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1857, Great Britain. Beautiful Bronze "Exposition of Art Treasures" Medal. AU+
Mint Date: 1857 Medallist: Pinches Mint Place: London Condition: A nice AU+ Reference: BHM-2605. Denomination: Medal - Exposition of Art Treasures at Manchester (opened on 5th of 1857 by Prince Albert). Weight: 37.69gm Diameter: 42mm Material: Bronze
Obverse: Three muses, surrounded by various art treasures. Date (MDCCCLVII = 1857) in exergue. Reverse: Exposition building in intricate border of flowers and artist's names. Legend: EXHIBITION OF ART TREASURES Exergue: OPENED AT MANCHESTER BY HIS ROYAL HIGHNESS PRINCE ALBERT MAY 5th 1857
The Art Treasures of Great Britain was an exhibition of fine art held in Manchester, England, from 5 May to 17 October 1857. It remains the largest art exhibition to be held in the UK, possibly in the world, with over 16,000 works on display. It attracted over 1.3 million visitors in the 142 days it was open, about four times the population of Manchester at that time, many of whom visited on organised railway excursions. Its selection and display of artworks had a formative influence on the public art collections that were then being established in the UK, such as the National Gallery, National Portrait Gallery and the Victoria and Albert Museum.
Manchester was a small provincial town in the medieval period, but by 1855 it was a city dominated by industrial activity, particularly its 95 cotton mills and 1,724 warehouses. It was visited by French historian Alexis de Tocqueville in 1835, who scathingly wrote:
A sort of black smoke covers the city ... From this foul drain, the greatest stream of human industry flows out to fertilise the world.
Manchester became a city in 1853, and the exhibition was financed by the city's increasingly affluent business grandees, who were motivated by a desire to demonstrate their cultural attainment, and inspired by the Paris International Exhibition in 1855, the Dublin Exhibition in 1853, and the Great Exhibition in 1851; there had been an "Exposition of British Industrial Art in Manchester" in 1845. Unlike these earlier exhibitions, the Manchester exhibition was restricted to works of art: there would be no industrial or trade items on display.
The idea for an exhibition in Manchester was first expressed in a letter sent on 10 February 1856 by John Connellan Deane, son of Irish architect Sir Thomas Deane and a commissioner for the 1853 Dublin Exhibition, to Thomas Fairbairn son of Manchester iron founder Sir William Fairbairn and a commissioner for the 1851 Great Exhibition. The concept quickly gained momentum: after an initial meeting on 26 March 1856, a guarantee fund of £74,000 was soon underwritten by around 100 contributors, and Queen Victoria and Prince Albert granted their patronage.
A General Committee established in May 1856, chaired by the Lord Lieutenant of Lancashire Lord Ellesmere (and, after his death in February 1857, by the Lord Overstone), assisted by an Executive Committee chaired by Fairbairn. Deane was appointed as General Commissioner, on an annual salary of £1,000. The committee took artistic advice from German art historian Gustav Waagen, who had published the first 3 volumes of his Treasures of Art in Great Britain in 1854.[8] George Scharf was appointed as the exhibition's Art Secretary; he became secretary and director to the newly founded National Portrait Gallery in 1857.
The exhibition was held outside the city centre, on a three-acre site in Old Trafford owned by Sir Humphrey de Trafford, Bt., which he had previously let as a cricket ground. Manchester Cricket Club surrendered its lease and moved a short distance to Old Trafford Cricket Ground. The site was conveniently adjacent to Manchester Botanical Garden and to the west of an existing railway line of the Manchester, South Junction and Altrincham Railway.[9] The railway company built a new station (now Old Trafford tram stop) which was used by thousands of visitors from the city and from further afield on organised excursions.
C.D. Young & Co, of London and Edinburgh – already engaged as builders of the new art museum in South Kensington (which later became the V&A) – were appointed as contractors to build a temporary iron-and-glass structure similar to the Crystal Palace in London, 656 feet (200 m) long and 200 feet (61 m) wide, with one central barrel vault 56 feet (17 m) wide with a 24 feet (7.3 m) wide hip vault on either side roofing a 104 feet (32 m) wide central gallery running the length of the building, and narrower barrel vaults 45 feet (14 m) wide to either side, all crossed by a 104 feet (32 m) transept towards the western end.[9] The design of the main structure has been attributed to Francis Fowke, who later designed the Natural History Museum in London, and an ornamental brick entrance at the eastern end was designed by local architect Edward Salomons. The materials used included 650 long tons (660 t) of cast iron, 600 long tons (610 t) of wrought iron, 65,000 square feet (6,000 m2) of glass and 1.5 million bricks.
Internally, the building included a large hall, with corrugated iron sides and vaults supported by iron columns, with space for an orchestra at one end and a large pipe organ by Kirtland and Jardine. Each column bore the exhibition's monogram: "ATE". The hall was subdivided internally by partitions, creating separate galleries. The interior was lined with wood panels covered with calico. Most internal decoration was done by John Gregory Crace of London. A 24-foot (7.3 m) wide gallery ran around the transept at an upper level. The central third of each vault was glazed, providing ample diffuse light. In the summer, the glazing in the picture galleries was shaded with calico to prevent damage to the artworks, and firemen played water on the roof as a form of rudimentary air conditioning when the interior temperature exceeded 70 °F (21 °C). Young & Co's original quote of £24,500 proved over-optimistic, and cost overruns pushed the final bill up to £37,461.
Over the entrance was inscribed the first line of John Keats's Endymion: "A thing of beauty is a joy for ever". By the exit was a line from Alexander Pope's Prologue to Joseph Addison's Cato: "To wake the soul by tender strokes of art".
The hall also included two public refreshment rooms, First Class and Second Class, later supplemented by a tent outside, and a separate royal reception room. Following his visit, American author Nathaniel Hawthorne wrote that, in the Second Class refreshment room:
John Bull and his female may be seen in full gulp and guzzle, swallowing vast quantities of cold boiled beef, thoroughly moistened with porter or bitter
The exhibition comprised over 16,000 works split into 10 categories – Pictures by Ancient Masters, Pictures by Modern Masters, British Portraits and Miniatures, Water Colour Drawings, Sketches and Original Drawings (Ancient), Engravings, Illustrations of Photography, Works of Oriental Art, Varied Objects of Oriental Art, and Sculpture. The collection included 5,000 paintings and drawings by "Modern Masters" such as Hogarth, Gainsborough, Turner, Constable, and the Pre-Raphaelites, and 1,000 works by European Old Masters, including Rubens, Raphael, Titian and Rembrandt; several hundred sculptures; photographs, including Crimean War images by James Robertson and the photographic tableau Two Ways of Life by Oscar Gustave Rejlander; and other works of decorative arts, such as Wedgwood china, Sèvres and Meissen porcelain, Venetian glass, Limoges enamels, ivories, tapestries, furniture, tableware and armour. The Committee bought the collection of Jules Soulages of Toulouse, founder of the Société Archéologique du Midi de la France for £13,500 to form the core of the collection of medieval and Renaissance decorative arts.[8]The collection had previously been exhibited at Marlborough House in London with a view to being acquired for the South Kensington Museum (now the V&A), but HM Treasury refused to fund the purchase. They were later acquired by the V&A.
The works were organised chronologically, to demonstrate the development of art, with works from northern Europe on one wall contrasted with contemporaneous works from southern Europe on the facing wall. Although the collection included works from Europe and the Orient, it had a clear emphasis on British works.
Most public British collections were in a nascent state, so most of the works were borrowed from 700 private collections. Many had never been exhibited in public before. The exhibition included the Madonna and Child with Saint John and the Angels, which had only recently been attributed to Michelangelo. The showing of this unfinished work caused much excitement, and it is still known as the Manchester Madonna. French art critic Théophile Thoré commented that:
La collection de Manchester vaut à peu près le Louvre ("Manchester's collection is worth almost as much as the Louvre's").
Not all private owners responded positively to the committee's entreaties to lend their works of art. William Cavendish, 7th Duke of Devonshire reportedly declined, replying contemptuously: What in the world do you want with art in Manchester? Why can't you stick to your cotton spinning?
The exhibition was opened by Prince Albert on 5 May 1857, in mourning following the death of Princess Mary, Duchess of Gloucester and Edinburgh only a few days before, on 30 April. The exhibition was visited ceremonially by Queen Victoria on 29 June, during her second visit to Manchester, and then by the Queen and her entourage privately on 30 June. The exhibition ran until 17 October 1857, but was closed on Wednesday 7 October 1857 to mark a "day of humiliation" on account if the ongoing Indian Mutiny.
Season tickets were sold in advance for 2 guineas (including admission on the two state ceremonial occasions) or 1 guinea (without). During the first 10 days, and on Thursdays, daily admission was half a crown; on other days, admission was reduced to 1 shilling. An experiment in reducing admission to sixpence after 2 pm on Saturdays – to encourage working class visitors – did not noticeably increase revenue and was abandoned.
The exhibition attracted more than 1.3 million visitors – about four times the population of Manchester in 1857. Prominent visitors included the King of Belgium, the Queen of the Netherlands, Louis Napoleon, Benjamin Disraeli, William Ewart Gladstone, Lord Palmerston, the 2nd Duke of Wellington, Charles Dickens, Alfred Lord Tennyson, Florence Nightingale, Elizabeth Gaskell, John Ruskin, Nathaniel Hawthorne, and Maria Mitchell. Titus Salt commissioned three trains to transport 2,600 of his factory workers from Saltaire to visit on Saturday 19 September. Many other railway excursions were organised, mostly from the towns and cities around Manchester, but also Shrewsbury, Preston, Leeds, Grimsby, Nottingham, and Lincoln. Thomas Cook had arranged excursions to the Great Exhibition in 1851 and the Paris Exhibition in 1855, and this time he organised "moonlight" excursions from Newcastle, leaving at midnight and returning late that evening.
Friedrich Engels wrote to Karl Marx about the exhibition: "Everyone up here is an art lover just now and the talk is all of the pictures at the exhibition".
To entertain the visitors, Charles Hallé was asked to organise an orchestra to perform a daily concert, in addition to a daily organ recital. After the exhibition closed, he continued running the orchestra, which became the Hallé Orchestra. A temporary "Art Treasure Hotel" housed some visitors overnight, and others were directed to local boarding houses.
The exhibition gave rise to several different publications. The committee published a 234-page catalogue, a series of "Handbooks" by type of object, and an illustrated weekly periodical "The Art Treasures Examiner". An apparently satirical book by "Tennyson Longfellow Smith" of "Poems inspired by Certain Pictures at the Art Treasures Exhibition" was illustrated with caricatures. A 16-page booklet was titled the "What to see, and Where to see it: The Operative's Guide to the Manchester Art Treasures Exhibition" (an "operative" was the operator of a machine, as in a mill).
Sales of season tickets raised more than £20,000, added to daily admission fees amounting to nearly £61,000. Another £8,111 was raised by selling over 160,000 catalogues, plus £239 from selling concert programmes. Almost £1,500 came from the charges for safe-keeping of personal effects at the cloakroom, and £3,346 from the refreshments contract.
From gross receipts of £110,588 9s. 8d., the exhibition made a small profit of £304 14s. 4d, a good result compared to the crippling £20,000 loss made by the Dublin Exhibition, which ruined its organiser William Dargan. The railway that transported visitors to the site did even better, making a profit of about £50,000. After the exhibition ended, the exhibited works were returned to their owners, and the temporary building and its contents were auctioned. Glass display cases were bought by the new museums under construction in South Kensington. The building was entirely demolished by November 1858. Having cost over £37,000 in all, the materials comprising the building sold for little more than £7,000; internal fittings and decorations that cost £18,581 sold for £2,836.
The site became part of Manchester Botanical Gardens, and was used to hold a Royal Jubilee Exhibition in 1887, to celebrate the 50th anniversary of Queen Victoria's accession to the throne. The gardens closed in 1907, becoming White City Pleasure Gardens in 1907 and near the present-day White City Retail Park.
The exhibition was a model for the display of art in public galleries during the second half of the 19th century. Although the works returned to private collections, many found their way into public collections over the following decades, having usefully boosted their reputation by their appearance in Manchester. The National Portrait Gallery in London had been founded in 1856 and opened its doors to the public in 1858. Scharf was its first director, and arranged the displays in chronological order, as the Manchester exhibition had done.
A second but smaller National Art Treasures Exhibition was held in Folkestone in May – October 1886. A large exhibition of paintings was held in Bethnal Green, an industrial part of the East End of London, from 1872, designed specifically to attract working-class visitors. This was in what is now the V&A Museum of Childhood, using prefabricated buildings moved from South Kensington.
An exhibition was held at Manchester Art Gallery in 2007/8 to commemorate the 150th anniversary of the Art Treasures Exhibition, and a conference was held at the University of Manchester in November 2007.
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"Bought first bag on vacation in Kona. OMG! Awesome Toffee...Our sons vacationed the next year in Kona, and brought us back a (large) bag. But they ate theirs before they left the island!"
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Thieves essential oil blend includes Clove, Lemon, Cinnamon Bark, Eucalyptus Radiata, and Rosemary essential oils. According to Young Living, the Thieves essential oil blend was inspired by the legend of four 15th-century French thieves who formulated a special aromatic combination composed of clove, rosemary, and other botanicals. They used this blend to keep them healthy while robbing the dead and dying. Thieves supports healthy immune function, and it includes Eucalyptus Radiata essential oil, which supports a healthy respiratory system.
In fact, there currently is no evidence that over-the-counter (OTC) antibacterial soap products are any more effective at preventing illness than washing with plain soap and water, says Colleen Rogers, Ph.D., a lead microbiologist at FDA. "New data suggest that the risks associated with long-term, daily use of antibacterial soaps may outweigh the benefits," Rogers says.
There are several risks associated with triclosan. Laboratory studies have raised the possibility that triclosan contributes to making bacteria resistant to antibiotics, essentially the creation of 'superbugs'. Animal studies have also shown triclosan to be a hormonal disruptor and linked triclosan to the growth of breast cancer tumors in mice. Although the FDA still has not definitively ruled on the safety of triclosan, there are enough alternatives that ensure I will not expose my family to this antibacterial agent.
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The number of ounces in a standard pitcher of beer depends on the size of the pitcher. Restaurant suppliers sell beer pitchers that have capacities of 32 ounces, 48 ounces or 60 ounces of beer, with most bars and restaurants using 48- or 60-ounce pitchers. There are 12 ounces in the standard cup of beer sold at bars and restaurants.
What is the size of a standard beer pitcher? Update Cancel. ... What is the right size and shape for a beer pitcher? After how many minutes does a beer pitcher get flat? Does beer stay colder in a pitcher or in a glass? How are beer label sizes determined? How many pitchers of beer does a German drink every year (on average)?
Pitchers & Dispensers The pitchers and dispensers that started it all. Bottles Filter-as-you-drink bottles for on-the-go lifestyles. Faucet Mounts Great-tasting filtered water, right from your tap. Replacement Filters Get the most out of your water with Brita filters.
In American English, a pitcher is a container with a spout used for storing and pouring contents which are liquid in form. In English-speaking countries outside North America, a jug is any container with a handle and a mouth and spout for liquid—American "pitchers" are more likely to be called jugs elsewhere.
If you buy a pitcher that is too small you may find that you have to refill it very regularly which is not only time consuming and frustrating but also expensive in the long run. Simply put, the amount of water you and your loved ones drink will hugely influence the size of pitcher that you need.
Working at a cafe with several pitchers of different sizes I always choose the one most suitable for the drink(s) I'm making. A good goal is to produce concistently correct temperature milk with micro foam (latte art capabke if you wish) while minimizing milk wastage (especially in a cafe serving dozens or hundreads drinks a day).
In ESPN's Fight for Perfection issue, Howard Bryant writes that today's colossal athletes invite awe. But what is gained in size will come with a loss of fan connection.


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Round Top, Texas is a historic community in Fayette County, Texas that has been named one of the "Top 100 Arts Towns in America". With a population of 90 full time residents, it has an outsized reputation for its extraordinary arts attractions, its annual Fourth of July parade and its twice annual Arts and Antiques events.
In addition to being the smallest incorporated town on Texas with a full service public library, it is the home of the internationally regarded Festival-Institute at Round Top, and Shakespeare at Round Top, a program at the Winedale Historical Center whose students have twice performed at the Globe Theatre in London. The historic buildings in the center of town are protected by a local historical district. Round Top is also the smallest Town in Texas with a Land Use and Architectural Controls Ordinance.
Located beside Cummins Creek near the eastern boundary of Fayette County, Round Top was first known as "Townsend Settlement" after a family of early settlers in the area. It was also referred to as "Jones Post Office" after Myers F. Jones, the first postmaster. Round Top is entirely situated on one square mile of land taken from a league of land granted to James Winn on March 31, 1831. It is unclear when the town first began to be known as "Round Top." Records indicate it was before 1850. Stories claim that it was named after a local house and stagecoach stop that had a "round top" where settlers would watch for the stage on the chance that it needed defense from hostile Indians.
The first settlers were predominantly Anglo-American and many distinguished themselves in the Texas War of Independence. Joel Robison, a local man, captured an older Mexican officer after the Battle of San Jacinto. Feeling pity for the vanquished man, he allowed him to ride on the back of his horse on the way back to where the prisoners were held. As they rode along the road, the other Mexican troopers began to salute and show great deference towards the older officer. It turned out that he was Santa Anna, the Dictator of Mexico. In gratitude for his gentle treatment, the Mexican leader gave Mr. Robison his gold braided vest. For years, young men in the Round Top area wore the vest on their wedding days.
In the San Jacinto campaign, the Townsend family had a larger representation present than any other family in Texas. Three local men of the Hill family also fought in the battle. By the late 1840's, German immigrants had bought land in and around Round Top and began to indelibly imprint their culture on the region's landscape. Prior to the settling of German immigrants in Round top, Count Boos-Waldeck, a cousin of Queen Victoria of England, purchased the Nassau Plantation below Round Top. It was bought in 1842 by the Adelsverin of Germany to promote German colonization of Texas.
During the civil war, Round Top served as a recruiting station for the northern half of Fayette County. Two companies, the Round Top Mounted Infantry and the Round Top Guerrillas were organized here. After the war, lawlessness prompted citizens to organize a community militia. In 1870, Robert Zapp, a legislator in the twelfth legislature and a citizen of Round Top, introduced his first bill, a writ calling for the incorporation of Round Top. The charter was granted the same year.
In 1866, the residents erected the stone sanctuary of the Bethlehem Lutheran Church. That same year, Traugott Wandke of Round Top, an herbalist, organ maker and magician, built a new pipe organ made entirely of native cedar and donated it to the church. Wandke constructed the first pipe organs made in Texas. The organ is still operational and the church is still a house of worship, making Bethlehem Lutheran Church one of the oldest continuously operating Lutheran Churches in the State of Texas.
By the early 1900s, the population of Round Top was 250. It was a thriving mercantile and agricultural community. Amongst other significant businesses whose buildings still exist are one of the earliest cigar factories in Texas, built in the late 1800s by Charles Schiege. The Round Top General Store, still in existence, was built in 1848. Round Top organized its volunteer fire department in 1902. During World War I and World War II, many area citizens served their country. The people of Round Top have long been patriotic and loyal Americans as is demonstrated by the fact that the Round Top Fourth of July parade is the longest continuous Independence Day parade west of the Mississippi. In the past several decades, many old buildings and homes in the Round Top area have been restored. Some of these early restorers were John Nielson, Hazel Ledbetter and Charles and Faith Bybee through their Pioneer Arts Foundation. Some of the best examples of German arts and architecture are to be found at the Winedale Historical Center, restored by Miss Ima Hogg and donated to the University of Texas.
In 1970, three new organizations began that were to mark Round Top history. Texas philanthropist Miss Ima Hogg was instrumental in the creation and/or inspiration of all three. She had invited a brilliant young concert pianist, Mr. James Dick, to play in the performance barn at Winedale. With this performance, the Festival Institute at Round Top was born. She also talked to Dr. James B. Ayres about performing Shakespeare in the same old building. Soon afterwards, Shakespeare at Winedale was begun and sponsored by the University of Texas at Austin. She was also an inspiration to Mr. and Mrs. Charles Bybee, who created the Pioneer Arts Foundation that same year. (Now known as the Bybee Foundation. The seven acre site is now the site of Henkel Square Market.) Round Top is also known for large arts and crafts events that were founded by Ms. Emma Lee Turney in the late sixties and have grown into events that now involve several neighboring towns and bring 50,000 to 60,000 people to the area for as much as three weeks. The events end on the first full weekend of April and October each year. Special thanks to the Round Top Historical Society for this brief history and images.

redpajama_set_name: RedPajamaCommonCrawl


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Lives put at risk when Police van tampered with
Monday 20th of April 2020 05:12:19 PM
Tags: Newquay
Officers and members of the public were put at risk when a police van's fuel pipe was cut and its brakes tampered with in Newquay.
An appeal has been issued to help find the culprit after the marked Ford Transit vehicle was targeted between 3.30pm on Wednesday 15 April and 9.30am the following day.
It was parked in a designated bay in the car park outside of Newquay Police Station and the town's railway station in Tolcarne Road.
The damage was first noticed when an officer attending an incident on Thursday 16 April spotted a large pool of fuel under the van.
It was recovered and a force mechanic subsequently discovered the vehicle's fuel pipe had been cut and its rear brake pipes were damaged.
Inspector Guy Blackford said: "This deliberate act could have resulted in a serious accident involving officers and members of the public. We were fortunate that officers spotted the damage early in their shift."
Anyone who has information is urged to contact police by calling 101, or emailing 101@dc.police.uk, quoting crime reference CR/031609/20.


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enjoys CASAMIGOS Tequila during The 18th Annual Hollywood Film Awards at The Palladium on November 14, 2014 in Hollywood, California. CASAMIGOS Tequila is brought to you by those who drink it.
And other unsolicited thoughts on marriage.


European stocks, which gave up early gains to end down or flat on Monday, were set for a cautious start, with financial bookmakers calling the main indexes to open flat to 0.3 percent higher. U.S. index futures were down around 0.1 percent.
Sunday's election result removed concerns that Greece could imminently be forced out of the euro zone, but it brought no relief to broader worries that the two-and-a-half-year-old debt crisis is spreading to some of the bloc's larger economies.
Yields on both Italian and Spanish bonds rose on Monday, with Spain's 10-year yield climbing to a euro-era high above the 7 percent mark that has already proved unsustainable for Greece, Portugal and Ireland.
European authorities have already agreed to a 100 billion euro rescue for Spain's troubled banks, and data showing bad loans in the sector had climbed to their highest since April 1994 heightened concerns that the euro zone's fourth largest economy could be driven to seek a full-blown bailout.
"The jump in Spanish borrowing costs shows very clearly that global leaders are running out of time to find the solution to the euro zone crisis," said Michiyoshi Kato, senior vice president of forex sales at Mizuho Corporate Bank in Tokyo.
The euro traded around $1.2605 on Tuesday, up about 0.2 percent on the day but down around 0.4 percent from Friday's close.
Leaders from the Group of 20 countries meeting in Mexico will press Europe to take bold action to combat the region's debt crisis, according to a draft communique prepared for the two-day summit.
Commodities, which had raced higher on Monday in a broad rally of riskier assets, were mixed.
Brent crude slipped 15 cents to $95.90 a barrel, but copper rose 0.3 percent to around $7,530 a tonne. Gold was virtually unchanged around $1,628 an ounce.
Investors were reluctant to commit large bets ahead of a two-day Federal Reserve policy meeting starting on Tuesday, with attention focused on whether the U.S. central bank will unveil any more stimulus measures to support a flagging recovery.
The market consensus was that further quantitative easing - effectively creating money to purchase assets - was unlikely for now, but that recent disappointing economic data could prompt the Fed to extend its long-term bond-buying programme, known as Operation Twist, by a few months from the current June deadline.
The liquidity boost delivered by previous doses of monetary stimulus from the Fed has lifted global equities and most commodities, and markets have become highly sensitive to the waxing or waning of expectations of more such measures.
In currency markets, the euro's recovery from its two-year low at $1.2288 hit on June 1 has been driven by a broad weakness in the U.S. dollar based on speculation about more Fed easing.
"I think we won't see a full-fledged QE 3, but an extension of Operation Twist is likely," said Teppei Ino, currency analyst at the Bank of Tokyo-Mitsubishi UFJ. "No action from the bank would have the euro go back towards its low of June 1."


We have added some categories to the side bar of the website to help you find some of our best podcasts.
Feel free to peruse some of our original stories, Halloween Spooktaculars, Christmas Specials, improvised Role Playing Games, all that kind of thing!
The 6 Demon Book Bag! We talk about Jeff's new novel CRITERION.
Topics include: writing, My First Comic book, Murder Corner: Mr. Fantastic, Telepathy vs Super breath, useless Teenage sidekicks and an excerpt from CRITERION narrated by the formidable Andrew Weary.
Whatever Happened to the Wondertwins?
It's time to throw some ping pong balls into the 6 Demon Bag. It's 6DB RPG #3.
The guys journey back to Shrunken Times to battle enbiggened beasts and shrinking sorcery!
Season 2 is almost here!
We finally reached the bottom of 2017's Six Demon Bag. Get ready for Season 2!
We're back like Howling II, baby! Also, your sister is a werewolf. Deal with it.
Ep. 12 – Teen Wolf, at last!
Another thrilling edition of The 6 Demon Bag Role Playing Game, the world's first and only bag based, randomized and improvised RPG in podcast format!


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Africa's Mobile and ICT Expo (Mobex 2017) launched
Cedi sees 1 percent drop in a week
Defend Ghana's democracy – GBA to lawyers
Desist from attacking police officers – IGP to Ghanaians
Blame uncouth, corrupt NDC officials for humiliating election defeat – Rawlings
Chicago Fire to open contract extension talks with David Accam
Sports News of Sunday, 30 October 2016
American side Chicago Fire are set to open contract extension talks with Ghana attacker David Accam, according to reports in the Major League Soccer.
The 26-year-old has impressed at the Toyota Park since his move to the club from Swedish side Helsingborg IF in 2015.
Fire are eager to tie him down to a further two year to his contract as his current contract is set to expire in 2017.
Chicago Fire General Manager Nelson Rodríguez has revealed the club has already engaged the former Right to Dream Academy product in extension talks.
"We engaged in discussions on a contract extension beginning in August," Chicago Fire General Manager Nelson Rodríguez told reporters
"His representative got married in September so we decided to take a break and allow his representative to enjoy that. We then decided to push everything off until the end of the season."
We still, at the end of September when (Accam's representative) returned from his wedding, were still in the playoff hunt," Rodríguez said.
"In October, I didn't want discussions to get in the way of David's FIFA appointment where he went in early October and where he'll be going in two weeks."
Accam netted 9 times in 24 appearances for Fire in the regular MLS season.


This is the last part of the "Programmatic in China" series and in this article we'll take a look at the open exchange model.
This is my fourth and final instalment on programmatic in China. You can read my previous columns on the subject; Part 1: Programmatic Premium, Part 2: The Preferred Deal; and Part 3: The Private Market Place, here.
As always, let's first define the terminology. "Open Exchange," also known as "Open Auction," or "Open Marketplace," usually contains the lowest tier of publisher inventory.
The inventory consists of bottom of the barrel spots that are sold through real-time bidding with low floor price.
Since the major publishers all have their own private exchanges, the open exchange mainly contains inventory from small and medium-sized publishers. On portals and verticals, open exchange inventory is usually made up of inner content page banners, or banners with low viewability that sit below the fold.
On OTV channels, the pre-roll inventory is usually UGC instead of TV shows or movies.
Due to the low pricing, the advertisers will also skew toward smaller brands or performance type advertisers such as e-commerce channels or registration-based social channels.
Because of inventory quality issues, the open exchange often poses brand safety issues for big advertisers. The first concern lies with the publisher and content quality. The advertising environment on many smaller publishers is cluttered and the content less controlled. An example would be a luxury brand pre-roll ad that appears in front of an inappropriate user-generated content (UGC) video.
Another concern is with the smaller advertisers that also advertise on the open exchange.
For many big brands, merely being associated with an unknown small brand damages brand equity, let alone inappropriate advertisers such as gaming, or online gambling companies that often buy through the open exchange.
However, this issue can be mitigated using technology that specifically scans the publisher for questionable content prior to an ad placement.
Currently there are two big open exchange players in China: Doubleclick and Tanx (Taobao Ad Exchange).
Both exchanges connect to multiple demand side platforms (DSP) out on the market, for example iPinyou, Yoyi, etc.
Tanx started out as a traffic support product mainly targeting Taobao shop owners that wanted to bring in additional traffic from outside of the Taobao ecosystem. Hence, it is a popular exchange for e-commerce brands especially if they own a Taobao/Tmall shop.
These two exchanges are mainly dominated by display inventory across small and medium publishers.
For online television (OTV) inventory there is the Miaozhen Exchange that contains remnant resources from big channels like Youku/Tencent, or resources from the smaller channels like Ku6 and Funshion.
On the surface, there is nothing different about China's open exchanges compared with the West, for they both seem to operate on the same principle: the consolidation of remnant publisher biddable formats. But as always in China, there are interesting local market "innovations" that are very specific to the market.
The whole premise behind an open exchange is that it only connects to remnant biddable formats from publishers.
Instead, some exchanges in China also procure non-biddable reserved inventory directly from publishers.
For example, Tanx contains mostly remnant biddable formats, but they also have reserved format similar to the way ad networks procure their inventory.
Where does this inventory come from? Besides being a publisher, Taobao is also one of the biggest online advertisers. So they buy huge amounts of ads through package deals with different media channels. Now whatever inventory that actually aired Taobao ads, it's consumed. But the remnant inventory that doesn't get used all gets thrown into Tanx, then resold through real-time biding (RTB) to other advertisers.
Essentially Taobao acts as a broker trading on behalf of advertisers buying through DSPs. If the advertisers buy this inventory directly through Taobao's DSP, then they will throw on top their data management platform (DMP) data that can help the advertiser better target based on transaction history.
The model makes a lot of sense for Taobao to maximize revenue, but it creates channel conflict if the advertiser also directly invests on one of the media channels in Tanx.
In this case, the media channel will have a "blacklist" of clients that can only buy direct, instead of going through Tanx as a broker. Hence, the advertiser will either have to pay direct CPM rates for Tanx inventory, or, the media channel won't air any ads booked through DSPs on Tanx.
Of course, this only happens for big advertisers where procurement transparency is of utmost importance. Smaller advertisers will gladly go through Taobao as a broker if the CPMs are indeed lower than going direct. The media channel within Tanx will be forced to air the ads or risk losing the investment entirely, on top of damaging its relationship with Taobao.
Another interesting phenomenon is how DSPs are positioned in the Chinese market.
DSPs in the West are technology platforms that realize open exchange procurement. Hence, the control of bidding and exchange inventory selection lies in the hands of agencies/advertisers. But in China, DSPs mainly operate on a managed service model instead of self-serve.
In this case, they commit to a fixed CPM much like an ad network, and they balance the bidding price to fall within the range.
In the case where the DSPs do open up the platform for agency operation, their margins are sometimes built into the exchange floor price. There's incentive for both the DSPs and open exchange, hence the exchange will almost never directly approach agencies/advertisers with pricing transparency.
This situation is mainly due to the immaturity of the programmatic market in China, where there's a shortage of talent across agencies that can actually operate bidding platforms.
As programmatic gains more adoption, more independent DSPs will surely arise and provide for advertisers' transparency needs.
The selling point of programmatic in China is less about automation, and more about precision/results.
China's programmatic scene is packed with hybrid "one stop shops": Ad Network + DSP, DSP + DMP, Private Exchange + DSP, etc.
Along with these hybrids, there is greater conflict of interest for advertisers due to a lack of boundary/transparency across disciplines.
But also with these hybrids, advertisers can quickly experiment with programmatic without heavy investment/understanding in technology.
Lastly, I want to conclude with the following thought: From a Western perspective, China's ad-tech ecosystem is non-transparent and sometimes downright shady.
Although I admit there are many things that we need to fix (transparency, conflict of interest, to name a few), I wholeheartedly believe that we will develop our own flavor of programmatic. While the ecosystem may not resemble that of the West, it will most certainly be the best fit for local market needs.


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GF Vegan Rice Porridge with Chai Aromatics
EssaysLifeMagazineVoices
Center Stage 20th Anniversary: What The Cult Film Taught Me About Life, Love & Dance
by Juhea Kim
I hadn't known that Center Stage was such a cultural touchstone until about a week ago, when everyone started talking about the cult film on its 20th anniversary. The media maelstrom was such that a small-screen adaptation has just been announced, and the Daily Beast is calling it the dance film of our generation. I am delighted to find that I'm not the only weirdo who has been obsessed with it for twenty years. In fact, I would even say that the movie changed my life.
Like other fateful encounters, my love affair with Center Stage started by complete chance. It was the summer between my freshman and sophomore year of high school. I was flipping through channels one sultry night when I chanced upon a scene of young ballerinas dancing in a studio. I watched the rest of the movie completely mesmerized—although I started ballet classes at age nine in Portland, Oregon, I had never, ever seen professional ballet dancers perform.
This was long before dancers uploaded clips to YouTube and had hundreds of thousands of followers on Instagram. If you wanted to see a pro performance, you had to buy tickets or at least rent a DVD, none of which had occurred to either me or my parents. All through ballet and pointe classes, I had never had the opportunity to see what I was working toward. So dancing afforded me a little pleasure and a lot of anguish, especially when it came time to register and pay for classes (you did not improve your technique, nor move up a level, nor get good parts at spring recital if you didn't take multiple classes).
First ballet recital at age 9: I was already feeling inadequate about both my body and ability to take the required number of classes.
Watching Center Stage alone that steamy night, I realized what all the pain—physical, mental, financial—could achieve. It was the sublime beauty of Julie Kent and Ethan Stiefel's Romeo and Juliet balcony scene. It was the confidence and sex appeal of Amanda Schull (Jody Sawyer) fouettéing away the boys in red-satin pointe shoes. In short, I discovered the life-affirming power of dance. (I won't get into how the camisole tops and Mandy Moore's "I Wanna Be With You" soundtrack give me *all the feels* right now. Stylistically the movie is a slice of early-naughts perfection.)
I immediately set off to throw myself into this newfound passion. At the time I was visiting my father in Seoul and teaching my cousins English. I invested $400—all of my summer earnings—into registering for a summer intensive at Universal Ballet, a well-regarded company. If there had been any audition process like similar programs at American companies, I would never have gotten in. Once I started, I realized that all the others were pre-professionals who were dancing at least 6 hours a day at arts high schools. There were a couple of unbelievably willowy, pretty girls who could easily have been high-fashion models if they didn't also have a spectacular talent for dance. Long-limbed or not, everyone could whip out multiple pirouettes on pointe and 32 fouettés without batting an eyelash. I remember the deep humiliation when the French ballet master looked at me with contempt and told me to go to the back of the line, and the boy who was assigned as my partner grimaced as he tried to hoist me around. (Actually, the boy was probably being as kind as possible—I was about 30 lbs heavier than all the other girls in class.)
In short, I had never felt so incompetent at anything in my entire life. What is amazing is that despite bloody blisters every single day, and being the worst person in every class, I finished the two weeks. Before smartphones and "I did it" selfies, there was nothing to show for this except a free t-shirt. All the reward I felt had to be internal—and the main point of it was that miraculously, despite so much scorn, humiliation, and self-criticism, I improved.
I continued to dance as much as possible during rest of high school. Dance is a hard hobby to keep up if you don't come from money—and if you're not incandescently talented like Misty Copeland. My college offered free ballet classes for any students who were interested, so that was the first time in my life I could dance as much as I wanted. I still wasn't really good, but I improved based on my own standards. My favorite academic memory of college is still my final performance for a modern dance and choreography course, just before graduation. After that, I moved to New York and stopped dancing almost entirely—instead fulfilling my balletomania with season tickets to the American Ballet Theatre. The first tickets I bought were Swan Lake and Romeo and Juliet starring Julie Kent.
During the lockdown, I picked up dancing in my living room again. Strangely, this is the first time in my life I'm able to dance without any hangups. At 33, I can afford to buy as many classes, shoes, or leotards as I want—and that feels like a balm to my wounded soul. I don't compare myself to thinner, more naturally gifted girls—there's no one else in class, and even if there were, other people would probably just think kindly of the fact that I showed up. I've become old enough to bypass judgment. It makes me so happy to move and express myself as only ballet can. And because of a lack of fear, I've improved much in the past one month dancing to recorded classes in my living room. Yesterday I realized I've met my quarantine goal of nailing a double pirouette to the left and a triple pirouette to the right at will. Easy for some, but it requires 100% of my concentration to get the separate parts of my body all working in tandem.
Hard times require furious dancing. —Alice Walker (I'm dancing for the first time in 11 years thanks to @markmorrisdance online classes❤) #balletomane #mmdgcommunity #mmdg
A post shared by Juhea Kim (@juhea_writes) on Apr 23, 2020 at 4:59pm PDT
But sometimes I do still think, why is this so hard for me? Why do I love something that I'm not really good at? And that's where I look back to Center Stage, which is a story of a girl who finds her power from rejecting both the good boy and the bad boy… but is really also about a girl who passionately loves something that she isn't the best at. It's about her finding a way to do what she likes, regardless of what others think. It's about her owning her authenticity, "bad feet" and all. My authentic self is a writer who really is a dancer at heart. And this makes me feel sheepish, but no one thinks Haruki Murakami should be ashamed of himself for being a non-professional, avid runner. Instead of competing in the Olympics, he wrote a book about running. Writer Karen Rinaldi—whose The End of Men became a hit movie starring Julianne Moore—says she's a "preacher of suckitude" who revels in being a terrible surfer. Oh, she wrote a book about surfing, too. Maybe it's not so crazy I'm obsessed with ballet, after all.
The truth is, it doesn't matter what you do for a living, your age, your physique, or your natural abilities—you are what you continuously do out of your own volition. The best, of course, is when what you're good at and what you love are the same thing. But if there's a choice between something you're good at that you dislike, and something you love you're not great at, choose the latter. It will make life interesting and keep you "on your toes" (in my case, literally). You'll keep taking chances and growing as a human being. And this is how you know you're not just playing a minor role in your own life. By owning your truth, you make your present condition your center stage.
Photo: Peaceful Dumpling
Are You Conflict-Averse? How To Speak For Issues You Care About With Gentle Activism
New Study Finds Vitamin D Reduces COVID-19 Related Deaths
culturedanceessaysinspirationalvoiceswellness
Juhea Kim
Juhea is the founder and editor of Peaceful Dumpling and the author of bestselling novel Beasts of a Little Land. Follow Juhea on Instagram @peacefuldumpling, @juhea_writes and Pinterest.


Christopher Mirabile, ACA Board member and Managing Director of Launchpad Venture Group, featured 3 video interviews from his blog, ScratchPaper, which he conducted at the 2013 ACA Summit.
Naval Ravikant, founder of AngelList. Naval is an entrepreneur and angel investor, a co-author of Venture Hacks, and a co-founder of AngelList. Prior to AngelList, he co-founded Genoa Corp (which was acquired by Finisar), Epinions.com (which became public via Shopping.com), and Vast.com (which is a large white-label classifieds service). He's advised an ton of companies and made more than a few good angel investments including Twitter, FourSquare, Stack Overflow and Disqus.
John Huston, founder of Ohio TechAngels. John is an institution in the angel investing world. He is a self-described former banker who flunked retirement and set out to find an angel group to join. Finding none, he went on to found Ohio Techangels, which has grown to become the largest angel group in North America. John is widely quoted and hailed as a driving force for economic development. He speaks frequently and eloquently on the topic of investors serving as directors of early-stage companies, and he is a charming rascal livening up any Angel Capital Association event.


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Q: How to convert categorical variables in Python to a factor variable in R? (Reticulate) I'm using reticulate to convert a python saved .pkl into an R dataframe. I see the categorical python type is kept in the R dataframe. I'm guessing R doesn't know how to deal with python categorical variables. How do I convert those into factor variables in R?
#Looking at the class of some of the variables in the R dataframe, I get

class(df$variable)

$variable
[1] "pandas.core.arrays.categorical.Categorical"
"pandas.core.arrays.base.ExtensionArray"
[3] "pandas.core.base.PandasObject"
"pandas.core.base.StringMixin"
[5] "pandas.core.accessor.DirNamesMixin"         "python.builtin.object"

#I get the right levels, but this doesn't seem to be R-friendly

> table(levels(factor(as.character(df$varibale))))

[level 1, level 2, level 3, level 4, level 5, ..., NaN, NaN, NaN, NaN,
NaN]\nLength: 464121\nCategories (6, object): [level 1 < level 2 < level 3
< level 4 < level 5 < level 6]

redpajama_set_name: RedPajamaStackExchange


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Law on Plea Bargaining in India
The legal provision on Plea Bargaining was introduced by Criminal Law Amendment Act, 2005. A new Chapter XXI A on Plea Bargaining was introduced in the Criminal Procedure Code, 1973. The term Plea Bargaining can be defined as pre-trial negotiations between the accused and the prosecution where the accused pleads guilty in exchange for certain concessions by the prosecution.
Simran Bhullar
The legal provision on Plea Bargaining was introduced by Criminal Law Amendment Act, 2005. A new Chapter XXI A on Plea Bargaining was introduced in the Criminal Procedure Code, 1973. The term Plea Bargaining can be defined as pre-trial negotiations between the accused and the prosecution where the accused pleads guilty in exchange for certain concessions by the prosecution. The twin object of plea bargaining is to reduce the delay involved in the criminal trial and to punish the accused with a lesser sentence for pleading his guilt. Plea Bargaining can be divided into two categories:
Charge Bargaining- In case of charge bargain, the accused pleads guilty in exchange for the promise made by the prosecutor to reduce or dismiss some of the charges brought against him.
Sentence Bargaining- In case of sentence bargaining the accused pleads guilty in exchange for a promise by the prosecutor to recommend a lighter or alternative sentence.
The concept of plea bargaining is applicable to an accused against whom:
Police report has been forwarded by the officer in charge of the police station alleging commission of offence by the accused;
A Magistrate has taken cognizance of an offence on the complaint.
The provisions of the chapter are not applicable to any juvenile, or child Plea Bargaining is not available to an accused if:
If he has been charged with offences punishable by death, life imprisonment, or a term exceeding seven years,
The offence with which the accused had been charged affects the social-economic condition of the country,
or Offence has been committed against a woman or a child below the age of fourteen years.
Procedure of Plea Bargaining
A person accused of an offence may file an application for plea bargaining in the Court in which such offence is pending for trial.
The application shall contain a brief description of the case and shall be accompanied by an affidavit of accused stating that he has voluntarily preferred the application and has not previously been convicted by a Court of the same offence.
If the Court finds that the application was made involuntarily by the accused or he has been previously convicted by a Court, it shall proceed with the trial of the case.
After receiving the application, the Court shall issue the notice to the Public Prosecutor or the complainant and to the accused to appear on the date fixed for the case.
The Court shall examine the accused in camera, where the other party in the case shall not be present, to satisfy itself that the accused has filed the application voluntarily.
Where the Court is satisfied that the application has been filed by the accused voluntarily, it shall provide time to the Public Prosecutor or the complainant and the accused to work out a mutually satisfactory disposition of the case which may include compensation and other expenses to be given to the victim.
Throughout the process of working out a satisfactory disposition of the case, it shall be the duty of the Court to ensure that it is completed voluntarily by the parties participating in the meeting.
The Court shall prepare a report of the satisfactory disposition worked out by the parties and shall dispose of the case by awarding the compensation to the victim in accordance with the disposition and hear parties on quantum of punishment and releasing accused on probation of good conduct or after admonition under section 360 or for dealing with the accused under the provisions of the Probation of Offenders Act, 1958 (20 of 1958) or any other law for the time being in force.
If the Court finds that minimum punishment has been provided under the law for the offence committed by the accused, it may sentence the accused to half of such minimum punishment; or it may sentence the accused to one-fourth of the punishment provided or extendable, as the case may be, for such offence.
The judgment shall be pronounced in open Court.Period of detention undergone by the accused has to be set off against the sentence of imprisonment.
The statements or facts stated by an accused in an application for plea bargaining shall not be used for any other purpose except for the purpose of plea bargaining application.
The judgment delivered by the Court under Section 265G shall be final and no appeal shall lie against it except the special leave petition under Article 136 and writ petition under Articles 226 and 227 of the Constitution.
Need to file a criminal defense lawyer in India. Hire the best criminal defense lawyers from MyAdvo! Email us at info@myadvo.in or call now at 9811782573.
The 11 Fundamental Duties of Indian Citizens
As per the Constitution of India, there are 11 Fundamental Duties of Indian Citizens which are non-enforceable in the court of law. These fundamental duties of India are added to promote unity & harmony in the country.
Antim Amlan
Is Weed or Marijuana Legal in India?
Weed, marijuana, bhang, charas, ganja and so on, cannabis in India has been given numerous names and forms. Read on to understand your legal rights in case you are possessing the Cannabis [Weed/Marijuana] in India
What is a Writ Petition? How do you file one in Court?
Writ Petition is an order given by the High Court to a lower court directing them to act or stop acting in a certain way. The article talks about Writ Petition, the types of writ petition, how to file a writ petition in court and the format of each writ.
Prostitution in India - Read its causes, legality, and law.
Prostitution in India is legal under the Immoral Traffic Act but its related activities such as owning a brothel, child prostitution, etc have made it illegal.


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Early Women Filmmakers (Blu-ray/DVD Combo)
More women worked in film during its first two decades than at any time since. Unfortunately, many early women filmmakers have been largely written out of film history, their contributions undervalued. This necessary and timely collection highlights the work of 14 of early cinema's most innovative and influential women directors, re-writing and celebrating their rightful place in film history.
International in scope, this groundbreaking collection features over 10 hours of material, comprised of 25 films spanning 1902-1943, including many rare titles not widely available until now, from shorts to feature films, live-action to animation, commercial narratives to experimental works. Directors include Alice Guy Blaché, Lois Weber, Mabel Normand, Madeline Brandeis, Germaine Dulac, Olga Preobrazhenskaia, Marie-Louise Iribe, Lotte Reiniger, Claire Parker, Mrs. Wallace Reid (Dorothy Davenport), Leni Riefenstahl, Mary Ellen Bute, Dorothy Arzner, and Maya Deren.
These women were technically and stylistically innovative, pushing the boundaries of narrative, aesthetics, and genre. Going back to the beginning of cinema, this collection makes visible the tremendous directorial contributions women made all around the world. Beautifully restored in high definition, Early Women Filmmakers features new scores by Sergei Dreznin, Frederick Hodges, Tamar Muskal, Judith Rosenberg, and Rodney Sauer and the Mont Alto Motion Picture Orchestra.
This anthology is dedicated to the memory of David Shepard (1940-2017), without whom these films – along with countless others – would simply not have been made available in such beautifully-restored editions. The collection represents one of David's final produced works, completed in collaboration with several film archives, including the French National Center for Cinematography and the Moving Image (CNC), the Film Studies Center at the University of Chicago, and the Library of Congress."
Starring: Mabel Normand, Charlie Chaplin, Maureen O'Hara, Lois Weber, Maya Deren, Blanche Cornwall, Andrée Brabant, Germaine Dermoz
Directed By: Guy-Blaché, Weber, Normand, Brandeis, Dulac, Preobrazhenskaia, Iribe, Reiniger, Parker, Reid, Riefenstahl, Bute, Arzner, and Deren
Written By: Guy-Blaché, Weber, Normand, Brandeis, Dulac, Preobrazhenskaia, Iribe, Reiniger, Parker, Reid, Riefenstahl, Bute, Arzner, and Deren
Score By: Sergei Dreznin, Frederick Hodges, Tamar Muskal, Judith Rosenberg, and Rodney Sauer and the Mont Alto Motion Picture Orchestra
Video: 1080p High Definition / 1.33:1 / B&W / Color / Tinted
Audio: LPCM Audio 2304 kbps 2.0
Theatrical Release: 1902-1943
Region Code: Region A, Region 1
Special Features: Booklet Essay: By film scholar and Women Film Pioneers Project Manager Kate Saccone. Audio Commentary: For Lois Weber's The Blot by author, professor, and expert on women and early film culture Shelley Stamp, courtesy of Milestone Film and Video.
Genre: Documentary, Anthology, Drama, Comedy, Experimental
Children of Divorce (Blu-ray/DVD Combo)
Behind The Door (Blu-ray/DVD Combo)
This is Cinerama (Blu-ray/DVD Combo)


Taurus – A Technology Showcase!
The 2016 Ford Taurus delivers impressive styling and craftsmanship. The exhilarating-to-drive performance is unbelievable! Come see for yourself!
The Taurus exterior styling communicates power and agility. It promises an exceptional driving experience. One key design feature is the power dome hood. It draws the eye to the stylish grille. The aluminum wheel lineup gives the Taurus a range of personalities. The fully illuminated tail-lamp rope lighting is sophisticated. It offers an upscale appearance. You'll make the whole neighborhood jealous!
The Taurus interior is quite impressive. Ford paid attention to the small details. There's a sweeping and refined center console. It flows well into the instrument panel. The dashboard is angled. This gives easy access and control of technology features. The instrument cluster has Ice Blue back-lighting. It comes with an analog center gauge with white graphics. There is also available ambient lighting for a personalized look. You'll never want to get out of your car again! Imagine taking road trips in a car this awesome. Keep reading, it gets better!
The Ford Taurus also offers many impressive technologies. These are features that customers have come to expect. Active Park Assist helps to remove the stress from parallel parking. The All-wheel drive provides seamless driving confidence. The AdvanceTrac Sport Mode allows for a more spirited driving experience. The Lane-Keeping system helps to warn the driver if the vehicle begins to drift. The heated and cooled front seats offer total comfort. The car some with Multicontour front seats. Active Motion helps reduce driver and passenger fatigue. The SecuriCode Invisible Keypad is an industry-exclusive feature. It allows for easy securing of the car. The rain-sensing windshield wipers automatically activate when moisture is detected. The 2016 Ford Taurus also offers a number of must-have technologies. The Taurus has become the ultimate driving machine! You'll be amazed at how far it's come!
The 2016 Taurus power-trains give drivers the performance they want with the efficiency they require. Taurus SE, SEL and Limited all offer an available 2.0L EcoBoost I-4 with 240 horsepower. The standard 3.5L Ti-VCT V6 has 288 horsepower. The SHO 3.5L EcoBoost V6 delivers 365 horsepower. Each of these engines is paired with a 6-speed SelectShift automatic transmission. Each model also offers excellent fuel efficiency! What could be better than that?
Beach Automotive only has a few left. Give us a call today to learn more. The Taurus sure isn't your mom's sedan of years gone by. You really should come see for yourself!
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Alexa, how can tech help dementia sufferers?
By Aaron Speight
Blog 21 October 2019
Every three minutes, somebody develops dementia in the UK. By 2025, more than one million people will have the condition. For every person living with dementia, the annual cost to the UK economy is more than £30,000, according to the Alzheimer's Society. The personal cost to an individual and loved ones is inestimable.
Billions of dollars have been committed in the global search for a cure but relief could be found closer to home for sufferers of this most feared of conditions. Virtual assistants might commonly be associated with performing a variety of simple domestic tasks. They could soon be deployed in the battle against the progressive brain disorder.
Working with City Health Care Partnership CIC in Hull, we have developed a prototype application called Memory Box, which helps people living with dementia to retain their dignity, personality and place in the world for as long as possible. Inspiration for our innovation came from the treatment known as reminiscence therapy and a nationally used tool from the Alzheimer's Society called This is Me.
Reminiscence therapy involves discussing past events and experiences and aims to evoke memories, stimulate mental activity and improve wellbeing. It is commonly supported by props such as videos, pictures and objects and has been found to improve quality of life, cognition, communication and possibly mood.
This is Me is a leaflet used to record details about a person who cannot easily share information about themselves and gathers information such as cultural and family background, important events, people and places from their life and preferences and routines. The practice is endorsed by the Royal College of Nursing and helps professionals to tailor care to an individual**.
Our prototype uses Amazon Echo Show, a smart speaker with the virtual assistant Alexa and a seven-inch screen, as a device for interaction with the patient and carer. We use Inhealthcare's platform to collect and analyse data to create a picture of the individual's life and how they respond to stimuli. This digital profile is then shared among health and care professionals to manage and monitor treatment. Family and friends also contribute to the Memory Box with shared recollections.
With this simple technology, key events relevant to an individual can be used to prompt memories, support periods of recognition and provide carers with productive ways to work with patients. By harnessing the power of the cloud, Memory Box can help people to retain their dignity, personality and place in the world for as long as possible. It might not be a cure, but it certainly offers some hope to sufferers of this cruel condition.
**Memory Box won Best Concept award at the Humber Care Tech Challenge 2019.
Aaron Speight is product specialist at Inhealthcare
Blog 24 November 2020
Lessons from the leading edge of NHS change management Learn more
Lessons from the leading edge of NHS change management
Inhealthcare wins 'Highly Commended' in the HTN Awards 2020 Learn more
Inhealthcare wins 'Highly Commended' in the HTN Awards 2020
What should NHS commissioners look for in a digital health partner? Learn more
What should NHS commissioners look for in a digital health partner?


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To keep your locks from tangling when you sleep, work with a silk pillowcase! A silk pillowcase is gentle in your locks and may give it time to set easily around the pillow when you sleep. lipstik yang waterproof 'll wake up with the head of hair hunting wonderful! Should merk lipstik waterproof don't possess a silk pillowcase, you can place a silk scarf all over the pillow.
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In lipstik matte to hide a zit, rosacea, a allergy or another reddish skin imperfection dab on the natural concealer. Although it seems strange inside the bundle, the natural neutralizes the reddish hues of annoyed skin area so you can use your normal base and concealer without having the swelling showing by way of.
In case you have greyish locks dyed darkish, as well as your origins are beginning to show, consider placing exactly the same colour mascara as your dyed head of hair. In case your head of hair is dyed a lighter coloration such as blond, mist some hairspray about the roots and make use of a certain amount of bronze or rare metal-coloured eyeshadow. Or, you can try one of the root colour-combs available at local splendor supply merchants.
Unless you were given birth to excellent, you will need a little advice from time to time to look far better, in addition to, lower your expenses time and cash doing it! Hopefully, this information has provided you some useful ideas on improving your look which will function great for you against your home. Furthermore you will have a far better image of on your own along with a much more positive outlook about how stunning you may really be!