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Anca Damian Interview: Art Is Thinking Why We Are Alive (Indie Online 2020 Project)
Romanian acclaimed director Anca Damian talks to Zippy Frames about her animation work and online content during the framework of the IndieOnline 2020 research project.
How do you navigate a world of altogether digital content as an animation professional? What are the opportunities and the mishaps that are awaiting for you in this all-inclusive, ever-penetrating online world? These were some of the questions that initiated the Indie Online 2020 Research project, headed by Michelle Kranot, and supported by The Animation Workshop / VIA University College, Center for Animation, Visualization and Digital Storytelling, Denmark. A more comprehensive overview of animation professionals and their attitude towards this during the (March) lockdown, their aspirations and decisions were also sought and recorded -before being qualified and quantified.
Within the framework of the project, Zippy Frames conducted a series of eight interviews with both acclaimed and emerging animation directors. Our first guest is Romanian animation director Anca Damian (Crulic, The Path to Beyond; The Magic Mountain; Marona, A Fantastic Tale)
VK: Let's turn back the clock to go to March 2020. Your feature animation project The Island was presented as project in production at CARTOON Movie, the last of the major animation events to take place physically.
AD: And now the film became a reality. When I started the movie, I put it in the near future. And the future just came quicker than I imagined. Everything has a particular fate and it was so connected with our lives.. I became like my main character Robinson Crusoe. I'm not just making films as a profession; I'm involved with my own life in doing films. This was exactly what happened with this film.
VK: What were the challenges you faced during the March lockdown?
AD: We had to deal with a lot during the lockdown. We tried to continue work remotely, even though we were in production already. As I am also a producer for my films, I take many risks. I entered the production without having the 100% financing at place, which usually is not the case. I still had a gap and obviously became a slower process to put it into place during the pandemic.
This crazy, unimaginable kind of film and musical was so difficult to finance, only at the script level. So, our only chance to do it was to just start doing it. I had a very good response in Cartoon Movie from sales agents and distributors; we also signed for the Benelux territories with Periscoop Film just during the lockdown; they liked the film and they were quite courageous despite the lockdown situation.
I lived as a woman during the Communist times in Romania, and I always had to struggle. I am the only woman animation feature director in Romania; and now I'm the only animation feature director worldwide who did four long features. So I always had to struggle.
VK: How did you manage in practical terms this time?
AD: I can work efficiently because I always have smaller groups, in different countries, and of course have to put a lot of energy to stay connected with everyone. I have to travel between these groups. I didn't invent ubiquity; I cannot be at different places at the same time. But if I have to be from time to time with my team members in the same space to talk and exchange ideas, I'd do it.
For Marona's Fantastic Tale, I had two production places in France, one in Arles (TuNouZaPasVU-Marc Rius), and a second one in Bordeaux (Marmita Film Emmanuel Quillet), 2 places in Belgium, and one in Romania. I had to coordinate all these things in Romania, France and Belgium. I work without assistant and production coordinator. Locally, Marc Rius and Emmanuel Quillet were really helping me. For The Island, I had a small production team in Romania. A part of production was made in Lille (France), and they are now finished, but also animators that worked remotely in France, and the compositing in Strasbourg, and also animators in Belgium. And I use Paris as a travel focus point between the various places. In The Island, the animation is much more complex, and the budget much more smaller (1,5M EUR).
Fortunately, I have Amopix in Strasbourg for the final stage to assemble and composite elements, with the very helpful Matthieu Rollin as the producer. But, apart from the production heads and studio people, I don't have any production coordinator or assistants involved in either of these two films (Marona and The Island). So, I need to visit the different groups all the time. Everything is building in a different creative way then; we have a different communication and energy while we are together.
VK: So you already had the experience of doing a lot of creative tasks and producing tasks by yourself. But now it's getting one step further with The Island production, and an even bigger one with the covid-19 outbreak.
AD: It gets much more complicated. This is the story and the fate of this film, doing and being alone. For my next film, I will definitely not repeat the Island because I expanded myself in a way that I cannot do that anymore. The project reveals itself in such a particular way, and this was the only way for this film to be produced. It was fate. We got Eurimages funding (but a smaller amount than what we asked, and less that would give us the comfort to continue. We just had to struggle, and I put a lot of my own money now to finish it.
In my talks with sales agents and distributors, I noticed they couldn't imagine how the finished film would look like. It blends visuals with both the musical element and the storyline advancing in a different way than they are used to see. And if you start describing an image, you are lost in details; only the image speaks for itself. What I showed at CARTOON Movie is only from the film's beginning. The imagery in the film is fantastic; I even see people who work on animation that they can't imagine the finished visuals.
VK: So with all this stuff out, the lockdown and the pandemic actually helped the creative process.
AD: No, it didn't. In a way, it was part of the faith I had in the project. But I did notice how people were behaving. This lockdown pandemic divided the people into two groups; one group developed a kind of thinking on what is important, what is the meaning of what we are doing, what we should do; it became even more concerned about where we put our energy in, and what we should change. Another part of people freaked out; they were stuck, blocked, unable to function artistically. They thought that if we do one thing or the other, the pandemic will end, and we will then go back to normal.
And all this without seeing the big picture everything that you change, it's changing everything; and you should be active in putting energy to organize the future. You also need to be aware; there's a lot of censorship around. As I lived in a former Communist country, I started to be aware of a lot of dictatorship habits that entered our society. And I don't want to go back there to this Orwell society; I already lived once during the Romanian Socialist times. There are many ideas on the Internet spread by users. Who can tell what is fake news and what is truth? And who can censor this?
VK: I saw a lot of meme sets during the lockdown about which jobs are the most im portant; doctors were up in front during the pandemic, but artists were the least important ones. This was really curious, because we are fed with artists' stories (music, films, books etc.) during that time.
AD: Doctors help you survive, but art helps you live and understand the meaning of life, tells you why we are living. And I'm talking about art, not entertainment. Art should also be entertaining, of course, but it's not entertainment. We just don't go out to see a film or a theatrical play to have fun. What do we get from art is the meanings of why we are born, and where we are going.
Crulic, The Path to Beyond
VK: Do you feel that this online content availability actually contributed a lot more to the art as entertainment business?
AD: It is a huge danger that art stays only as entertainment. I remember seeing this Facebook profile frame "support art workers" that a lot of artists put in their profile. Art is more than work, art is creation. It is a vision, it is thinking why we are alive. And we have to protect the films that celebrate those ideas this kind of film will disappear if we don't give them a chance.
Speaking also about the dictatorship and the artists, Stalin killed a lot of artists without caring; also, in Romania, we also start to forget. And we're now going to repeat the history soon if we don't understand that; how many people stand for their ideas? We should group together and state that art is not only entertainment. Of course, you seem to entertain people, but you want to give them a meaning, to make them think about the bigger picture, about the meaning of life through a piece of art that also contains elements of entertainment.
VK: But how can we impose our own ideas or comments in the bigger platforms (Facebook, YouTube) and smaller platforms, and not let them impose their own ideas of what is right and what is wrong?
AD: Talking about author censorship, as a white person you can't speak about races but if you're a black person, you can. Why? I am profoundly humanitarian, and I'm always on the side of the poor and the exploited people. But this kind of fence that they put in front of what I should speak about, and how should I talk, and what should I mean... I don't feel anymore as a free individual artist who can express profound things about humanity; I should censor everything on the way to the audience.
VK: We're probably going to live with this kind of situation for a long time. Is there any way for the artist, if not to benefit, at least, mitigate those kinds of circumstances? And what is the role of the festivals in this process related to the big social media platforms?
AD: I feel that the passive reaction in these times is a losing position. We should not be passive; we should share, but we should also organize new ways of communication. The big platforms are going to organize the society themselves, and we will not have any more space left to do it later. So this is the time that we should think forward, and communicate things in a proper way. The cultural level is important: when you see the bloggers and the level of the social media influencers, you say, 'Oh my god, where are we? Where is the meaning of life?' These have become the tools of the marketing now, and we should organize for ourselves also a place in the visual world.
Luckily in France the cinemas are (were) open. And I saw a lot of films in the cinema during this time, and the impression of the cinema hall can't be compared to any home screening. Still, we'll have a possibility to show them online and to communicate about them online. And we should really try to find our channels to do it. But the sooner, the better. Not to be stuck in.
VK: Who are the natural allies of the filmmakers? The festivals?
AD: Yes. I was in Venice this year. And even if it was a strange event with everyone putting their masks on (you didn't recognize people on the stage), I was so happy that it is something real. I said no matter how it is, I will handle this. But I remember there were people looking at the audience instead of looking at the film who took out their mask and who didn't . You were yourself being watched instead of watching the screening. Even though the festival went on without problems, I felt in a way that we became monitored as festivalgoers, and checked.
VK: Still, it looked very humble to me. From the selection program itself, back to the jurors to the actual taking place of the festival, it celebrated the artistic identity instead of premieres and the red carpets.
AD: Yes, it's true. I was looking at the Cannes Label, a gift given to 4 animated feature films; they were very generous this year. I feel that the festivals now are thinking "Oh my God, we should really be more art focused, and not have actors' events, and big premieres and big studios'. In recent years, the space for artistic films at the festivals were becoming smaller and smaller. They now let more of these kind of films in their programme.
VK: Do you actually think that we should expect more artistic independent feature films in the festivals? And what would be their distribution place, the VOD platforms?
AD: Festival labels (Venice, Cannes, Berlin, San Sebastian, Locarno) still put the attention on the films themselves. All the commercial films will find their place in the market. The big problem is the money that you get from the cinema halls. Cinema hall admissions for big budget films ensured so far a revenue that also benefited European cinema. Still, with the American films now absent, a lot of French and European films got a bigger exposure on the market. I think that Josep by Aurel had 100,000 admissions in two weeks it did better than I Lost My Body by Jérémy Clapin last year. But one of the reasons was, of course, the available space on the market, which is now much bigger.
VK: What happened with Marona's Fantastic Tale admission numbers?
AD: Marona was released in France in the beginning of 2020, and in Belgium in February. It should have been released in Spain, just before the March lockdown but it was finally released in June, after the lockdown. It was also released virtually in the US by GKIDS and it will be released as a DVD. The English dubbed version is also to be released when cinemas are open again. It showed in Japan, Korea and Poland now also in The Netherlands.
VK: So did you actually get the audience response you wanted with Marona's Fantastic Tale? Or perhaps the lockdown and the pandemic went against this?
AD: It's interesting, because I got brilliant and huge press reviews from the US press. At a normal time, when critics would run from one event to the other, the response would not be so obvious. But I was really amazed at the response of the critics. They were really pointing out the beauty, the qualities and the humanity of the film. I didn't expect that: US critics look out more for standardized animation offerings. I also got brilliant reviews in France, but storywise the US critics were much closer to the heart of the film. In Japan, it also had a good response and also in Korea as well. But I think that in these countries the turnout would have been the same even without the covid-19 situation.
The US response was a surprise to me, for only the original French version with English subtitles was shown which necessarily restricts the number of the audience. Those who loved Marona got emotionally engaged with film, as judged by their reactions afterwards. It also went to a huge number of festivals (in the last two weeks, it got 7 prizes in Portugal, Germany and Czech Republic).
VK: How is the current landscape in terms of film funding?
AD: We navigate in a more dangerous landscape. I lost two fundings that I had aimed for, because their 'envelope' and budget became smaller; and they prioritized French majority (instead of French minority) co-productions. I asked for a small amount of money, but their budget was still small. I have to handle an industry that also reduces the funds available (which are also dependent in turn on cinema admissions). In Romania, there is a big problem now. Luckily, my next feature Starseed (more mainstream than The Island, and addressed to a bigger audience) is already financed by the Romanian CNC. But there's a huge problem this year; no 2020 calls for films were issued, and also the tax shelter scheme stopped.
Romanian politicians don't care about the culture. It's a strange thing: Romania is known internationally and culturally because of its cinema and artists, not because of the politicians' own cultural initiatives. What I learnt from them is that if you have a financing / funding issue and you don't go yourself to the Prime Minister to get it solved, your problem will never be solved. The Minister of Culture may have the best intentions, but not the power to solve your problem. The Romanian CNC Fund is collecting money from cinema admissions. It should have collected money from the lottery, but the Ministry of Finance still hasn't signed an executive order that defines the means to do this. So, for two years in a row, the law has still not been implemented. They don't dare take money from Internet providers; on the other hand, advertisers' revenues for film collected was very low this year. So, they couldn't organize any call, and they can hardly give money to films that already got financed in the previous calls. And I don't see any solution for next year.
I now have to deliver the film in two years, and I only now have been able to start looking for co-producers. The Romanian CNC don't care if the animation film is short or feature length. There is a single animation section, to apply with either a short or a feature film and you can get the same amount for either. I got the same amount for my feature film other people get for their shorts. In a way, this is the reason I have to find funding elsewhere. I like the French system with its opportunities, even if the competition is rather strong (lot of quality artists and fine projects). But you do have a lot of options. In Romania, if the CNC is closed, you have no other option.
The Romanian cinema of auteurs still exists, and they still shoot feature films (Cristi Puiu,Cristian Mungiu, Corneliu Porumboiu, Radu Jude), but I don't know what will happen in two years from now. Some of them, like Radu Jude, changed their stories to take place during the pandemic to accommodate all these new rules. With all these masks, he can dub anyone now, there is no problem anymore [she laughs].
VK: Where do you imagine your films would screen in two years from now? VOD or cinemas? And how would you like your own films to be viewed? Imagine that in two years from now, a hashtag with Robinson Crusoe finds your film there, The Island, among other stuff.
AD: I think that cinema halls will stay and will become even more precious for cinema arthouse goers. But obviously, it won't be the main way to see films. Perhaps people will install their own, hall cinema systems.
My films will definitely need the festivals; I feel now that festival directors realize the importance of their own festivals and get themselves to a group, not being a competition mong festivals. Two days ago, I saw at the cinemas the new, Cannes-labeled film Drunk by Thomas Vinterberg, a brilliant philosophical tale about a loser who becomes a gainer. And I said to myself, where would this kind of film be seen? Of course, it might have an Internet audience, but you are lost on the Internet; there's so much stupidity, so much garbage. Anyone can do anything and put stupid things as influencers etc. This is a tool for communicating, and you have a great audience to spread bullshit.
I think avant-garde artists should be protected; protect the idea and the concept of what they're doing and thinking. My own films have changed throughout the times, from Marona to The Island and then to the Starseeed.
Starseed, Anca Damian
I'm living in contemporaneity, and I shape my ideas and my vision on what is important to tell. But for me, it is important to spread it in the right way. A film is an amplifier: what is in your head gets projected on the screen, and enters the head of the audience.
So, we should be very careful on what is projected on the screen. In Giuseppe Tornatore's film Stano Tutti Bene (1990), Marcello Mastroianni plays a 74-year-old Sicilian father who's visiting his sons and daughters. His daughter leaves him alone to take care of her small son, who's hooked on to television; when he can't watch television, he cries - so the TV set is open all the time. Suddenly there's a problem with the TV broadcast, and Mastroianni needs to stop the child from crying. So, he puts the laundry in the washing machine; the boy looks at the laundry spinning, and he stops crying. My own impression is that we are too watching the laundry in the washing machine.
About Anca Damian
Anca Damian studied at the Academy of Theatre and Film Arts where she obtained a diploma in Cinematography and a Doctor's degree in Arts, Cinema and Media. After graduating, she worked as a director, screenwriter and producer for several documentaries on art related topics. shorts. In 2011, her second feature as Director, screenwriter and producer, "Crulic – The Path to Beyond" was screened at Locarno, Telluride among other 250 festivals, getting the Cristal for Best Feature Film at Annecy Film Festival 2012, and 35 other international prizes.
In 2015, her second animated feature "The Magic Mountain" won 11 international prizes, and the first to receive the Eurimages Audentia award for women directors. Her latest animation feature, "Marona's Fantastic Tale" was nominated at the European Film Awards, and was selected at Tokyo IFF and Rotterdam IFF, winning prizes in Tokyo, Bucheon (Korea) and Los Angeles, among others.
Aparte Film Webpage
The interview was conducted October 2020 (interviewer Vassilis Kroustallis). It is part of the Indie Online 2020 research project, headed by Michelle Kranot and supported by The Animation Workshop / VIA University College, Center for Animation, Visualization and Digital Storytelling, Denmark.Viborg,
TAGS: Anca Damian, Cartoon Movie, indieanimation, IndieOnline Research, TuNouZaPasVu, Marc Rius, Marmita Film, Amopix
Cartoon Movie 2021: Our Top Picks
The Island by Anca Damian at Rotterdam International Film Festival


Oblomov is the best known novel by Russian writer Ivan Goncharov, first published in 1859. Oblomov is also the central character of the novel, often seen as the ultimate incarnation of the superfluous man, a symbolic character in 19th-century Russian literature. Oblomov was compared to Shakespeare's Hamlet as answering 'No!' to the question "To be or not to be?" Oblomov is a young, generous nobleman who seems incapable of making important decisions or undertaking any significant actions. Throughout the novel he rarely leaves his room or bed and famously fails to leave his bed for the first 150 pages of the novel. The book was considered a satire of Russian nobility whose social and economic function was increasingly in question in mid-nineteenth century Russia.


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Pam Golden
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Pam Golden founded GLA Communications in 1986 during the first wave of the home technology boom. Since then, her expertise has helped fuel many of the most successful communications campaigns in the field. With Pam's help, home satellite TV became the most quickly adopted consumer electronics product in industry history. Just a few years later she helped launch the DVD and high definition television achieving prominent national media coverage. In addition to managing the PR agency, Pam provides high-level strategic and tactical counsel to GLA's clients, bringing the benefit of more than 25 years of experience in creating and executing campaigns that work.
Her extensive network of key media relationships including producers at the TV networks and reporters at national print and online outlets, keen understanding of the inner-workings of the media, and affinity for strategic communications in the technology and energy sectors have brought consistent,winning results for clients on Good Morning America, the Today Show, CBS This Morning, CNBC, MSNBC, Fox Business, Bloomberg TV, The New York Times, Wall Street Journal, USA Today, Associated Press, Reuters and Bloomberg BusinessWeek to name a few.
Prior to forming the PR agency, Pam was an account supervisor at Robert E. Griffin Inc, New York and Frank Barth Inc., New York. Before entering the public relations field, she was an editor in trade publishing for the technology industries and she started her career as a newspaper reporter at a daily newspaper in Western Pennsylvania.
Pam earned a degree in Journalism and Communications from Point Park University, Pittsburgh, PA. She is a member of Public Relations Society of America and is active in Counselor's Academy. Pam also is a member of the Consumer Electronics Association's Communication Committee helping guide the industry's PR programs.


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More and more people are looking for new, interesting and unique activities for their most special days with their closest family members and lifelong friends, including their wedding day, hen night or stag party. Yesterday, we received two separate enquiries asking for creative ideas for hen nights and stag parties. Everyone expects that, eventually, a hen party or stag night will end in a bar or club, but why not do something different and memorable beforehand, or even instead of doing what other people choose to do.
Haka is a perfect option for special occasions. We have recently provided Haka events at four hen parties and a wedding! This certainly isn't because our Haka masters storm the room wearing very little except their traditional wear, although sometimes this helps! It's because the bride and groom, and their 'nearest and dearest', have thought about what they want and have come to the conclusion that having everyone learn and perform this fascinating tribal ritual together will be remembered forever.
There is always a great deal of fun in the learning of the Haka. More than this, there are very poignant and emotional parts of the session where the close-knit group of people focus their thoughts and project good wishes for the future by performing the final Haka in honour of the bride and groom. Weddings are often a time to remember relatives who have passed away and the Haka is a fitting way to draw on ancestral family tradition and memories and take them into the future.
Drumming also provides great entertainment at weddings, hen parties and stag nights. I have recently facilitated several drumming stag parties. Not only were they tremendous fun for everyone at the time, but we arranged video recording to give the grooms something to keep and treasure.
On one occasion, I spent time with the group before the groom arrived to put together a welcome drum introduction. When he walked in through the door, he was simply speechless seeing his oldest friends giving a mini performance for him. In a very intimate and powerful way to close the session later, the groom lay down on the floor, with eyes closed, while friends surrounded him drumming. This is an ancient form of tribal music making and is never forgotten by any of the participants. This powerful finale was not only heard by the groom, but also felt.
We are able to adapt many of our teambuilding or corporate entertainment events to meet the specific needs of a bride and groom. For example, we recently provided a Thriller activity as part of a hen night. This was a great success and the photos of everyone dressed in zombie costumers were just hilarious – a totally unique experience.


text:
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FOUNDATION_EXPORT ComGoogleCommonEventbusEventBus *new_ComGoogleCommonEventbusEventBus_init() NS_RETURNS_RETAINED;

FOUNDATION_EXPORT void ComGoogleCommonEventbusEventBus_initWithNSString_(ComGoogleCommonEventbusEventBus *self, NSString *identifier);

FOUNDATION_EXPORT ComGoogleCommonEventbusEventBus *new_ComGoogleCommonEventbusEventBus_initWithNSString_(NSString *identifier) NS_RETURNS_RETAINED;

FOUNDATION_EXPORT void ComGoogleCommonEventbusEventBus_initWithComGoogleCommonEventbusSubscriberExceptionHandler_(ComGoogleCommonEventbusEventBus *self, id<ComGoogleCommonEventbusSubscriberExceptionHandler> subscriberExceptionHandler);

FOUNDATION_EXPORT ComGoogleCommonEventbusEventBus *new_ComGoogleCommonEventbusEventBus_initWithComGoogleCommonEventbusSubscriberExceptionHandler_(id<ComGoogleCommonEventbusSubscriberExceptionHandler> subscriberExceptionHandler) NS_RETURNS_RETAINED;

J2OBJC_TYPE_LITERAL_HEADER(ComGoogleCommonEventbusEventBus)

#endif

#if !defined (_ComGoogleCommonEventbusEventBus_EventWithSubscriber_) && (ComGoogleCommonEventbusEventBus_INCLUDE_ALL || ComGoogleCommonEventbusEventBus_EventWithSubscriber_INCLUDE)
#define _ComGoogleCommonEventbusEventBus_EventWithSubscriber_

@class ComGoogleCommonEventbusEventSubscriber;

@interface ComGoogleCommonEventbusEventBus_EventWithSubscriber : NSObject {
 @public
  id event_;
  ComGoogleCommonEventbusEventSubscriber *subscriber_;
}

#pragma mark Public

- (instancetype)initWithId:(id)event
withComGoogleCommonEventbusEventSubscriber:(ComGoogleCommonEventbusEventSubscriber *)subscriber;

@end

J2OBJC_EMPTY_STATIC_INIT(ComGoogleCommonEventbusEventBus_EventWithSubscriber)

J2OBJC_FIELD_SETTER(ComGoogleCommonEventbusEventBus_EventWithSubscriber, event_, id)
J2OBJC_FIELD_SETTER(ComGoogleCommonEventbusEventBus_EventWithSubscriber, subscriber_, ComGoogleCommonEventbusEventSubscriber *)

FOUNDATION_EXPORT void ComGoogleCommonEventbusEventBus_EventWithSubscriber_initWithId_withComGoogleCommonEventbusEventSubscriber_(ComGoogleCommonEventbusEventBus_EventWithSubscriber *self, id event, ComGoogleCommonEventbusEventSubscriber *subscriber);

FOUNDATION_EXPORT ComGoogleCommonEventbusEventBus_EventWithSubscriber *new_ComGoogleCommonEventbusEventBus_EventWithSubscriber_initWithId_withComGoogleCommonEventbusEventSubscriber_(id event, ComGoogleCommonEventbusEventSubscriber *subscriber) NS_RETURNS_RETAINED;

J2OBJC_TYPE_LITERAL_HEADER(ComGoogleCommonEventbusEventBus_EventWithSubscriber)

#endif

#pragma pop_macro("ComGoogleCommonEventbusEventBus_INCLUDE_ALL")

redpajama_set_name: RedPajamaGithub


Updated Home Near Town in a Grecia Gated Community for sale. Located walking distance to the farmers market and the Grecia mall this newer updated home is a great deal! It features three bedrooms and two full bathrooms as well as an outdoor shower. The kitchen and dining area are ample and the high ceilings make the house stay cool and spacious. The kitchen has lots of counter space as well as a movable island perfect for cooking and you can slide it anywhere to make it convenient.
The living area opens to the back patio where the laundry room and storage area is. The patio itself is lovely and is partially covered. There are flowers and tropical plants in the yard. It is the perfect place for BBQ's and entertaining.
The three bedrooms are at the rear of the house. The master has its' own bathroom as well as access to the back patio via sliding glass doors. The front patio doubles as a car port and there is yet another sitting area in the front. The church of Grecia is visible from the house.
The neighborhood is quiet and mostly ex pats and working Costa Rican's. It is gated and monitored 24 hours a day. Walking distance to town, as well as lots of bus and taxi services and a cheap taxi ride to town ($2) the location is perfect if you want to be near town but without the noise.
This house would make a great rental investment. It is being offered fully furnished for $139,800.00 or unfurnished for $134,800.00. Most of the furniture is custom made and solid wood so the quality is there. The appliances are in good shape and this house is move in ready.
You can contact the realtor directly by completing and submitting the form below. Comments or questions are welcome.


This web seminar presents content and impact discussion of the FDA and Office of Human Research Protections (OHRP) Adverse Event reporting guidance documents. The guidance documents address issues of Adverse Event information exchange between stakeholders and propose solutions to the issues of the quality of information being sent to the IRBs. The guidance impacts the activities of the research site, IRB, and sponsor/CRO's role in compiling and/or communicating Adverse Event information during a research study, changing the industry's current practices.
Barnett International is accredited by the Accreditation Council for Pharmacy Education as a provider of continuing pharmacy education. Participants will receive 1.5 hours (0.15 CEUs) of continuing education credit for full participation, including the completion of a pre-test, post-test, and program evaluation. Barnett International will issue a receipt of completion for earned CEUs within three weeks of program completion. ACPE#: 0778-0000-16-039-L01-P. Released: 10/16.


text:
Q: What does it mean ? ..an alternative to..? All, I was reading a document talk about a computer science framework(dcm4chee).
https://dcm4che.atlassian.net/wiki/display/ee2/Compression+Service
But I have problem to understand some sentence of it. Please help to review it .
What I have trouble to understand is the first sentence of the document.

Compression Service. The Compression Service supports delayed,
  lossless compression of received images. This is an alternative to
  immediately compressing images when received.

I think it is because I didn't know the an alternative to meaning.
Does it mean the Compression Service only support delayed lossless compression of received images? I mean not support the immediately compressing images when received?
Thanks.

A: The Compression Service schedules compression of incoming images, so there will be some delay between receipt of an image and the storage of the compressed version of that image.  An alternative to means another way of doing things. In this case, the other way is immediately compressing each image as it arrives.

redpajama_set_name: RedPajamaStackExchange


text:
Prairie Ronde Artist Residency Begins Its Third Season
The Prairie Ronde Artists Residency participants find beauty in the Mill, while they do their work. This photograph was taken by Joe Freeman, Jr., one of the residency artists in 2019.
The outside renovation of the former Lee Paper mill is work that passersby can readily see from Highway Street in Vicksburg. What isn't as obvious are the Prairie Ronde Artist Residency members who have done their work inside the Mill at Vicksburg.
Since 2018, artists from all over the world have been invited to live in Vicksburg for one to two months and to create new work in the peace and quiet of the Mill and the village. Their finished work has sometimes been displayed inside the Mill for guests to delight in or, more often, in downtown Vicksburg at Prairie Ronde's pop-up art gallery, located at 101 E. Prairie.
The Residency program was the brainchild of John Kern who came to Vicksburg four years ago to work with his wife, Jackie Koney, the manager of the Mill project. Kern taught middle and high school for over 25 years, first in Minneapolis and Seattle, then the Republic of Georgia and, most recently, in Kiev, Ukraine. He photographed the streets of Kiev when it was undergoing revolution in 2014 and has an interest in many kinds of arts expression. In 2017, he suggested to Chris Moore, the owner of the Mill, that it would be good for the area arts community to have a full-blown cohort of people who could make art in the Mill. Thus, the Prairie Ronde Residency was born.
The power to exchange ideas was a driving force in Kern's thinking. He visualized the residency as a place that would provide artists with the space and time to work on their craft in a unique setting, namely Vicksburg and the Mill. The goal was to create a dialog between Vicksburg and the broader arts community where different views might be explored. It would be fully funded with a stipend of $2,000, a place to live while in the village, and $500 for travel expenses. One important stipulation is that participants should give back to the community with a gallery show and a piece of their artwork that would remain with the Mill.
The first 17 artists have offered a wide variety of work. There have been painters, photographers, musicians and visual artists. Pamela Hadley, a light artist from Chicago, will open the third season of artists beginning in April. She will be followed by Erica Ferrari, a sculptor from Sao Paulo, Brazil.
Last year, the Mill joined the Alliance of Artists Communities (AAC). "At first we joined them to stabilize our number of applicants. By joining this organization, we've been able to move away from our initial reliance on word-of-mouth applicants. Joining the AAC means that we're included in a network of over 1,500 residencies around the world – that's increased our reach into the artist community dramatically and has begun to create the Prairie Ronde Artist Residence, and Vicksburg, as a destination for artists from all over," Kern noted.
"This is the power of art and culture," Kern said. "The seeds are planted on some level and suddenly they germinate. We are planting ideas and looking for them to grow in the Mill and the greater Vicksburg community."
If you'd like more information about the residency and their schedule of coming events, follow them on Facebook or Instagram (@prairierondeartistresidency) and on the web at prairierondeartistresidency.com.
Posted on March 11, 2020 March 19, 2020 by justingibsonPosted in Community, News, Vicksburg
Previous Previous post: Windy Clark Traces Her Path to Wind + James
Next Next post: Vicksburg Cultural Arts Center Exposes Venezuelan Crisis


James Spring has lived in the woods for 35 years. He grew up surrounded by nature, and now lives with his wife Jane in the timber near Burlington. Spring's connection to nature is evident in his work: He creates intricate illustrations of birds and plant life and is known internationally for his carvings of birds. You can find his "perfectly imperfect" wooden bowls and platters at the Iowa City Farmers Market on Saturdays and more of his work at his Etsy shop, JSpringCreations.
Little Village: What is your background? Where are you from, and what lead you into making artisan bowls?
James Spring: I spent my childhood out of doors. My grandfather was Frederic Leopold — Aldo's younger brother. Their father, Carl, started a fine wood office furniture factory around the turn of the century, Leopold Desk Co. Their roll top desks are prized even today. So, with the foundation of nature and wood in my life, I moved ahead as an artist, painting water color bird portraits, botanicals and, on occasion, painting and carving wooden decorative decoys and birds.
How did you become interested in making bowls, and who did you learn from?
I had always dreamt of making wooden bowls, but it is a daunting process. I heard of a workshop in Colorado [where I went and learned from the wood sculptor] Trent Bosch. I came home and took it in my own direction. Now, hundreds of bowls later, I am still enthralled.
What other kinds of items do you create?
I have quite a body of work spread from here to Japan! My first carving, when I was 24, won first place at the International Carving Contest at the Mississippi Valley Fair, and a carving of a running Canada goose, wings up, took best of show at the world championship in Ocean City, Md.
What inspires your work? Where do you get the wood you make your projects from?
Each piece is unique. Each type of wood has its own character. There's a lovely spontaneity as each piece of wood determines its design.
Where do you get your materials for your projects?
The wood for my projects comes from our acres. Black cherry has become my favorite. Our son, Willow, is with Black Squirrel tree service in Iowa City, and he comes up with a terrific variety of species for me.
What kinds of art and crafts do you personally collect or decorate with?
My lovely wife Jane and I live in the timber north of Burlington. We moved there in 1980. We built a timber frame across from our mobile home. We moved out of there and moved in with our three children. Some of the timber from the [land] went into the house (floors, trim) and some went into my workshop, which stands where the mobile home was. It's my home during the day — project to project.
Are there any special projects you'd like to do in the future or that you're working on now?
I enjoyed my woodworking projects this winter — wedding presents for two of our kids — but now I'm back to bowls, big bowls. Looks like I'll need a bigger lathe.


text:
Posted inLEAD STORY
Mayor Turner proposes pension reform
by Defender News Service September 22, 2016 September 22, 2016
The City of Houston's pension system for employees has been underfunded for years. Now, Mayor Sylvester Turner has unveiled a preliminary pension reform plan, which he hopes will pay off the estimated $7.7 billion the city owes its pension fund.
Turner said the 30-year fixed plan will pay off out the next three decades and will require cutting yearly costs and full yearly contributions to police, fire and municipal employee pensions. All three of the city's pensions have identified benefit changes to cut the unfunded liability immediately by $2.5 billion.
"It does so in a cost-neutral fashion," Turner said. "Your taxes are not being increased to reduce the $2.5 billion."
Turner's plan includes changes in employee pension benefits and the sale of a billion dollars in pension bonds. The multi-tiered restructuring has been conceptually agreed to by city and police pension boards, but not the firefighters' board.
David Keller, chairman of the Houston Firefighters' Relief and Retirement Fund, released a statement saying while his group continues working with the city, they have not reached an agreement on adjustments to the fund's current plan.
"We have discussed economic changes that would fit within the guidelines set forth by the Mayor," Keller wrote. "We have also presented issues that are important to us. However, no resolution has been made."
A final plan will be presented to the three pension systems, City Council, and the state legislature for approval.
Positive reviews building for Houston pension reforms
Houston's historic pension reform bill passes in the Texas House
Houston pension solution takes step forward in Texas Legislature
Tagged: city of houston, Mayor Sylvester Turner, pension, reform


So this is what I have been doing lately. I've been trying to get different projected finished, stated a few new projects and even learned how to crochet! Yup, I decided to learn crochet over Christmas! Since I have never been much for hand sewing (except for bindings of course) I thought it might be great to learn a craft that is slightly more portable then quilting. I was inspired by an afghan I saw on Pinterest and Mom and I started crocheting while we were in Phoenix. This is called the Blackberry Salad Afgan. Mine is the one on the top and Mom's is below. I left this project in Phoenix so that I have something to work on when I go there.
Since then I've been practicing and I've made a few more projects.
I also went to a weekend quilt retreat in January and I cut into my prized Chickopee fabric! I am making this into a kaleidoscope quilt from the Curio pattern by Basic Grey.
Putting these blocks together is going to take a lot of time and pinning to get the points to match so I'm waiting to work up the ambition to start that.
Also at the January retreat I used a Cuzco jelly roll and made this quilt top called Lost City by Kate Spain.
I spent a lot of time quilting my Stepping Stones quilt in January. I made this quilt top in 2011… Yes it took me that long to get around to quilting it! What can I say? Anyways, I'm pretty happy with the design I finally choose. I still have to finish up the binding and then I will, at long last, reveal the finished quilt. For now I will show you a teaser picture.
I have also started the Jaybird Quilts brand new block of the month quilt, Toes in the Sand! When this pattern was first announced my sister (Jackie, educatingjackie.com) and my mom and I all knew we had to do this! So I got on the waiting list and waited for the pattern to be released. In the meantime, we each chose fabrics. I am using Pat Bravo's Indie fabric with Bella Solids Mushroom for the background. Jackie also picked a line by Pat Bravo, she combined Oval Elements and Pure Elements. Mom has not fulling decided but I think she should use the new fat quarter stacks of Kaffe Fassets 2012 line (hint hint!). Mom is enjoying the sun in Arizona at the moment and so she will catch up when she gets back. Last weekend, Jackie and I got started and made the first two blocks… Well triangles actually! I think perhaps this should be called the triangle of the month quilt!
Finally, this weekend I finished the last two blocks of my Swoon quilt! Yup, I bet you all forgot I was working on that since I stated it over a year and a half ago! So here it is, I hope to get it sewn together this week.
Now your all caught up on the going ons In My Sewing Room! Oh, and on a side note, did you notice that I mentioned my sister has started quilting? Well yes she has! She has already completed two whole quilts (she quilted them herself and everything!). She also made a table runner, and a whole swack of aprons for Christmas (I even got one!). Since Christmas she's finished another quilt top and she started two more quilts (Toes in the Sand, and Science Fair!)… I have to say she's well on her way to quickly becoming sucked in to the world of beautiful fabrics, rotary cutters, and sewing machines! I love it and Mom and I are so happy that she has joined our obsession hobby!
Lovely fabric choices and work — especially your Lost City quilt!
Why thank you for your compliment Kate! That means a lot coming from you!
I love it all!!! The kaleidoscope is my favorite!!
you know kerrie……..just when i dont think you can possibly get any more talented. here you go again! amazing.
Gorgeous! Where did you find that Swoon pattern?
I love your Lost City quilt! Have it on my list to make it this spring. Great projects you've been working on!


text:
Q: what is precise definition of proposition? What is precise definition of proposition (logic) ?
In the textbooks they define :

"a declarative sentence that is either true
  or false."

But for me this definition is rather imprecise.
for example :
$x>2$
Is It a proposition? and why? in my idea $x>2$ Is't proposition ; because
can be both true and false .


text:
Stars Who Turned Down Major Movie and TV Roles: Brad Pitt, Gwyneth Paltrow and More
Gwyneth Paltrow in Titanic? Brad Pitt in Almost Famous? Some of the most iconic roles in film and TV could have looked very different had they gone to the original casting choices.
Before Billy Crudup brought Stillwater singer Russell Hammond to life in the 2000 music drama, director Cameron Crowe had his eye on Pitt, who was "just starting out" in his now-legendary career. "He just really had something," Crowe gushed during the premiere episode of the "Origins: Almost Famous Turns Twenty" podcast in July 2020.
While Pitt nailed his audition — and had Crowe "rolling on the floor" in laughter — it just wasn't the perfect fit for that moment. Crowe even admitted that he "wept" when the Fight Club star pulled out of the project.
"But I think in the back of my brain, I knew that he had never fully fallen in love with the character," Crowe said. "He had fallen in love with the idea of the character. But, maybe there just wasn't enough on the page."
The Once Upon a Time in Hollywood actor isn't the only one who turned down the opportunity to take a soon-to-be iconic role. In 2015, Paltrow admitted that she could have starred in 1997's box office hit, Titanic.
"I look back at the choices I've made and think, 'Why the hell did I say yes to that and no to that?'" she told Howard Stern at the time. "And you know, you look at the big picture and think, 'There's a universal lesson here. What good is it to hold onto roles?'"
The Country Strong actress went on to joke that her mother, actress Blythe Danner, wouldn't be proud of her for spilling industry secrets. "My mother will kill me that I'm talking about turning down movie roles," she teased. "She says it's not ladylike."
Scroll down to find out which stars almost played some of the most iconic roles in film and TV!
Ontario reports 854 new COVID-19 cases on Saturday, 2 deaths
Black Friday crowds return, but discounts are not what they used to be
How many medals will Canada win at the Winter Olympics?
Federal government stays mum as Manchin says 'No' to Biden bill with EV tax credits
Lauren Ash Encourages Everyone To Love Their Bodies In Empowering Social Media Message
Quebec musician Karim Ouellet, Juno award winner, dies at 37


text:
Q: No context menu is shown for child of expandable listview I'm having an expandable listview in my activity. I want to show a contextmenu for the childs. Basically I know how to do this, but when implementing the contextmenu it never shows up for the child views. Just for long clicks on the group view and I didn't find the reason for this behavior. Any ideas maybe?
Thanks in advance!
Setting up the expandable listview:
public View onCreateView(LayoutInflater inflater, ViewGroup container,
        Bundle savedInstanceState) {
    super.onActivityCreated(savedInstanceState);
    View v = inflater.inflate(R.layout.listed_data, container, false);
    parser = new SvwXmlparser("a", getSherlockActivity());
    elv = (ExpandableListView) v.findViewById(R.id.svwexplist);
    return v;

}
public void onActivityCreated(Bundle savedInstanceState)
{
    super.onActivityCreated(savedInstanceState);
    registerForContextMenu(elv);
    infos = parser.parse();
    showData();
}
public void showData()
{
    adapter = new SvwInfoAdapter(getSherlockActivity(), infos);
    elv.setAdapter(adapter);
}

Adapter:
public Object getChild(int groupPos, int childPos) {
    return children.get(groupPos).get(childPos);
}

public long getChildId(int groupPos, int childPos) {
    return childPos;
}

public View getChildView(int groupPosition, int childPosition, boolean isLastChild,
        View convertView, ViewGroup parent) {
    //TODO:modify
    String player = (String)getChild(groupPosition, childPosition);
     if (convertView == null) {
            LayoutInflater infalInflater = (LayoutInflater) context
                    .getSystemService(Context.LAYOUT_INFLATER_SERVICE);
            convertView = infalInflater.inflate(R.layout.svw_team_child_layout, null);
        }
     convertView.setFocusableInTouchMode(true);
     TextView players = (TextView) convertView.findViewById(R.id.tvteamChild);
     /*if(childPosition> 1)
     {
         players.setText((childPosition-1) + ". " + player);
     }
     else
     {
         players.setText(player);
     }*/
     players.setText(player);
    return convertView;
}

public int getChildrenCount(int groupPos) {
    return children.get(groupPos).size();
}

public boolean isChildSelectable(int arg0, int arg1) {
    return true;
}

Create Contextmenu:
public void onCreateContextMenu(ContextMenu menu, View v, ContextMenuInfo menuInfo)
{
    super.onCreateContextMenu(menu, v, menuInfo);

    ExpandableListContextMenuInfo info = (ExpandableListContextMenuInfo) menuInfo;
    int groupPos = ExpandableListView.getPackedPositionGroup(info.packedPosition);
    int childPos = ExpandableListView.getPackedPositionChild(info.packedPosition);
    int type = ExpandableListView.getPackedPositionType(info.packedPosition);
    Toast toas =Toast.makeText(getSherlockActivity(), groupPos + " - " + childPos, Toast.LENGTH_LONG);
    toas.show();

The toast shows for every group but not for the children...

A: I finally figured it out... It's not working to set touchable=false in the xml. After calling setTouchable(false) in the adapter's getView-methods for group and child view, everything is working as supposed.

A: I faced the same problem. The above solution didn't work out for me. And I found a simple solution!
This is what helped me:
In my ExpandableListAdapter in the method:
public View getChildView(int groupPosition, final int childPosition,boolean isLastChild, View concertView, ViewGroup parent) {
    ...
    concertView.setLongClickable( true);


text:
Pogledajte također "Ranefer".

Ranefer (Ranofer) je bio egipatski princ 3. i 4. dinastije. Njegovo ime znači "Ra je lijep". Ime boga Sunca Raa je često upotrebljavano u 4. dinastiji.

Ranefer je bio sin faraona Snofrua i njegove prve žene, kojoj je ime nepoznato te unuk Meresank I. Njegova su starija braća bili krunski princ Nefermaat A i Rahotep, dok je ime njegova mlađeg brata nepoznato. Svi su oni rođeni u 3. dinastiji, točnije, na samom kraju te dinastije. Ranefer je bio polubrat Kufua, graditelja Velike piramide u Gizi.

Ranefer je živio na dvoru kao i ostali članovi kraljevske obitelji. Njegov je naslov bio vrlo jednostavan – "kraljev sin". On i njegova braća su umrli prije svog oca, pa je zato Kufu bio Snofruov nasljednik.

Ranefer je pokopan u mastabi u Meidumu, gdje su pokopana i njegova braća.

Izvori

Prinčevi drevnog Egipta
Četvrta dinastija drevnog Egipta

redpajama_set_name: RedPajamaWikipedia


text:
Q: Calculating $\lim_{n\rightarrow\infty} e^{-t\sqrt{n}}\left(1-\frac{t}{\sqrt{n}}\right)^{-n}$ For my probability homework I have to show that a certain limit exists and equals $e^{\frac{1}{2}t^2}$.
The limit in question is $\lim_{n\rightarrow\infty} e^{-t\sqrt{n}}\left(1-\frac{t}{\sqrt{n}}\right)^{-n}$.
I have tried the following simplifications:
\begin{align*}
 &\quad\ \text{substitute $m = \sqrt{n}$}\\
 &= \lim_{m\rightarrow\infty} e^{-tm}\left(1+\frac{-t}{m}\right)^{-m^2}\\
 &= \lim_{m\rightarrow\infty} e^{-tm}\left(\left(1+\frac{-t}{m}\right)^m\right)^{-m}\\
 &= \lim_{m\rightarrow\infty} e^{-tm}\left(e^{-t}\right)^{-m}\\
 &= \lim_{m\rightarrow\infty} e^{-tm+tm}\\
 &= 1
\end{align*}
But according to wolfram alpha during the third equality the outcome changes.
Can anyone help me on how to properly calculate this limit?

A: Consider the logarithm which equals
$$
-t\sqrt{n}-n\log\left(1-\frac{t}{\sqrt{n}}\right)=-t\sqrt{n}+n\left(
\frac{t}{\sqrt{n}}+\frac{t^2}{2n}+o(n^{-1})
\right)=\frac{t^2}{2}+o(1)\to t^2/2
$$
as $n\to \infty$ where we used the taylor expansion of $-\log(1-x)=x+\frac{x^2}{2}+o(x^2)$ in the first equality.

A: $-t\sqrt n-n\log(1-\frac t {\sqrt n})=-t\sqrt n-n(-\frac t {\sqrt n}-(\frac t {\sqrt n})^{2}/2-... \to t^{2} /2$ so the given limit is $e^{t^{2}/2}$.


Set right in the heart of Dimboola next to the IGA super market, lies this extraordinary development opportunity. This corner allotment is set on 851m2 and has all services available and water already connected. If you're looking for the perfect development site, look no further.


text:
> What A Fighter! Sindhu Wins Silver, Becomes India's Youngest Individual Olympic Medallist
What A Fighter! Sindhu Wins Silver, Becomes India's Youngest Individual Olympic Medallist
SW Staff
PV Sindhu pushed World No 1 Carolina Marin right to the edge with an epic comeback in the 1st game, but fell short in the next two games, losing 21-19, 12-21, 15-21 to the Spaniard.
The 21-year-old will bring home the silver to become the youngest Indian individual Olympic medallist and the only female athlete to win a silver medal for the country. She joined shooters Rajyavardhan Singh Rathore (2004, Athens) and Vijay Kumar (2012, London) and wrestler Sushil Kumar (2012, London) as India's silver medallists.
Source: b'Sindhu fought hard, but just fell short. AFP'
Sindhu trailed by six points at one stage in the first game, but as has been her habit at Rio 2016, showed immense grit and class to fight back and snatch it from the jaws of defeat.
Marin, however, always seemed to be in control and upped the ante to comprehensively defeat Sindhu in the 2nd game 21-12.
Source: b'PV Sindhu wins a historic silver.'
Sindhu kept her within touching distance in the 3rd and telling game, defending well and taking the rare opportunities to attack. It was 14-16 at one point after which Marin accelerated away and won it 21-15.
In their last five meetings in the last two years, Marin has beaten Sindhu four times with the Indian gaining an upper hand during the Denmark Super Series last year, but today she could not repeat the feat.
The hyper-aggressive Marin mixed power with precision to dominate the rallies with her acute-angled smashes interspersed with clever drops to catch the Indian often on the wrong-foot.
Sindhu struggled with the length of her strokes as gave away many points by hitting long and wide but she fought tooth and nail till the end only to come second best.
Feature image source: AFP


text:
Customer Service Complaint
jameslepak
01-14-2023 08:26 PM - last edited on 01-15-2023 10:41 AM by Sarah-BBY
We wound up purchasing a new 75" TV from Best Buy for the sole reason as it could be delivered on Saturday 1/14/23. We could have spent that money somewhere else, picked it up or had it delivered a few days later but we took a chance with Best Buy. While ordering online and chatted with an agent that assurmed me of the delivery date. They even talked me into an additional $200 Total Tech membership to have even better customer service and perks.
We followed the directions given and despite being told we'd receive a call from the delivery agent the day before delivery I never received a call. Still, the website stated that delivery was for 1/14/23 and the delivery window was between 12:00pm and 8pm.
The morning of 1/14/23 the delivery window changed to show it would be delivered between 12:00pm and 4pm.
After sitting there for 4 hours waiting I called at 4pm to talk to Minerva in customer support. She attempted to reach the delivery agent by phone but nobody was answering the call. She also e-mailed the agent to let them know they were late and to call the customer to manage expectations. I appreciated her efforts but was disappointed that she had almost no information to tell me what was going on. She assured me that it would be delivered by 8pm however.
By 8pm I called customer support again and talked to Michael. Once again he tried to call the agent and emailed the agent's supervisor to find out what was going on. At this point I was pretty irate that I had sat in my living room for 8 hours with the expectation of delivery. Looking at the website, it still showed that delivery was today. Michael told me that they could still show up after 8pm but he wanted to transfer me to a higher support Tier
I now talked to Nicole from Total Tech member services. Nicole reviewed what was done previously by Minerva and Michael and let me know she could do nothing else. Although she did apologize for the lack of communication and delivery of my very expesive TV the tone was cold and short. They had no answers. Nobody bothered to even tell me what was happening. They didn't know where the delivery truck was and had no way to even resechedule a new delivery date. At this point I asked if this is what my extra $200 was buying me for customer service. I got silence for an answer.
Not wanting to blame any of the agents for what was going on I asked Nicole how to file a formal complaint. She said I could only tell her. I asked if she had a supervisor and she said no, only her. I asked if there was a corporate phone number or address to lodge a complaint and she said it would only come back to her. Amazing, I was already talking with the highest member of the Best Buy company! Imagine that. Clearly she was attempting to prevent me from contacting anyone else by suggesting I couldn't reach anyone else. I asked her if she seriously wanted to give me that as an answer because I was going to find how to contact the company and file a complaint. She once again told me there was nobody else I could reach for assistance. I should have asked her last name, but considering she is the highest ranking member of Best Buy it should be easy to find out which Nicole it was.
So I've spent about $2000 for a TV and Total Tech membership which never delivered despite assurances it would, nobody knows where it is, nobody can contact the agent that was delivering it, nobody can even reschedule a delivery and there's nobody else I can talk to for answers or to file a complaint.
Does ANYONE think this is good business? Would ANYONE in my position not be angry? My time and money is as valueble as yours and I deserve some customer service and answers. I also deserve delivery and mounting of a very expensive TV. You had no problem taking my money. I paid for the item and delivery that Best Buy agreed to honor. I did not get that and I got lousey customer serivce for my trouble.
James {removed per forum guidelines}
Kayden-BBY
Re: Customer Service Complaint
Hey there, James!
Thank you so much for reaching out and joining us here on our community forum. Although, this is never the circumstances we want it to be under. Getting a new TV should be a fun and exciting time, so going through these delays, a missed appointment, and not being able to get assistance can understandably be quite frustrating. When my TV was being delivered, I could not wait to get it, so I know how that may be.
As we strive to provide a world-class experience, I am concerned that may not be the case here. With that being said, I would be more than happy to investigate further and properly document this feedback here at our Corporate Campus for internal review. For me to do so, kindly use the below private message button to send your:
I will keep an eye out for your message.
Kayden | Social Media Specialist | Best Buy® Corporate
Thank you for posting this customer complaint. We had a similar experience that I will be posting shortly. Our total order was for $6,200 and included a 75 inch Sony television. Our technician told us that all of the vans were broken into and they could not provide the service. I spent the full day yesterday calling Geek Squad, the In Home Theater Advisor's Manager, Fawn. I even went to the store where we purchased the items, no one could help us. Now, they are telling us that our delivery can't be fulfilled until 01/28. We are going to find another store to complete our purchase. If you still can't get any customer service, I would return the item and go somewhere else. I am sorry that this happened to you.


"The thirty-year-long campaign against dietary fat is as misguided as it is futile".
That statement, written in The New Diet Revolution by Dr. Robert Atkins, is now being vindicated with startling regularity as new research continues to show. There's good reason to believe that even mainstream researchers have come to realize that the demonization of all fat- including saturated fat, as we will see in a moment- was ill-advised and misleading. This is a good time to clarify the position of the Atkins Nutritional Approach on fat in the diet, particularly the most misunderstood of all fats, saturates.
All foods containing fat- even pure oils- contain a mixture of three kinds of fat- saturated, polyunsaturated and monounsaturated. (Foods are often identified by their predominant fat- for example, olive oil as "monounsaturated" butter as "saturated" – but all real foods contain mixtures of the three).
It is the position of the Atkins Nutritional Approach that all three types of fats are necessary and important to human health and should be incorporated into the diet in a balanced proportion. It is also the position of the Atkins Nutritional Approach that saturated fat, particularly in the absence of high carbohydrate intake, is not dangerous to human health—on the contrary, when balanced with mono and poly-unsaturated fats in a controlled carbohydrate dietary environment, saturated fat may actually have real and measurable benefits in a number of different arenas. More on that in a moment.
The very first edition of Diet Revolution in 1972, in its zeal to get the word out that sugar, processed carbs and unfettered insulin responses were responsible for the growing epidemics of obesity and heart disease, Dr. Atkins did in fact mention in passing that it was probably better to eat pork rinds than to fill up on sugary cakes. Because of this, taken out of context and blown out of proportion, there continues to be an enormous amount of prejudice against the Atkins Nutritional Approach as the "diet that promotes unlimited amounts of saturated fat". This wasn't true then, and certainly isn't true now. Meticulous analysis of the daily food menus for the three phases of the Atkins Nutritional Approach reveals a very balanced intake of fats.
In the Induction Period, for example, amount of total fat consumed in a day comes out to 126 grams, of which the majority is monounsaturated: 55 grams to be exact. The remaining fat consists of 37grams of saturated and 21 grams of polyunsaturated. As a percentage of total fat consumed this comes out to a little less than 1/3 (30%) saturated, about 2/5 (40%) monounsaturated, and about 1/5 (22%) polyunsaturated.
In Ongoing Weight Loss, the percentage of total fat from saturated fat is even less. A typical one day menu on the OWL stage has about 118 grams of total fat of which only 33 grams are saturated, making saturated fat intake 16.7% of total calories consumed for the day and considerably less than 1/3 of the total fat consumed.
Now here's where it gets good: Let's say the average overweight American is, for example, consuming 3500 calories a day- a figure that's probably an underestimation considering that one triple cheeseburger from Wendy's weighs in at 940 calories and a Frosty drink to wash it down with is 540. Now let's further say that our typical American is sticking conscientiously to the "official guidelines" of 30% of calories from fat, 10% from saturated. That typical American would be in fact consuming on a daily basis 116 fat grams of which 38 grams would be from saturated: that's virtually the same amount as the induction stage of the ANA, and actually 5 grams more than the OWL stage! And, needless to say, neither of the Atkins stages would also contain the gut-busting, obesity producing sugar and carbs that our average American would be eating along with his fat on a daily basis.
But is saturated fat really the demon it has been made out to be? Even some "low-carb" diet book authors buy into this myth, designing so-called "healthy" versions of controlled carb programs that cut the contribution of saturated fat even further. Is this necessary? What does the research say?
Hays (2) and colleagues did another study on the effect of a high saturated fat / no-starch diet, this time measuring the effect of the diet on type of LDL cholesterol. We now know that LDL (known as the "bad") cholesterol comes in two "flavors" or, more accurately, "particle sizes". One of these is particle size pattern A, which are large fluffy molecules which are actually pretty benign. The other is particle size pattern B which is like a small dense BB-gun pellet. This pattern is the dangerous type of LDL cholesterol, most likely to lead to plaque and most predictive of heart disease. Recent research has focused on the changes in particle size in LDL cholesterol as a response to different diets- this measure is much more sensitive and telling than just the absolute number LDL cholesterol. In the Hays study, all subjects had atherosclerotic Cardiovascular Disease, and all were obese. They were told to consume one half of all calories as saturated fat (primarily red meat and cheese). Fruit and non-starchy vegetables were prescribed in restricted amounts at each meal, but starch was completely forbidden. Both body weight and body fat percentage decreased in the study group, as did triglycerides. But here's the really key part: though total HDL and LDL did not change, the size of the particles did! With a diet of fully 50% of calories from saturated fat, the patients saw their risk profile change significantly for the better. In fact, 10 of the 23 patients had a profile that indicated metabolic syndrome at the beginning of the study, even though they had been treated with statins. But by the end of the study, and after consuming a diet that averaged 1- 1 ½ pounds of red meat and 2-4 eggs per day, 8 of the 10 metabolic syndrome patients had changed to a low-risk profile!
Many, many other studies have been done in the past several years using the protocol of the Induction Phase of the Atkins Nutritional Approach and we now have a fair amount of hard data to demonstrate that consuming approximately 30% of total fat intake from saturated fat on a low-carbohydrate regimen does not constitute a health hazard at all and may in fact have a number of benefits (for example, the positive change in LDL particle size discussed above). Volek, et al, (3) conducted a study which compared the results of a low-fat diet to a low-carb diet. The low-carb group consumed about 60% of their total calories from fat, and of this, about 1/3 was saturated. While these subjects experienced a mild increase in total and LDL cholesterol, their HDL (good, protective) cholesterol increased twice the amount that their "bad" cholesterol did, resulting in a significantly improved cholesterol risk profile. The subjects also experienced a large drop in triglycerides, leading to a superb Triglyceride: HDL ratio, a measure which has been shown in at least two studies (Jeppesen, et al Circulation 97:1029, 1998, and Gaziano, JM et al Circulation 96(8):2520-2525, 1997) to be a significant marker and predictor for cardiovascular disease.
The benefits of monounsaturated fats (like olive oil) are well known and well documented, and the benefits of specific polyunsaturated fats like the omega-3's found in fish (Eicosapaentanoic Acid and Docasahexanoic Acid) are now beyond dispute. There is a tremendous amount of peer-reviewed literature documenting their positive effects on everything from heart health to depression. The position of Atkins Nutritional Approach has always been- and will continue to be- that the best possible eating plan contains a balance of the three types of fats in the context of a controlled carbohydrate diet of natural, unprocessed foods.
A balanced intake of all three categories of fats- monounsaturated, polyunsaturated and saturated, consistent with the ANA recommendations, will lead to both significant weight loss and to the improvement of cardiovascular health.
6. Sondike, et al Effects of a low-carbohydrate Diet on Weight Loss and Cardiovascular Risk Factors in Overweight Adolescents.


text:
5 arrested in Lake Mill Lodge inspection
Emerson Marcus
RGJ
A downtown Reno motel once described by police as a haven for drugs and crime passed inspection Wednesday with five of its 123 rooms in complete compliance and five tenants booked on warrant arrests.
It wasn't a stellar showing for the Lake Mill Lodge, but better than its last inspection a few years ago, which led to a two-day closure, said Alex Woodley, Reno Code Enforcement manager.
The inspection, a result of tenant complaints on living conditions, was performed by Reno's Community Safety and Services Team, a multi-agency team and off-shoot of the now-defunct Motel Interdiction Team, Woodley said.
Issues ranged from missing faucets; loose toilets, clogged plumbing and smoke detector defects.
"There was nothing they couldn't fix in next two or three days," Woodley said. "As far as anything significant to close, only two rooms."
Those rooms were temporarily shut down as a result of the inspection because of alleged hoarders packing the rooms so full with filth it hindered appropriate egress, or exit, Woodley said, which poses a fire hazard.
"They (owners of the Lake Mill Lodge) remembered when we closed them down for a day or two, so I think they were trying to avoid a similar situation," Woodley said.
Kanwaljeet Singh Brar is listed as holding the business license for the motel — located in the 200 block of Mill Street near, just southeast of the Siena — since July 2002.
The Lake Mill Lodge was built in 1966. Police sweeps of the motel have led to arrests in the past. One in 2007 led to 10 arrests and another in 2005 led to eight.
But code enforcement says the motel, which police have said once housed more than 100 felons a decade ago, is improving.
Representatives with the lodge said they did a lot of work in the last two weeks, when they were notified the inspection was coming. They declined to give specifics on the work performed prior to inspection.
"This time we did give notice," Woodley said. "Felt ultimately we want you to be in compliant. If you can do it before we get there, that's good."


text:
Epping Ongar Railway
The Epping Ongar Railway runs through attractive countryside on a line formerly built by the Great Eastern Railway, which later became part of the London Underground system, before its closure in 1994. A comparative new-comer to the heritage scene, the railway is well worth a visit. It is very conveniently located at the end of the Central Line of the London Underground (just a bus ride away). Its trains comprise both ex-main line steam and diesel locomotives. An interesting feature is the heritage buses that it runs (for example, Epping station to North Weald station) as part of the overall heritage experience.
North Weald to Ongar (Essex)
North Weald station (CM16 6BW)
- April to October (Weekends and bank holidays)
- November to January (Special event trains)
On most days, mix of both steam and diesel
Steam (mid-sized tank locomotives)
Diesel (former BR main line locomotives and DMUs)
Adult Rover: £16. Concession Rover: £16.Child: £8 Family: £41
Limited free parking at North Weald station
- The Epping Fryer
- Real Ale Trains
- Light Fantastic: Mid Nov to mid-January
- Santa Specials: December
- Spring Diesel Gala: April
- Steam Gala: June
- Autumn Diesel Gala: September
- Driver Experience
- Signal Box Experience
- Steam Train and Guided Tours
Email: enquiries@eorailway.co.uk
Website: www.eorailway.co.uk
Social Media: https://www.facebook.com/EppingOngarRailway
Also on Instagram and YouTube
The Great Eastern Railway built the railway to Ongar in 1865 by an extension to its line from Stratford to Loughton opened in 1856. The extension was single-track, although Loughton to Epping was doubled in the 1890s. The Epping to Ongar section always remained single. In 1949 the electrified Central Line was extended to Epping and the whole line, including that to Ongar, became part of London Underground. The Ongar section was not electrified at the time and so a shuttle service operated between Epping and Ongar. It was finally electrified in 1958 however to low grade standards, and accordingly the shuttle service arrangement continued. In 1994 the line was closed as a consequence of low usage. The line was reopened by the Epping Ongar Railway Volunteer Society in 2004, and it has rapidly grown in terms of its collection and operations, and popularity, since that time.
To extend the line from North Weald to Epping, connecting to London Underground services
(1) GWR Hall 4900 Class No. 4953 'Pitchford Hall'
(2) GWR 4575 Class 2-6-2T locomotive – No. 5521
(3) Hawthorn Leslie - No. 3437
(1) BR Class 47 - 47635
(4) Heritage DMU Class 117
(5) Heritage DMU Class 121 DTS - W56287
(6) BR Class 08 shunter - 08 114 (on loan to railway)
5101 Class Large Prairie - No. 4141
Diesel Locomotives/DEMU Under Overhaul:
(3) BR Class 20 - D8001 (20 001)
(4) DEMU 'Hampshire' Class 205 unit
- RSH 7667
- London Underground Driving Motor 1031
Epping Ongar Railway Volunteer Society
Adult: £20. Junior: £12. Family: £36
- Discounted travel fares.
- Member's Social Evenings.
- Discounts on purchases from the refreshment outlets
- Quarterly Magazine, 'Mixed Traffic'
How to Join: www.eorailway.co.uk/support/membership
Like all heritage railways, the Epping Ongar Railway could not operate without our friendly team of volunteers and helpers as well as the local businesses and groups that kindly assist. Volunteers undertake all the jobs that are essential for the safe and smooth operation of the railway, both the jobs that might first come to mind, as well as many that may go unnoticed, but are never the less essential to making the trains run.
How to Volunteer: Go to www.eorailway.co.uk/support/volunteering
How to Donate: Go to www.eorailway.co.uk/support/donate
WHY JOIN: Help the railway achieve its ambition of extending to Epping.
- Great Eastern Railway Society
- London Underground Railway Society
- Epping Railway Circle


While speaking at The Ohio Farm Bureau Federation's Annual Ag Day in Columbus on Feb. 23, both Governor Ted Strickland and GOP challenger John Kasich denounced a proposed anti-cruelty ballot measure that would create standards to prevent cruel and inhumane treatment of Ohio farm animals.
The measure would create standards that prohibit barbaric factory farming practices including extreme confinement in tiny cages, allowing sick and injured cows to enter the human food chain, and inhumane methods of euthanasia. Similar laws have already been enacted in Michigan, Arizona, California, Colorado, Florida, Maine, and Oregon.
"I know we will work together to make sure what has been done is not undone. If we want to eat, and if we want access to affordable and inexpensive food, it is important for the agricultural community within our state not to be hamstrung and to have their hands tied behind their back by those who do not fully appreciate the value of what happens on our farms," said Gov. Strickland.
"No outsiders ought to come in here and try to destroy our farms. I am going on TV and I am going to defeat this extremism. I am marching with you," Kasich said.
Both gubernatorial candidates along with the Ohio Farm Bureau supported Issue 2 which established the Ohio Livestock Care Standards Board – an amendment, which through its wording, bamboozled voters into passing this past November. Opposition to Issue 2 included The Humane Society of the United States, League of Women Voters, and the Ohio Sierra Club – all who saw the measure as favoring large factory farmers which in turn would perpetuate the cruel treatment of animals.
By Strickland and Kasich opposing the latest anti-cruelty measure, they are saying that they support the inhumane treatment of animals in our state. This does not come as a shock as the Buckeye State is consistently ranked toward the bottom of animal welfare legislation when compared to other states.
This Dish Is Vegetarian (TDIV) is based out of NE Ohio and fully supports the Ohioans for Humane Farms ballot initiative. Shame on both these candidates for letting Ag votes usurp morality.


A couple of undergraduate biomedical engineers from Ryerson University in Toronto, Canada, have developed a brain-controlled prosthetic arm. While their robotic arm certainly isn't the world's first or the most technologically-advanced prosthetic, it could very well be the safest and least expensive. That's because unlike traditional prosthetic limbs, which contain sophisticated electronic and mechanical components, the Artificial Muscle-Operated (AMO) arm is made primarily of simple pneumatic pumps and valves and a tank of compressed air to create movement. This has allowed the prosthetic to be developed at just one-quarter of the cost of a traditional prosthetic limb.
Moreover, most prosthetic limbs controlled by neural signals require an invasive and expensive re-innervation surgery to re-route major nerves, followed by weeks of training. The AMO arm uses brain signals measured with a head-worn device (EEG, we presume) connected to a computer that controls the arm's pneumatic system.
You may be wondering if this budget robotic arm can match the performance of the more expensive and intricately designed competitors. According to Michal Prywata, one of the inventors, it only takes ten minutes to master the basic functioning of the arm. Also, the pneumatic nature of the AMO allows for a greater range of movement than other prosthetic arms. Finally, AMO arm technology has a number of potential applications, such as wheelchair devices and military robotics, and research efforts are already underway to implement improvements such as independent finger movements and enabling the arm to sense what kind of material it is holding.


text:
21 Minn. 391 (Minn. 1875), Mandel v. Buttles
Document Cited authorities 5 Cited in 23 Precedent Map Related
Citation: 21 Minn. 391
Opinion Judge: Berry, J.
Party Name: A. G. Mandel v. Harold J. Buttles and another
Attorney: H. C. Butler, for appellants. Chas. M. Start, for respondent.
Case Date: April 01, 1875
Court: Supreme Court of Minnesota
21 Minn. 391 (Minn. 1875)
A. G. Mandel
Harold J. Buttles and another
[Syllabus Material]
Action on a bill of exchange, drawn by the plaintiff on the defendants, and by them accepted. Defence, that the bill was accepted on account of certain varnishes, etc., theretofore furnished by plaintiff to defendants, under a representation and warranty made by plaintiff to them, at the time of furnishing the goods, that such goods were of the best quality, and were fit and proper materials for varnishing the best kinds of furniture. That the defendants ordered the goods for use in staining and varnishing the best kinds of furniture, trusting in the representations and warranty of plaintiff. That the goods were not fit or proper for such purpose, but altogether unsuitable, and have always been and are altogether useless to defendants. That at the time of the acceptance of the bill, defendants did not and could not know the character of the goods or any of them, but believed them to be as represented and warranted by plaintiff. That as soon as the defendants had the means of learning, and did learn the character of said goods, they notified plaintiff that they would not accept them, and offered to return them, which they are still ready and willing to do.
At the trial in the district court for Olmsted county, before Mitchell, J., it appeared from the testimony of the defendants, that in March, 1872, an agent of plaintiff, whose place of business is in New York, called on the defendants at their place of business in Rochester, in this state, and obtained from them the following order:
Rochester, Minn., March, 1872.
Messrs. A. G. Mandel & Co., New York.
Please ship by R. W. at once the following goods, ordered though your agent, M. A. Hostetter:
No. bbls. Price per Gallon.
1 No. 1 Copal $ 1 40
1 Pure Shellac 3 00
1-2 Walnut Stain 1 00
1-2 F flowing 2 50
Terms six months.
Buttles & Herrick. Before taking the order, the agent said the goods were the best of their kind, and (according to the testimony of Buttles) if defendants did not find them so, on trial, they need not keep them; or, as testified by Herrick, the agent warranted the goods to be of the best quality, and suitable for use in defendants' business, and that on trial, if defendants found them not so, they need not pay for them. The goods were sent from New York, March 26, and at the same time a notice of shipment, with a bill of the goods, was sent to defendants, which they received about six weeks after the order was given. Defendants objected to certain alleged overcharges, and some time was consumed in adjusting this claim. At length, about ten weeks from the date of the order, defendants were credited with the amount of the overcharges, and for the balance, being the price of the goods ordered and sent...


text:
[![check vulns](https://github.com/spiegel-im-spiegel/errs/workflows/vulns/badge.svg)](https://github.com/spiegel-im-spiegel/errs/actions)
[![lint status](https://github.com/spiegel-im-spiegel/errs/workflows/lint/badge.svg)](https://github.com/spiegel-im-spiegel/errs/actions)
[![GitHub license](https://img.shields.io/badge/license-Apache%202-blue.svg)](https://raw.githubusercontent.com/spiegel-im-spiegel/errs/master/LICENSE)
[![GitHub release](http://img.shields.io/github/release/spiegel-im-spiegel/errs.svg)](https://github.com/spiegel-im-spiegel/errs/releases/latest)

Package [errs] implements functions to manipulate error instances.
This package is required Go 1.13 or later.

## Usage

### Create new error instance with cause

```go
package main

import (
    "fmt"
    "os"

    "github.com/spiegel-im-spiegel/errs"
)

func checkFileOpen(path string) error {
    file, err := os.Open(path)
    if err != nil {
        return errs.New(
            "file open error",
            errs.WithCause(err),
            errs.WithContext("path", path),
        )
    }
    defer file.Close()

    return nil
}

func main() {
    if err := checkFileOpen("not-exist.txt"); err != nil {
        fmt.Printf("%v\n", err)             // file open error: open not-exist.txt: no such file or directory
        fmt.Printf("%#v\n", err)            // *errs.Error{Err:&errors.errorString{s:"file open error"}, Cause:&os.PathError{Op:"open", Path:"not-exist.txt", Err:0x2}, Context:map[string]interface {}{"function":"main.checkFileOpen", "path":"not-exist.txt"}}
        fmt.Printf("%+v\n", err)            // {"Type":"*errs.Error","Err":{"Type":"*errors.errorString","Msg":"file open error"},"Context":{"function":"main.checkFileOpen","path":"not-exist.txt"},"Cause":{"Type":"*os.PathError","Msg":"open not-exist.txt: no such file or directory","Cause":{"Type":"syscall.Errno","Msg":"no such file or directory"}}}
        fmt.Printf("%v\n", errs.Cause(err)) // no such file or directory
    }
}
```

### Wrapping error instance

```go
package main

import (
    "fmt"
    "os"

    "github.com/spiegel-im-spiegel/errs"
)

func checkFileOpen(path string) error {
    file, err := os.Open(path)
    if err != nil {
        return errs.Wrap(
            err,
            errs.WithContext("path", path),
        )
    }
    defer file.Close()

    return nil
}

func main() {
    if err := checkFileOpen("not-exist.txt"); err != nil {
        fmt.Printf("%v\n", err)             // open not-exist.txt: no such file or directory
        fmt.Printf("%#v\n", err)            // *errs.Error{Err:&os.PathError{Op:"open", Path:"not-exist.txt", Err:0x2}, Cause:<nil>, Context:map[string]interface {}{"function":"main.checkFileOpen", "path":"not-exist.txt"}}
        fmt.Printf("%+v\n", err)            // {"Type":"*errs.Error","Err":{"Type":"*os.PathError","Msg":"open not-exist.txt: no such file or directory","Cause":{"Type":"syscall.Errno","Msg":"no such file or directory"}},"Context":{"function":"main.checkFileOpen","path":"not-exist.txt"}}
        fmt.Printf("%v\n", errs.Cause(err)) // no such file or directory
    }
}
```

### Wrapping error instance with cause

```go
package main

import (
    "errors"
    "fmt"
    "os"

    "github.com/spiegel-im-spiegel/errs"
)

func checkFileOpen(path string) error {
    file, err := os.Open(path)
    if err != nil {
        return errs.Wrap(
            errors.New("file open error"),
            errs.WithCause(err),
            errs.WithContext("path", path),
        )
    }
    defer file.Close()

    return nil
}

func main() {
    if err := checkFileOpen("not-exist.txt"); err != nil {
        fmt.Printf("%v\n", err)             // file open error: open not-exist.txt: no such file or directory
        fmt.Printf("%#v\n", err)            // *errs.Error{Err:&errors.errorString{s:"file open error"}, Cause:&os.PathError{Op:"open", Path:"not-exist.txt", Err:0x2}, Context:map[string]interface {}{"function":"main.checkFileOpen", "path":"not-exist.txt"}}
        fmt.Printf("%+v\n", err)            // {"Type":"*errs.Error","Err":{"Type":"*errors.errorString","Msg":"file open error"},"Context":{"function":"main.checkFileOpen","path":"not-exist.txt"},"Cause":{"Type":"*os.PathError","Msg":"open not-exist.txt: no such file or directory","Cause":{"Type":"syscall.Errno","Msg":"no such file or directory"}}}
        fmt.Printf("%v\n", errs.Cause(err)) // no such file or directory
    }
}
```

[errs]: https://github.com/spiegel-im-spiegel/errs "spiegel-im-spiegel/errs: Error handling for Golang"


CIOs want IT to demonstrate business value, but only 27% of those surveyed believe IT contributes to the company's strategic business goals. Find out how IT can effectively measure cost and value, properly plan for future business successes, and focus on business goals. Download this whitepaper to find out the real value of IT and how IT can help your business save money while increasing overall productivity.


text:
Workplace Foundation
Community of Artists
Team & Board
Workplace Foundation is a charity founded by WORKPLACE a commercial contemporary art gallery founded in Gateshead and now based in London.
Workplace Foundation is based in Newcastle city centre and supports emerging and under-represented artists with a commitment to UK art scenes outside of London, with a focus on the North of England.
We are core funded by Arts Council England as part of their National Portfolio of Organisations.
Workplace Foundation recognises that more work needs to be done to support and connect the vital yet fragile communities and art scenes outside of London in the UK to an International audience. We aim to address the lack of opportunities for artists and improve the cultural landscape and social fabric of life in the UK.
Through working with a diverse community of artists outside of a commercial context, Workplace Foundation aims to cultivate a dynamic and critically aware art scene in the North of England and connect it to national and global audiences.
12 Blandford Square
NE1 4HZ
Tuesday - Saturday 12 - 6pm
info@workplacefoundation.art
VAT Number GB 133 4963 12
Copyright © 2022 Workplace Foundation
Categories *
Foundation Mailing List
Gallery Mailing List
We will process the personal data you have supplied in accordance with our privacy policy (available on request). You can unsubscribe or change your preferences at any time by clicking the link in our emails.


The City of Portland, Ore., is hiring a fleet manager to lead its CityFleet Division. The fleet manager is responsible for planning, managing, and directing personnel and resources for the acquisition and maintenance of vehicles and equipment.
The CityFleet encompasses 77 employees and owns more than 3,500 vehicles and pieces of equipment throughout six garages.
Applicants must have experience managing a large and varied fleet, knowledge of and experience with budget development, experience managing a staff within a labor union environment, and experience related to sustainability and environmental initiatives, among other requirements.
The position is open until July 16, and the city expects to select its final candidate by late August.
Former Fleet Manager John Hunt left in January.
For more information, visit the City of Portland website.