On the day that Avenged Sevenfold released their long-awaited new album, Hail to the King, Halestorm's Lzzy Hale tweeted that there hasn't "been a metal record like [Hail to the King] in years."
We assumed she was referring to the quality of the songs on the album. But, after giving Hail to the King several listens, we think she could have easily been referring to the style of the music or even the actual melodies, notes and chords of the songs themselves.
Well, we couldn't help but hear some classic hard rock and metal songs in our heads as we listened to the first several tracks.
For example, the opening track, "Shepherd of Fire" is based around a looping, one-measure riff that is quite similar to Metallica's "Enter Sandman." Then, the title track's open string pull-offs set against a power chord tapestry and bass drum hits on beats two and four calls to mind "For Those About To Rock" by AC/DC. The next tune, "Doing Time," begins with singer M. Shadows channeling his inner Axl Rose with a crescendo scream that segues into a raw guitar riff and octave vocals that, together, are more than just a little reminiscent of the Guns-N-Roses classic, "You Could Be Mine." Then, if you weren't paying super-close attention, you wouldn't notice that "This Means War" was actually not a cover of another Black Album opus, "Sad But True." And though decidedly more modern metal in sound and production than '70's rock, "Requiem" clearly draws its orchestra-accompanied rhythm from Led Zeppelin's "Kashmir."
Finally with "Crimson Day," the band got to a track that wasn't so easy to compare. This gentle ballad featured a beautiful melody from M. Shadows and a nicely-phrased guitar solo from Synyster Gates. Perhaps a little spooked by the half-dozen soundalikes that kicked off the album, I started thinking that the drums-bass-and-vocals of "Heretic" sounded a little like "Someone Like You" by Bang Tango, but after later listening to that hair metal hit, I decided it was more my imagination and, with that out of the way, got to appreciate the song, especially the nice symphonic arrangement of the bridge of what is actually a pretty slamming tune.
Though "Coming Home" still had a slightly retro sound, it contained more of those A7X trademarks fans have grown to love: extended guitar solos, impressive drum fills, and those catchy high-tenor range choruses. "Planets" continued to propel the album forward, complete with its very-much-current double-bass-driven chorus and what sounded like a horn section at the end - quite a unique idea for a metal jam! The California quintet brought its latest effort to a satisfying conclusion with the six-plus minute shuffle-beat ballad, "Acid Rain." This closing number featured some of the most melodic, expressive solo guitar work heard in metal in recent memory and capped off what may very well be remembered as a showcase album for Gates.
Pondering the album as a complete work, it felt refreshing that only the first half toed the line of sounding a little too familiar. Those looking for Avenged Sevenfold to explore new territory certainly got their wish with the second half.
So, if you think that music has gone downhill in recent years and long for the days when the Black Album and the Use Your Illusion series owned the charts, Hail to the King may just be the album you've been waiting for all of this time. If your appetite is more for invention rather than destruction, this album may not satisfy you on your first listen. But once the initial "Hey, that sounds like..." shock wears off, Hail to the King offers a lot to like for fans of both old-school and new-school hard rock and metal.


We are collecting all memorabilia and any photographs of Mike Cofer in a New Orleans Saints uniform. He played place kicker in 2 games for the Saints in 1987. He played his college ball at North Carolina University.


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Home Culture Comics Media EXCLUSIVE: Comic Foundry #5 cover
Comics Media
EXCLUSIVE: Comic Foundry #5 cover
Tim Leong has provided The Beat with the debut of the cover to Comic Foundry #5, featuring Bryan Lee O'Malley.
This fifth issue will be the last one of the magazine, but it looks to be going out with a bang.
Previous articleReed moves NYCC to fall, announces new Chicago show
Next articlePatel in, McCartney out for AIRBENDER
brian h. 02/02/2009 5:10 pm At 5:10 pm
the tagline above the header–beautiful, kids.
Evie 02/02/2009 5:15 pm At 5:15 pm
Oh I'm so excited about this, and so sad it is ending.
the 'suck it' part is odd to me. how can you say that when you're the one going out of business? O.o
Bon Alimagno 02/02/2009 5:24 pm At 5:24 pm
Oh, Tim. LOL.
The mag will be missed.
there's no bad time to say 'suck it, wizard.'
@Michael: I'm assuming it's a Tina Fey/30 Rock reference.
Shawn 02/02/2009 5:29 pm At 5:29 pm
Man…it was such a slick magazine. Too bad Comic Foundry entered in such a bad time. Print dying, economics.
I wish them.
Ben Morse 02/02/2009 6:21 pm At 6:21 pm
Stay classy, Comic Foundry…oy…
Fred Chao 02/02/2009 11:13 pm At 11:13 pm
Can't wait to hang out with you kids at NYCC. Sad to see CF go. But hell, at least you're goin' out in good ol' 2nd grade style. F*ckin' sh*t, man. Just like everyone else, love the tagline.
jimmy palmiotti 02/02/2009 11:21 pm At 11:21 pm
i am really upset about this great mag going away. wed, i am going to yell at my local retailer some more.
Matt 02/02/2009 11:43 pm At 11:43 pm
This really was a great magazine. its too bad about the timing.
neil kleid 02/03/2009 1:46 am At 1:46 am
I'll miss this and Hero Illustrated.
Mike 02/03/2009 5:12 am At 5:12 am
Comic Foundry is a wonderful magazine and I (and many of our costumers) will miss it ! Is there really no little chance to publish CF again?
Why can't "Wizard" be cancelled instead?
Laura Hudson 02/04/2009 2:05 pm At 2:05 pm
If I had the skills to Photoshop a top hat and cane onto the cover, Ben, I assure you I would do so at this juncture.
The Marvel Rundown: DAREDEVIL: WOMAN WITHOUT FEAR brings Elektra face-to-face with...
A Year of Free Comics: SWORDS is a wacky distraction from...

redpajama_set_name: RedPajamaCommonCrawl


5 More Sleeps to Ann Douglas Presentation @ JCPS!
Save the Date! JCPS Parent School Council is Proud to Present: Ann Douglas as Keynote Speaker!
No school for students on Friday April 5/19 while JCPS teachers learn more about teaching math fundamentals!
Want To Help Your Child Read Better?
Vendor Show @ Jack Callaghan PS! Save The Date!
We are fundraising for a guided reading program and a water station! It's $2 admission!


A heading is a short phrase describing what the succeeding section is all about. You can think of it as the title of that particular section. Short documents usually do not require the use of headings. For theses and other complex readings, however, headings are important because they help readers identify the main points of each section in the paper.
All right, now we know a heading is there to tell readers what a section is about. Some points are more important than others, so assigning different heading levels is necessary to indicate their significance. The level of a heading should be based on whether the idea is a main point, or a subpoint. Main points all relate to the central argument of your topic. They are like building blocks that move toward your conclusion. Therefore, they need to be clearly visible at first glance. Subpoints, on the other hand, are minor details such as statistics, or examples that support the main points. They are not significant enough to stand as main topics, but they are important enough that they should still catch the readers' attention. Headings and subheadings represent the key concepts and supporting ideas in the paper. They visually convey levels of importance. Differences in text format guide readers to distinguish the main points from the rest. Headings are generally bigger, if not more conspicuous, than subheadings. Subheadings should be less noticeable than preceding subheadings.
APA has specific formatting guidelines for each heading level that need to be followed consistently. Please see the following example.
*For Abstract and Reference List, however, Heading 1 is NOT bolded.
Indented 1.27 cm from the left margin, bolded, sentence case heading with a full stop. Begin body text immediately after heading.
Indented 1.27 cm from the left margin, bolded, italicised, sentence case heading with a full stop. Begin body text immediately after heading.
Indented 1.27 cm from the left margin, italicised, sentence case heading with a full stop. Begin body text immediately after heading.
Aside from making your paper easier to scan, having well-structured heading levels makes it easier for you, the author, to organise your ideas while writing. While headings are considered building blocks, subheadings are to be seen as roadmaps, as they keep the author and the readers on track, and having subheadings helps you determine whether you are veering away from your main topic or not.
Keep headings concise. Headings are typically one to five words long, like a title. Subheadings, on the other hand, can be a little longer, since they expound on the heading. Think of subheadings as supporting details of the main idea (the heading) in bullet points—short and simplified. Use headings to enhance, not replace. Headings (and subheadings) should supplement the substance of your paper, not take the place of your topic sentences. They should frame your topic, not overwhelm the whole segment. Do not overdo it. Not all paragraphs need a subheading. And only use headings if you have more than one point per heading level.


text:
Yale University Economic Growth Center Discussion Paper No. 923
56 Pages Posted: 2 Sep 2005
See all articles by Esther Duflo
Massachusetts Institute of Technology (MIT) - Department of Economics; Abdul Latif Jameel Poverty Action Lab (J-PAL); National Bureau of Economic Research (NBER); Centre for Economic Policy Research (CEPR); Bureau for Research and Economic Analysis of Development (BREAD)
Rohini Pande
Yale University - Economic Growth Center
Number of pages: 56 Posted: 02 Sep 2005
Number of pages: 56 Posted: 15 Jan 2006 Last Revised: 03 Jul 2010
CEPR Discussion Paper No. 5325
Number of pages: 58 Posted: 04 Jan 2006
The construction of large dams is one of the most costly and controversial forms of public infrastructure investment in developing countries, but little is known about their impact. This paper studies the productivity and distributional effects of large dams in India. To account for endogenous placement of dams we use GIS data and the fact that river gradient affects a district's suitability for dams to provide instrumental variable estimates of their impact. We find that, in a district where a dam is built, agricultural production does not increase but poverty does. In contrast, districts located downstream from the dam benefit from increased irrigation and see agricultural production increase and poverty fall. Overall, our estimates suggest that large dam construction in India is a marginally cost-effective investment with significant distributional implications, and has, in aggregate, increased poverty.
Keywords: Dams, Development Planning, Program Evaluation, India
JEL Classification: O21, O12, H43, H23
Duflo, Esther and Pande, Rohini, Dams (August 2005). Yale University Economic Growth Center Discussion Paper No. 923, Available at SSRN: https://ssrn.com/abstract=796170
Massachusetts Institute of Technology (MIT) - Department of Economics ( email )
50 Memorial Drive
Room E52-544
Abdul Latif Jameel Poverty Action Lab (J-PAL) ( email )
HOME PAGE: http://www.povertyactionlab.org/
Bureau for Research and Economic Analysis of Development (BREAD) ( email )
Rohini Pande (Contact Author)
Yale University - Economic Growth Center ( email )


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Camsel Adams
BTEC Level 3
PE Research
PE Test Shots
PE Final Submission
Cruel and Tender
CT Still Life
CT Portrait
CT Location
Trans Research
Trans Test Shots
Trans Submission
CT – Cruel and Tender – Submission
April 17, 2017 April 18, 2017 / CamselA	/ 3 Comments
Cruel and Tender – Location Submission – 'Reality in Richmond'
For the location submission, I decided to shoot in black and white. In the first term the work of Adams and matrix metering came up in various discussions and having followed his work, decided to move away from colour for the final set of images. I felt it was more in keeping of the styles of both Evans and Patzsch.
I was mindful of the advertising as well as people and places of work in the images of Evans and wanted to incorporate these into the subject of the shots I took.
Patzsch
Clean lines, form and texture were the components I was looking to incorporate into the shots around the Richmond area.
All these shots were taken using a 24 – 70mm f/2.8 lens, but had considered using a fast 50mm standard lens. I have come to appreciate the flexibility this lens can give me as well as the clarity and detail in the final result. Technically I did not feel the location shoot posed the same challenges of the studio work. There was one exception, being the building shots of the advert and flats in which there was some barrel distortion. I have not posted a few of the images from the location shoot, which were excluded from the final seven. These showed homeless people living in tents around Richmond. I didn't feel comfortable posting these and really were a little out of keeping of the rest of the shots and the brief. Throughout his term I have had to increasingly become familiar with post production software and the final submission probably saw me employ more knowledge gained from this experience than the prior two. I remedied to some degree the distortion in two of the images in post production but also employed adjustment curves to enhance contrast across all the images in the location shoot.
Evaluations on Submissions
On the whole, I am pleased with the submissions across still life, studio and location for the term. Still life technically was very challenging, balancing a very long shutter speed to capture the laptop lighting. This was a step beyond what we had originally experienced using studio lights and adjusting those to the manual settings to expose correctly. I did feel the overall image (Information Wars) didn't quite have enough light on the subject, despite the rest of the image being lit as it should. A greater understanding and knowledge of post production could have helped me here, but I think its going to be an area I will need to work on in the third term. The semiotic elements and interpreting the brief for the first shot did go according to plan and think I employed the facets of classical still life paintings in a modern set. The printing for the submission was in gloss, deliberately, as the light reflections would have helped the mood of the subject, matt was not really in keeping with the atmosphere of what I was looking to create. Health and safety was a concern here, given the number of power cables from not only the lights but the laptops in use. Holly is the H&S guru here, she made sure we were all very careful.
The studio submission (Apotheosis) was also a technically demanding image, with 6/7 lights in the studio involved in the group portrait. Again I think the brief was hit, taking classical portrait, in this case the last supper, but applied in a modern way. It is fair to say I have been heavily influence by LaChapelle, but was ready to acknowledge we could not incorporate the diversity of props into the set. It was a shoot I will not forget, everyone had fun and and enthusiastic to be apart of it, for which I am very thankful. Health and safety was covered carefully in the shoot, we had rearrange most of the desks to build the set. I did feel the white background could have produced a far better image, but the back was too bright in comparison to the foreground and had parts of those images clipped. The black background did expose better and across both backdrops the gels worked well for me, adding to the dominant colours of red, blue and fuchsia. I am disappointed with the final print, however, I had requested from the printers a matt finish and double the size of what we exhibited at the end of term. There was just not enough time to have it reprinted. As a follow up I think I am going to look to shoot against a white background again next term.
The location shoot I felt was the best of all three submissions. Last term my images didn't say anything in the submissions, but feel the subjects in all three shoots have said more. There was a subtlety to the final images in this respect, I think if I had gone down the journalistic route of making a very topical statement, it could have missed the concepts of 'Realism' evident in the 'Cruel and Tender' exhibition. Really enjoyed post production on these images as well, turning into B&W and using adjustment curves to enhance contrast. Of the seven images, I think the padlock was the weakest and nearly left it out completely. What interested me though, was the lock was in use, but the chain was not at all, kind of ironic for the area. Patzsch covered so many diverse subjects, it also felt right to include it, even if the image itself is a little disappointing. The prints were also the better of the submissions. Adding a small white border to the gloss prints made the texture and contrast jump out.
Overall a good term, with improving choice of subjects. Post production has been a real weakness of mine and if I want to improve the final result of my work, this is the next area I need to focus on.
Criteria 1, 2, 3, 4
CT – Cruel and Tender – Location Research
April 17, 2017 / CamselA	/ Leave a comment
When given the title for the second project, I immediately assumed the subject had some element of the paradoxical about it, that some very harsh aspect of reality inherent to our submission for the location element was part of the brief. Given the 'Cruel and Tender' exhibition was first shown in 2003, the reviews written at the time and critiques at the time was going to be a key source of information for research into whatever I was going to shoot. My initial ideas were to take some journalistic photographic approach to animal cruelty. While the ideas associated with the 'Cruel', animals being found in distress and the 'Tender', their recovery, would be a very graphic and relevant subject, the insurance policies of all the charitable foundations I approached would not allow a visitor to be on location when rescuing distressed animals. This first idea was not going to work without the 'Cruel' aspect and so moved on.
The 'Cruel and Tender' exhibition was really an expose on 'Realist' photography, with a huge domain of photographers being exhibited, including:
Robert Adams, Diane Arbus, Lewis Baltz, Bernd and Hilla Becher, Philip-Lorca diCorcia, Rineke Dijkstra, William Eggleston, Walker Evans, Robert Frank, Lee Friedlander, Paul Graham, Andreas Gursky, Boris Mikhailov, Nicholas Nixon, Martin Parr, Albert Renger-Patzsch, Thomas Ruff, August Sander, Michael Schmidt, Fazal Sheikh, Stephen Shore, Thomas Struth, and Garry Winogrand.
Walker Evans's depiction of mundane American life was juxtaposed with harsher depictions of suburbia by William Eggleston. The title 'Cruel and Tender', came from a critic of Evan's work in which it was described as handling a cruel subject tenderly. This surprised me, as many of the early photographers being exhibited were showing 'Reality' not necessarily the harsh paradoxical views I had assumed at the very start of the term.
My idea was to take location shots of Richmond, but depict the realities of what can be seen here, rather than the affluence commonly connected with the area. Two photographers in particular influenced me from the initial exhibition, Walker Evans and Albert Renger-Patzsch.
Walker Evans showed real mid-town America, documenting the effects of the depression while working for the Farm Security Administration. In the examples I have posted here, it was interesting to me that he focused not only on working families but the commercialism of the time, including adverts and places of work to a backdrop on the time of the economic depression.
Albert Renger-Patzsch subject matter was very wide ranging, including still life, architecture, portrait and other photographic genres including a recurrent fascination with trees. Patzsch work struck me probably the most, I really liked his approach to form in his images. Clear shapes and distinct lines are visible in all his work with a great sense of texture.
So my research had led me to take a 'Realistic' look at Richmond, with less emphasis on the paradoxical. Technical challenges would start with actually finding subject matter which could show this concept, but also embody the stylistic elements of both Evans and Patzsch.
Criteria 1, 2
http://www.tate.org.uk/about/press-office/press-releases/cruel-and-tender-real-twentieth-century-photograph
http://www.contemporary-magazines.com/reviews56_1.htm
http://www.domusweb.it/en/design/2003/07/02/cruel-and-tender-20th-century-photography-at-tate-modern.html
https://photoworks.org.uk/cruel-and-tender/
CT – Studio Portraiture – Test Shots and Submission – Group
Following on from research and test shots for individuals, the group shots were going to be far more challenging. The set composed, 2 back light gels (purple and blue), 2 studio lights with softboxes, a spot light and a hand held speed light. The class all brought coloured clothing agreed ahead of time. I wanted to use reds, blue and fuchsia within the colour palette. Complimentary colours of green and orange were also in the mix, to exemplify the same use of colour by LaChapelle. We were never going to recreate the same diversity or use of props seen in the last supper, but it was our take on a classical group image.
I continued using the 24 – 70mm f/2.8 lens, manually shots at ISO 100, f/7.1 1/200sec. Pulling the group closer to the table and the lights was a necessity as the first few shots were very dark and not well lit. The skin tone mix was also tricky as the reflected light was going to alter through the shot.
Group Shot
Despite the technical elements of the shot we did get some interesting final images using both black and white backgrounds:
I think everyone enjoyed the shoot and grateful for everyone taking part so have included some outtakes from the session:
The final image selected for submission was the shot which I felt had the right balance of exposure and correct pose. The framing throughout the shoot was actually the most difficult aspect. I tried to get the table in shot as much as I could, but think we ended up with a more intimate group shot. The exposure was as I wanted but disappointed the white backdrop could not be used as the pastel colours worked, but the highlights were just too far gone. As a follow up next term, another studio shoot with a white background would be interesting, as it was harder to shoot compared to a black background and wasn't happy with the balance of lighting in the first half of the shoot.
Apotheosis:
It was a great shoot and delighted that despite the number of studio lights required it came together. Wont forget this studio session everyone had fun taking part.
CT – Studio Portraiture – Test Shots Single Portrait
April 16, 2017 April 16, 2017 / CamselA	/ Leave a comment
Session 1: Side lighting and chiaroscuro
The studio test shots for individual portraits were over two separate sessions. In the first, Jason modelled for Louise and I. The spot lights were set with barn doors and instead of using normal ISO 100, 1/200 sec, f/7.1, I stopped down 3 stops to expose for the highlights and experiment with halo and side lighting effects (Grey, 2004). Having used a 105mm in prior shots, I wanted the flexibility to frame more easily so used a 24 – 70mm f/2.8. We followed up with a spot light on slightly lower power with open barn doors for the first of my portrait shots:
Holly modelled in the same session in which we varied a studio light with a soft box and a reflector. I really liked the effect of shadows in the final result, a warm skin tone really came through in the final images (Perkins 2006), shot with aperture back at f/7.1:
Session 2: Softbox and spot light
In a second session in the studio, Paula's portrait shoot was underway. we looked at the effects of drapes and netting in the shoot. The power settings for the studio lights were much higher than in previous shoots and needed to top down one or two stops to expose correctly. Soft box and reflectors were in use in these shots:
I was pleased with my first portrait test shots, exposing correctly for the images and adjusting lighting as needed. I really wanted to shoot more side lit and highlight shots, but we ran out of time.
Criteria: 1, 2, 3, 4
Grey, C. 'Master Lighting Guide for Portrait Photographers' (Amherst Media, 2004)
Montizambert, D 'Creative lighting Techniques' (Amherst Media, 2003)
Perkins, M. 'Professional Portrait Lighting: Techniques and Images from Master Photographers' (Amherst Media, 2006)
Tuck, K 'Minimalist Lighting: Professional Techniques for Studio Photography' (Focal Press, 2009)
CT – Studio Portraiture – Research
The studio portraiture was, like the still life, new for me in the sense this is a departure from what I would naturally shoot and prior to this term, had not shot in a studio or with lighting other than speed lights. I conducted a lot of research for the still life, but my inspiration for the studio portrait shoot was something I found while looking into professional photographers during the first term. I discovered a photographer for whom I have come to greatly admire, David LaChapelle. His use of vibrant colour has produced some of the most vivid images in modern culture:
Deluge (Deluvio):
Guilty Things:
Last Supper:
Leonardo da Vinci's Last Supper:
LaChapelle's interpretation of The Last Supper was for me one of the most striking images I have seen in the collective research from both first and second term. The Last Supper has been reworked so many times, I knew that any interpretation I may make would fall into the cliche of so many other reworked images of its kind. The shoot would be limited to the materials in the studio we could use and I would not be able to have such diverse texture and colour in supporting props as LaChapelle. Significant more technical challenges were posed in a group shoot compared to a single portrait in controlling so much lighting in the studio effectively. Despite the challenges, I was the only person doing a group shoot and felt a great way to get the entire class involved in a single shot.
I started test shots with simple lighting for individual portraits.
Criteria: 1, 2
Childer, J., Galer, M. 'Photographic Lighting Essential Skills' (4th Ed., Focal Press, 2008)
Kelby, S 'Light It, Shoot It, Retouch It: Learn Step by Step How to Go from Empty Studio to Finished Image' (New Riders, 2015)
Prakel, D 'Basics Photography: Lighting' (AVA Publishing, 2007)
http://davidlachapelle.com
CT – Still Life Short list and Submission
In researching the work of Leo Acker and other commercial photographers such as Adrian Muller I was interested to compare the lighting used with that of the test shots. Most are very well lit as was Paula's set, however, I was planning on something very different for my still life. After feeling very comfortable technically with a variety of test shots in the studio, I wanted to use the lights from laptops to illuminate the set.
It was important for me to grow and challenge myself this term both in technical terms but also for my shots to say something. In my still life, the current political climate and information wars held over multiple continents was my theme. To challenge myself further, I would not be using studio lighting, instead opting for the light emitted from laptops to illuminate the set. This poses numerous challenges as I would need to shoot at below 1/60sec for to capture light from the screen (refresh rates are normally 60 Hz), which means camera shake needed to be controlled. The shoot was going to need tripod and shooting cable. Additionally, I wanted to use a wide angle zoom lens (Nikkor 18-35mm f/3.5-4.5 AF ED), which was to ensure I could frame more accurately and have the flexibility to grab the scene as I wanted. f 3.5 is not super fast, which was going to mean shooting well below 1/50sec.
Louise and Holly really helped with the shoot, as it took far longer to setup and get the shot than anticipated. Holly was particularly mindful of health and safety, given the number of extension cables and electrical items in the set. We were all very vigilant in this area….I did experiment with studio lighting in the shoot, but the atmosphere and overall effect were just lost. The final image I was much happier with, which was taken at 1/15sec, f/11 (wanted a relatively deep depth of field), fully lit by the computers in the set.
Information Wars
Technically, I was really pushed in this shot, touching on long exposure photography in the studio and running out of time! The final result was pleasing with some editing in camera raw, to adjust exposure just slightly. A wide angle zoom really helped with the framing of the set and colour balance was set correctly this time. The surface appearance of the metal in the hard drive I wanted muted and Light: Science and Magic has an entire chapter dedicated to metal in surface appearance. The draped flags going from dark lighting into dark edges of the image I feel has worked well.
My modern take on still life is really a reflection of what I see as happening in the world today and a nod to the Dutch Masters use of semiotics in still life, as they inspired me to think symbolically of our geopolitical climate. Im pleased that I was able to shoot what I envisaged and say something. Its definitely not to everyones taste, but last term struggled to say anything in the medium. Vincent Borrelli cropped up in one area of my research and was so impressed with how he communicates in his images. I don't think this image leaves room for doubt as to what its communicating.
Criteria: 1,2,3,4
Langford, M 'Langford's Advanced Photography' (7th Ed., Focal Press, 2008)
Hunter, F., Biver, S., Fuqua, P. 'Light: Science and Magic' (5th Ed., Focal Press, 2015)
CT – Still Life Test Shots
April 15, 2017 / CamselA	/ 2 Comments
It was great to be involved in the various shoots of the entire group during the second term. This gave us all the opportunity to practice in the studio. It was also the first time I had used transmitters, with multiple fixed standing lights, having only used Nikon speed lights up to this point.
All my shots in the studio were taken in manual, ISO 100, SP 1/200 at f/7.1. Lighting using various combinations of soft boxes and direct lighting while were used and adjusted power to the needs of the subject. In my early shots I was interested in seeing how different focal lengths would affect the image and the depictions of the material and using a stronger side light, which would introduce shadows, something modern still life tends to avoid (Freeman, 2007). The side lighting was apparent in the early still life paintings of Pieter Claesz's Still Life with a Skull and a Writing Quill, 1628, but most paintings in my research were front lit (CT – Still Life Research).
After a series of practice sessions, I really liked Paula's idea of food and in particular the set for pasta. I joined her in helping setup and practice shot with a longer focal length than I expected to use for my shoot (here 105mm DC NIKKOR f/2, normally a long portrait lens).
I was quite pleased with these first shots, but really noticed how framing was going to be very important irrespective of the focal length involved; here, it helps to focus on the subject rather than take the whole set in:
While we were shooting I became acutely aware the white balance on my camera was off. Something I hope to learn more about is post production and only recently started looking at techniques in image software production. This would have to be corrected later.
In these images the framing was off, but the side lighting resulted as I expected, with shadows working in the scene.
The last few shots came out a little better, after turning up the power on one light (soft box attached). I also edited these images for better white balance and felt this was a good start to test shooting still life in the studio:
Before starting in the studio, spent some time reading Light: Science and Magic. Many of the lighting concepts in still life were covered initially from the reading last term (Freeman, 2007), but not nearly at the depth needed to understand the placement of objects, overall lighting, surface appearance, shaping and contrast. Softer lighting here really helped with the surface of the eggs, but not to the extent that the image was blown out. The histogram on all these shots was full with no clipping – very pleased the exposure kept highlights and shadows from being burnt from digital negative.
Freeman, M 'The Photographers Eye' (Focal Press, 2007)
Farrell, I 'Complete Guide to Digital Photography' (Quercus, 2014)
Langford, M 'Langford's Basic Photography' (10th Ed., Focal Press, 2015)
Hunter, F., Biver, S., Fuqua, P. Light: Science and Magic (5th Ed., Focal Press, 2015)
CT – Still Life Research
April 15, 2017 April 16, 2017 / CamselA	/ 1 Comment
The use of signs and symbols have been prevalent in global cultures for millennia, an interacting devise of communication stemming from the human condition and its consciousness. The two part process of interpreting the world around us and then describing that interpretation with symbols, either through obvious or subtle & coded messages, touches on so many areas of our lives today as it has through history. It's therefore no surprise Semiotics recurs through many academic disciplines; linguistics, dilectics, religion, art history, philosophy, branding, cryptography, musicology….
So diverse is Semiotics, that for some there is no other way of communicating, such as Robert Schumann's musical sphinx to Clara in his piano concerto 1845, following being committed into an asylum and denied access to his wife or family. What interests me even more is the human desire is so strong to solve codes and understand symbols, the entire process is self perpetuating. An endless cycle. The need for us to form patterns and make sense of them, moving from high to low states of entropy, doubtless will ensure Semiotics endure, never to leaves us (The Posthuman Condition, Pepperell, R., 1995).
Pictorial Semiotics I found a really interesting facet of material related to classical still life paintings. This was the source of inspiration for the first of three submissions in the second term. With a heavy emphasis on the technical elements of studio flash photography, the use of light is a fundamental feature of both classical art and the ultimate submission. To grow and develop my photography I was keen this term to say something through the submissions within the context of the brief.
Semiotics in Still Life
Early Northern European classical art focused on religious ideology and the Vigrin, with the lily symbolizing purity, but rapidly incorporated moralizing symbols such as vanity and desire for material things (Met Museum – Northern Europe).
Still Life with Lobster and Fruit, Abraham van Beyeren:
Digital Photo File Name: DP143207.tif Online Publications Edited By Steven Paneccasio for TOAH 12-18-2015
More vivid examples of opulence in still life I found in examples like Adriaen van Utrecht, Pronkstilleven:
Harmen Steenwyck 'Still Life: An Allegory of the Vanities of Human Life:
The vanities in human life are expressed through Semiotics, the passing of life – birth and fertility (shell), death (chronometer, skull and extinguished lamp), luxury (musical instruments, books, silk). 'Vanitas' symbolic art work of the 17th century in Northern Europe is littered with depictions of skulls and quills (Jacques de Gheyn II's Vanitas Still Life 1603, Pieter Claesz's Still Life with a Skull and a Writing Quill, 1628):
Working Title/Artist: Cup Department: Islamic Art Culture/Period/Location: HB/TOA Date Code: Working Date: 9th-10th century Scanned for Collections
Working Title/Artist: Still Life with a Skull and a Writing Quill Department: European Paintings Culture/Period/Location: HB/TOA Date Code: Working Date: 1628 photography by mma 1979, transparency #3c scanned and retouched by film and media (jn) 8_7_03
Similarly, the briefness of life is also depicted in Vanitas with Violin and Glass Ball Pieter Claesz:
Claesz incorporated a self portrait in the glass bowl, making this particular still life stand out. His work also captured the four elements, earth (skull), fire (candle holder), water (glass) and air (feather). The fragility and speed of life's passing, with warnings against materialism and over indulgence, are ever present in many of the still life subjects in Northern Europe, echoed in the art of Souther Europe (Met Museum – Southern Europe).
Through my research I was really struck by 'Allegory of Charles I of England and Henrietta of France', Carstian Luyckx:
The same themes of life and death are present, given Charles was beheaded at 44 years old. What I really liked was the very obvious statement of what hunger for power and glory can do to an individual, in this case enveloping Charles's mortality. This was the first example I had seen in which power and politics on a global scale was memorialised. I did not find too many further examples of this in my research, but felt something I wanted to explore in the studio. All the examples I looked at referred to the issues relevant at the time, so while they may appear dated now, there was especial meaning attached to the subject and semiotics of these still life pieces.
The decision was made, I would portray a modern depiction of current power struggles in the form of still life within the studio.
Criteria: 1,2
http://oxfordindex.oup.com/view/10.1093/oi/authority.20110803100326357
http://www.journal18.org/issue3/nautilus-cups-and-unstill-life/
http://www.metmuseum.org/toah/hd/nstl/hd_nstl.htm
http://www.metmuseum.org/toah/hd/sstl/hd_sstl.htm
Kew the lights
January 4, 2017 July 17, 2017 / CamselA	/ 4 Comments
Hand-held shots at high ISO; thought these would be very grainy, but were ok in the end.
People and the Environment – Living on Water in an Urban Landscape – Submission
December 30, 2016 December 30, 2016 / CamselA	/ 5 Comments
In describing the selection for my submission, I am looking to evaluate my progression in the three concepts of narrative, contrast and colour. I don't feel my work can be placed against the artists I have researched, I don't posses the skill or experience of these artists, but will evaluate how I have used the understanding and inspiration I have gained from them.
Narrative has been my weakness through the whole project, with so many test ideas explored I started focusing on technique rather than subject. This really held me back through the opening weeks of test shots. As I examined the works of other artists, the skill and thought put into their respective collections to create cohesion and narrative appears deceptively simple, but in practice is far from easy. Above all else, I wanted my submission to have a narrative and be cohesive. The selection was helped by my class mates and agreed with them. I believe the collection stands together with a concurrent visual theme:
Without doubt my favorite image and most challenging to shoot was the bridge.
Adams, in my very early research, looked to capture exposure and contrast in his images with astounding skill and artistic poise. The bridge shot has a large dynamic range providing natural vignetting, but liked the texture of its underside being reflected in the water with strong colours of red and yellow from the barge which make it stand out. Technically this was the most demanding shot of all, particularly as the passers by could have been out of shot quickly while setting the correct exposure. I wanted as much in focus as possible so stopped down to increase depth of field, but had to adjust shutter speed to capture motion. Contrast and colour come through in this shot and overall very pleased with the image. Making greater use of filters (polarizer) may have helped with the muddy mid ground water and possibly waiting a second for the walkers to have followed the path for second later may have balanced the image better (Cartier-Bresson, capturing the fleeting moment). I like the scene this image sets, with a clear introduction to subject matter of urban life in the background and waterways in the foreground. The shot of the three swans and three children was excluded as really both shots were a similar subject and the bridge I felt was a better shot and stronger composition.
Conveying subject was key to narrative and was pleased with the image of the water.
Images of water can be quite bland and so decided to move this into black and white to give the shot greater contrast, with a more ephemeral and abstract feel. This image is quite central to the narrative and took at least fifteen shots while on location. Exposing for the highlights was my aim and ultimately achieved what I was looking to capture. Initially I had hoped the grittier, harsh realities of living on water were all going to be conveyed in black and white. I deliberately left out the shot of the water bottles, despite the importance of their message (the irony of not having fresh running water while living on a barge). In both colour and black and white the shot was poorly framed and lacked impact. Koudelka placed his subjects in context for maximum impact and this image had no context at all. If I had broadened the shot to include more context and focused on the reflection more, the water bottles shot may have been usable.
The harsher side of living on water was better captured by the smoking barge:
This image I debated including for some time. In isolation I don't feel the image is strong. Again, it has a high dynamic range, with deep blacks in the funnel extending to the highlights in the background giving significant contrast. The framing and angle of subject lets this image down, however, with a more sweeping angle of the barge and the rubbish and wood more off centre it probably would have worked with better balance. It has been included as it fits with the narrative, something I am learning more and more about. I recall the evocative works of Koudelka, his images all had balance, massive impact and said something powerful. This image probably represents a missed opportunity for me to say more visually in a more compelling way. I do see this as a great positive though, my awareness of impact and attributes which make images stand out has moved from a stance of ignorance to learning how I might better convey statements through my images in how and what I shoot.
There appeared a nice bridge in the working life on the water, in black and white, and the colour images through the man on the barge:
Maroon, from my investigation on colour, has large amount of black in its composition and felt worked well in juxtaposing black and white with colour in the final selection. I was a little disappointed with the main character being 'too central', but had limited framing options with this shot in the spur of the moment. The spray of the water with smoke from the barge represents the only image with significant movement. With a higher than normal shutter speed I was happy in the main, my only wish was that I had a telephoto lens with me to focus on the main figure and exclude the noise created by the barges in the background to make the subject really stand out.
The vivid use of colour I have been able to adopt in part, particularly in the yellow barge door:
The framing, saturated colour and vibrancy of this image was a central concept I was looking to shoot. It really stood out beyond all the other scenes when on location. The shots of the working barges I didn't feel fitted the narrative well, given the working side of water way life was represented in black and white, so the commercial sign shots were excluded.
The last two images included were those of the 'Waterside Cafe' and 'Bobs your uncle'. Both elicited strong use of colour, with the café sign having nice shadows from the railings emphasizing its urban setting and 'Bobs your uncle' had a slightly humorous feel to it, in a art deco kind of way (a glimpse into the past, which I saw in the black and white shots to some degree). I was disappointed to exclude the shot of the duck, I really enjoyed the full contrast of colours and represented one of my favourite shots from the day. I think stylistically it didn't quite fit with the rest of the images.
All seven shots carry a narrative of water in an urban landscape which has been my major struggle with the first project. I do believe the submission carries cohesion, which for me is a success. I am pleased I have been able to incorporate contrast and colour to good effect in the shots and felt the use of a four element prime lens helped significantly. Without doubt all these areas can be improved, specifically how I convey statements and ideas through images. In the final submission, the landscape shot was also dropped, it didn't fit at all stylistically or in the narrative. What's interesting to me is reflecting on how my awareness in photography is changing and am starting to adopt concepts and be influenced through the works of Koudelka, Adams et al. Exploring new ideas in colour has been really interesting, something a few months ago would have been alien. Examining colour theory, namely colour harmony, has forced me to look at a scene completely differently and I think is telling when comparing my test shots with the submission.


The interspinous ligaments of the lower cervical and upper thoracic spine and their associated muscles are susceptible to the development to the development of acute and chronic pain symptomatology following overuse. It is thought that bursitis is responsible for this pain syndrome.
What causes posterior element pain?
Frequently, the pain is the result of prolonged activity requiring hyperextension of the neck, seen with such activities such as painting, or prolonged computer work where the monitor is placed above eye level. The patient may attempt to alleviate the constant ache by assuming a posture where he/she may hunch forward with a thrusting of the neck.
What are the symptoms of posterior element pain?


ATTENTION: We recommend using the FRAM CA6326 instead. According to FRAM, the FRAM CA6326 is a direct cross to the DONALDSON ECG132000 and should work just fine for your application.
How many of these ECG132000s are you looking for?


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Benson Island, known to the Tseshaht First Nation people as C'isaa (Ćišaa?atḥ) or Ts'ishaa (Ts'isha?atH), is part of the Broken Group in Barkley Sound on the west coast of Vancouver Island, British Columbia, Canada. It is notable because the Tseshaht First Nation recognize it as the creation site where the first man and first woman of the Tseshaht people came into this world.

Geography

Benson is a small, irregularly shaped island on the northwestern edge of the Broken Group. It covers about  and is about  at its longest points from north to south. The shoreline is mostly very rugged, with two rock beaches on the northeast and southeast sides of the island. The northeast beach is the site of a former Tseshaht village, and there is a large cultural shell midden extending approximately  along the shoreline. There is a small blowhole on the west side that is active mostly during high tides.

History

Tseshaht people

The oral history of the Tseshaht people, part of the Nuu-Chah-Nulth culture of western British Columbia, identifies Ts'ishaa (C'isaa) (Benson Island) as the place where Kapkimyis, a supernatural being in their tradition, created the first Tseshaht man and woman. There are several versions of the story about this event. The following is taken from two current versions as told by the Tseshaht people:

A girl called Nasayilim ("Sky Day") was awakened to see two people ‒ an old man and a shaman. The old man cut his left side, and the shaman collected the blood that flowed from the wound. He blew on it, creating what we call ts'chsy'a'pi, the "life pulse". From this a boy named Naasiya'atu ("Day Down"), also known as Ch'ichu'?atH, was created. The boy and the girl grew up and had many children. Thus many were descended from the two. The Chief in the Sky made an island, high and dry, called Ts'isha' for the people to live. The boy was given a war club with blood along the edge and told to keep it on the beach so the tribe would never die.

The significance of C'isaa (Ts'ishaa) to the Tseshaht people is indicated by their very name: "Tseshaht" means "people of Ts'ishaa".

Archeological evidence shows the site at C'isaa was first occupied over 5,000 years ago, and Tseshaht oral history tells of continuing occupation of the site until after European contact. The Tseshaht people used Ts'ishaa as a home village as they followed sea mammals, salmon and other food and natural resources throughout Barkley Sound as the seasons changed.

Post-European Exploration

In 1791 the Spanish Ship Santa Saturnina entered Barkley Sound, marking the first European contact with the indigenous people living in the area. Over the next 100 years the Tseshaht and other First Nations in the area suffered enormous population declines, primarily from diseases such as smallpox that were brought by the European explorers.

By 1865 the island was labelled on British Admiralty charts as Hawkins Island. In 1893 John W. Benson purchased the island and proceeded to build a large home on the east side of the island. The home was later expanded into a hotel for visitors. On November 19, 1922 the Victoria Colonist newspaper reported that the island "had a small hotel worth visiting. There were about ten acres cleared and a portion of it was planted in a garden and orchard to supply the hotel. The island and hotel are owned by Mrs. Benson, widow of an old-time sealing captain, and one of the early pioneers of the West Coast of Vancouver Island."

In 1970 most of the Broken Group islands, including Benson, were included in the newly designated Pacific Rim National Park Reserve. The island has been a popular destination for sea kayakers, recreational sailors and other visitors to the area.

In 2009 Parks Canada and the Tseshaht First Nation reached an agreement to prohibit all camping on the island due to its cultural significance. An interpretive display about the importance of the island was installed in 2012. It includes a tall wooden house standing post carved by Tseshaht artist Gordon Dick. Day trips are still permitted so that visitors may learn about the Tseshaht history.

Notes

References

External sources

https://web.archive.org/web/20140924042034/http://www.pacificrimpark.com/

http://www.vancouverisland.com/plan-your-trip/regions-and-towns/vancouver-island-bc-islands/broken-group-islands/

Nuu-chah-nulth governments
Barkley Sound region
Creation myths

redpajama_set_name: RedPajamaWikipedia


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text:
Alumni Profile
Dr. Vella Atienza-WinMawTun (CF 1993, BSF 1997, MDM 2002)
Dr. Vella Atienza-WinMawTun and OAR director, Dr. Mimosa C. Ocampo (Photo courtesy of Dr. Mimosa C. Ocampo)
Dr. Vella Atienza-WinMawTun, an alumna of UPLB and also holds a PhD in Asia Pacific Studies from Ritsumeikan Asia Pacific University in Beppu, Japan in 2009, visited the Office of Alumni Relations (OAR) last May 27, 2011.
She is currently working as a research fellow in the Institute of Developing Economies-Japan External Trade Organization (IDE-JETRO) in Chiba, Japan. She came back to our country to attend the Philippine Society for the Study of Nature, Inc. (PSSN) conference and share her expertise about "Scientific and Technological Innovations for Environmental and Disaster Management."
Reminiscing her experience in UP, Vella mentioned that her parents' upbringing play a very big role in achieving her dreams and for instilling the importance of education in one's life. She considers her education as a treasure that helped her succeed and broadened her horizon to a greater enlightenment. "There's no short-cut to success, one should diligently work for it in order to attain it. There will always be a sacrifice but in the end, there's a fruitful reward." Vella beamingly quoted as saying.
She credited time management as another significant thing she had learned to excel both in her work and studies. According to her, UP student is talented and skilful ("maabilidad"). But most importantly, she emphasized that perseverance and an unwavering faith in God helped her surpass the trials and hardship of life.
Presently, she's now living in Japan but considers herself as very much "a Filipino" and always remembers her native land. She added that being patriotic does not only mean you have to stay in your own country. But it is more on the heart, with the conscious effort to become of help to your country even in simple ways and by being a good "ambassador" wherever you are. Through her attendance to conferences and workshops she continuously shares the benefits of her works to her fellow countrymen.
"God has given you the talent that you should share. You have to work hard not for yourself but how can you be a blessing to others." she ended up as saying. (PXMADelosReyes)


Set in Bletchley Park, in 1941, this sitcom focuses on three code-breakers forced to share a draughty wooden hut as they try to break German ciphers. Unfortunately they bicker constantly.
Archie, a Geordie socialist, must now work with Charles, the Tory snob who rejected him from Oxford for wearing brown shoes. Gordon, the child prodigy, tries in vain to act as peacemaker but they won't listen to someone who still wears short trousers.
The program stars Robert Bathurst, Tom Goodman-Hill, Olivia Colman, and Fergus Craig. The show's author, James Cary, has a shot of a "memo" for the show on his blog, with pics.
Unfortunately, I'm in a rather inconvenient time zone for casual listening, as the show will premiere at 11:30 a.m., BST, on Monday, June 25th.


18.30 Ad and Trailer Free: No advertisements or trailers will play ahead of this screening. You are recommended to arrive promptly. SERET 2019: SERET 2019 is back from April 29th to May 12th, bringing the best in Israeli Film and TV to the UK.
15.30 Ad and Trailer Free: No advertisements or trailers will play ahead of this screening. You are recommended to arrive promptly. SERET 2019: SERET 2019 is back from April 29th to May 12th, bringing the best in Israeli Film and TV to the UK.
17.30 Ad and Trailer Free: No advertisements or trailers will play ahead of this screening. You are recommended to arrive promptly. SERET 2019: SERET 2019 is back from April 29th to May 12th, bringing the best in Israeli Film and TV to the UK.
18.30 Ad and Trailer Free: No advertisements or trailers will play ahead of this screening. You are recommended to arrive promptly. + Q&A with director Tom Piper: We're delighted to welcome director Tom Piper for a Live Q&A following this screening.


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Home/Asia/Boeing 737 crashes into sea off island
Boeing 737 crashes into sea off island
Air Niugini Flight 72 was due to touch down Friday at the international airport on Weno, the main island of Chuuk state, Micronesia, but "landed short of the runway," according to a statement from Air Niugini, the national carrier of Papua New Guinea.Bill Jaynes, managing editor of a Micronesia-based newspaper, was on the plane when it hit the water. "It's just surreal. I thought we landed hard until I looked over and saw a hole in the side of the plane and water was coming in, and I thought, well, this is not, like the way it's supposed to happen," he said in a video posted to Facebook.Jaynes said passengers on the plane were in water up to their waists and used the emergency exit to escape. Photographs and video footage posted online showed small fishing boats surrounding the stricken, semi-submerged plane, ferrying passengers to safety. The airline confirmed that all on board were able to safely evacuate the aircraft. "The airline is making all efforts to ensure the safety and immediate needs of our passengers and crew," it added.Passengers and crew were taken to hospital for checks and no serious injuries were reported.
Sheriffs Resignation Throws Bergen County Elections Into Chaos
Chile unveils Patagonian Route of Parks scenic trail
South Asia Floods: More than three million children affected by severe flooding
At least 25 children hospitalised after Ghazni car bomb attack
Recovered GoPro video shows final moments of Himalayas climbers


This short course is designed to brief you with all the need-to-know knowledge about The Open Group's IT4IT standard. Completing this online course will leave you aware, confident and informed about what the IT4IT standard is, its background, how it works and what it can do for you and your organization.
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The Chicago Cubs general manager, Jim Hendry, has been described by many as a lame duck, but team owner Tom Ricketts may want to get out the hunting rifle now before the situation deteriorates any further.
Hendry took over the Cubs GM position midway through the 2002 season and has never quite assembled the impressive major league team comparable to the impressive farm system he built in the late 1990s. Once touted for assembling a farm system that included future stars like Corey Patterson, Mark Prior, Eric Patterson, Felix Pie, Rich Hill, and (hey, mildly positive ones!) Kerry Wood and Carlos Zambrano, Hendry is now widely considered a neither great nor terrible GM.
His great times (2008, 2004) have been great; his good times (2003, 2007, 2009) have been okay; and his bad times (2005, 2006, 2010, 2011) have been numerous.
With a fraction of the payroll, Beane keeps his teams more competitive even on the downswings.
Quite recently, Hendry purged the upper levels of the Cubs minor league system — in the process releasing one of my all-time favorite authorial outfielders, Fernando Perez (since signed by the Mets). Hendry has taken his youth movement seriously, only falling short of claiming anyone older than 25 should be fired. Out of a cannon.
Why would we trade anybody who we think is going to help us next year or the years after? I would say if we move anyone it would be somebody we clearly knew wouldn't be back. We're not going to move people that we think are going to help us. Why would I trade Sean Marshall? Why would I trade Darwin Barney? Those calls kind of stop quickly. It makes no sense.
(a) He will be GM of the Chicago Cubs next year.
(b) The Cubs will be competitive next year.
Unlike last year, when the Cubs started the season with an unsustainably bad one-run record, this year's rendition has suffered from a holistic lack of organizational talent. The Cubs management, ownership, and Kool Aid fans have blamed injuries — but injuries happen every year to every team.
The Cubs have given starts to 10 different pitchers this year, which might seem like a lot until we consider that league-leading teams like the Phillies (7) and Red Sox (9) have also used more than the basic five starters. Moreover, the Cubs have gone through more starters than other teams largely because of ineffectiveness, not injury (such as the sad cases of Doug Davis, James Russell, and Casey Coleman).
But the issue at hand is less about the Cubs failures in 2011, but more about the incomprehensible analysis. Yes, you should trade someone who can be valuable in future years if the return exceeds the cost.
I offer my friend, say Fernando, a book of poetry. He offers me, in return, a $300 baseball bat from Modell's. I may like my $15 poetry book, but a $300 baseball bat is worth much more. And even if it does not fit my present situation (it does, though, if you're reading this 'Nando), then I could still flip the bat for $300 cash — or, if I get all Andrew Friedman on this situation, an Aventador LP 700-4 Lamborghini with a Bose sound system and an ability to play second and right.
The point here is: Yes, the likes of Geovany Soto, Darwin Barney, Sean Marshall, Marlon Byrd, or Jeff Baker may help the team in the near future, but they have already helped the present team to a losing record. This is not a championship roster.
If Hendry is allowed to finish the season — as many suspect will happen — he may well put the team in a furthered position of disadvantage by not taking advantage of players such as Barney and Baker at the height of their perceived value. The 2012 Cubs have very little chance at being competitive, but the 2011 Cubs could push them further along with a much overdue fire sale and subsequent rebuild, a la the 2005 Tampay Bay Rays.
Jim Hendry's regime has been notorious for its anti-statistical bent. At present, they have one man running advanced statistical analysis for the organization, Ari Kaplan. Many have speculated Kaplan may be member of Ricketts' new regime, but that new wave cannot come soon enough. With the Cubs' advanced resources and lackluster division, a progressive, intelligent, and capable front office could quickly make the Cubs into long-term, consistent contenders.
But presently, the Cubs franchise is in a state of disarray. It is time, right now, for the Cubs to move on without Jim Hendry.
However, the Cubs top-four starters this year have been their top-four starters — which is common for most teams.
We hoped you liked reading The Chicago Cubs Need Less Jim Hendry by Bradley Woodrum!
And who the hell told Jim Hendry that "opt out" clauses, "No Trade Clauses" and "player options" were must-adds to every FA signing!?!?!
Most of his "no trade clauses" are redundant anyway….
haha James, best Fangraphs comment I've ever seen.


Learning to eat with the ebb and flow of the seasons is the single thing that has made my eating more enjoyable. I have honestly never met anyone who wants to eat a slice of watermelon on a cold March evening, or a plate of asparagus in January.
Reading the Sunday papers yesterday I was browsing through the 9 pages of their new diet, promising to kick-start your healthy 2017, and bust that gut in 21 days. There was lots of good tips and common sense in the article, the usual guidelines that are common threads to most diets, but they lost me on the recipes. Most of the recipes were for salads, cold salads. I'm sure they're delicious, and I do enjoy a salad, but in January I want food that will warm me up.
Seasonality in food usually refers to eating what is currently growing and available in your locality - the produce available at a farmer's markets, fish caught locally or berries picked on the side of the road. I think there is also a personal dimension to eating seasonally- and it's the answer to the question, what do I most feel like eating right now? This doesn't have to mean a meal cooked from scratch with local produce, it could be a steaming bowl of homemade or tinned soup, with bread and butter, or a fish or chicken pie with creamy mashed potato, with fresh green veggies enlivened up with herbs or spices. These are the dishes I've been cooking recently. Feel-good, warming, comfort food. This naturally evolves through the seasons, as it gets warmer we want lighter meals, and it balances out.
In my experience, the most satisfying way to eat is to allow yourself what your body needs and craves. You get the body you want by giving your body what it wants. Our bodies crave nourishment, fresh, delicious food and lots of water. Before you eat something, think about how you will feel after eating it. This is the basis of mindful or intuitive eating. It's not always easy and takes a while to adjust to a new way of thinking about eating. When we're stressed, tired or anxious we crave a sugar hit and can polish off a packet of biscuits before we've even noticed. Intuitive eating is about paying attention to your body, your appetite and hunger, instead of trying to motivate yourself to want to eat the foods a diet has prescribed. If you crave something sweet, allow yourself what you want instead of agonizing over it, enjoy it in the moment, and move on.
One of the most useful intuitive eating tools I have come across is the Hunger Scale by Brooke Castillo. It is a visualisation technique to help you think about your hunger before, during and after you eat.
The scale measures physical hunger and runs from -10, which is starving, to +10 which is stuffed, zero is neutral where you are not hungry or full. You can use this scale through the day to measure how you feel before and after meals, and to get a feel for how your meals satisfy your appetite. The goal is to stay within the -2 to +2 range, to keep you satisfied at all times, and not let yourself get hungry or to overeat.
In December, I met with a group of Irish food bloggers for a Christmas lunch. It was my first time meeting them and nice to put a face to the blog names. Below I have linked to a selection of hearty, warming breakfast, brunch, lunch and dinner dishes from from a few Irish bloggers that are just right for this time.
Enjoy, and as Nigel says, go with the flow.


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About .Cancer Research
The Australian Cancer Research Foundation (ACRF, we, us or our) (ABN 27 076 461 360) is committed to protecting your privacy. Your privacy is of paramount concern to us because we appreciate and value our supporters. This Privacy Policy sets out our practices in relation to the collection, use, storage and disclosure of personal information. We are bound by the Privacy Act 1988 (Cth) (the Privacy Act) as well as other applicable laws protecting privacy.
We may modify or update this privacy policy from time to time by publishing it on this website. We encourage individuals to check our website periodically to ensure that they are aware of our current Privacy Policy.
By providing personal information to us, you consent to our collection, use and disclosure of that personal information on the terms of this Privacy Policy and any other contractual or other arrangements that apply between us (if any).
This Privacy Policy does not apply to acts and practices in relation to employee records of our current and former employees, which are exempt from the Privacy Act.
What personal information we collect and why
We collect personal information from you that is necessary for us to perform our services, functions or activities. Personal information includes any information or an opinion about an individual that is reasonably identifiable. If you do not provide this information, we may not be able to provide some or all of our services to you.
We may collect the following types of information:
phone number;
telephone number and other contact details;
age or date of birth;
credit card information;
other forms of payment information;
your device ID, device type, geo-location information, computer and connection information, statistics on page views, traffic to and from our website, ad data, IP address and standard web log information;
details of the services we have provided to you or that you have enquired about, including any additional information necessary to deliver those services and respond to your enquiries;
any additional information relating to you that you provide to us directly through our website or indirectly through your use of our website or online presence or through other websites or accounts from which you permit us to collect information; and
information you provide to us through surveys.
When you apply for a position with us we may also collect the following information which may contain sensitive information:
working history; and
criminal records.
We rely on financial support from the public to provide funding for cancer research.
We may collect, hold, use and disclose your personal information for the following purposes:
to communicate with you about our organisation, our activities, and provide information requested by you;
to enable you to access and use our website and services;
to operate, protect, improve and optimise our website, services, business and your experience, such as to perform analytics, conduct research and for advertising and marketing;
to let you know the ways in which you may support us or make a donation;
for the purposes of raising funds;
for our general business operations;
to enable you to apply for a position (as a volunteer or employee) with us; and
to comply with our legal obligations.
If your details appear on our donor or fundraising databases we may send you information about the Australian Cancer Research Foundation which we trust will be of interest to you.
This may take the form of emails, SMS, mail or other forms of communication, in accordance with the Spam Act, Do Not Call Register Act and Privacy Act. If you do not wish to receive this information you can opt-out by contacting our Privacy Officer using the information at the end of this Privacy Policy or by using the opt-out facilities provided (such as an unsubscribe link).
How we collect information
We collect information in many different ways, including from you directly, or from third parties. We collect information when you interact with us, including through sources such as In-memoriam donation envelopes, Appeal responses and from those who send in a donation with their personal details.
To whom we disclose your personal information
We may disclose personal information for the purposes described in this Privacy Policy, and this may include disclosures to:
our employees and volunteers;
third party suppliers, and their employees, contractors and agents;
specific third parties authorised by you to receive information held by us, including professional payment systems operators (including merchants receiving card payments);
professional advisers, dealers and agents; and
other persons, including government agencies, regulatory bodies and law enforcement agencies, or as required, authorised or permitted by law.
The disclosures referred to above may include disclosure to third parties to the extent necessary for them to perform their duties to us. Apart from the disclosures listed above, the Australian Cancer Research Foundation does not rent out, sell or otherwise share its donor information with any other organisation under any circumstances, unless otherwise notified to you.
We will not disclose any of your sensitive information unless the disclosure is directly related to the primary purpose of collecting the sensitive information.
Disclosure of personal information outside Australia
We may disclose personal information outside of Australia to third party service providers for our computerised cloud based systems who are locate in the USA, Singapore and India.
We may hold your personal information in either electronic or hard copy form. We regard the security of your personal information as a priority and take reasonable steps to protect your personal information from misuse, interference and loss, as well as unauthorised access, modification or disclosure, and we use a number of physical, administrative, personnel and technical measures to protect your personal information. These measures include service contracts including confidentiality agreements with service providers compliant with international regulations on cyber security. We remind you, however, that the internet is not a secure environment and although all care is taken, we cannot guarantee the security of information you provide to us via electronic means.
Our website may use cookies for site administration purposes. If for any reason you wish not to take advantage of cookies, you may have your browser not accept them, although this may disable or render unusable some of the features of our website. No personal information is collected, rather the patterns of usage of visitors to the website may be tracked for the purposes of providing improved service and contact based on aggregate or statistical review of user site traffic patterns.
Our website may contain links to websites operated by third parties. Those links are provided for convenience and may not remain current or be maintained. Unless expressly stated otherwise, we are not responsible for the privacy practices of, or any content on, those linked websites, and have no control over or rights in those linked websites. The privacy policies that apply to those other websites may differ substantially from our Privacy Policy, so we encourage you to read them before using those websites.
Accessing and correcting your personal information
You have the right to access and correct the personal information we hold about you. If you would like access to the information we hold about you, if your details change or if you believe that your personal information held by us is inaccurate or out of date, please contact our Privacy Officer on the contact details at the end of this Privacy Policy
You may make a complaint about our handling of your personal information, including if you think we have breached the Privacy Act, by contacting our Privacy Officer on the details set out at the end of this Privacy Policy. If we are not able to resolve your complaint, you may wish to contact the Office of the Australian Information Commissioner, which will be able to provide you with information about your other options.
If you would like to update any of your personal information held by us, please contact us on 1300 884 988 in Australia and +61 2 9223 7833 outside Australia.
If you have any general questions or concerns relating to this Privacy Policy please contact:
Privacy Officer at Australian Cancer Research Foundation,
Suite 3.02
Level 3, 77 King Street
Email info@acrf.com.au
Please click here for a hard copy version
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text:
AgTech Controlled Environment Agriculture Corporate Partnerships
Gardin & Enza Zaden Further Collaboration
Facilities in the Netherlands and Spain will be added to Gardin's cooperation with Enza Zaden in 2022 and 2023. Without requiring any assistance from our team, Gardin measures key plant performance indicators exactly where the plants were grown. The lead scientist at Gardin, Dr. Fabrizio Ticchiarelli-Marjot, stated: "We were able to identify unsuspected patterns in the response of some vegetable crop kinds to abiotic stress."
It is important to understand how plants respond to environmental stress in order to develop high-performance varieties and effectively cultivate crops. The team at Enza Zaden is particularly aware of this and works to create hardy cultivars for growers worldwide. Enza Zaden plans to expand its collaboration with Gardin across their Netherlands and Spain locations in 2023 following a successful trial in September 2022.
According to Dr. Chiara Volpi, senior researcher at Enza, "The Gardin technology was tested on some of our breeding lines. The ability to see how plants respond to stress in real-time has been very valuable for understanding their potential. Not only does this allow us to be aware of stress before it becomes visible, but it also provides an objective and quantifiable way of understanding the impact of environmental variability and differences between varieties, as well as the effectiveness of treatments. The Gardin platform autonomously and directly measured crucial parameters of plant performance at the site where the plants were growing, without any intervention from our team. This, along with the analytics capabilities provided by the Gardin team, allowed us to gather important data from our research experiments to accelerate variety development."
Both companies believe that the expansion of their collaboration has the potential to yield positive results in the weeks, months, or years to come. Dr. Fabrizio Ticchiarelli-Marjot, Gardin's lead biologist, commented: "Working with Chiara and Duy at Enza Zaden has been a great experience. They are world-class scientists. We were able to observe unexpected patterns in the way some vegetable crop varieties responded to abiotic stress, and we hope these insights will help Enza Zaden bring these crops to market as soon as possible. Next year, we are looking forward to expanding the range of species we will work on together, which will help many people at Enza Zaden and accelerate their pipelines. This will also ensure that Gardin's predictive analytics are trained from the start on some of the most innovative crops that will reach the market. This will put us in a strong position to serve commercial growers worldwide."
Image provided by Gardin
Siemens Partners With 80 Acres Farms To Scale Vertical Farming
ProducePay Announces CEO Transition & Record Growth in 2022


text:
package org.slc.sli.api.security;

import junit.framework.Assert;

import org.junit.Before;
import org.junit.Test;
import org.springframework.security.core.context.SecurityContextHolder;

import org.slc.sli.api.util.SecurityUtil;
import org.slc.sli.api.util.SecurityUtil.SecurityTask;
import org.slc.sli.domain.enums.Right;

/**
 * Tests sudo runs
 * Validates that while running the process has elevated privilege
 * and that once done, original privileges are restored
 *
 * @author dkornishev
 *
 */
public class SecurityUtilTest {

    @Before
    public void init() {
        SecurityContextHolder.clearContext();
    }

    @Test
    public void testSudo() {
        Assert.assertNull(SecurityContextHolder.getContext().getAuthentication());
        SecurityUtil.sudoRun(new SecurityTask<String>() {
            @Override
            public String execute() {
                Assert.assertTrue(SecurityContextHolder.getContext().getAuthentication().getAuthorities().contains(Right.FULL_ACCESS));
                return "";
            }
        });

        Assert.assertNull(SecurityContextHolder.getContext().getAuthentication());
    }
}

redpajama_set_name: RedPajamaGithub


text:
Vitamin D deficiency linked to greater pain
By Clarisse Douaud
14-Oct-2007 - Last updated on 19-Jul-2008 at 12:53 GMT
Related tags: Vitamin d
A new study has linked vitamin D and a reduction of chronic pain,
lending to voices calling for increased fortification or
supplementation of the nutrient in diets.
The study, presented at the American Society of Anesthesiologists 2007 Annual Meeting in San Francisco, found that one in four patients who suffer from chronic pain also have inadequate blood levels of vitamin D. As such, the researchers put forth that the vitamin D deficiency possibly contributed to the patients' ongoing pain. Vitamin D deficiency - which can lead to osteopenia, osteoporosis, muscle weakness, fractures, common cancers, autoimmune diseases, infectious diseases and cardiovascular diseases - s been found to be lacking particularly in inhabitants of colder climates. A recent study, for example, indicated that the median adult intake of vitamin D in the US is only 230 IU per day, versus the researchers' recommended 2000 IU per day. The latest study, undertaken at the Mayo Comprehensive Pain Rehabilitation Center in Rochester, Minnesota, involved 267 adults undergoing outpatient treatment for chronic pain. The researchers recorded their serum vitamin D levels, pain medication (morphine), as well as general health, and found patients lacking sufficient vitamin D also required higher doses of morphine for a longer period of time. Of these patients, 26 per cent had vitamin D inadequacy and needed almost twice the dose of morphine of the group with adequate vitamin D levels. The vitamin D inadequacy group were also reported as using morphine for an average of 71.1 months compared to 43.8 months for the other group. As well, the vitamin D deficient group showed lower levels of physical functioning and poorer overall health. "…this is the first time that we have established the prevalence of vitamin D inadequacy among a diverse group of chronic pain patients," said study author, Michael Hooten, medical director and anesthesiologist at the Mayo Comprehensive Pain Rehabilitation Center. However, inadequate levels of vitamin D has long been associated with causing pain and muscle weakness and studies have suggested that pain-related symptoms of vitamin D inadequacy respond poorly to pain medications. One possible outcome is supplementing patients with vitamin D. "The implications are that in chronic pain patients, vitamin D inadequacy is not the principal cause of pain and muscle weakness, however, it could be a contributing but unrecognized factor," said Hooten. Vitamin D inadequacy can be easily and inexpensively treated using a prescription supplement, once or twice a week for four to six weeks, according to Hooten. Deficiency in vitamin D affects inhabitants of colder climates, because sunlight induces synthesis of vitamin D in humans. As such, if a consumer is not getting adequate exposure to the sun for vitamin D and its subsequent impact on their serum 25 (OH)D levels, they should be supplementing with vitamin D. Vitamin D refers to two biologically inactive precursors - D3, also known as cholecalciferol, and D2, also known as ergocalciferol. The former, produced in the skin on exposure to UVB radiation (290 to 320 nm), is said to be more bioactive. The latter is derived from plants and only enters the body via the diet.
Related topics: Research, Suppliers, Vitamins & premixes
Low vitamin D may increase death risk: study
Low vitamin D levels linked to increased heart disease risk
Vitamin D dose study adds weight to intake increases
Vitamin C and linoleic acid may slow skin ageing
Vit K2 Deficiency: Impeding Optimal Health For All
NattoPharma USA, Inc. | 10-Aug-2020 | Technical / White Paper
NattoPharma created the Vitamin K2 category, driving all research demonstrating bone- and heart-health benefits of MenaQ7® Vitamin K2 as MK-7. That research...
BannerBio, your reliable source of sleep-aid & soothing ingredients
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Nowadays, active and sports driven people are looking for healthy ways to reach the physical performance they desire while maintaining focus and positivity...
Advanced Organic Materials (AOM) | BGG | ExcelVite Sdn. Bhd. | KGK Science | KLK OLEO - Davos Life Science | Lallemand Bio-Ingredients | PLT Health Solutions
By Prinova Europe LimitedPrinova: How to deliver optimal nutrient levels in the critical first 1,000 days of life
By TSI Group LTD – Healthy Begins HereEarth Tones: GlucosaGreen Promotes Joint Wellness & Eco Health


text:
Anne Rice's Lives of the Mayfair Witches Gets A Series
Posted by Jessica Lancaster | Dec 1, 2021 | Fantasy, TV News | 0 |
The Anne Rice cinematic supernatural universe is expanding. AMC announced today it will produce a new series based on Rice's Lives of the Mayfair Witches trilogy.
Mayfair Witches will focus on an intuitive young neurosurgeon who discovers that she is the unlikely heir to a family of witches. As she grapples with her newfound powers, she must contend with a sinister presence that has haunted her family for generations.
Masters of Sex alums Esta Spalding and Michelle Ashford serve as executive producers and writers on the series.
In a statement about the series, Spalding and Ashford said, "The world of witches has fascinated and terrified for centuries, and yet Anne Rice's particular lens on witches explored something new altogether – women who are powerful, and often brutal, and always committed to subverting our current power structures. We are so excited to join our partners AMC and Gran Via Productions in making this mysterious and provocative world come to life."
Mayfair Witches marks AMC's latest expansion into the Anne Rice universe. The network previously greenlit an Interview with the Vampire series, set for a late 2022 premiere. AMC actually acquired the rights to 18 Rice titles, so this may be just the start of future projects. Award-winning film producer Mark Johnson (Breaking Bad) oversees all AMC-Rice projects, including both Interview with the Vampire and Mayfair Witches.
"With the cornucopia of rich characters, worlds, and stories that Anne Rice has given millions upon millions of readers around the world, AMC now has the privilege of creating a multitude of fascinating, entertaining, and very distinct television series," said Johnson. "My good fortune as an executive producer of 'Anne Rice's Interview with the Vampire' has now been more than doubled with what Esta Spalding and Michelle Ashford are imagining with The Mayfair Witches. While both shows couldn't be more different, they nevertheless find themselves bound under the same bewitching and engaging umbrella."
Rice's Vampire Chronicles series and Lives of the Mayfair Witches books have sold more than 150 million copies worldwide.
So, are you ready to see more of Rice's supernatural world explored on screen? Let us know in the comments below.
Meanwhile, check back to THS for more updates.
Source: AMC
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text:
De witkeelfrankolijn (Campocolinus albogularis synoniemen: Peliperdix albogularis en Francolinus albogularis) is een vogel uit de familie fazantachtigen (Phasianidae). De wetenschappelijke naam van de soort is voor het eerst geldig gepubliceerd in 1854 door Gustav Hartlaub.

Voorkomen
De soort komt voor in het westen en midden-zuiden van Afrika en telt 3 ondersoorten:
 C. a. albogularis: van Senegal en Gambia tot Ivoorkust.
 C. a. buckleyi: van oostelijk Ivoorkust tot noordelijk Kameroen.
 C. a. dewittei: zuidoostelijk Congo-Kinshasa, noordwestelijk Zambia en oostelijk Angola.

Beschermingsstatus
Op de Rode Lijst van de IUCN heeft de soort de status veilig.

Phasianidae
IUCN-status niet bedreigd
Dier uit het Afrotropisch gebied


text:
Home News Intelligence Community
DHS Whistleblower Claims Top Officials Told Him to Change Intelligence Reports to Support White House Agenda
byPeter Briccetti
in Breaking News, Government, Intelligence Community
The former head of Intelligence and Analysis (I&A) for the Department of Homeland Security (DHS) filed a whistleblower complaint, alleging that senior officials at DHS are asking analysts to alter intelligence reports to support political goals. Among the most disturbing of these claims are allegations that DHS officials downplayed reports containing possible Russian election interference and reported instead on Chinese and Iranian interference activities.
Whistleblower Brian Murphy filed the report on September 8, after being demoted on August 1 from the position of Principal Deputy Under Secretary in the Office of Intelligence and Analysis to the role of Assistant to the Deputy Under Secretary for the DHS Management Division. Murphy claims that this demotion was retaliation for disclosures he made to individuals up the chain of command at DHS and for concerns he brought to the Office of the Inspector General of DHS.
Murphy is a career public servant with an until-now spotless record of service in the Marine Corps, FBI, and DHS. His complaint alleges that his boss, the acting Secretary of Homeland Security Chad Wolf, instructed him to "cease providing intelligence assessments on the threat of Russian interference in the United States, and instead start reporting on interference activities by China and Iran." Murphy also claims Wolf told him these instructions came from White House National Security Adviser Robert O'Brien. Murphy identifies this exchange as merely one of the multiple times that he witnessed abuses of authority and instances of improper administration while working at DHS.
Murphy's complaint also details other instances when top DHS officials misrepresented information in service of a political agenda. He claims that former Secretary of Homeland Security Kirstjen Nielsen knowingly overrepresented a terrorist threat to Congress. On October 29, 2018, Murphy claims that he was asked to "ensure the intelligence assessments he produced for Secretary Nielsen's review supported the policy argument that large numbers of Known or Suspected Terrorists (KSTs) were entering the United States through the southwest border." Before Secretary Nielsen's testimony to the House Judiciary Committee on December 20, Murphy met with her and other DHS officials to prepare for the session. At the meeting, Murphy claims that he clarified for Secretary Nielsen the difference between a Special Interest Alien (SIA) and a KST. An SIA is a migrant who comes from a country where there is a terrorist threat, but there is no evidence that they are a terrorist themselves. Murphy says that at her testimony Secretary Nielsen purposefully conflated SIAs as KSTs to make the threat appear more serious than it was, saying that there were 3,755 KSTs crossing the southwestern border when the intelligence only supported a claim of 3 KSTs at the time.
The whistleblower complaint also alleges that Kenneth T. Cuccinelli, the second-in-command at DHS, instructed Murphy to modify a March 2020 Homeland Threat Assessment (HTA) in a way that would downplay White Supremacist threats and activities. "Mr. Cuccinelli stated that Mr. Murphy needed to specifically modify the section of the HTA on White Supremacy in a manner that made the threat appear less severe, as well as include information on the prominence of violent 'left-wing' groups." Murphy claims that Wolf and Cuccinelli removed him from the HTA project when Murphy told them he would not accept their edits to the HTA. Although the HTA has not been made public, the complaint states: "It is Mr. Murphy's assessment that the final version of the HTA will more closely resemble a policy document with references to ANTIFA and "anarchist" groups than an intelligence document as originally formulated by DHS I&A."
A spokesman for the DHS rejected Murphy's claims, stating that the DHS "looks forward to the results of any resulting investigation, and we expect it will conclude that no retaliatory action was taken against Mr. Murphy." House Democrats have asked Murphy to testify in front of the House Intelligence Committee in private on September 21.
Read Murphy's whistleblower complaint here.
Read The New York Times article here.
Tags: DHS WhistleblowerGovernment WhistleblowersNational SecurityWhistleblower Retaliation
Retaliation Against Whistleblowers
Veteran LA SWAT Sergeant Sues Over Existence of "SWAT Mafia" Inside Department
Peter Briccetti
Peter Briccetti is a contributing editor with Whistleblower Network News. He writes about breaking whistleblower news, and False Claims Act whistleblowers, FCPA whistleblowers, and tax fraud whistleblowers. Peter is a graduate of Hamilton College with a degree in History and an interest in politics and anti-corruption law. At Hamilton, he wrote for the Hamilton College Spectator as an editor and contributor.


The 57th meeting of the Incident Prevention and Response Mechanism, chaired by the UN, with participation of the EU Monitoring Mission, was held in Gali on 27 June 2018.
This Incident Prevention and Response Mechanism meeting was short. Divergent positions were expressed by participants regarding one agenda point. It did not prove possible to conclude deliberations as some participants did not see a basis for continuing the meeting.
During this short meeting the EU Monitoring Mission and the UN Chair agreed that the security situation had remained stable since the last Incident Prevention and Response Mechanism meeting on 18 May. There was a recognition of the essential role of the EU Monitoring Mission managed Hotline in ensuring the exchange of information between participants, and thereby maintaining stability. The EU Monitoring Mission informed all participants there had been 61 hotline activations on 28 different issues since the last meeting in Gali.
The EU Monitoring Mission remains convinced of the essential role of the Incident Prevention and Response Mechanism format in Gali in promoting stability on the ground and facilitating dialogue on the conditions of the local population. The Mission looks forward to a swift resumption of the Gali Incident Prevention and Response Mechanism meeting and will continue to engage constructively to that effect.


Instant playing rights 7 days a week for as low as $585. Age discounts for 25-39 year olds.
With NO Entrance Fees and a Dress Code in line with today's modern standards it is a great place to be a member, a great place to play golf and a great place to just enjoy life, and all at a very AFFORDABLE price!
The Club offers a variety of affordable membership packages designed to suit individual needs & open to all genders from full 7 Day course access to Seasonal, Casual, Pay as you Play and Social categories.
Generous AGE discounts apply to 7 Day Memberships for individuals aged 25-39 years old at 1st March.
The entry process is efficient with instant playing rights available upon payment of your initial membership account.
The Club's Board of Directors remain committed to ongoing course and facility improvement whilst minimizing the financial impact on its membership.
Berwick Montuna is a Golf Club that offers you a different & rewarding membership journey...come and experience the ride for yourself - you won' t be disappointed!
All Membership Categories are currently open to both Males and Females.
The 10th. Click on the image above to view more of Victoria's 4th toughest golf hole.
Berwick Montuna Golf Club welcomes visitors to enjoy the course and facilities. Green fee bookings are available 7 days in advance.
With great facilities and fantastic views Berwick Montuna Golf Club offer a range of function packages to suit your next event.