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SeattleNTC
SeattleNTC's Team
Jesse Adams, MD
Rebecca M. Allen, MD MPH
Joshua Bess, MD
Steve Brogdon, MD
Leigh Brown, DO
Ki Won Nam, MD
Laurie Arndorfer, MD
Bellevue Location
Tacoma Location
Bellingham Location
Bipolar Disorders
Post-traumatic stress disorder, or PTSD, is a condition that can happen to people who have experienced a trauma, such as exposure to death, threatened death, actual or threatened serious injury, or actual or threatened sexual violence. About half of all U.S. adults experience at least one traumatic event in their lives and most do not develop PTSD. About 10 out of every 100 women, and about 4 out of every 100 men develop PTSD sometime in their lives. People who have had multiple traumas are more vulnerable to developing PTSD.
More Information About PTSD
For a diagnosis of PTSD, a person must have experienced a traumatic event, followed by symptoms that interfere with function in day-to-day life. These symptoms are divided into several categories, and a person with PTSD has at least some symptoms from each category. The symptoms last more than one month.
Traumatic event is persistently re-experienced, in the following way(s):
Unwanted upsetting memories
Emotional distress after exposure to traumatic reminders
Physical reactivity after exposure to traumatic reminders
Avoidance of trauma-related stimuli after the trauma, in the following way(s):
Trauma-related thoughts or feelings
Trauma-related reminders
Negative thoughts or feelings that began or worsened after the trauma, in the following way(s):
Inability to recall key features of the trauma
Overly negative thoughts and assumptions about oneself or the world
Exaggerated blame of self or others for causing the trauma
Negative affect
Decreased interested in activities
Feeling isolated
Difficulty experiencing positive affect
Trauma-related arousal and reactivity that began or worsened after the trauma, in the following way(s):
Irritability or aggression
Risky or destructive behavior
Hypervigilance
Heightened startle reaction
Difficulty concentrating
Treatments for PTSD
Treatments for PTSD include psychotherapy, medication and Transcranial Magnetic Stimulation (TMS), though off-label. Psychotherapies that can be used for PTSD include cognitive, emotional or behavioral techniques to facilitate processing a traumatic event. Psychotherapy techniques with the strongest evidence are Prolonged Exposure, Cognitive Processing Therapy and Eye Movement Desensitization and Reprocessing. In general, psychotherapy has more and better evidence for treating PTSD than medications. Psychiatrists may treat PTSD with some of the same medications used to treat depression to help with the negative thoughts or feelings associated with PTSD. Psychiatrists may also use medications to target nightmares.
TMS is effective for PTSD, but is off-label, meaning that this use of TMS has not been approved by the U.S. Food and Drug Administration (FDA). However, TMS has been widely studied for PTSD, and reviews of the medical literature have concluded that high frequency treatment (rapid pulses) over the right dorsolateral prefrontal cortex has an overall treatment benefit.
Gentle, non-invasive, FDA-approved treatment for depression, OCD, and others.
ESKETAMINE TREATMENT
Spravato/esketamine is a new FDA-approved treatment for depression.
ECT TREATMENT
The most effective, life-saving treatment available for severe depression.
If other treatments don't work, we have interventions that may.
In additional to TMS, ECT, and esketamine, we offer general psychiatric services.
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This unit of study provides students support to plan and create a major work at the culmination of completing previous principle study units, Contemporary Music Practice 1, 2, 3 and 4. A process of music composition, performance and recording will be supported by ongoing peer, instructor and industry feedback plus written critical self-reflection. Students will be asked to consider, justify and situate their practice and production of music within both broad and specific contexts. At the conclusion of this unit, students will have developed a body of work (approximately 15-20 minutes of music) to further refine and present to audiences in the following unit, Contemporary Music Practice 6.


The aim of this application is to help startups pick the best place to start their new business, or franchises to pick the best place to create a new branch. The app will show an interactive map, which the new business creator can explore, and it'll give them the information relevant to their new business, such as pedestrian volume, the amount of available parking, and the volume of competitors (or potential business partners) in the area. For example, a person trying to start a cafe might want to find a place with high pedestrian volume or high density of officespace nearby. A tech startup might want to open an office near other tech startups, etc. In short, the app will help startups to find a place to 'anchor' their new business.
The app combines the data from ANZIC's business establishments and Pedestrian Volume, and several parking datasets. ANZIC's data set provides us with the data on the business census within a certain block of Melbourne, providing insight to the opportunities in the area. Since the dataset only covers the city of melbourne, this application will only work in the melbourne city region. However, as we we receive more and more data, the technology can also be used for the whole victoria region, or even all of australia.
On top of this, As part of a commercialization strategy, we might even integrate real estate APIs (such as commercialrealestate.com.au), to further easing the process of finding the essential place to start a business.
Description of Use: This data is used to show how much parking is available in the area that a business owner is considering setting up shop.
Description of Use: This data is used to show both residential density, which is something to consider when opening certain types of businesses, as well as what competition there might be in the are.
Description of Use: Used to create graphs that show what % of each business type are in an area, which shows how much competition a new business owner would have in that area.


Megan and I recently attended the 2nd Annual Creative Vitality Town Hall, hosted by Philadelphia's Office of Arts, Culture and the Creative Economy (OACCE). An inspiring mix of over 250 artists and nonprofit and creative business professionals came together for an update on the city's Creative Vitality report and the chance to brainstorm about different challenges and opportunities we're facing in the arts community today.
The breakout sessions were a main focus of the event. Groups divided up in the WHYY space to talk about Arts & Youth, Arts Practice/Individual Artist Issues, Diversity/Community Engagement, Creative Placemaking, Funding/Policy & Advocacy and other topics, trying to brainstorm ways to overcome barriers and make new connections.
A common refrain in my Diversity and Community Engagement group was how to find new ways of reaching into different neighborhoods in Philly. The audiences are here: open, willing and ready to experience something new. So how do we make the work accessible? How do we overcome prejudices and embrace curiosity? It lead me to think of another Canary artist, Headlong Dance Theater and their latest project This Town Is A Mystery. This new piece is taking on those barriers directly by inviting Philadelphians to open their doors, welcome their neighbors into their universe and create a performance in their personal space. I brought up the project (which is still accepting applications!!) to a few artists afterwards, and the feedback was incredibly positive. People want to see more work like this: work that creates a direct and intimate connection between the artist and the audience. That makes it pretty clear that when we're talking about our clients, one of our top priorities is showcasing this connection and making it part of the conversation.
The OACCE put together a slideshow of the ideas we came up with at creativephl.org where you can also see the complete list of works that struck a chord with the crowd. Taking the time to be a part of the conversation, to really brainstorm without limits, is an invaluable part of the creative process, and definitely something I'll be plugging into my calendar more often.


Rules intended to provide compensation to stranded airline passengers are in disarray because of disagreements over the difference between delays and cancellations.
In a recent example, passengers on a flight from Moscow to London were taken off a faulty plane, given new tickets and flown home on another aircraft via Zurich. But they were refused a pay-out because the airline said the flight had been delayed, not cancelled.
Compensation for cancellations is one of the most controversial issues in the aviation industry in Europe and one which will be settled by the European courts.
It started when the EU, to the fury of European airlines, produced a passengers' charter setting out the compensation to which they are legally entitled. If flights are cancelled or passengers are denied boarding, they are entitled to payments ranging from €250 (£171.90) to €600 (£412.63), depending on the length of the journey.
This is on top ticket cost, which must be refunded if the airline is unable to make alternative arrangements to take the passenger home. Airlines must also offer "care and assistance", including food, free phone calls and lodging where necessary when a flight is delayed for several hours.
Airlines fear they face huge bills and are fighting hard to have the charter overturned, as are no-frills operators which are determined to keep down their expenses.
The International Air Transport Association, which represents the "flag carriers", and the European Low Fares Airline Association are challenging the legislation at the European Court of Justice. A ruling is expected this year.
In the meantime British Airways and other airlines are observing the law even if they regard the care provisions as "excessive".
Richard Gleave and fellow passengers on the 5pm BA 873 flight from Moscow to London on March 27 are left asking: "When is a cancellation not a cancellation?"
Technical difficulties led to their being disembarked and issued with fresh tickets which, for Mr Gleave, meant a flight at 7am the next day.
Mr Gleave, 61, of Esher, Surrey, said: "On the plane we were told our flight would not be going. That to me is a cancellation. I took a flight to Zurich at 7am, 14 hours after I should have left. BA 873 did not leave until 10.38am."
Having been given a new ticket and obliged to take a different flight, Mr Gleave sought compensation. BA refused. It maintained that as BA 873 left - albeit 17 hours late - the flight was technically delayed, not cancelled.


Discussing the ever-expanding role of women in business leadership positions will be Christie A. Hill '86, Senior Vice President, General Counsel and Corporate Secretary, Dun & Bradstreet Corp., Lynn Ready, Associate Vice President, Facilities Operations & Development for The Ohio State University., and Beth Spain, '02, Associate General Counsel, Nationwide Children's Hospital. Moritz Law Professor Stephanie Hoffer will moderate the panel on October 19 at noon in the Barrister Club.
Sponsors are the program on Law, Finance and Governance @ Ohio State and The Program on Law & Leadership.


The PRS Paul Reed Smith SE Paul's Guitar delivers a lot of "PRS," starting with tone and versatility. The TCI "S" treble and bass pickups deliver a very pure, vintage sound. The SE Paul's Guitar also features two mini-toggle switches between the volume and tone knobs. This setup allows players to put either or both pickups in true single coil mode, which delivers the clarity and uniqueness of vintage single-coil tones in both single coil and humbucking positions. This is the first model to offer this style of electronics outside of the Private Stock and Core lines. Comes in a premium PRS SE Gig Bag.
"The SE Paul's Guitar is a great example of design, engineering, and teamwork. It's as close to home as we could get inside of the SE Series, and I am very proud of it," Paul Reed Smith.
close [x]More ExpectedWe have been given a date of Jun 24 for the arrival of this item. This date is not guaranteed, rather an estimate based on either information obtained directly from the manufacturer or historical delivery data for the specific manufacturer.


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Need help identifiying this.
By Moogle!, May 3, 2012 in Community
Moogle!
Eggplant Wizard (+50)
In Mario is Missing, in the Super NES version, each location has a remix/variation of a song from Super Mario World. They're all easy to identify, except the song used for NY and LA, posted, (hopefully without violating the rules) here:
http://www.youtube.com/watch?v=MlzflqOSTdU&safe=active
I've never worked out which tune from SMW this was supposed to be. Does anyone else know? It's bugged me for years, and I figured this to be the best place to ask. Incidently, it also happens to be my favorite from the game.
Kirby (+1500)
I've played Mario World a lot but that song doesn't sound familiar to me...It sounds a little like a Mario 3 song, maybe the water world theme, but that's all I got :/
Be Aggressive! Co-Director
Sounds like it might have drawn from the ending theme near the beginning.
Liontamer
Community Manager, Judge, Sonic Augmentation Director
Barely had a hint of Super Mario World's Overworld BGM theme from :09-:11, but I definitely can't place the theme as being an arrangement, AFAIK.
Glad it's not just me that's having a hard time with this one. I still like the theory that it is the end theme though. I forgot about that. Need to go home and listen to it again.
Meteo Xavier
Songs of Light and Darkness Asst. Director, Impulse Composer
It kinda sounds like the ending theme, but I think thats a coincidence more than anything.
Super Mario World, after all, didn't actually have a lot of different tunes - most of its music were variations on the same leitmotif.
Darklink42
Chun-Li (+1000)
I just now realized how much of Super Mario World's music is the same basic theme done different ways. Testament to how clever Koji Kondo got with the usage
I'm going to go with the ending theme. It's not as clear cut as the other city songs, but I hear a lot of similarities between it and this:
http://youtu.be/4mNZAZgXYJo?t=1m34s
Final Fantasy IX is like this as well. Same song played in variations.
Txai
Chrono (+3000)
Most soundtracks use this to some extent.
Deryck Khusial
http://shoryuken.com/forum/index.php?threads/video-game-music-thread-ver-once-more-with-feeling.22877/page-6
The person in this thread speaks authoritatively in saying it's an original theme. Maybe he/she knows something, eh?
Goemon (+300)
Pretty sure it's something original. Cool tune though.

redpajama_set_name: RedPajamaCommonCrawl


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MainAll NewsForeign AffairsVideo: US Al Qaeda Terrorist Pleads for His Life
Video: US Al Qaeda Terrorist Pleads for His Life
Alabama's Omar Hammami joined an Al Qaeda-linked group in Somalia but now fears his fellow terrorists may try to kill him.
Tzvi Ben Gedalyahu, 19/03/12 17:21
al Shabaab Sheikh Mohamed Abu Abdurrahman
Alabama's Omar Hammami joined an Al Qaeda-linked group in Somalia but now fears his group may try to kill him over disagreements.
Under his new name of Abu Mansour al-Amriki, the extremist Al-Shabaab propagandist posted a YouTube video in Arabic and English with a rifle leaning against a wall and a black banner draped behind him with the flag of Al Qaeda.
"I record this message today because I feel that my life may be endangered by Harakat Shabaab al-Mujahideen due to some differences that occurred between us regarding matters of the Sharia law and matters of strategy," he says.
Hammami, or al-Amiki, was born in Alabama to a native American mother and a Syrian-born father. He was the president of his American college's chapter of the Muslim Students Association, whose websites were monitored by police.
He previously has encouraged other Americans to join the Al-Shabaab group, for which he also is a field commander.
The video is unprecedented in terrorist circles, where no one has dared to post a video publicly stating that his own group intends to assassinate him.
Ben Venzke, of the terrorist monitoring group Intel Center, said Hammami "has played a significant role in recruiting new fighters to Al-Shabaab and is believed to have been on track for a growing role and profile, not only in the group but in the broader jihadi community."
In 2009, he posted a video stating, "If you can encourage more of your children, and more of your neighbors, and anyone around you to send people ... to this Jihad, it would be a great asset for us."
Events turned the wrong way for Hammami's terrorist group since last summer, when Al-Shabaab's senior leaders were killed at a roadblock.
Tension repeatedly has grown among members over a declaration last month that the group is going to become an official part of Al Qaeda.
Hammami says in English after 43 seconds in the video, "To whomever it may reach from the Muslims I'm Abu Mansour al-Amriki. I record this message today because I feel my life may be endangered by Harakat al-Shabaab al-Mujahideen, due to some differences that occurred between us regarding matters of the Sharia and matters of strategy.
Tags:Al Qaeda, Somalia, Hammami, al-Shabaab


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Saint-Cosme-en-Vairais () is a commune in the Sarthe department in the region of Pays de la Loire in north-western France.

See also
Communes of the Sarthe department

References

Communes of Sarthe
Sarthe communes articles needing translation from French Wikipedia

redpajama_set_name: RedPajamaWikipedia


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career evolution
This is how to tell a crisis recovery story (while leaving out the doomsday narrative)
Shake yourself out of a destructive narrative by reviewing which parts of your struggle will most emotionally resonate.
[Photos: Aaron Burden/Unsplash; Max LaRochelle/Unsplash]
By Wendy Marx 5 minute Read
Ask yourself, during the pandemic, how successful are your storytelling efforts, both to your clients and with yourself.
In our confusing and twisted world, where the world up seems like down, it's easy to get caught up in downer scenarios.
No doubt you can recite your own litany of woes. They may go something like, "I was on the fast track and now I'm wondering if I'll ever work again"; "I ran a company for 40 years, and I don't know if the company will recover"; "My life is just not normal anymore."
The problem is that these doomsday-type stories can wreak havoc on your life. More than self-talk, they have the power to set you back unnecessarily and keep you from reaching higher standards.
That's because they lock you in time by focusing on what happened—not on what you can do. While struggles may be part of your story, it's missing a key ingredient: What you've learned from your hardship and how you will overcome it. This isn't to suggest that you turn a horror story into an upbeat tale, but that you acknowledge the pain and move beyond it.
Here are some ways to create a positive narrative, to make the best of any situation.
Avoid the trap of a fixed mindset
Illustrative of what Stanford University psychologist Carol S. Dweck has called a fixed mindset, these strictly sad-sack stories prevent you from growing and changing. Tell yourself enough times that you can't do it, or you're a failure, and you start believing it.
Evan Marie Allison, associate director of the Sanger Leadership Center at the University of Michigan Stephen M. Ross School of Business, says, "We must be intentional with the stories we tell ourselves because they can become self-fulfilling." The Sanger Center runs Story Lab, a program that teaches Ross business school students storytelling skills to help them become better leaders and communicators.
What exact stories will help you grow and change?
In my book, Thriving at 50+, I describe a technology executive who survived a horrific car accident. He was so depressed he thought of throwing in the towel. One story he told himself helped him rise from the depths of despair—it was a motto he had heard while working in Japan: "Fall seven times, get up eight."
He told me, when you suffer a crisis, you have two options: "One is to give up, the other is to get up again. Always get up one more time than you've fallen."
"Stories help you make better sense of your life, increasing clarity, self-awareness, and purpose," said Allison. They take the jumble of your life and by weaving the pieces into a narrative, shape how you see yourself. Offering a road map, stories both define who you are and where you're headed.
Create a storytelling framework
Especially useful in times of crisis, stories provide a built-in framework for telling your career journey. Think of the beginning of your career story as what you've done, the middle what you've learned, and the end your future plans.
Here is an example of a story during a crisis: "Hi, I was a journalist for 30 years and loved my newspaper job. During the pandemic, I was laid off. Suddenly, my identity, my newspaper work, was gone. In looking back over my career, I realized that one of my most memorable experiences was interviewing an 80-year-old wounded veteran who had lost his limbs during World War II but remade his life by focusing on what he could do—not what he couldn't. This helped me realize I need to do the same thing. I have started a memoir-writing business to help people bring their stories to life as their legacy. My first client is this veteran, who's now age 90."
Stories are especially effective tools to cope with these uncertain times because they have dual power. Besides changing your self-perception, a story influences how people view you.
As the poet Molly McCully Brown said, "Language has so much to do with how we explain ourselves to ourselves and to others . . ." Wrap the language into a story and you'll get people's attention as long as you follow a few storytelling tenets.
Don't think of a story as a one-time anecdote but as a roster of stories that collectively brand you. Ross business school students are advised to have a bank of stories to use for different situations, according to Allison. Think job interview, networking event, sales call. Says Allison, "These stories signal who you are, where you are headed, and what you want to achieve."
How do you tell an effective story? Here are five ways:
Start with a theme. Ask yourself what's the point of your story. Is it to demonstrate your resilience in overcoming tragedy? Your persistence in seeking something? An incident that made you realize you needed to change jobs? Whatever your theme, ensure your story reinforces it.
Be vulnerable. Allison says that we often think that trust precedes vulnerability when it's the other way around. By being vulnerable, people are more likely to believe you. When you let down your guard and share something personal but relevant, it stamps you as credible.
Work on coherence. Does your story make sense, and do the parts fit together? Without coherence, your story will not hold up. Think of it like a TV show with a plot that twists and turns only to confuse the viewer. Once, in applying for a job, I proudly listed my multiple careers only to have a recruiter look at me totally bewildered. I realized then that my story didn't cohere.
Edit your story. Eliminate irrelevant details, which will only blur and hide the important aspects of your story. "Great storytellers are intentional about the details they include to support the main takeaway," Allison mentions. "If they don't support your theme, they should be cut."
Have more than facts. According to Jennifer Aaker, a professor at the Stanford University Graduate School of Business, stories are 22x more impactful than a random collection of facts. Think about the pandemic and its impact on you, specifically. Which affects you most? Incidence rates or the story of a friend who battled the virus and survived? Facts by themselves don't typically engage. Wrap them in a story and the information can be incredibly touching.
Storytelling is an essential tool for your personal and professional growth. Start following these tips and you'll discover you'll benefit from the power of storytelling. You'll be better prepared to meet the crises and challenges of our rapidly changing times, now and into the future.
Wendy Marx is the president of Thriving at 50+, a personal branding, and a career reinvention coach for people 50 and up. She's sought after for her ability to turn virtually unknown people into brands of distinction
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New Balance announced launch of the first high performance running shoes with 3D printed midsoles. The shoes will be first launched in Boston in April 2016. Subsequently they will be launched in select locations worldwide. New Balance is collaborating with 3D Systems for this product. The midsoles are 3D printed using selective laser sintering (SLS) process that uses a powder called DuraForm® Flex TPU.
This entry was posted in 356 days of 3D Printing, Why 3D Printing, history, 3D Print products, Apps, Books, 3D Printer material types, 3D printers next big industrial thing, 3D Printing Business crown, 3D Printing Entrepreneur, 3d printing in Medicine and Health, 3D Printing Planning and Projects, 3D Printing possibilities, future of humanity, 3D Printing Top Stories, Latest Tech, and Lifestyle, Complex Geometry in additive manufacturing design, Make Money With 3D Printing, Opportunities and challenges of 3D printing in education, Reverse Engineering Invention for 3D Print, spark, Successful 3D 4D 5D Printing Business and Stocks, SV3DPrinter solutions and prediction for 3d Printing market, The future of 3D 4D 5D printing services, Understanding Additive Manufacturing and tagged 3d printer factory, 3D printing market and technology, research, 3d printing product, 3D Systems, athletic, Boston, DuraForm® Flex TPU, New Balance, Robert DeMartini, running shoes, selective laser sintering (SLS).


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Tag: Astronomers
Astronomers Recently Discovered a Planet with a Tail and They Think That it's Actually a Comet
There's no doubt that comets and planets are totally different things. Planets are powerful enough to support themselves in the…
By Patrick Supernaw, in News Sci/Tech on December 10, 2018 .
"Planet Nine" Could Be At the Edge of Our Solar System, Claim Astronomers
Remember how sad everyone was that Pluto is no longer the ninth planet in the solar system? It's now a…
By Rex Austin, in News Sci/Tech on September 3, 2018 .
According to Astronomers the Water-World Exoplanets are Common in our Galaxy
A team of Harvard astronomers led by Li Zeng has recently showed that extrasolar planets which are between 2 to…
By Patrick Supernaw, in News Sci/Tech on August 22, 2018 .
Cosmic Steam Jets and a Lot of Molecules Observed by Astronomers
The ALMA telescope in Chile allowed a team of scientists to discover a lot of jets of warm water vapor…
Strange Radio Signal Detected by Astronomers
Another radio burst of unknown origin has recently hit Earth. The frequency of the burst is surprisingly low; around 50…
By Patrick Supernaw, in News Sci/Tech on August 8, 2018 .
The First Image of a Baby Planet Captured by Astronomers Recently
These days, the science world has been shaken by an unexpected announcement. Astronomers from Berlin say that they have captured…
By Patrick Supernaw, in News Sci/Tech on July 3, 2018 .
Astronomers to Find New Planets by Hunting Molecules?
Every exoplanet spins around a star, similar to the Earth's movement around the Sun. This is the reason why it…
By Patrick Supernaw, in News Sci/Tech on June 19, 2018 .
Our Sun Will Become a Faint Planetary Nebula When It Will Die, New Study Predicts
Until now, astronomers weren't that sure that our Sun will turn into a planetary nebula at the end of its…
By Rex Austin, in News Sci/Tech on May 9, 2018 .
Astronomers Discovered that Luminous Clusters Produced Sparks in the Early Cosmos
Nowadays, technology has evolved and we can find out every detail about our past. We can see what lead to…
By Patrick Supernaw, in News Sci/Tech on April 27, 2018 .


Leveraging on ethical business dealings & optimum utilization of resources, our company is engaged in manufacturing and supplying Super Blaster. These blasters are manufactured at our well-established manufacturing unit employing supreme quality components and materials. Perfect for heat treatment shops, mould makers, tools, die and shot peening of light metal components, these products are provided to our clients in a best quality packing. Before supplying, Super Blaster is stringently checked by us on different quality norms.
Works on induction-suction principle of abrasive delivery. The super blaster ensures continuous working and no interruption in blasting cycle. Recommended for light and medium size components where surface is to be cleaned or deburred or to impart with fine matte finish. Sb machines are incorporated with reclaimer which ensures uniform clinging and finishing each time and in every next operation. This is achieved by an automatic system of abrasive cleaning and separation built into the reclaimer. Dust and debris are separated and only clean and sized abrasive are carried to blast gun-ensuring a homogeneous finishing. Most cabinets of other make do not have the reclaimer as standard practice.


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Film, interview
Interview w/ Director Laura Schroeder (Barrage, 2017)
Composed predominantly of stillness with erratic musical outbursts, 'Barrage' focuses on a tri-generational rift in feminine identity building, in which each daughter fails to completely understand her own mother. Though 'actress-of-the-moment' Isabelle Huppert plays the grand matriarch wielding total control and the final word, her screen time is miniscule against a second act which sees Cathrine and her daughter Alba journey into the woods in an effort to re-connect an interrupted bond.
I interviewed Director Laura Schroeder at the Vilnius Film Festival, where she was surprised to see me that morning (I couldn't blame her as I was early) and returned shortly with a modest breakfast plate and tea. Inquisitive eyes rounded out her steady voice.
MLP: How did you decide to become a filmmaker?
Laura Schroeder: I didn't decide straight away to become a filmmaker but I knew when I was around 16-17 that I wanted to study cinema. I think I wasn't quite sure at that point if I wanted to be a director. I was really interested in being a cinematographer as well. It started because I started seeing different films. At that age I started seeing the French New Wave and Italian films, I started developing my own photographs in black and white, I started to write…
Was there an autobiographical element to Barrage?
Yes and no. I did play tennis, so I took that from there. I didn't go through what the characters Cathrine and Alba go through in the film. I don't have a daughter but I do have a mother. In my eyes, if you write something, you always draw from your own life, and then afterwards you transform it to make it fictionally more interesting.
Since you don't have a daughter, how did you decide to use 3 generations of women instead of 2?
It was important to me not only to have that mother-daughter relationship between Cathrine and Alba, but also the other generation before, with the grandmother because the film is also about the repetition from one generation to the other, so it could not only be one single generation and I think the way Cathrine deals with Alba has been influenced so much by what she has gone through with Elizabeth. So it was trying to build this mirror. I didn't want to give all the psychological background of what has happened, why Cathrine is like this, and the triangle relationship, the double mother-daughter relationship allowed me to see how Elizabeth behaves with Alba, imagining that that could've already been the same with Cathrine in a way.
Do you relate this echo of behaviors through generations to maybe echoes of scenes in the film – the way music comes in? I felt some sort of echo in the way that the scene was set each time that a new song came in. Was there any kind of template?No, no there wasn't. To me, the music comes in quite late in the film. Which was a choice and then also not a choice. The first time you hear music is when they leave Cathrine's apartment and they finally depart, something else is starting. To me the music…How can I say… it's a very important part already when I write, I think about the music at that point I put it in the script even though afterwards it changes, but the spots where there's music didn't change much from the writing through the final editing.
I think I use music to give a different texture. (SPOILERS) For instance, the scene where Charbon the dog dies, and then afterwards they drive off, we tried different music on that scene and I thought it was interesting how the music – of course it seems obvious, music always influences what you see – but in that specific scene how much it was about finding exactly the right tone, because Charbon has died and we don't know where they're [going], so it had to be a bit unsettling but at the same time I didn't want to go into a thriller. Music is something very intuitive. It's the same when I write. It can influence my writing. So no, to answer your question with a clear answer; no, to me the music is not with the generations, I didn't see it that way, no.
In the scene where they're in the woods dancing – matching choreographed with the music that we hear, but we don't see an audio source in the frame, is it another realm that they're entering out there [in the woods]?
Yeah. My initial idea for that was that you would actually perceive the music coming from the chalet. But then it just seemed so obvious that it had to be this way, because as you say, it allowed them to – or us as an audience – go somewhere beyond that specific moment and it's the moment in the film where they are as close as they probably never will be, because just afterwards it all starts going bad. So it was giving something…well on the one side more intense but also take it to another level. Just at the beginning with the first shot when Cathrine is walking, there's some direct sound, but for the rest of the scene you don't hear them moving and I think it allows you to enter that scene in a different way.
How did you decide on the 4:3 aspect ratio?
Well we did tests with the DoP Hélène Louvart prior to the shooting. I'd shot all my previous films on 1.85:1, which was a format I'd always liked. Here it was really all about the major part of the film taking place around the lake, it was all about how to film that landscape. I didn't want a 'postcard' effect, in that landscape. It was about the character in the landscape, so when we did the tests, it struck me immediately – we did some tests with Lolita just walking back to camera through the woods – just on the two formats how when you would look at the 1.33 it was a character in a landscape, with the 1.85 it was a landscape with a character in it. So it seemed obvious to me. There are a lot of scenes where you have only two characters or one character. There aren't a lot of characters so it felt also – of course choosing the right lenses afterwards – but…it allowed me a lot of frames where there's Cathrine and Alba in the frame, both really close to the edges. It gave their relationship a visual – the frame, to me, seemed right.
How did you come up with this dream sequence near the end?
That's something that was in the script also from a very early stage on, and afterwards the details changed over the writing process but it was something that when I wrote that scene – Elizabeth's coming back – this idea that the three of them, especially Elizabeth and Cathrine, reunited in that chalet. We don't know up to that point, we know that there's something with the Grandfather, we have very few elements of what has happened in the past.
And them coming together in this place, as I already said I don't like to explain things by dialogs or by just trying to put information where you can put it. So it was, again, just intuitive. I just felt like I wanted to show something about their relationship (Elizabeth-Cathrine) in a different way. So I just came up with this dream sequence, which to me is not only a dream; part of it could be a flashback. It could be a vision, you know? I think the most important was to give Cathrine's life, or Cathrine's suffering a different angle to perceive it. The scene has always, from the writing stage early on caused some producers to say, 'Are you sure? This is like completely – I don't get it, why does this come in here?' To me it's always been important. Taking out that scene would've taken so much out of the film because the last half-hour you watch it, you perceive it because you've seen that. And if you take that out, it would make it much more flat.
You've named Jeanne Dielmann as one of your favorite films, could you talk a bit about its influence on you as a filmmaker, especially in terms of shot duration?
Well it's a film that I cannot remember when exactly I saw it but a long time ago, and yes it has the shot duration but I think it's really about the bluntness of it – to make such a film. Anyway films like that, they don't really get made anymore.
I read this – I think it was also a long time ago – I think it was Gus Van Sant and somebody else I don't remember who were in an article in Cahiers du Cinema, like even before Chantal Akerman died. They said something about this film, and they were watching it I think – I might be completely mistaken in my memories – but they were watching it in New York and people were watching. Then towards the end when something finally happens, that's when people started getting up in the cinema and left. This remark, Gus Van Sant telling it, has always struck me, because I think that's what's so fascinating with this film; you just sit in there, you follow all this, and…I don't know why these people got up, because they thought like 'this is what happens, okay so, then I'll get up'. But how it takes you in…I think nowadays you have many more films that take that pass. I love Chantal Akerman's work and when I saw that film, I thought it was very brave.
Was there any particular film on your mind during the filming of Barrage? Or the writing stage?
Yeah, I thought a lot about The Return by Zvyagintsev. There's a father taking his two sons on a trip, in a remote area. Beautiful landscapes in Russia. There might be different films that I forget about now.
No, I don't try to think about other films, actually. Maybe in an early research phase. During the writing it's important to me to know what has been done on the subject and in similar ways, but once you have your own script you need to forget about it. Anyway everything you've ever seen and everything you've ever read is there, you cannot get rid of it.
I believe there are two brief moments where we hear German spoken in the film?Luxembourgish, you do hear Luxembourgish.
And the song in the dream sequence?
That's German, yeah. It's a tango by Rudi Schuricke and Juan Llossas, which is from the 40s, 50s it must be?
And how did you choose this piece for that sequence?
I don't know where I know it from, but I knew the piece. You live in Germany, so you understand what they sing, Einmal ist Kein mal. [One time is no time.] You know, it's not like between those words there's a direct link. What I like about this song is that it's cheerful, it makes you want to move, but at the same time it's really melancholic. It has this – time passes, things don't come back – that's how I see it as well, but you know, it being in German, I'm not counting on people understanding it. So it's just mood and I really like the fact that that was also…the idea of the tango came very early but at the same time, a long time before starting to work with the choreographer for that scene, I knew that I wanted them to move really slowly. It was also the contrast between the two. It wouldn't have made sense to me to put some music that would fit the rhythm of the music.
Both of those together have this really 'ghostly' feeling.
Yeah, exactly. You have people that you have seen in a film before, you have to be really careful if you want to recognize them. It's like ghosts from the past. It's also like music coming from the cellar.
I understand you once created a fake identity to get accreditation to the Berlinale. I'd be really interested in hearing that story, if there's a story to tell.
Yes, there is a story to tell. I didn't really create a fake identity but I created a fake job. I became a …it was like ten years ago [laughing]… one of my producers helped me to become a distributor/sales agent/assistant/something, because me as a young director, they didn't want to give me an accreditation, and I really wanted to go. So that was…maybe 2008. So I kept on getting emails for years and years about people wanting me to link them to some distributor. I think I did that for 2 or 3 years, but then it was tricky to do the change, all the sudden. Probably they didn't know, didn't realize, didn't care. It's a lot of people.
Do you feel a barrier in terms of age for filmmaking? Do you think someone should reach a certain age before making or trying a feature film?
No I don't but I realize now I'm at the edge between: sometimes I still get called a 'young' filmmaker, but I think soon I will not anymore. I think if you can still get the denomination 'young,' it helps. God knows why, but in every domain, you know? 'Young' sounds better than 'not young.' You can always say 'young,' 'first,' 'upcoming.'
Finally, how did it feel to return to the Berlinale now, as a director with a film screening?
It was beautiful. I love the festival, I always preferred Berlin to Cannes, whatever that means. Just because I have a lot of friends in Berlin, I've edited another film there, so I've spent quite a lot of time in Berlin. Also the choice of the films that I saw anyway, if there was one festival where I wanted Barrage to premiere, or where I could imagine it fitting in, it was Berlin. So that plus the factor that I had a tough time to even go there as a spectator long ago, I had been at the Berlinale Talents also back then, it was like a nice… boucle, that's what I'm looking for. You say in French, boucler la boucle. You know when something starts, and you close it in a nice way? I don't know if there's an expression like that in English. Maybe the first time I was in Berlin, and now presenting Barrage there, was like one circle. So it was closing the circle before the new one begins.
It all came full circle?
Ah, right! That's the expression, yeah.
ULTRA DOGME 06/05/2017 19/09/2018
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Police have suspended two drivers' licenses after they were caught reportedly stunt driving in Mississauga.
Police say that at 5:30 p.m., one driver was caught going 125 km/h in a 60 km/h zone in the area of McLaughlin and Hwy. 407.
Another driver was caught going 116 km/h in a 60 km/h zone in the area of Hurontario and World Drive at around 7:30 p.m.
Both drivers' licenses were suspended and their vehicles were seized. Both drivers were also charged with stunt driving.


text:
Q: Rails association with custom fields I am lost in all the associations options Rails offers.
I have a table for Users. Those Users have Products. This is simply a has_many :products relationship.
However, I want to provide the users with a list of products. They will choose a number of products and will add a price to it.
So basically, I have
USER 1 ----->  PRODUCT 1 ------> PRICE 1    <----.
       ----->  PRODUCT 2 ------> PRICE 2         |
USER 2 ----->  PRODUCT 1 ------> PRICE 3    <----¨
       ----->  PRODUCT 3 ------> PRICE 4

Should I create three table : User, Product and Price?
And what if the user wants to customize his/her product more with a quantity, need, etc.? Then should I create the following tables instead :User, Product and ProductDetail
This way, a user has_many :product and a product has_many :product_detail.
What is the Rails way of doing this?
I am lost with all the has_many, has_one, has_many :through, etc.

A: I would create the following:
class User
  has_many :purchases
end

class Product
  has_many :purchases
end

class Purchase
  belongs_to :user
  belongs_to :product

  # mongoid syntax, if using ActiveRecord, use a migration
  field :quantity, type: Integer, default: 0
  field :price, type: Float, default: 0.0
end

user = User.new
apple = Product.new
tea = Product.new
chocolate = Product.new

user.purchases.build(product: apple, price: 2.99, quantity: 1)
user.purchases.build(product: tea, price: 5.99, quantity: 2)
user.purchases.build(product: chocolate, price: 3.99, quantity: 3)

FYI: This kind of relations between User, Product and Purchase is similar to a has_and_belongs_to_many. When using the has_and_belongs_to_many, rails simply link the classes like above. Here we are doing it ourself in order to customize the Purchase class with quantity and price.

redpajama_set_name: RedPajamaStackExchange


text:
Q: Programmatically setting SearchView to be open I have a SearchView in my activity using this code:
import java.util.List;

import android.app.Activity;
import android.app.SearchManager;
import android.app.SearchableInfo;
import android.content.Context;
import android.os.Bundle;
import android.view.Menu;
import android.view.MenuInflater;
import android.view.MenuItem;
import android.view.Window;
import android.widget.SearchView;
import android.widget.TextView;

public class MainActivity extends Activity implements
        SearchView.OnQueryTextListener {

    private SearchView mSearchView;
    private TextView mStatusView;

    @Override
    protected void onCreate(Bundle savedInstanceState) {
        super.onCreate(savedInstanceState);
        getWindow().requestFeature(Window.FEATURE_ACTION_BAR);
        setContentView(R.layout.activity_main);

        mStatusView = (TextView) findViewById(R.id.status_text);
    }

    @Override
    public boolean onCreateOptionsMenu(Menu menu) {
        super.onCreateOptionsMenu(menu);

        MenuInflater inflater = getMenuInflater();
        inflater.inflate(R.menu.main, menu);
        MenuItem searchItem = menu.findItem(R.id.action_search);
        mSearchView = (SearchView) searchItem.getActionView();
        setupSearchView(searchItem);

        return true;
    }

    private void setupSearchView(MenuItem searchItem) {

        if (isAlwaysExpanded()) {
            mSearchView.setIconifiedByDefault(false);
        } else {
            searchItem.setShowAsActionFlags(MenuItem.SHOW_AS_ACTION_IF_ROOM);
        }

        mSearchView.setOnQueryTextListener(this);
    }

    public boolean onQueryTextChange(String newText) {
        mStatusView.setText("Query = " + newText);
        return false;
    }

    public boolean onQueryTextSubmit(String query) {
        mStatusView.setText("Query = " + query + " : submitted");
        return false;
    }

    public boolean onClose() {
        mStatusView.setText("Closed!");
        return false;
    }

    protected boolean isAlwaysExpanded() {
        return false;
    }
}

menu:
<?xml version="1.0" encoding="utf-8"?>
<menu xmlns:android="http://schemas.android.com/apk/res/android" >

    <item
        android:id="@+id/action_search"
        android:actionViewClass="android.widget.SearchView"
        android:icon="@android:drawable/ic_menu_search"
        android:showAsAction="always"
        android:title="Search"/>

</menu>

and layout:
<?xml version="1.0" encoding="utf-8"?>
<LinearLayout xmlns:android="http://schemas.android.com/apk/res/android"
    android:layout_width="match_parent"
    android:layout_height="match_parent"
    android:orientation="vertical" >

    <TextView
        android:id="@+id/status_text"
        android:layout_width="match_parent"
        android:layout_height="wrap_content"
        android:gravity="center_horizontal" />

</LinearLayout>

What I want to do is when the Activity is started, I want the SearchView to start off opened. It starts off "closed" like this:

but I want it to be "open" like this:

Anyway I can do this? Thanks

A: It's at the top of the documentation: http://developer.android.com/reference/android/widget/SearchView.html
setIconifiedByDefault(false)
Edit:
In order to have it collapsible but expanded at the start then programatically expand it in onCreateOptionsMenu with
searchItem.expandActionView();

and you'll probably need
mSearchView.requestFocus();


Boys Halloween Costume-Batman Kids Costume Large : Your child can now become his very favorite superhero -Batman, The Caped Crusader! Eye-catching jumpsuit with boot tops, belt, cape and mask. Fits child's large sizes 12-14.


This entry was posted	on Saturday, January 22nd, 2011 at 10:18 am	and is filed under The Infinite Jest Deathmarch. You can follow any responses to this entry through the RSS 2.0 feed. You can leave a response, or trackback from your own site.
100 days to get it through … mmhh, was a fine marketing tool.
Did sell well in Germany. But I didn't like the "arty" attitudes of the followers, I think, they were paid!
Are there more translations? French? Italian? etc?
Are you (the followers/the philter) reading it for the first time?
Canada is still doing well?
The Y.D.A.U. has passed already, I guess…..
Uhm .. hold on!! Would like to read the opinions about the end.
I just saw some feral hamsters at Petsmart last week (they *had* to be feral), but the thought of meeting them in the basement tunnels of E.T.A. (or any basement, for that matter) freaked me out more than the creepy toddlers and wraiths, not to mention the Venus-Fly-Trap-like whatever that lurks down there.
The man can paint a picture, I'll give him that.
And the prospect of being only about 300 pages away from the end of this–um–experience, is making me giddy.
Ephebe has become my favorite word this week, perhaps because I discovered that I am living with one, and the future of our world is in the hands of the ephebic.
I do have the fantods this week so no comments, but I'm still in. Yes, Kraut, first time reader and, yes, we are totally insane in the U.S.
Back on the trail this week and I particularly like that even when narrating about certain characters, DFW writes in their voices, the characters.
Coming along but a bit behind. I am happy that IJ is generally getting more interesting, even though the plot is still developing soooo slowly. (I am beginning to see the Plot is not what this book is really about) I loved "wave bye-bye to the bureaucrat" it was a good moral problem. Miss the train and lose your job, or help the kid you ran into. I was really happy with his choice, but I am sure he will catch it from his wife.
A bit winded from the multiple reads of note 304 which I have gone through I believe 5 times now. My friend recommended reading every note each time it is mentioned and while I'm fascinated as to how my perception of that note in particular has changed as I've been given more knowledge of the plot, I can't help but feel exhausted after going through it three times in rapid succession.
Excited to be at the 3/4 mark though. It's all downhill from here!


text:
Takakkaw – wodospad położony na rzece Takakkaw, w Kanadzie (Kolumbia Brytyjska), w Parku Narodowym Yoho (Góry Skaliste), wysokości 366 (według innych źródeł 373 lub 254) metrów. Wodospad jest częścią kaskady o łącznej wysokości 504 metrów.

Wodospady w Kolumbii Brytyjskiej


Edward Victor was one of the greatest magicians who ever lived, who affected the work of almost every close-up magician working today. Dai Vernon and Ed Marlo, among many others, owed a major debt to the work of Edward Victor. His creations include the famous Eleven-Card Trick, which inspired Vernon's Spellbound and Coins and Champagne Glass. Victor's sleights inspired Tilt, Convincing Control and many others.
Edward Victor's story and magic are fascinating. This enormous book brings together a fascinating collection of magic and biography. It contains most of Edward Victor's many tricks that he contributed to periodicals and other books, his marketed items as well as unpublished routines from his private notebooks. It traces the story of his life with many unique photographs and other bits of memorabilia that recall the glory of a golden age. There is even a chapter on his Shadowgraphy. There are over 250 drawings by Joseph K. Schmidt and almost 100 photographs. The book contains 250 pages and is hardbound.


text:
Mysore Palace Karnataka, southern India.
Mysore Palace Karnataka, southern India
After the great Taj mahal here comes the second most famous landmark of India called the Mysore Palace. Located in the south of the country it is the well-known historical and architectural pride of India. It had been under the use of the royal family of Mysore until 1950 when the 15th ruler of the dynasty decided to merge the princely state of Mysore with the newly born independent India. A place was built in 14thcentury which was destructed and during the British rule in India the queen of the Mysore ordered to build a new palace in the area where the old palace was demolished due to some natural reasons. The Mysore palace was designed by British architecture Lord Henry. It's way of construction is a combination of Hindu, Muslim and Rajput. The Mysore palace is a wide palace including Halls, decorated rooms, large gardens, building and gates.
The whole palace is a hub of temple whose number is around twelve. The big domes reflect the impact of Muslim architecture on the area. The palace is having tall miners or towers on its sides which goes up to five storey. For the construction of the Mysore palace granite had been used in its fine form along with pink marble. The whole palace is full of Hindu Goddess where the building faces the Chamudi Hills.
The Mysore palace use to serve for the famous Indian festival Dasara which brings thousands of people at the same time. Mysore palace is now Indiasecond largest tourist spot that's fascinating and eye catching beauty makes it a perfect location for the millions of visitors every year. At the night time the entire palace light up and gives an eden look surrounded by lush green ground. Half of the palace is now under the government authorities and some parts are the property of the present princess of the royal family.
Tags: Mysore PalaceMysore Palace KarnatakaSouthern India
Lodi Gardens - Beautiful Park In Delhi, India


If you're looking for luxury Tanzania safari holidays, Ubon Safari can provide that for you! Tanzania is a country in East Africa and a beautiful destination to visit with endless safari opportunities. Prior to its independence from the British rule, the country was called Tanganyika. Shortly after the independence, Tanganyika and Zanzibar merged to form the United Republic of Tanzania.
Dar Es Salaam is the capital city of the country. Kilimanjaro is the main attraction for a Tanzania safari holiday. Mt. Kilimanjaro is the highest longstanding mountain in Africa. The main peak is estimated to be 5,895 metres high!
Tanzania has two wet season, the long and short rain. The long rain seasons are between April and May. The short rain seasons fall in November (the long rain seasons are best avoided, especially for Southern Tanzania safaris).
Tanzania can be visited all year round although best time is during the dry season from June to October.
JUNE, JULY, AUG – Morning and Nights get cold.
NGORONGORO is cold throughout the year.
HIGH SEASON – JULY – MARCH – Northern Parks get crowded and Southern Parks are less explored.
LOW SEASON – APRIL AND MAY – North parks busy and South Parks close a lot of camps however some are open.
Dry Season is the best for wildlife viewing as the animals are around waterholes and grass is shorter.
Please enquire with the Tanzania Embassy in your country of Residence as we recommend you get you visa before you before you travel.
Porters we recommend a minimum of USD 5 per person per day.
Most places have WIFI internet however in camps and lodges you may be limited to some specified areas, for Camping safaris there is no internet.
Most of Tanzania has great mobile coverage especially in cities and towns. There's limited access in some of rural areas. A local sim would be easily available for purchase.
ATMs are plentiful in major cities and towns.
Electricity in Tanzania has 230V and 3 Pin flat plugs although some new hotels are now having round pin plugs so carry your travel plug.
Always ask for Receipts when purchasing any items and keep them for the duration of your trip.
Here at Ubon Safari, we do our utmost to ensure that you have a spectacular adventure when you're visiting Africa. If you would like to book one of our luxury Tanzania safari holidays, contact us on +44 203 198 0484 and one of our friendly team members will be more than happy to help. Furthermore to say, that Ubon Safari is one of the luxury African safari companies.
Serengeti National Park is Tanzania's most popular and oldest national park. In Maasai language of the natives' Serengeti means "endless plains", laid out to accommodate the migration of the wildebeest, the homely grazing animals whose 2-to-3-million-member herd play the dominance attraction and starring role in the park.
The Serengeti National Park covering 14,750 square kilometres, lies in between the shores of Lake Victoria in the Eastern side and Kenya's Masai Mara to the Northwest. With hills rising out of the seemingly endless plains, rivers and small lakes, magnificent rocky outcrops and the occasional swamp add to the memorably breath taking scenery of the safari park's fascination.
Famous for its Wildebeest population, the park is believed to hold the largest population of Lions in Africa due to the abundance of prey species. The vast Serengeti is a home to many other species along with Leopard, Cheetah, Topi, Eland, Waterbuck, Warthog, spotted and striped Hyena, Baboon, Giraffe, Impala, Elephant, Wild dog, Ostrich, Marabou stork, Kori Bustard and many more.
The Widebeest migration follows the vegetation and rains, move between Serengeti and Masai Mara (Kenya) throughout the year.
Lake Manyara National park is one of Tanzania's smaller safari parks, blessed with stunning views from corner to corner. From the eastern side of the park, the Rift Valley escarpment emerges on the horizon with the glittery lake forming a glistening background. On the southern side, you will stumble upon the hot springs of Maji Moto.
The size of the park is 330 square kilometres with upto 220 square kilometres occupied by the Lake when the water levels are high.
Best known for its abundant birdlife the park has more than 400 recorded species of birds.
Wildlife also found in the park include Elephant, Baboon, Blue Monkey, Buffalo, Elephant, Dik Dik and Impala. The pink Flamingos are the highlight of Lake Manyara.
This park offers an option of night game drives. Cultural tours, Bike tours and Forest walks can be done around the National park.
Situated in Northern Tanzania, Arusha National Park covers an area of 552 square kilometres and with just a 40-minute drive; it is the closest park from Arusha. The Park covers Mount Meru, a prominent dormant volcano with a height of 4,562.13m; it is the fifth highest mountain in Africa and second highest peak in Tanzania after Mount Kilimanjaro. The Park has a wide range of habitats, from crater lakes where many birds can be watched, through the montane forest and upto the summit of Mount Meru.
Despite it's small size, Arusha National Park has a rich variety of wildlife including: Lions, Cape Buffalo, Giraffe, Zebra, Warthog and Elephant. Leopards are present but rarely seen.
The Park is small but varied with spectacular landscapes in three distinct areas, the Meru Crater in the west, the Ngurdoto Crater in the South-east and the shallow alkaline Momella lakes in the north-east.
The Ngorongoro Conservation Area boasts the world-famous crater at its heart; the Conservation Area extends over a massive 8,300 square kilometres. It is located within a range of volcanic mountains in northern Tanzania, bounded to the east by the Great Rift Valley and to the north and to the west by the Serengeti National Park, and it includes several other extinct volcanoes (even an active one) and habitats that range from grasslands, swamps, lakes and rivers to woodlands, forests and desert-like dunes.
Ngorongoro Crater is the world's largest inactive volcanic caldera. The crater was formed as a result of a large volcanic eruption over 3 million years ago. It is 2000 feet deep and the Crater floor covers an area of 260 square kilometres.
The name Ngorongoro comes from the Maasai word El-Nkoronkoro, meaning "Gift of Life".
The Crater is a home to approximately 25,000 large animals that include the African or Cape, Buffalo, Hippo, Elephant, Zebra, Lions, Waterbuck, Grant's and Thompson's Gazelle.
The Crater can be visited all year around.
Covering an area of just 2,850 square kilometres, Tarangire stands between the Great Rift Valley and the plains of Maasai Steppe.
Its unrivalled landscape of open plains, dotted with thousands of baobabs, is unforgettable.
With a large ecosystem, the national park's game varies with the seasons through the year.
The best time to visit Tarangire is during the dry season from June to October, when the park rivals the Serengeti for the size of the game herds that congregate here. This is when many of the animals crowd around the only source of permanent water in the park, the Tarangire River. This is also the best place in Tanzania to see huge herds of elephant – up to 300 at a time.
From November to May, during the wet season, most of the game leaves the park.
The wildlife found in this park include large number Elephant herds, Wildebeest, Zebra, Impala, Giraffe, Buffalo, Thomson's Gazelle, Hartebeest, Reedbuck and Greater and Lesser Kudu, Lions, Cheetah, Leopards and spotted Hyena along with rare sightings of Wild dogs.
The Birdlife in Tarangire also varies with the seasons and the game through the year.
With over 500 species of birds recorded inside the park including Ashy starlings and flocks of the beautiful yellow-collared Lovebirds.
Kilimanjaro, by any name, is a metaphor for the compelling beauty of East Africa. When you see it, you understand why. Not only is this the highest peak on the African continent; it is also the tallest free-standing mountain in the world, rising in breathtaking isolation from the surrounding coastal scrubland – elevation around 900 meters – to an imperious 5,895 meters (19,336 feet).
There are seven established routes to climb the mountain, Marangu, Machame, Lemosho, Shira, Rongai, Umbwe and Northern Circuit routes.
The Selous Game Reserve, located in the South of Tanzania at 55000km², is the second biggest conservation area in Africa and a proclaimed world heritage site. The reserve covers an area twice that of Denmark!
The reserve has been named after a famous big five hunter Frederick Selous who died in this territory while fighting against the Germans during World War I.
A true wilderness with a rich variety of wildlife, it is virtually undiscovered and remains one of Africa's best kept secrets.
The park is split into two contrasting grounds, the Selous and the Mikumi, by the great Rufiji River. Walking safaris and Boat safaris are the popular activities in Selous.
Some of the typical wildlife found in the Game reserve are Elephants, Hippos, Crocodiles, Lions, Wild Dogs, Cheetahs and Maasai Giraffes.
Udzungwa Mountains National Park is located about six hours drive southwest of Dar Es Salaam and 75 kms from Mikumi National Park. Udzungwa is described as a "Primate National Park" since it is the only national park in Tanzania that harbors eleven species of primates. With the size of 1,990 square kilometres, Udzungwa Mountains is the only one among the ancient ranges of the Eastern arc to have been accorded its National park status.
While not a conventional game-viewing destination, Udzungwa is popular amongst hikers.
The park has no roads and is only accessible on foot. The hiking trails range from short one-hour trek to extremely challenging 6 days camping trek, with the Sanje Waterfalls being the most common trail that can be completed in about four hours.
Mikumi National Park adjoins the northern border of Africa's biggest game reserve – the Selous and is divided by the surfaced road between Dar Es Salaam and Iringa. Covering an area of 3,230 square kilometres, Mikumi is the fourth largest park in Tanzania and part of a much larger ecosystem centred on the uniquely vast Selous Game Reserve.
The park is located 283 kms west of Dar Es Salaam, north of Selous Game Reserve and en-route to Ruaha National Park, Udzungwa and Katavi National Park.
More than 400 bird species recorded in the park include Lilac-breasted roller and Bateleur Eagle. Wildlife found in this park includes Hippo, Elephant, Lion, Zebra, Wildebeest, Buffalo, Impala and Giraffe.
Saadani is where the bush meets the beach. This is the only wildlife sanctuary in East Africa to boast an Indian Ocean beachfront. Saadani National Park is located on the north coast roughly 100kms northwest of Dar Es Salaam and a similar distance southwest of the port of Tanga. The Park covers an area of 1,062 square kilometres, it is generally accessible all year round but the access roads can be impassable during the rainy season between April and May.
Situated in central Tanzania, the Ruaha National Park is one of the largest protected areas in Africa. It is the largest national park in Tanzania. The addition of the Usangu Game Reserve and other important wetlands to the park increased its size to about 20,226 square kilometres making it one of the largest national parks in Africa.
The name "Ruaha" is originated from the Hehe (Tribe in Tanzania) word "Ruvaha" which means "River".
Enormous Baobab trees are a key feature of Ruaha, where almost all individuals bear the scars of the huge elephant population. Elephant relish the succulent bark of Baobab trees and gouge into the tree trunks with their powerful tusks.
Ruaha has a handful of camps and lodges and the distance from Dar es Salaam makes the park less visited.
The park is believed to have the highest population of Elephants than any other national park in East Africa. Also found are Lions with prides of upto 40, Leopards, Cheetahs, Giraffes, Buffalo, Elands, Zebras, Impala, Grant's Gazelles, Jackals, Greater and Lesser Kudu, Hartebeest, Roan and Sable Antelope.
Ruaha is a bird's paradise with more than 571 species of birds sighted inside the park.
Some of the common birds found are Saddle-billed Storks, Goliath herons, White-headed Plovers, Ruaha Red-billed hornbill.
Birds can be seen throughout the year, the best time for bird watching is during the wet season from November to March.
Gombe is Tanzania's smallest of National parks at just 52 square kilometres of forest running along the shores of Lake Tanganyika. The park is located 16kms north of Kigoma.
Jane Goodall's behavioral research program was founded in 1960, to learn about the behavior of humans' closest relatives, which now stands as the longest study of its kind in the world.
Gombe Stream National Park is famous for its Chimpanzee population, but besides Chimps, other primates that inhabit in this park are Red Colobus monkeys, Olive Baboons, Red-tailed monkeys and Vervet monkeys.
The Park is also a home to over 200 species of birds ranging from Iconic Fish Eagle to the Peter's twinspots.
Mahale Mountains National park covering an area of 1,613 square kilometres, is located in the Western Tanzania.
Mahale is home to some of Africa's last remaining wild chimpanzees; a population of roughly 800, habituated to human visitors by a Japanese research project founded in the 1960s.
The terrain is mostly rugged and is dominated by the Mahale Mountains chain. The highest peak, Mount Nkungwe rises to 2,462 metres above sea level.
Tracking the chimps of Mahale is a magical experience. The guide's eyes pick out last night's nests, shadowy clumps high in a gallery of trees crowding the sky. Scraps of half-eaten fruit and fresh dung become valuable clues, leading deeper into the forest.
Ascent of the highest peak in the Mahale Mountains ridge, Mount Nkungwe is one of the most spectacular activities for tourists. It takes 2 to 3 days to reach the summit.
At 4,471 square kilometres Katavi National Park, Tanzania's third largest national park, lies in the remote southwest of the country. Katavi boasts Tanzania's largest population of crocodiles and hippos, while lion and leopard find prey among the huge population of herbivores – impala, eland, topi, zebra and herds of buffalo up to 1600 strong. The rare, honey coloured puku antelope is one of the park's richest wildlife viewing rewards. The park's main geographical features are the watery grass plains to the north, the palm-fringed Lake Chada to the southeast and the Katuma River. These areas are particularly rich in wildlife.


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Tag: Bill of Costs
Levels of contact in Court of Protection cases – what is reasonable?
January 15, 2020 caseymcgregor1Leave a comment
The Case of Trudy Samler 2001 considers the level of costs incurred regarding contact and whether this is reasonable. The case looks into whether these costs are instigated by the Protected Party and whether the Deputy should be expected to be paid for them. Master O'Hare advised that part of the Deputy's duty is to prevent such expenses being incurred as it is their responsibility to look after the Protected Party's financial affairs. The Office of the Public Guardian and the Senior Court Costs Office advise that only one home visit per year is reasonable in routine general management costs unless there is reasonable justification for more attendances. Deputies should be prepared to give reason if several attendances have occurred during one management period.
The case concerned a young lady who suffered severe brain injuries who was subsequently awarded substantial damages. A professional Deputy was appointed by the Court to manager her property and financial affairs. The Deputy's bill of costs was lodged on October 2000 and provisionally assessed by Costs Officer Edwards on 21 November 2000. By way of a letter dated January 2001, the Deputy did not accept the provisional assessment and set out in numbered paragraphs the reasons relied on in support of the restoration of the costs, which had been disallowed on assessment. On 13 February 2001, a hearing took place and some of the reasonable costs were restored. However, the Deputy still felt that some of the other items disallowed could be justified and restored and so by way of a letter dated 23 February 2001, sought the guidance of Mr R Stone at the Public Trust Office.
The letter included five questions to be referred to the Master of the Court of Protection. The appeal related to work done by the Deputy in relation to three interviews with the Protected Party and four meetings at St Andrews Hospital. An allowance had been made for two meetings, which in total were equal to four hours. At the hearing, the Deputy gave background to the matter and explained some of the attendance notes of the meetings that were in question.
The five numbered questions are set out below:
Can the Deputy be paid for speaking to both carers and case managers to talk about the care and rehabilitation regime and the Protected Party's well being and needs, assuming that the time spent is not excessive?
Master O'Hare advised that in his view, the Deputy can be paid if the issues discussed are substantial, if there is no alternate person to speak for the Protected Party and if the Protected Party's estate is large enough to justify such expense.
Can the Deputy be paid for all contact with the Protected Party instigated by the Protected Party irrespective of the matters being raised?
Master O'Hare advised that his answer would be no. He confirmed that the Deputy should strive to minimise and avoid necessary expense. Master O'Hare further confirmed that he accepts that each case depends on its own circumstances.
Can the Deputy be paid for discussions with the family about the care requirements, existing care regimes, possibility for changes in the future?
Master O'Hare confirmed that the answer he gave to question one seemed to be appropriate for this question.
Can the Deputy be paid for discussions with the Protected Party, family, carers and case managers where there are difficulties with the care regime if the Deputy believes that the current regime is in the Protected Party's best interests or would be subject to proper amendment?
Master O'Hare advised that his answer to question one and 3 apply equally here.
Can the Deputy be paid for quarterly visits to the Protected Party to deal with reporting on budgeting, asset performance, income and expenditure?
Master O'Hare advised that the practice for many years has been that it is easy for a Deputy to justify one visit to the Protected Party each year but that each succeeding visit must be separately justified. He also confirmed that the questions that usually arise in respect of this are:
Could the subject matter of the later visit have been dealt with at the earlier one, or postponed to a later one?
Could the progress made by the meeting have been achieved more economically by way of a telephone call or correspondence?
Was the Protected Party and his or her family if any (meaning here any adult relatives with whom he or she resides or in whose care he or she is) warned that the costs of such meeting and the costs of time spent travelling and travel expenses, will all be charged?
If the meeting involves time spent travelling by the Deputy, could this travel have been arranged so that the cost of it could be apportioned with other cases handled by the Deputy?
Master O'Hare advised that each case depends on its circumstances and with some Protected Party's, the number of visits in the early months might be higher than the number of visits once a reasonable pattern has been established.
The latest Precedent H guidance notes
November 6, 2019 Sue FoxLeave a comment
The precedent H guidance notes have never aligned with the precedent S guidance notes (Phases and Tasks Reference and Lookup table in Precedent S (bill of costs)) until the update to the precedent H guidance notes which was made last month, this update has addressed some of those discrepancies.
Please find below the amendments that have been made to the guidance notes:
Pre-action: The precedent H guidance notes states that settlement discussions, advising on settlement and Part 36 offers before proceedings were issued are to be included in the Preaction phase. However, in the Precedent S guidance these discussions are included in the ADR/Settlement phase (task "Other Settlement Matters") . The precedent H guidance notes must be followed therefore any preaction settlement discussions should be included in the preaction phase.
Issue/statements of case: The precedent H guidance notes have been amended to include "amendments to statements of case" in this phase, the previous guidance stated that these should be excluded from this phase. This amendment has resulted in alignment with the Precedent S guidance.
CMC: The precedent H guidance notes have been amended to include any further CMCs that have been built into the proposed directions order whereas previously the notes stated that any additional CMCs were not to be included in this phase. The position remains regarding any estimated CMCs that have not been proposed in the directions order, these are to be included as a contingent cost. Any disclosure work, i.e. list of disclosure issues, EDQ should be included in the disclosure phase.
Budget – The costs in relation to this phase includes inconsistencies which present numerous difficulties. The Precedent H Guidance Notes includes "correspondence with opponent to agree directions and budgets, where possible", and "preparation for, and attendance at, the CMC". The same applies in relation to the PTR phase, which includes "preparation of updated costs budgets and reviewing opponent's budget", "correspondence with opponent to agree directions and costs budgets, if possible" and "preparation for and attendance at the PTR". While the precedent H guidance note specifically excludes preparation of the costs budget for the first CMC, it doesn't specifically exclude preparation of Precedent R. The Precedent S description of this task is "work on budgeting between the parties following initial completion of the first budget, including the monitoring of costs incurred against the budget and any applications for variation of the budget" – it doesn't mention the drafting of Precedent R and seems to relate to work post CMC.
Furthermore, in para 7.2 of PD3E the 2% cap relates to all recoverable costs of the budgeting and costs management process other than the recoverable costs of initially completing the Precedent H. If some costs budgeting items are included in the CMC and PTR phases (i.e. following the Precedent H Guidance Note), practically how is the 2% figure on the front page of Precedent H calculated? Should it include the budgeting items which appear in the CMC and PTR phases of Precedent H, or is it exclusive of them? And, what exactly is meant by "budget process" in relation to this 2% cap?
Unfortunately there is no guidance regarding the budget process or "associated material" that is referred to in the guidance notes – does this include composite summaries, breakdowns of costs?
One solution for this phase is to time record in line with the precedent S guidance notes and then when it comes to preparing the budget assess what aspects of the % cap belongs in the CCMC stage. If the time is recorded as CCMC it is a more onerous task to ascertain what element of the CCMC phase is relevant to the % cap.
Trial: The guidance note has been amended to now include counsel's brief fee in the trial preparation phase rather than the trial phase.
Settlement phase: The precedent H guidance note previously excluded mediation from this phase, this has now been amended to include mediation.
Definition of budgeted and incurred costs – CPR 3.15 and PD 3E para 7.4 Incurred costs are now all costs incurred up to and including the date of the first costs management order, unless otherwise ordered. Budgeted costs are all costs to be incurred after the date of the first costs management order.
Sue Fox is a Senior Associate and the Head of Costs Management in the Costs and Litigation Funding Department at Clarion Solicitors. You can contact her at sue.fox@clarionsolicitors.com and 0113 336 3389, or the Clarion Costs Team on 0113 246 0622.
Changes in relation to CPR Practice Direction 21
March 29, 2019 May 3, 2019 andrewmcaulayLeave a comment
From 6 April 2019, Practice Direction 21 of the CPR will be amended to make it compulsory for a bill of costs or a "informal breakdown in the form of a schedule" to be prepared and filed with any application for the approval of payment of expenses from the damages of a protected party or minor.
Many cases now settle by way of a JSM or Mediation. We recommend preparing a Bill of Costs for the JSM or Mediation in order to:
Try and reach settlement of costs at the ADR meeting (to avoid the time and expense of detailed assessment);
If a settlement on costs cannot be achieved, then to obtain a healthy payment on account; and
Proceed swiftly post settlement with any application under CPR 21 (where applicable)The bill or schedule should make a clear distinction between inter partes and solicitor/own client costs. In terms of a schedule, we recommend preparing a statement of costs for summary assessment (Form N260 or N260B) which can be adapted, where appropriate.The bill or schedule will enable the Judge at the approval hearing to properly determine the appropriate amount to be deducted from damages, which may include (in terms of a Solicitor) a success fee, ATE insurance premium and any inter partes costs shortfall (if claimed).This blog was prepared by Andrew McAulay who is a Partner at Clarion and the Head of the Costs and Litigation Funding team. Andrew can be contacted at andrew.mcaulay@clarionsolcitors.com or on 0113 336 3334.
Clarion Costs Legal Updates
November 1, 2018 November 1, 2018 Sue FoxLeave a comment
We have incorporated a collection of our blogs into a Blog booklet. The blogs were current at the
date of publication, however these may have now been superseded. Please visit our blog
(https://clarionlegalcosts.com/) for continuous updates on all costs law.
• Page 1 – Introduction
• Page 2 – Good news for those that prepare an accurate costs budget by Sue Fox
• Page 4 – Fixed Costs – the effect of acceptance of a Part 36 offer by Matthew Rose
• Page 6 – Payment on Account or Final Invoices? – another solicitor/own client costs
battle… by Andrew McAulay
• Page 7 – The Disclosure Pilot Scheme – what roles do costs estimates and precedent H
costs budgets have? by Sue Fox
• Page 8 – Proportionality – a flurry of cases by Andrew McAulay
Joanne Chase
• Page 9 – Part 36 offers, the basis of assessment, and knowing your expert by
For any assistance, please contact the Costs and Litigation Funding Team at Clarion Solicitors 0113 246 0622.
The format of the precedent H budget and precedent R are working well, claims Mr Justice Birss
March 12, 2018 Sue FoxLeave a comment
At February's Civil Procedure Rules Committee meeting Mr Justice Birss reported that "work was ongoing to make certain that the new bill costs, Precedent H and Precedent H Guidance are consistent and accurate and that N260 the summary costs statement follows the same format. The content of Precedent H itself would not be changing. The Chair added that in his experience having settled down, Precedent H and R are working very well". Therefore no changes are expected to the precedent H budget or the precedent R budget discussion report, the remaining changes relate to the bill of costs and statements of costs.
The wholesale changes to costs that we have encountered over the last 5 years were made as a result of Sir Rupert Jackson's report whereby he likened the current bill of costs to a "Victorian style account book" making it "relatively easy for a receiving party to disguise or even hide what has gone on". His purpose was to create transparency and unison with time recording systems and costs related documents, hence the need for the new electronic bill of costs, which is the final piece of Jackson's jigsaw.
If the legal profession were to embrace time recording as Jackson intended, i.e. recording time in phase, task and activity, then astonishingly some 5 years after the publication of his legendary reforms, Sir Rupert Jackson may achieve his aim. However, Sir Rupert narrowly missed having his vision fully formalised and embedded into the rules during his working lifetime, his retirement has pipped him to the post. He can now sit back and watch from afar, how his intended co-ordinated approach to costs will work in reality!
The importance of an accurate and correctly certified Bill of Costs…….
August 15, 2017 August 15, 2017 andrewmcaulayLeave a comment
The case of Jago v Whitbread Group plc relates to the Defendant's application for an order pursuant to CPR 44.11(1) & (2), which reads as follows:
"The Court may make an order under this rule where –
a party or that party's legal representative, in connection with a summary or detailed assessment, fails to comply with a rule, practice direction or court order; or
it appears to the Court that the conduct of a party or that party's legal representative, before or during the proceedings or in the assessment proceedings, was unreasonable or improper."
The Defendant requested that the Court disallow all or part of the Claimant's entitlement to costs on the grounds of her solicitors improper and/or unreasonable conduct during the detailed assessment proceedings.
The following is a brief summary of the substantive case and detailed assessment proceedings:
The Claimant brought a personal injury claim against the Defendant, which settled for damages of circa £41,000, with costs to be subject to detailed assessment, if not agreed.
The matter settled on 4 March 2015 and on 12 March 2015, the Claimant disclosed an informal statement of costs to the Defendant. The statement of costs was a two page document which totalled £101,677.21. The statement included a success fee of 20%, various disbursements in the total sum of £537.00 and two and half hours for preparing and checking the statement of costs. The statement was signed by a senior solicitor and partner at the Claimant's firm.
On receipt of the statement of costs, the Defendant's solicitors responded requesting disclosure of the Claimant's conditional fee agreement, with the Claimant's solicitors responding on 18 June 2015, stating that the Claimant "……was not subject to a CFA in regards to this matter".
The Defendant's solicitors responded querying why therefore a success fee of 20% had been claimed in the statement of costs when no CFA was in existence.
On 19 November 2015, the Claimant served notice of commencement of detailed assessment, with the bill of costs totalling £91,474.41. This bill of costs was of course over £10,000 less than the sum claimed in the statement of costs. Disbursements had been reduced to £430.00 and profit costs had also been reduced. A success fee of 25% was claimed in the bill of costs, despite the correspondence on 18 June 2015 stating that the matter was not subject to a CFA.
The bill of costs was certified by the supervising solicitor and partner. A claim of three and a half hours was included by a law costs draftsman and one hour by the supervising solicitor to check the bill of costs. The certification confirmed that the bill of costs was valid and accurate (and therefore no breach of the indemnity principle).
In December 2015, the Defendants served points of dispute and shortly thereafter amended points of dispute raising a number of significant queries and challenges to the bill of costs.
On 15 January 2016, the Claimant filed and served a fresh bill of costs. Instead of amending the existing bill of costs, the Claimant's solicitors effectively started the detailed assessment proceedings again with a redrafted bill of costs. The redrafted bill totalled £56,719.00, which represented a reduction of circa. £35,000.00 from the total sum claimed in the bill of costs served in November 2015.
In respect of the revised bill of costs, the success fee was removed. Disbursements were reduced further to £385.00 and the profit costs sought in the bill were significantly reduced. Again, a claim of three and half hours was included in the bill of costs for a law costs draftsman preparing the same, together with an hour for the supervising solicitor/partner checking and certifying the bill of costs.
On receipt of the redrafted bill of costs, the Defendant's solicitors wrote to the Claimant's solicitors highlighting the procedural error in that they should have simply amended the existing bill of costs rather than creating a new bill of costs.
In response to that correspondence, on 8 April 2016 the Claimant's solicitors filed and served a further bill, this time an amended bill of costs. The total sum claimed in the bill was £55,393.19. Profit costs were reduced again together with a further reduction to disbursements. Again, the bill was signed and certified by the supervising solicitor and partner.
Master Whalan found the Claimant's solicitors' actions to be "improper" and "unreasonable" and imposed the following penalty for the "improper" and "unreasonable" behaviour:
The Claimant's entitlement to costs be disallowed to the extent of 50% of the assessed costs allowed on detailed assessment.
Specific deductions to the bill of costs (see paragraph 41 of the Judgment). These reductions included time in relation to other work done i.e. preparing, checking and certifying the bill of costs.
In reaching his decision, Master Whalan stated that the breaches in the case were significant, repeated and either unexplained or unjustified (paragraph 40 of the Judgment).
This is an excellent case which demonstrates the importance of preparing an accurate bill of costs and ensuring that a bill of costs does not breach the indemnity principle before certifying the same. What is clear from the Judgment is that Master Whalan would probably have been forgiving for the errors made in the first instance, but the failings the second time round and further failings thereafter were not capable of forgiveness and resulted in the severe penalty reduction of only 50% of assessed costs for the Claimant's solicitors. So ensure statements of costs and bills of costs are prepared and checked properly!
This blog was prepared by Andrew McAulay who is a Partner at Clarion and Head of the Costs and Litigation Funding Team. Andrew can be contacted on 0113 336 3334 or at andrew.mcaulay@clarionsolicitors.com
Clarion's October 2016 Newsletter
November 25, 2016 September 3, 2018 Sue FoxLeave a comment
Please follow this link for Clarion's October newsletter. In this month's issue:
Andrew McAulay discusses Fixed Costs
Sue Fox discusses the Six-month Pilot Scheme for Leeds Chancery Division
Hannah Riordan discusses – The clock is ticking to improve solicitors' time recording, as date for the new electronic form bill of costs is set to become mandatory in October 2017