martin. As it turned out he couldn't make it due to last minute business complications. It was a shame as I was looking forward to catching up and more importantly saying thanks for the invite. Perhaps next time.
Clare and I were chatting when an American chap came forward, stuck out his hand and introduced himself as Brian Mullaney, the co-founder of the Smile Train, as if the last part of the intro was necessary. I was a little shocked and almost star struck but needn't have been. He seems almost matter of fact about his achievements but he still speaks with passion about the job which lies ahead. We chatted for a while - it was him who told me Martin had been caught up with work - talked about the blog and Twitter etc and then went into the banquet room.
We sat on a table of 9, closest to the stage and had the privilege of sitting next to Mr. Mullaney Snr., a former vice president of Gillette. Shortly after Brian took to the stage and gave a riveting speech detailing the back story of the Smile Train. Photos accompanied the talk via two large projector screens. Most of the story I had heard in parts before but Brian has such a business-like way of telling it. Showing the difference that the 'teach a man to fish' ideology makes over the more traditional missionary approach. I could be wrong but I believe the stats read something along the lines that in the first year that the Smile Train took hold some 8,000 cleft repairs were made possible and that it would take 30 years to achieve the same using the alternative method. One slide showed the number of operations performed over the ten years with an ever increasingly vertical trend. This was compared against a very similar graph, although this one was for the number of donors. Currently the Smile Train has 1.4m donors and although I have no idea what that equates to in terms of finance, I can imagine it is a huge amount of money and this is obviously a major reason why the problem is being tackled so effectively.
One of the things which resounded most was that unlike many health problems which affect so many such as malaria or AIDS, there is no search for the cure, we have the cure and it takes 45 minutes! No funding is provided by UK or US governments, this has all been achieved through charitable giving.
Brian went on to make a couple of points that I have written about. The first being the fact that they will fix more Indian and Chinese clefts this year than the number of children who will be born with one and that he hopes we'll all be back in a few years at the Smile Train's 'going out of business' party! Also they touched on the greater number of people who will have been positively affected by the good that ST does. I.E those families, villages, communities who have better quality of life, hope, education etc following a cleft repair to one of their number. I'm glad we're onthe same page, I felt pretty flippant when I made those observations before.
He said that the finishing line is in sight. Apparently the backlog was 4 million un-repaired clefts before they started. The next half million repairs will happen in half the time the first half million did, so this thing is scaling up at an alarming rate. I honestly think that the Smile Train might be one of the first charities ever to eradicate the backlog of a problem and be easily able to contain the ongoing problem within its founder's lifetime. That has got to be the ultimate motivator for Brian and his team. He showed pictures of a man who'd spent 40 years waiting for a 45 minute operation which changed his life forever. He also told stories of girls who were literally thrown away at birth in shoe boxes on rubbish tips as their parents couldn't cope with having given birth to a deformed child. One of the speakers said that in India to be born a woman is already a disadvantage but to be born a woman with a cleft is unthinkable.
Dinner was delicious; a trio of mushroom soup, risotto and flat mushroom with parmesan to start (Clare had the alternative, she hates all fungi) followed by fillet of beef with rosti and veg and finished with an apple struddle and ice cream. Coffee and chocolates accompanied the final speeches. The last speaker was an Indian man, Dr Hirji Adenwalla, who was fixing clefts, one smile at a time, long before the Smile Train ever came to town. Aged just 20 he set up camp in a disused hospital, his new wife / untrained anaesthetist in tow and with rudimentary medical supplies started making magic happen. When the Smile Train did come along the partnership which formed thereafter has been making history ever since. He said;
'To see a child smile is one of the most wonderful things one can experience however to see a child unable to smile is one of the worst things one can experience.'
This man spoke with such reverence and you can see the passion he still has today and it's truly awe inspiring. He mentioned that along with the donors, and children who are helped, the surgeons gain so much from this process. He spoke to the audience about how, even as caring donors they will never know what the parents feel when they collect their child or they will not see the look on those parents' faces when they see their child fixed for the first time. We do though, we know that absolutely. I shook his hand afterwards and thanked him but also told him, we know just how it feels. A lovely man.
The agenda made reference to the Smile Pinki Oscar success but it never occurred to me that the actual Oscar might be there. Brian made a point of inviting us up to hold it and take a photo or two and I jumped at the chance. Also, it seems I didn't have to play the stalker as Brian was only too willing to pose for a photo as you'll see below. We only had an iphone hence the quality but at least we captured the moment.
There's so much more I wish I could remember so I'll update this if it comes back to me but for now, I'm really grateful we got to go and I believe in the charity even more than I did before.
We were all given a copy of Smile Pinki to go home with but you can order yours for nothing at the Smile Train website. They're giving a million of them away, Brian said 'It amazes me how cheap it is to distribute a film when you own it'. Cheap only if you discount 10 years of unbelievable hard work and all of the millions raised!
Janine said...
Hi, great to see you all earlier. I've put your blog up on on my site and am following you on twitter.
ps. Saw the pic, did you get an award???
Janine x
James Fernie said...
I wish! This was the Oscar that Smile Train won for best documentary when they filmed Smile Pinki...watch it and you'll see why!
A lull
21st Century Mummy - a blog for mums (and dads) ev...
Never say 'I can't' again...
"Jake" - coming to a theatre near you...
Smile Train Dinner is tonight!
Kiddicare customer service - a result!
Kiddicare - still waiting
Kiddicare - a test of customer services
Photo update
Another week


Russia's largest and most prestigious firearms producer, (The Izhmash Arms Factory) is best known as the home of the Kalashnikov Design Bureau. In this book, you get "a behind the scenes look at the history, design and impact of the Kalashnikov family of weapons, and the factory that made them. 8 1/2 X 11, softcover, photos, illus, 192pp.


Improviso is an exciting and versatile young quartet who met at the Royal College of Music in London. They explore historically informed improvisation alongside performing chamber music of the seventeenth and eighteenth centuries.
Praised for their inventive programming and exciting stage presence, they have appeared most recently in a live broadcast on BBC Radio 3's 'In Tune' programme, at the Styriarte Festival in Austria, and at venues all over the UK including the Wigmore Hall, Middle Temple Hall, the Holywell Music Room, Keble College Chapel, Oxford, the Deal Festival of Music & Arts, and the Brighton Early Music Festival.
In September 2017 Improviso won a place on the prestigious EEEmerging scheme 2018 (Emerging European Ensembles), and are also proud to have been selected for the Brighton Early Music Festival young artists scheme and the Live Music Now scheme. They have just completed a year as one of Wigmore Hall's Chamber Tots Ensembles-in-Residence.
Improviso are looking forward to a busy recital schedule in 2018 alongside chamber music residencies and concerts in Aldeburgh (UK), Ambronay (France), and Bucharest (Romania).
Three eeemerging ensembles in residency!


text:
by Albert Camus
The title in French is "L'Hote," which means both the "The Guest" and "The Host." How does this ambiguity reflect on the story?
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Our certified Educators are real professors, teachers, and scholars who use their academic expertise to tackle your toughest questions. Educators go through a rigorous application process, and every answer they submit is reviewed by our in-house editorial team.
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Top subjects are Literature, History, and Arts
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Although the story is known in English as "The Guest," the alternative title of "The Host" is also appropriate, since Daru is a considerate host to the Arab prisoner and is himself a guest of the French government in the post of schoolmaster of the desert region. Daru amicably caters to Balducci and the prisoner when they enter the schoolhouse, but upon receiving Balducci's orders, he ends the exchange in a disagreeable manner, expressing his intent to defy orders to deliver the man to Tinguit. Daru extends kindness to the Arab prisoner throughout the story, hosting him comfortably as an overnight guest before depositing him in the middle of the desert the following day with directions to either prison or a new life.
Despite the availability of freedom, the Arab man...
(The entire section contains 2 answers and 416 words.)
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What are the ironies of "The Guest" by Albert Camus?
What is the central conflict of "The Guest"? Is it external or internal? Can it be defined in terms of dilemma?
What are some examples of existentialism in "The Guest" by Albert Camus?
In "The Guest," why does Daru give the prisoner his freedom? What reasons are there for not giving him his freedom?
In what respect is the ending of the story ironic? What kind of irony is this? What does it contribute to the meaning of the story?
What are two important symbols in "The Guest"? How are these significant to the theme?
Latest answer posted November 13, 2012 at 7:19:15 PM
Explain the irony of the title of the story "The Guest" by Albert Camus.
2 Educator answers
Latest answer posted November 19, 2019 at 6:18:44 AM
Why is the title ironic? Why does "The Guest" make a better title than "The Prisoner"?
Latest answer posted January 08, 2015 at 11:12:28 AM
In what respect is the ending of the story "The Guest," ironic? What kind of irony is this? What does it contribute to the meaning of the story?
Latest answer posted September 23, 2016 at 3:36:41 PM
In what respect is the title of "The Guest" ironic?
1 Educator answer


text:
import datetime

from django.contrib.auth.models import User
from django.db import models
from django.db.models.signals import post_save
from django.dispatch import receiver
from django.shortcuts import reverse

from app.core.models import Base

class Profile(Base):
    """
    Comment goes here.
    """
    user = models.OneToOneField(User, related_name='profile',
                                on_delete=models.CASCADE)
    last_logged_in = models.DateTimeField(db_index=True)

    def get_absolute_url(self):
        return reverse('profiles_dashboard', args=[self.user.username])

@receiver(post_save, sender=User)
def create_user_profile(sender, instance, created, **kwargs):
    if created:
        profile = Profile.objects.create(
            user=instance,
            last_logged_in=datetime.datetime.utcnow(),
        )
        profile.save()

@receiver(post_save, sender=User)
def save_user_profile(sender, instance, **kwargs):
        instance.profile.save()


text:
Art Abyss Comics Archer & Armstrong
Archer & Armstrong Art
Archer & Armstrong are the title characters of the comic book series published by Valiant Comics.
Archer & Armstrong featured writing and art by comics creator Barry Windsor-Smith. After video game publisher Acclaim Entertainment purchased the rights to the Valiant Character Catalog for $65 million in 1994, the characters continued to appear in many Valiant titles, most prominently in the Eternal Warriors series. Acclaim then rebooted the Archer & Armstrong characters to make them more easily adaptable to video games. Valiant Entertainment is the current owner of the Valiant catalog including Archer & Armstrong.
Archer & Armstrong has been called "The best buddy team book of all time." by Ain't It Cool News, and "Superhero buddy book of the decade" by Wizard Magazine. Ain't It Cool News also said that "Not since Batman & Robin has a more important duo hit the comic world."
In 2008, Valiant released a deluxe hardcover of the Archer & Armstrong origin story, entitled Archer & Armstrong: First Impressions. The hardcover was later named one of the top ten graphic novels of 2008 by Diamond Comic Distributors and one of the best of 2008 by Ain't It Cool News.
Valiant Entertainment began publishing a new ongoing Archer & Armstrong comic series in August 2012, written by Fred Van Lente and illustrated by Clayton Henry.
Comics / Archer & Armstrong
Armstrong (Archer & Armstrong)
Archer (Archer & Armstrong)
Comics - Archer & Armstrong
Artist: TorinoGT


A time for self exploration, The physical poses in this beautiful practice increase strength, flexibility and energetic flow in the body. Various meditation and pranayama (breathing) techniques are then followed to create a wonderful sense of balance, mindfulness and connection, calming the mind, body & soul. This class is suited for all levels including beginners.
In this slow, gentle, nourishing practice poses are held for 3 or more minutes, creating deep stretching within the joints, ligaments and connective tissues. This holding time allows us to explore our emotions and how they may effect the natural flow of chi (energy) that moves throughout our meridians (energy channels). As energetic beings, creating a balanced energetic flow is an important part in maintaining our overall health. Each week we focus on one of the five elements according to Chinese medicine and the 5 elements theory. This practice is suitable to all levels including beginners.
I AM yoga nidra is designed as more than a relaxation. It is a meditation technique that not only relaxes the body, but creates a different relationship with stress producing thoughts and emotions. It is designed to guide you to recognise the silent place of being that always resides within us. The I AM method focuses primarily on quieting the mind and boosting the energy flow in the body (prana) and goes for approx 30 minutes after your yin yoga practice.
5 element style group Acupuncture supporting the emotions and vital organs in a relaxed group environment, a great and affordable way to introduce yourself to the wonderful benefits of acupuncture.


text:
Category Archives: Collections
About Us, Collections, Early Eltham, What's New?
Eltham's first Rate Books handed over to Public Record Office Victoria (PROV)
April 20, 2018 elthamhistory	2 Comments
The original Shire of Eltham was founded in 1871. Prior to its founding, the district was managed by the Eltham District Road Board, which was established in 1856. The first rate assessment commenced in 1857 for the year ending October 14, 1858.
The honour of being recorded with the first assessment went to a farm of 110 cultivated acres at Lower Plenty, owned by John Porter and occupied by Albert Baines. It was assessed at 6d/acre providing for a rate income of £2 15s.
Eltham Road District; Assessment for the Year ending October 14th, 1858
In July 2017, officers at the Shire of Nillumbik discovered some early Eltham Road District Assessment books and donated them to the Eltham District Historical Society. We were very excited as we soon realised the seven volumes handed over to us were the district's first six years of rate assessments. This was a unique and significant record of early settlers in the pre-Shire of Eltham. They immediately became one of the oldest and most valuable items in our collection.
An article on page 5 in the Eltham and Whittlesea Shires Advertiser, Friday, 21 November, 1941 titled: 'District's Early History' states: "The first rate book which is still in existence at the Shire Office is for the year ending October 14, 1858 and is probably the best record possible to indicate the development of the district. At the time properties were rated as follows: Cultivated land. 6d. per acre; pasture land, 1d. per acre: estimated annual value of buildings, etc., 6d in the (pound). The total amount of rate recorded for the year was £153/14/8. Properties were described as being situated at Lower Plenty, Yarra Yarra, Eltham, Lower Eltham, Kangaroo Ground, Yarra Flats, Diamond Creek and the Yarra."
Given the precious nature of this collection, priority was given to digitise the rate books and place them in suitable archival storage to minimise further handling. Subsequent discussion amongst our Collections team arrived at the conclusion that the most appropriate home for this valuable record was the Public Record Office Victoria (PROV), the archive of the State Government of Victoria and who are charged with archiving and caring for all Government related records. An approach was made to PROV and the air of excitement was palpable, just as it had been for us. These records completed their collection of rate assessment books for Eltham.
At a small ceremony held Friday, April 20 at the Local History Centre, Eltham, members of the Society and our Collections team, along with Ms. Vicki Ward, MP for Eltham, presented the seven volumes for 1858-1863 along with the complete set of digital files to Mr. David Taylor, Community Archives Manager and Mr. Charlie Farrugia, Senior Collection Advisor, Public Record Office Victoria.
L-R: Jim Connor (EDHS President), Charlie Farrugia (PROV), Vicki Ward (MP for Eltham), Peter Pidgeon (EDHS Vice President) and David Taylor (PROV); 20 April 2018
"Thank you to the Historical Society for providing us with Eltham's earliest known rate records. The receipt of these records means that a complete set for the district is now available for researchers to access from the state archives alongside other districts across Victoria. Rate books are a valuable resource for family and property researchers and are amongst our most popular records for those who want to know more about the history of their home. It's fantastic to be able to add these early books from 1858-1863 to our collection," David Taylor, Community Archives Manager, Public Record Office Victoria (pictured far right).
Society Vice President, Peter Pidgeon said that whilst the Society was reluctant to see the rate assessment volumes go, it was the right thing to do as they are now re-united with their brothers and sisters and Public Record Office Victoria was best equipped to care for them in a climate controlled environment for perpetuity.
Ms. Vicki Ward, MP for Eltham, with Eltham District's first rate assessment book for the year ending October 14, 1858 at the Local History Centre, 728 Main Road, Eltham; 20 April 2018
Ms. Vicki Ward, MP for Eltham and Mr. David Taylor, Community Archives Manager, Public Record Office Victoria inspect Eltham's earliest rate assessment books; 20 April 2018.
This is another example of the extended reach the Society has been able to achieve in being able to catalogue and share our collection via Victorian Collections.
The Society will continue to retain the digital version of these records in our catalogue on Victorian Collections, which are fully accessible as per the following links.
Eltham Road District; Assessment, For the Year ending Oct. 14th, 1858
Eltham Road District; Assessment, For the Year ending Oct. 14th, 1860 (Version 1)
Eltham District Historical Society (EDHS)Eltham Road District BoardPublic Record Office Victoria (PROV)Rate Assessment Book
About Us, Collections, Editorial
Editorial: Identity Theft; Are You A Witness To It?
February 18, 2018 elthamhistory	5 Comments
In March 2017, in recognition of Eltham District Historical Society's 50th Anniversary, a small group of volunteer members commenced the immense task of digitising the Society's collection. The purpose was two-fold; to ensure its preservation in case of disaster and catalogue it on Victorian Collections in order to share our local history with the extended community. This has only been made possible by the generosity of a handful of members who have personally donated thousands of dollars to purchase the equipment, as well as hundreds of hours each of their own time to scan, process and catalogue the images. In just under a year, this small group have created almost 12,000 digital records and catalogued almost 6,200 items on Victorian Collections; freely available for the public to access and appreciate.
We are very much aware that as soon as you upload something to the Internet, someone will take it for their own personal use. That is the nature of the beast we deal with, especially social media where it is a two-edged sword in getting the story out but also having your work taken for granted. For this very reason, many historical societies are reluctant to share their collections. Up until now, Eltham District Historical Society has resisted the placement of watermarks on our images, as some societies do, and which was more common place a decade ago with the major museums, the National and State Libraries.
Recently our attention was drawn to an individual who had downloaded a number of images specific to one of the districts we cover (Eltham, Eltham North, Research, Kangaroo Ground, Montmorency, Briar Hill and Lower Plenty) and who had then uploaded them to a Facebook group without any acknowledgement of the source of the images. Now we applaud that this individual clearly has an interest in our local history (why not join the Society?) but by not acknowledging the source of the images, he has denied us and the members of that group the ability to engage with each other and share more stories, helping to capture and preserve that local knowledge. In this particular instance, the images had only been catalogued and uploaded to Victorian Collections less than 24 hours earlier. One image we had been preparing for use in our popular #ThrowbackThursday post that week but this individual had stolen our 'surprise and delight' moment, at least for now, and a substitution had to be arranged.
The images taken were all subject to protection under Australian Copyright law. This individual and in turn Facebook via its group had breached the photographer's copyright. Any image taken since January 1, 1955 is protected under copyright law. In the case of photos within our collection that remain in copyright, Eltham District Historical Society has either a full or limited license to use the images. This license is not transferable, so taking those images and republishing them is theft; identity theft. Even when photographs are no longer within copyright and considered to be in the public domain, Australian Copyright law still maintains that the artist/photographer is credited under the Moral Rights requirement.
Upon investigation, it was found that over the past three months, this individual had taken approximately 100 images from our collection and re-posted them. Never once did they acknowledge the source of the images, the photographer or whether they were still in copyright. People could mistakenly believe that these images were the personal property of the individual who posted them and not the result of significant efforts undertaken by a band of dedicated volunteers.
To take someone else's images without acknowledgement is identity theft; it is immoral and in some situations a blatant breach of copyright law.
The administrator of the group was contacted and informed of this situation. We were pleased to see the offending posts were all removed within two days of notification.
Our volunteers have donated significant amounts of money and time to share these collections. To simply come along and take the images to upload somewhere else without permission or any accreditation as to the source of the image or the photographer is disrespectful of our volunteers and their efforts as well as the donors of these images. It is disheartening and demoralising and curtails their enthusiasm to continue with this work. It also has the potential to curb future donations of material to the Society as donors may place restrictions on the use of their material and do not wish to see it posted all over the Internet without proper credit.
We are happy for our images to be shared but we want to be part of the discussion. The best way to share them is simply copy the link from our catalogue record and paste it into the Facebook post. Perhaps even tag us "@elthamhistory" in a comment. It could not be easier. Facebook automatically posts a thumbnail image for people to view and clicking on it will take you directly to the catalogue entry in Victorian Collections where more information may be found. It also helps facilitate our engagement with group members who may be interested in the image and have requests for further information.
Unfortunately, instances of this type of identity theft are still occurring. Have you witnessed examples? Have you seen posts on social media and wondered where did that image come from? Call it out and ask the person who posted it to provide the actual source of the image and the name of the photographer where possible. If you are an administrator to one of these social media groups, perhaps consider adding a group rule, pinned to the top of your page, requesting all images to have appropriate accreditation attached; source (with link where possible) and name of photographer. Many Facebook groups already have these rules in place and some even restrict images from being made public until the required information is provided.
As such, we feel that if we wish to continue sharing our collection, we have no choice but to watermark every image in future. A classic case of a few individuals spoiling it for everyone.
Please don't steal our identity; share the link instead, and in doing so, share the love for our shared local history.
AttributionCopyrightIdentity TheftMoral RightsPhotographsVictorian Collections
Buildings, Collections, Society, Streets, Talks
February Meeting – A stroll down Memory Lane 50 years ago; 14th Feb. 8pm
February 12, 2018 elthamhistory	Leave a comment
Looking north along the west side of Main Road through the shopping centre, Eltham, February 1968. Shows the pedestrian crossing to the Railway Station and car parking. (From the collection of Eltham District Historical Society)
All are welcome to come along to our first meeting of the year to be held Wednesday, 14th February, 8:00 p.m. at the Senior Citizen's Centre and our 303rd meeting since the Shire of Eltham Historical Society was formally established in October 1967.
Through the magic of Historypin we plan to travel back in time, 50 years to February 1968. Big changes to the township were afoot with the pending duplication of Main Road. A series of approximately 50 photos were taken in February 1968 by an unknown person of the section of Main Road planned for duplication, commencing at Pitt Street and traveling towards Research through the shopping centre, finishing just past Elsa Court.
These images now form our first showcase collection on Historypin, an online tool which combines with Google Street View to transition between views from 'Then' and 'Now'.
At our meeting we will introduce this Historypin collection and view a number of the key images. The intention for this meeting is to provide a two-way discussion; so comments, personal recollections and corrections are most welcome as we take a Valentine Day's walk down Main Road together.
As at all of our meetings, new members and visitors are most welcome.
ElthamMain Road
Collections, District, People, Promotional, Streets, ThrowbackThursday
ThrowbackThursday: Weekly Garbage Service
June 15, 2017 elthamhistory	Leave a comment
#ThrowbackThursday – Who remembers the old galvanised steel garbage bin? Who still has one?
Hazard to Garbage Collectors (Damaged bin, Sharp Objects in plastic bags)
Today we time travel back to the 80s to celebrate the garbo man; a person whom we got to know and say g'day to – to a time when the garbo man left you a Xmas card and you left him a slab. None of these sanitised, oversized wheelie bins and trucks where the garbo man operates in a safe, climate controlled environment. Where's the challenge in that when he can wrestle with a beat up old tin can or a broken plastic one on his shoulder and goodness knows what spikey, smelly things lurking in that green or black plastic bag just waiting to spill all over him. And when you ask how business is, his cheery response invariably is, "It's picking up!"
Weekly Garbage Service, Shire of Eltham, 1980s
If you would like to see more photos from our collection of around the Shire of Eltham in the 80s then make sure to drop into Eltham Library throughout June and check out the display. We welcome any feedback especially in helping identify some of the people.
Garbage ServiceShire of ElthamThrowbackThursday
Collections, District, Early Eltham, People, Talks
February Meeting – Shire of Eltham Pioneers Photo Collection
January 31, 2016 elthamhistory	Leave a comment
10th February at 8pm
Our Society is fortunate to have access to digitised images in the Shire of Eltham Pioneers Photograph Collection, through a joint project with the Yarra Plenty Regional Library, funded by a State Government Local History grant. The historic photograph collection was established by the Eltham Shire Council in 1971 and is held at the Eltham Library.
At our first Society meetings in 2014 and 2015 we received positive feedback when we presented and discussed selected images from this collection.
Hon. W.H. Everard, MLA, speaking at the opening of the Eltham Swimming Pool. Late Crs Braid and Kirkland cut the ribbon at opening ceremony of swimming pool. (1936) – Image source YPRL
Accordingly this year for our meeting on Wednesday 10th February 2016, at 8.00pm at the Eltham Senior Citizens' Centre, we will again choose a number of photographs of local interest. This time we will consider some images that are unusual or not often viewed so as to encourage comments and contributions from members and visitors.
Introduction and commentary on the pictures will be provided by Russell Yeoman and some other members. Russell has been involved with the collection since its inception when some were used in the 1971 Shire publication: Pioneers and Painters. As at all of our meetings, new members and visitors are most welcome.
Eltham LibraryShire of Eltham Pioneers Photograph collectionYarra Plenty Regional Library


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A mortgage that is insured by the Federal Housing Administration (FHA) or guaranteed by the Department of Veterans Affairs (VA) or the Rural Housing Service (RHS). Mortgages that are not government loans are classified as conventional loans.
A government-owned corporation within the U.S. Department of Housing and Urban Development (HUD). Created by Congress on September 1, 1968, GNMA performs the same role as Fannie Mae and Freddie Mac in providing funds to lenders for making home loans. The difference is that Ginnie Mae provides funds for government loans (FHA and VA).


The Air Support Unit aids the patrol officer on the street. The helicopter can respond quickly to crimes that are in-progress, resulting in more arrests, and recovery of stolen property.
For more information, contact Sergeant C. Surgent at (909) 854-8051 or by email.


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text:
Scientists unveil a $500 billion plan to refreeze the Arctic
Scientists come up with a crazy plan to make the Arctic cold again. Image: Guardian Liberty Voice.
A group of scientists from Arizona State University has devised a solution to put a stop to Arctic ice melting: refreeze it using wind-powered pumps that inject water to the surface during the winter. The project could cost up to $500 billion.
In late January, lead researcher Steven Desch published a research article titled 'Arctic ice management' on the journal Earth's Future, a publication by the American Geophysical Union.
The paper and proposal respond to increasing concerns in the scientific community over climate change and melting of the ice caps. Both the Arctic and Antarctica registered record high temperatures and low sea ice extensions.
How would the plan to refreeze the Arctic work?
Scientists would deploy as much as 10 million wind-powered water pumps in the Arctic Ocean around the area they want to refreeze. During the winter, these pumps would splash water over the surface ice, making the cap thicker.
They would do this during the winter because the extreme temperatures would make it significantly easier for the water to freeze. The idea is to counteract the effects of summer temperatures by artificially thickening the Arctic.
Why focus on the thickness and not in the area? Because the extension of the frozen territory means nothing if it is not thick enough to stand the warm winds that cause it to melt more and more every year.
In average, the Arctic ice layer is around 2 to 3 meters thick nowadays. Climate change is taking centimeters from the cap at an increasingly alarming rate, so making it taller is a priority before thinking about expanding it once again.
The cost of carrying out such an endeavor would be about $500 billion over ten years, although scientists say deploying just a tenth of the pumps would be enough to add one extra meter to the northern ice crust.
The problem is not just in the Arctic ice cap
The U.S. National Snow and Ice Data Center (NSIDC) issued a report last week revealing that not only Arctic sea ice levels were the lowest on record in 38 years, but also that Antarctica had shrunk to its smallest extent ever last month.
The process is somewhat natural with every summer bringing warmer temperatures to the polar caps, but worrying trends show that if numbers continue to rise, there could be no ice on either extreme during this season by 2030.
Ice would refreeze come winter time, but it would start a devastating environmental effect that would not only trigger severe climatic consequences, but also threaten wildlife, ecosystems, and release harmful gasses to the atmosphere when permafrost melts.


Can I say WOW! Such a beautiful new little family! Im just so in love with all of Lil H's newborn images! She was such a doll and never fussed at all! She let me bend her little 6 day old body just any which way and even woke up for a few shots. Thank you lil angel for being so kind to me!
Mom and dad, congrats!! Thank you for sharing your lil miracle with me!


Since I'm much more outside now than I used to be before it is essential for me to have some cute hats. Right now I got four of them and I decided to show them of for you.
This is my hat from Oma Ulla. She was always upset with my parents for not putting a hat on me. So she went and bought me one. It's really cute though, isn't it?
This is the first hat I had. I've probably worn it most because of that fact. Baby blue hats just look good on me.
This is my summer hat. I'm ready for some sunny days. Bring it on. The weather just doesn't look that way yet.
And this is my new hat. I can totally pull of the gangster look by wearing it really low. Daddy does that to me a lot.