Plumbing problems can cause stress. Your Local Plumbing Kingston Company can solve your plumbing difficulty quickly and professionally.
We are a local plumbing company. There are advantages in employing a local company. We can respond more quickly to your call. Also, the local road conditions will not confuse us, and we also know of any local plumbing issues which could affect you.
Our name matters – especially in the local community. Many of our past customers refer their friends and family to us, so we get the benefit of a great testimonials from people you know and trust. Our good name is critical to our business. Our clients also ask us to perform the important maintenance checks for them – thus saving themselves both hassle and money. You can see some testimonials on our web site.
Here at Plumber Kingston we believe we are more than just the other plumber on the street. We never hide our fees, you can see what the cost will be from the very first assessment. You will not find hidden extras to pay for – and our costs are fair and above board. Crucially, we keep the costs low, and we also pass on to you the saving we make in not having to travel far to see you.
We offer you a real service, essential for your well-being so we feel responsible for providing you with the very best quality service we can. And as we keep abreast of new developments in the industry, we know that we are ahead in the field. Our plumbers are enthusiastic, we agree that plumbing is an interesting and stimulating profession. All our plumbers continue their education, by discussion and sharing our experiences, by taking training in the latest technologies.
We don't stint on providing our skilled plumbers with the right tools for the job. This might include power flushing equipment as well as our useful CCTV for seeing round corners and into the difficult places.
At Plumber Kingston we know we are high-quality plumbers. We only employ the best!
Our plumbers have all taken extensive training to reach the high quality we expect from our staff. We have a good grounding in mathematics, including geometry and algebra. And we also understand essential physics and we know our way round the computer, which we use in modern plumbing.
In addition to that, all our plumbers have the basic plumbing qualification, usually city and guilds NVQ level 2. Only after completing the basic training can a plumber get himself registered and even when we have these qualifications we continue to learn throughout our plumbing career.
Because we are high-quality plumbers, we can read blueprints, work out the layout of pipes – which can be challenging on occasion. We know about all the accessories that a plumbing system needs, and we can advise you as to the best option for you.
Our team at Kingston learn from each other as well. We share our experiences, so you get the benefit of our combined knowledge. And because our job challenges us to solve problems we find our work stimulating and always interesting. We never know what's round the corner (especially when you call us about blocked drains or blocked toilets!).
New techniques are constantly discovered and we encourage our plumbers to continue their training and familiarise ourselves with all the latest techniques. Added to this, we make sure we have the right tools for the job, which can include such things as power tools and CCTV to seek out those hard to see places.
Not only does the qualified plumber have a sound knowledge of plumbing, we must also be able to work in awkward cramped places. The work is hard and so we need to be fit, able to endure the long hours day after day, and still feel cheerful and enthusiastic about our work. Sometimes we need to work in exposed situations or at heights. Plumbing can be an exciting job, as well as mentally stimulating.
You should feel confident that the man at a the door really is the plumber you sent for. We all wear a uniform, so you know that we were not just picked up off the street for a day's labour! In addition to that, we also carry identification cards, which we offer to you so you can check our credentials. If you still feel any doubt at all, just ring our office to confirm who we are.
At your local Plumber Kingston we are high-quality plumbers. You can trust us to do the work to the highest standards. Our training and experience will stand you in good stead. In addition, our local knowledge allows us to offer you sound, practical advice about local conditions and potential problems. Also, we can respond quickly to your call.
We believe that Kingston folk deserve the best plumbing experience, as well as friendly and courteous treatment. After all, the reason we come when you call is to assist you and take away the worry about your plumbing system. Oh! And we always clear up after ourselves – we will not leave you with a nasty mess!
All these reasons show you how we are unique at Plumber Kingston. So, call on us for exceptional service at a fair price – you will be glad you did.


Australian Rugby has joined together in the mourning of Wallaby number 338, Brian Phillip Cox who passed away over the weekend at the age of 86.
Cox lived at Manly on Sydney's Northern beaches and represented NSW on 14 occasions and earned nine Test caps for his country.
"A proud son of the Manly Marlins in Sydney. Brian was a talented halfback, known to be incredibly tough with a very accurate pass.
"Playing nine Tests for Australia, Brian did his country proud every time he wore the Wallaby Jersey.
"Hailing from a proud Rugby family, Brian's two sons (Phillip and Mitchell) followed in their father's footsteps and had the honour of playing for the Wallabies.
Cox played 14 matches for New South Wales and 142 first grade games for the Manly Marlins.
Brian's career at Manly did not finish when he stopped playing, working in various senior administrative roles in the club he was honoured with a life membership.
Brian continued to contribute to Rugby in his post-playing years as the voluntary time-keeper for Manly's Club matches, NSW Waratahs home matches, and Sydney-based Test matches, dating from 1989 to 2006.
Outside of Rugby Brian worked for many years as a quantity surveyor.
Brian is survived through his sons Phillip and Mitchell, and his wife Judy.


Tops the list for its rugged construction, straightforward design, and exceptional results. The best available.
Ergonomic handles and safety blade lock. Has 3.5-mm blades for smooth cutting. Satisfaction guaranteed by manufacturer; replacement or refund if not. Includes a bonus file.
Requires significant hand strength when trimming thick nails.
Basic yet durable clippers that share features with costlier models. A sound choice if you want quality and value.
This pro-grade feature set includes coated, non-slip handles, surgical steel blades, a safety lock, and strong, spring-loaded operation.
The overall size is large, which makes it somewhat difficult to use on small dogs.
Choose if you like a guillotine blade and heavy-duty construction. Otherwise, the Millers Forge clippers have more user-friendly features.
The sharp guillotine blade can be adjusted to accommodate different nail sizes. Made of durable carbon steel. Includes a bonus file. Available in 2 sizes.
The handles have no covering or coating to help secure your grip.
A solid option for smaller dogs, although other models on our shortlist are more versatile for various sizes of dogs.
Stands out for its Quick Sensor technology that lights up to indicate when it is and isn't safe to cut. Guillotine blade wraps safely around nails for added stability during clippings.
Only recommended for dogs up to 40 lbs., and not recommended for high-volume clipping.
Offers impressive results if your dog will tolerate the motorized operation. Otherwise, consider other models we reviewed.
Uses a strong rotary grinder instead of blades. Two speeds accommodate small and large nails. Battery-operated w/a charge life up to 3 hours. Includes 2-year warranty.
The attachments seem a bit flimsy and don't fit the tool well. The motor is a bit noisy, and some dogs are scared of it.
Just like humans, dogs need to have their nails trimmed regularly to prevent them from growing too long. To do this at home, you'll need to buy a pair of dog nail clippers. You should know a little about canine nail clippers in order to find the best ones. In addition, you must learn how to trim your dog's nails without hurting or distressing her.
We performed extensive research to help you find the perfect pair of nail clippers for your dog. That's how we came up with our top picks. To know everything you need to before buying, read our full shopping guide to dog nail clippers.
It's important to keep your dog's nails trimmed because nails that are too long can break or put an uncomfortable amount of pressure on your pup's nail beds.
Should you clip your dog's nails yourself?
Some pet parents worry about taking a DIY approach to clipping their dog's nails. Whether you do the job yourself or have it done by the vet or a groomer is your choice.
Unless you have an extremely nervous dog, you will likely find it fairly easy to clip your pup's nails.
Just be sure to get your dog used to the process gradually, and don't cut his nails too short.
The "quick" is the part of the nail that contains the blood vessels. Make sure you don't cut into the quick because it will bleed and hurt your dog. If your dog has translucent nails, you can easily see the quick inside, so you know where to cut.
Scissor-style clippers are sometimes known as "miller's forge" or just "forge" clippers. They feature two blades that close on either side of the nail like a pair of scissors. Small pairs occasionally feature round scissor-like handles, but most have straight handles.
Popular and readily available, these are easy to control and better than guillotine nail clippers for dogs with thick nails.
Although these are less likely to cause discomfort to dogs with thick nails than guillotine clippers, you still need to exert a lot of force, and the pressure can feel uncomfortable.
These cost between $5 and $20, depending on size and strength.
Some dog nail clippers come with a file to smooth down the edges after you've cut the nails. This isn't necessary, however, as your pooch's nails will smooth down naturally after a walk or two.
Guillotine dog nail clippers feature a hole that you poke your dog's nail through and a single blade that comes down when you press on the handle, cutting through the nail.
These are easy to use and good for small- and medium-size dogs. The blade can be replaced when it gets dull.
The clippers may crush the nail rather than cut it if the nail is too thick or the blade isn't sharp enough, which can be uncomfortable for the dog.
These cost about $5 to $25.
While you should do everything you can to avoid the quick when you trim your dog's nails, accidents can happen. We recommend keeping some styptic powder handy to stop the bleeding should you nick the quick.
Dog nail grinders are essentially a small sanding tool designed to file down rather than cut your four-legged friend's nails. They range from the basic to the very heavy-duty. They may either have a cord or be battery powered.
These are ideal for dogs with very hard or thick nails that are difficult to trim. Some dogs who won't tolerate nail clippers are happy to have their nails ground down.
It can take some training and desensitization to get your dog used to the sound and vibration of a nail grinder.
These cost between $15 and $40.
A nail grinder can make it easier to avoid the quick on dogs with dark nails because you only grind down a little at a time.
The best blade material for dog nail clippers is stainless steel because it's strong, doesn't rust, and tends to stay sharp for a decent amount of time.
While some models are completely made of metal, most have plastic handles.
Plastic handles are fine as long as the plastic is heavy-duty and not flimsy. Weaker plastic handles could break if you exert a lot of pressure on them.
Even if you think you know what you're doing, read the instructions for your chosen clippers before you use them for the first time just to make sure you're using them safely and correctly.
Some dog nail clippers are considerably stronger than others. Selecting a strong pair of clippers is particularly important if you have a large dog with thick nails. If your clippers aren't strong enough, they just won't cut it – literally and figuratively. Look for a pair with thick, sturdy blades and strong handles.
Sharp blades create a smooth result free of jagged edges, but more importantly, they make the nail-cutting experience more comfortable for your canine companion. If the blades aren't sharp enough, they won't cut cleanly through the nail. Dull blades, when you squeeze the handles together, will crush the nail, which in turn exerts pressure on the quick, causing your dog discomfort.
If you opt for a nail-grinding tool rather than traditional clippers, it may come with a range of sanding/grinding attachments. You can switch attachments depending on the nail thickness or the results you require.
Depending on the type of clippers you choose, you may find a range of useful safety features.
Scissor-style clippers often have a safety catch to keep the blades together when they're not in use. This makes you less likely to accidentally cut yourself on the blades when carrying them around or looking for them.
Both guillotine and scissor-style nail clippers may have a safety guard, a bit of metal that sits opposite the blades to stop you from cutting too much off your dog's nail at once.
Some nail grinders have a safety lock that prevents the unit from grinding while it's on. This can be useful so that you don't accidentally start the tool while you're setting up, which could startle your dog.
If you're experienced at cutting dogs' nails, you might not feel like you need a safety guard, but it can keep accidents from happening if your hand slips or your dog moves her paw at the wrong moment.
Consider your dog's size when selecting nail clippers. A large dog will require heavy-duty clippers with strong, sharp blades, while a small dog will need a daintier pair.
Take a good look at your dog's paws when trimming the nails. Use this time as an opportunity to check for any lumps, bumps, cuts, or scrapes on your dog's paws.
Make sure you know what you're doing. If this is your first time cutting your dog's nails, we recommend watching some videos online to learn the right technique or asking your dog's veterinarian for tips.
Don't be afraid to go slowly. If your dog isn't used to having his nails trimmed, it's okay to trim the nails on one paw one day, another paw the next day, and so on, so you don't overwhelm him. For dogs who really object to the experience, you can even trim one nail a day at first.
Rubberized grips are a nice feature to have because they make the clippers more comfortable to hold and use. You're less likely to lose your grip while using them, which means you're less likely to cut the nails too short.
Dogs who get a lot of exercise, especially on hard surfaces, generally don't need their nails clipped very often, as the nails wear down naturally.
Q. When should I start clipping my dog's nails?
A. We recommend starting to trim your dog's nails as soon as possible (once he's settled in, of course), even if there's only a small amount to trim. The sooner he gets used to having his nails clipped, the less of a struggle it will be in the future. Take things slowly at first, and make sure you give him lots of praise and treats after each nail so that he learns having his nails done can be a pleasurable experience.
Q. How often should I clip my dog's nails?
A. That depends on a range of factors, including how quickly the nails grow and how much exercise your dog gets (activity helps to wear down the nails naturally). Many people find that their dog's nails need trimming about once a month, but your schedule may vary.
Q. My dog has dark nails. How can I tell where the quick is?
A. If your dog has clear nails, you can easily see where the quick is (it's the pink-looking part), but if your dog has dark nails, you're essentially going in blind. The only thing you can do is trim a tiny amount off the nail each time, looking at the end of your dog's nail after every cut. When you see a little black circle emerge in the center of the nail, you're approaching the quick and should stop trimming.


BRIDGES is a voluntary community charity that aims to provide restful surroundings for everybody in Edenbridge & surrounding area. As well as serving high quality, locally sourced & homemade food, we also provide activities and services that support the local community.
The BRIDGES Centre is a great venue for hire for events such as birthdays, christenings etc. To link to our hiring information please click here, and contact us via email or phone information found on 'Contact Us' on the menu. Or pop in!
BRIDGES is a charity. Any Profit made goes to e.g. supporting local community projects & other charitable projects.
We are a cafe with a conscience. We want to serve products that are ethically sourced, and where possible, locally sourced, while still delivering a high level of service and product quality.
BRIDGES is a space where community can happen. We want to give all of our customers a place to relax, get to know each other and enjoy viewing local creative art & even take up new activities.
We take an active role in addressing issues that affect us locally, nationally and beyond by allowing people to engage with them through BRIDGES. This could take the form of networking with others with similar interests or by informing people of such issues.
Join Us! If you would like to donate to BRIDGES charity work you can do so here. If you would like to join us as a volunteer, click here and find out more about the roles and shifts available.


Mediawebster has been one of the leading business consulting partner with a mission to lead you digitally. Blending creativity and smart thinking, we offer end-to-end industry leading solutions to boost your business to a level beyond your expectations. Since its inception in 2010, the organization has always been proactive in delivering optimized solutions meeting the needs and demands of several business verticals. Using high-end technologies, we tend to reshape businesses and offer innovative solutions to help you reach acme of success. Our deep-seated philosophy of innovation and continuous improvement help us maintain the quality benchmarks.
As a leading Web Development and Digital Marketing company, Mediawebster helps make our client's marketing campaigns effective and successful. With Offices in UK, USA, and Global Development Center in Calcutta, India, we offer a wide spectrum of technology expertise across diverse business. Our combined experience in Website Design, Development, Integration, Branding and Search Engine Marketing gives your business the edge it needs and bring in thousands of leads every month. We help clients reach the right people with clear message at right time through right channel. Whether it is a small startup or a big conglomerate, our customized digital marketing and branding will take to the next level ensuring better ROI. With over 450+ clients and counting, we are opening new paths for your business and ideas to excel universally.
Presently, the company in-houses nearly 50+ expert digital marketing professionals including Designer, Developer, Project Managers, SEO executives, Online Bidder, Business Analysts who are working in tandem to cater the needs of global clients.
Working With technologies of Tomorrow or creating flawless multi-device backed by high-end technology solutions, Mediawebster has looked to the possibilities of what world calls today as "Internet of Things". Mediawebster provides top class digital marketing, web designing & web development services at a very low cost.
We were born with the ambition to create new portals in the online world for people, who wants to expand their services. It takes years of industry consulting experience to deliver commendable result-oriented solutions and we have not only won the confidence of our clients.
Being a leading provider of Digital Marketing services, we aim to open new paths for various businesses to explore and put their anchor at beneficial segments. We seek to meet every suggestion and fill the requirements for accessing every opportunity of advantage.
We work tirelessly with passion and remain on the quest to do something different. We assure development of any business through the way of Digital Marketing. Since we see it from the perspective of a client, thereby we design something which is of a friendly approach to the consumers. As we believe in nothing other than success, hence we strive to create a prominent brand name for company who is our client.
Can you tell me what comes to your mind when you think of the word "Is Mine"? Is it your family? friends? your Brand New Car? your Gadgets? your dream Home.? To be very frank the things that we own are the ones for which we can boast off and proudly proclaim as "Mine".. Right?? But apart from all these, our company can also be included in ' Mine' slot? Well, Mediawebster is a company, where the term ' Is Mine' does exist, where each and every employee proudly says the word when it comes to their work or environment.
This is just a noble initiative of Mediawebster to let you catch a glimpse of the professional lives of the employees- fellow members of Mediawebster Family. Frankly speaking, Life at Mediawebster is not all about hard work. Mediawebster is indeed a fun place to work with! It is a company that defines ' Fun at Workplace' not just through Party but through strengthening a work culture that ensures everyone ample fun & activities while at work. A company which adheres to some important values of Passion, Happiness, Excellence & trust.
We enjoy the success we see but more importantly each milestone is the reference point we begin each day with. That's the mantra that drives us. Thats the spirit that keeps us on the move.
Let's fuse fun, thrill, charm, magic and work to add a whole new enunciation.


In poultry farms most of the heat is lost through intensive ventilation, which is required by thousands of birds inside a building. Recovering waste heat from high temperature exhaust air is one of the most economical ways to reduce heating fuel cost. Missouri Alternative and Renewable Energy Technology Center at Crowder College has been working on heat recovery ventilation in cooperation with the University of Arkansas and ALDES Ventilation Corporation. There are multiple commercial products available today for poultry applications.
Due to the dusty and corrosive environment of poultry farms, development of durable and dependable technology and products are of interest to the industry.
Two factors make the ventilation the largest heat loss, and also the most valuable energy to be reclaimed. One is the large and continuous ventilation amount: for a typical broiler barn, 4 sidewalls fan with capacity of 8,000-10,000 cfm are required.
The other fact is high temperature, which ranges from 65 – 90°F based on birds types and ages.
The biggest challenge to capturing waste heat from poultry exhaust air is the corrosive and dusty environment. In order to develop dependable and durable equipment, high conductivity polyethylene pipes (HDPE) are used as heat transfer components. Thermal conductivity of HDPE is about 2.5 times of commonly used PVC pipe. It is not as good as metal (copper and aluminium) material, but using those more conductive materials will not benefit overall heat transfer efficiency very much. Plastic material offers benefits of resistance to corrosive gas and moisture, and it is washable.
A timer controlled flushing system is installed in the heat recovery systems. Water washing is more effective than high-pressure gas removal because the dust from the discharged air will exit the equipment as wet mud, rather than as dry particles which contribute to dust discharge problems.
The system is small and modular, which make manufacturing, shipping, and installation, easier. It also allows multiple locations of fresh air supply and is helpful in maintaining uniformed and balanced ventilation in different sections of a building. Preheated air is delivered into poultry barns through heavy, duty flexible air tubes. Four-inch diameter diffusion holes are cut along the pipe length. The system is designed for continuous operation without any on-off interval.
The system runs on single-phase electric supply. Variable speed drivers (VFDs) are used to control both fresh air and waste air volume based on bird age. Lower levels of ventilation are allowed during the earlier days of bird growing since inlet air is not based on static pressure.
Eight waste heat recovery units have been installed in 2 broiler barns. There are two other barns that have been kept unchanged to compare energy consumption. 12 propane gas meters have been installed in all 4 of these barns, and daily propane consumption has been recorded. More than two years of operating data has demonstrated propane savings in the range of 45-50% depending on weather and operations.
The following parameters are periodically or irregularly checked and recorded: carbon dioxide (CO2), ammonia, indoor and outdoor air temperature and humidity, energy (gas and electric), and ventilation amount (which is controlled by VFD frequency). Waste heat recovery units are closely monitored with temperature sensors attached to the fresh air stream and the waste air stream.
During the first week, heat recovery is not significant (15-25%) due to limited amount of ventilation. It gradually increases to 50% in the second week. After 4 weeks, there is almost 100% of saving. The barn does not need propane heating even if the outdoor temperature stays as low as 30 – 40°F, because of the poultry body heat generation.
An independent turkey grower in Cooper County, Missouri installed both waste heat recovery system and hybrid ground source heat pump system. The waste heat recovery system with 5 units has been run for two full flocks up to the middle of March. The hybrid heat pump system is undergoing field testing and will be in full operation for the following flock.
Based on the field operation, it can be seen that the ambient temperature varied in the range of 15°F – 75°F, but the heat recovery efficiency did not correspond the temperature change. It stayed in the range of 50-60 %. In the earlier stage it is slightly higher due to the small amount of airflow.
An average of 16.5KW of energy saving for each heat recovery unit, which is equivalent to 17 gallon propane for each unit, and 84 gallon of propane per day with 5 units have been recorded.
There is very minimal difference between the heat recovery units. On average during the operating period, each unit's contribution to barn energy saving is about 16.5 KW/unit, which is equivalent to propane saving of 0.7 gal/hour/unit.
Because there is no movement of the curtains any more, any holes or gaps between the wall and curtains can be fixed and patched to stop leaking. This will significantly reduce the common chilling or cold spot problems.
Weather independence and labour reduction: it is very challenging for growers to manage the curtains during wintertime. It is a very sensitive operation based on bird's condition and outdoor weather. Growers are required to take action based on temperature change, wind speed and direction change, even in the middle of the night. With the waste heat recovery system, the curtain will remain completely closed, and ventilation will be controlled by motor control frequency. So growers can be under less stress from their operation.
It has been show that central attic inlet pulling air into the attic space helps mixing of indoor air4, 5. Similar to this, very good air mixing has been observed because gradually sinking of cold air from top of the barn space. When the heat recovery units were operating, the farmer stopped running the mixing fans for the first time.
Without air dropping along the wall or direct cold air movement from open curtains, the farmer has not observed turkey "coughing" for the first time.
The Authors are looking forward to working with people in the poultry industry to improve the energy efficiency of poultry houses, in order to reduce farmers' energy cost and improve the air quality in the buildings which should result in healthier food being produced.


A world premier recording of twelve highly romantic, emotionally charged pieces that are both melodically engaging and harmonically satisfying.
The inspiration for the darker pieces in this recital is narrative - Bydlo and Ballade - follow on in the line of the great piano Ballades of Chopin and Brahms while the miniatures - the 6 Preludes - are exquisitely drawn sound-portraits dedicated to Grant's beloved friends. The Elegy brings together both strands of the recital with the heartrending sense of loss felt at the death of Sir Robert Helpmann interspersed with flashes portraying the fiery temperament and theatrics of the great man.
After a prodigious start as a composer, writing his first opera "DARK LOVE" at the age of 16, Grant Foster came to prominence in England and Europe as the composer of so-called "light" music. Among many commissions of this period was his incidental music to Sir Robert Helpmann's "PETER PAN", a production that ran for seven consecutive highly successful Seasons on the London stage.
Foster never abandoned his serious roots bringing to his contemporary classical compositions the conviction that music should engage, entertain and communicate with the audience, while never compromising the composer's highest ideals.
Grant Foster performs his Romance in C# minor, captured live at the recording sessions for his new Melba release "When Love Speaks" which showcases11 world-premieres of Foster's compositions.
Richard Bonyge says "I love his music.
How do you describe the solo piano music of Grant Foster? The titles of the pieces included on this recording – 'Romance', 'Sonata', 'Prelude', Elegy, Bydlo, 'Ballade', – seem to provide a clue, besides form, to mood and tone but remain teasingly generic and allusive.
Knowing that Foster studied with Marcel Ciampi in Paris and was once on the verge of a career as a concert pianist before injury cut it short – "the technical giant Horowitz and, from a musical point of view, Richter" were early influences, he recalls – perhaps offers some intimation of attitude and accent.
On first listen, the immediately attractive surface, the limpid lyricism, fluid harmonies, pastel colouring and unaffected directness of expression all seem to tease, with occasional glancing references to earlier composers offering seemingly indicative compass points of their own. But such chimeric echoes, evocative mirages with an alluring gravity all their own, artfully resist reflex comparisons, tantalisingly evaporating as soon as they form.
A second listen brings you closer to a truth subsequently confirmed by repeated exposure and succinctly described by Foster himself: "All my music comes from myself". Whatever else may be implied by his titles, however much the notes might coalesce on the ear into fleeting silhouettes deceptively reminiscent of imagined others, Foster's music is uniquely his own. Attempting to describe it, therefore, is like adding a gloss veneer to a Turner watercolour or inking in colour to a pencil sketch by Rembrandt. It is simply redundant.
Taken at face value on its own terms, Foster's music is technically elegant and emotionally eloquent. "Melody," he says, "is the backbone of my music." If it carries itself with a becoming modesty, it is never to the cost of its emotional purpose. Simultaneously fragile and intense, the pieces featured here take their inspiration from direct and indirect experiences, all afforded a compassion that marks Foster out as a composer influenced by both head and heart.
The wistful but earnest Romance in C-sharp minor is a response to the poetry of Oscar Wilde; the tumbling menace of Bydlo to an etching by the Dutch artist Geraldine van Heemstra (herself prompted by the music of Mussorgsky); the tremulous Ballade a lyrical paean to the all-consuming contrariness of love; the forthright, muscular Piano Sonata a compassionate cri de cœur against the dreadful human cost of war.
Foster's own emotions are the spur for two works here. Elegy is a plaintive but charged memorial to the Australian dancer, choreographer and director Robert Helpmann, for whom he provided the score for Peter Pan, a highly successful production revived in seven consecutive years in London in the 1970s. The subtly nuanced characterisations of the six Preludes serve as intimately affectionate portraits of friends.
In the end, the pertinent question about Foster's music is not how do you describe it, but what does it make you feel? For this is music full of feeling composed from the vantage point of love. It's a rare position for a composer to adopt and the music, in all its directness of expression, searing sincerity and heartfelt honesty, is all the more appealing, and affecting, because of it.
Makes heaven drowsy with the harmony…".


The Hon. Shawn Crockwell J.P., M.P., Minister of Tourism Development and Transport today congratulated the four David Allen Memorial Internship Porgramme students who will be working with the Department this summer.
Now in its fifteenth year, in 2003 the former Tourism Minister Renee Webb renamed this internship programme to the David H. Allen Memorial Internship after the former Tourism Minister who was keen to ensure that the brightest Bermudians were trained and nurtured so that they can one day take over as the leaders in the island's tourism and hospitality industry.
The Bermuda Department of Tourism selects and places Bermudian University students at either one of the Department's international marketing agencies, New York sales office or the Bermuda Department of Tourism head office in Bermuda. This programme commences in late spring with each agency preparing a work plan for the Intern that spans an eight week period. This programme offers the Interns firsthand experience geared towards embarking on a career associated with the hospitality industry.
Students must be currently enrolled in a college or university and majoring in Marketing Communications, Public Relations, Travel & Tourism, or Hospitality Management. Students must be entering a Junior or Senior year in September of current year.
Students submit a resume, together with a minimum of 1,000 word essay that outlines their perceptions of the challenges facing Bermuda's Tourism Industry and their recommendations with regard to addressing the perceived challenges. All essays should end with an outline of their career objectives and indications of how the internship will assist them in achieving those objectives.
Assist in updating data on hotels and attractions in order to allow us to provide the most up-to-date information to media.
Assist in organization of Bermuda's fact sheets, b-roll video and photography assets for media usage.
Alton Roberts, currently a student of the University of the West of England, United Kingdom and pursuing a major in Tourism Management. Mr. Roberts will be working with our New York Advertising Agency Fuseideas.
Kharis Brooks is currently attending University of the West of England, United Kingdom and pursuing a major in Marketing Communications. Ms Brooks will be working with Lou Hammond and Associates.
Simon Benevides is currently studying at the University of Guelph, Canada and pursuing a major in Tourism Management. Mr. Benevides will be working with the Department of Tourism – New York Office.
Tiffany Sanchez is presently studying at Johnson & Wales University, United States and is majoring in Travel, Tourism and Hospitality Management. Ms Sanchez will be working with the Department of Tourism – Bermuda Office.
Minister Crockwell said: "Congratulations to our four interns for 2013. These exceptional students are dedicated to their studies and plan to embark on a career in hospitality and the Department of Tourism will do all we can to ensure their success. I know they will gain valuable experience working in our offices in Bermuda and New York and with our Agencies Lou Hammond and Fuseideas and I look forward to seeing great things from them in the future.


text:
The Grateful Dead set farewell concerts in Chicago
Atlanta Music Scene
By Melissa Ruggieri, The Atlanta Journal-Constitution
BY MELISSA RUGGIERI
It's the official end for the Grateful Dead.
The band's four original remaining members – Mickey Hart, Bill Kreutzmann, Phil Lesh, and Bob Weir – will play a final series of shows dubbed "Fare Thee Well: Celebrating 50 Years of Grateful Dead" in Chicago.
The trio of shows – July 3-5 at Soldier Field – will mark the original members' last-ever performance together, almost 20 years to the day of the last Grateful Dead concert, which took place at the same venue.
The band will be joined by Trey Anastasio on guitar, Jeff Chimenti on keyboards and Bruce Hornsby on piano.
"It is with respect and gratitude that we reconvene the Dead one last time to celebrate - not merely the band's legacy, but also the community that we've been playing to, and with, for fifty years," Phil Lesh said in a statement. "Wave that flag, wave it wide and high..."
Staying true to the tradition of the original Grateful Dead mail order ticketing, tickets will first be made available on a first come, first-served mail order system starting Jan. 20. That will be followed by an online pre-sale through Dead Online Ticketing. Tickets will then be available online to the public starting Feb. 14 via Ticketmaster. Details can be found at www.Dead50.net.
The shows were announced Friday by Jerry Garcia's daughter, Trixie, who noted, "Being able to get everyone back together - the fans and the band members - for this special weekend, is a really big deal."
Follow the AJC Music Scene on Facebook and Twitter.
Melissa Ruggieri
Melissa Ruggieri has covered music and entertainment for The Atlanta Journal-Constitution since 2010 and created the Atlanta Music Scene blog. She's kept vampire hours for more than two decades and remembers when MTV was awesome.
Life in prison for Henry County man, 80, who fatally shot son's fiancée's child10h ago
Speedy Pebblebrook running back says he'll be a Georgia Bulldog
Credit: Gerald Herbert
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KISS postpones Lakewood date after Paul Stanley gets COVID-19

redpajama_set_name: RedPajamaCommonCrawl


The way we see it, Andy had it all: Woody, Buzz, Wheezy (yes, the penguin deserves a top mention), and last, but certainly not least, the single greatest kid's room of all time.
1. Clouds on clouds on clouds… on clouds.
Have you ever seen real clouds look so pristine? These perfectly puffed masterpieces are an Andy's room/our childhood/daydreaming staple.
Looks pretty easter egg-cellent, if we do say so ourselves.
3. Plenty of natural light.
Andy's got a lovely view of the sunshine and the suburbs from his second-story bedroom. Does Buzz's laser count as an additional light source? Let's say yes.
Sorry, Woody. But this comforter rocks. Cue montage.
The ideal concert venue for all the singing penguins in the house.
Study up on those easter eggs.
Pay no attention to the chicken. Pay more attention to the glow-in-the-dark footprint stickers.
8. Cool grown-up Andy and his cool grown-up things.
Let's take a closer look. Skateboarding? Cool. BMX biking? Cool. Map of the world? Cool AND cultured. But let's be real — the toy chest is the coolest thing in here.
What's your favorite part about Andy's room? Tell us in the comments below!


Architectural works such as tiling, glass and utility cabinet installations are the focus this week on the Confederation Line. At the most western station, Tunney's Pasture, construction of the new bus operator building progresses. Landscaping is underway at uOttawa Station and public art is being installed at St-Laurent Station.
Tall glass panels are being installed. In the bus loop, the new bus operator building is under construction.
Composite panels are being insatalled on the north and south roof. Crews are also scheduled to work on tiling in the elevator cabs, light fixtures and the installation of tall glass panels.
Crews are installing glass and utility cabinets. Landscaping is continuing and digital signband installations are underway.
The platform progresses with ceiling panel installations and work on the elevators. The concourse is also coming along with glazing, light fixture installations and column tiling in preparation for upcoming speaker installations.
The rough-in installations for the HVAC system progress, utility cabinets are installed, and concrete works are ongoing. Additionally, work is performed on the escalators to make them operational.
The installation of wood ceiling panels occurs at the grade level entrance. At the concourse level, stair tiling, hand railings and ceiling electrical conduit are installed. Next week, the vestibule doors will be installed.
This week, work to install the suspended ceiling frame at the concourse level wraps up as does stair tiling. Elsewhere, at street level, crews install the gutter and fascia.
Fan installations, mechanical and electrical rough-ins, and preparatory works for floor tiling occur. Moreover, escalators are commissioned, elevators are installed and masonry is completed at the north platform.
Hydrovacing from Rideau Street will occur intermittently during daytime hours over the summer months to clean surface areas and underground lines in the tunnel.
Mechanical and electrical works are ongoing, ceilings are installed, and the stair enclosure is constructed. In addition, tiling occurs at the concourse level.
The elevator room progresses with the installation of elevator control units, while mechanical and electrical works are ongoing throughout the entrance. Railings, ceilings, tiling and elevator installations occur at the landings.
Works related to fare gates, utility cabinets and occupancy signage are underway. Station lighting is being finalized, and glazing panel caulking is underway. Crews are also installing landscaping pavers.
Glass panel installation is underway, including some panels with public art components. Elevator shroud installation is scheduled to continue. Utility cabinet mechanical installations are also ongoing.
The wood ceiling installation progresses, while other work focuses on the stair railings, concrete finishes and the remaining glass installations.
There is ongoing work on the utility cabinets. South elevator cladding is scheduled. The bus shelters are also anticipated for installation. Progress is made on the occupancy signage.
The lower-level pedestrian access between St. Laurent Shopping Centre and OC Transpo's St-Laurent Station has now permanently re-opened to transit users and the general public.Tactile wayfinding indicator strips and occupancy signage are being finalized throughout the station. Elevators are being adjusted. Public art mural panels are also being installed.
Fare gate installations are ongoing. Mechanical and electrical finishes in the roof remain including lighting. Crews will also be completing the digital signband and other signage at the waiting areas.
Utility cabinets and end-of-platform doors are being finished. Blair Station is the most complete station, and was presented in a tour for the media on July 13.
Testing and commissioning (T&C) activitieshave begun in the western segment, meaning that the Overhead Catenary System (OCS) is electrified as regular train testing takes place. In the near future, T&C activities will progress to include the tunnel segment. Over in the east, regular train testing including CBTC maturity tests continue. Assembly of LRV34 progresses.
Public art installation at Rideau Station.


Will Big and Squishy JVC HA-NC250 Noise-Canceling Headphones Stick It To Bose?
Today JVC introduced a pair of noise-canceling headphones that are said to lock out up to 85% of background noise, thanks to circuitry that "constantly monitors the noise cancellation process." It's also got a "double housing," better for physically insulating your ears from the world's more audible hustle and bustle.In the style of Bose, JVC used squishy memory foam for the pads. The extra isolation is great, since the JVCs can be used when the active noise canceling is off, or when its AAA battery runs stone dead. These benefits do come at a price, namely $200, the same price as a raft of would-be Bose killers. But as you all know, Bose ain't dead yet.
WAYNE, NJ, July 13, 2007 - JVC today announced the addition of a new top-end model to its line of noise canceling headphones. The new JVC HA-NC250 combines outstanding sound quality with advanced noise-canceling and isolation technologies to provide a superior listening experience.
The HA-NC250's noise cancellation circuitry includes feedback technology that constantly monitors the noise cancellation process. As a result, the headphones eliminate up to 85 percent of extraneous background noise. To further block noise, the HA-NC250 offers two JVC innovations that help isolate the listener from outside sounds. First, each earpiece employs a double housing structure for an extra sound insulation layer. Second, JVC developed a new technique for attaching the headphone's smooth memory foam cushioned ear pads to the housing that helps isolate background noise. The smooth pads also enhance comfort. These sound isolation features, for which patents have been applied, are especially important since the HA-NC250 can be used with the active noise cancellation switched off.
For the best possible sound quality, the new headphone uses a 40mm neodymium driver in each earpiece. For comfort and portability, the JVC HA-NC250 is one of the lightest headphones in its class, weighing just 5.3 ounces. It folds flat, and when folded is slimmer than most competing models. Included with the HA-NC250 are a slim carrying case, a four-foot detachable cord, airline dual plug adapter, and ¼-inch plug adapter for use with many home audio and video components. The headphones use a single 1.5-volt AAA battery for powering the noise cancellation circuitry. Battery life is rated at about 50 hours.
The JVC HA-NC250 noise canceling headphone will be available in early August for $199.95.


The upgrade program involves the integration of five new missiles and the fitting of Russian, Western and indigenously developed systems. The major upgrades are related to the radar, weapon control system, mission computer, and communications suite.
State owned airframer Hindustan Aeronautics (HAL) is aggressively pursuing the lead role for the upgrade program as it continues to produce the aircraft under license.
Earlier this week, the Defence Acquisition Council (DAC), led by India's defence minister, also approved the indigenous design and development of a long range dual band infrared imaging search and track system (IRST) for the Su-30MKI. At least 100 units are to be procured.
It is not clear if the programme will also include structural upgrades allowing carriage of the 2.5t BrahMos supersonic cruise missile.
The air force wants approximately 40 Su-30MKIs to be modified to accommodate the BrahMos. HAL is proposing new build aircraft for this requirement in order to keep the production line at Nasik alive for at least four more years.
The airframer now has 30 Su-30MKIs left to produce, having delivered 192 aircraft as of April as per MoD figures. The remaining aircraft will be delivered by 2020-21.
Su-30 MKIs form the backbone of the air force's fighter fleet, making up 14 of its 31 active fighter squadrons. Seven have been lost since the type was inducted in 2002.
The air force's remaining combat squadrons are made up of Mirage 2000s, MiG-29s, SEPECAT Jaguars (all receiving upgrades) and upgraded MiG-21s and MiG-27s. The air force is also working up towards its first full Tejas light fighter squadron.


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Does Oscillococcinum Work for the Flu? An Objective Review
Written by Rachael Link, MS, RD on September 28, 2018
In recent years, Oscillococcinum has secured a slot as one of the top over-the-counter supplements used to treat and reduce symptoms of the flu.
However, its effectiveness has been called into question by researchers and healthcare professionals alike.
This article tells you whether Oscillococcinum can really treat the flu.
What Is Oscillococcinum?
Oscillococcinum is a homeopathic preparation that's typically used to relieve flu symptoms.
It was created during the 1920s by the French physician Joseph Roy, who believed he had discovered a type of "oscillating" bacterium in people with the Spanish flu.
He also claimed to have observed the same strain of bacteria in the blood of people with other conditions, including cancer, herpes, chicken pox and tuberculosis.
Oscillococcinum was formulated using an active ingredient that's extracted from the heart and liver of a certain kind of duck and has been diluted several times.
The preparation is believed to contain specific compounds that can help fight symptoms of the flu. Yet, how it works remains unclear.
Though the effectiveness of Oscillococcinum remains highly controversial, it's widely used around the world as a natural remedy to treat flu-like symptoms, such as body aches, headache, chills, fever and fatigue (1).
Oscillococcinum is a homeopathic preparation made from an ingredient extracted from the heart and liver of a certain kind of duck. It's believed to help treat symptoms of the flu.
It's Highly Diluted
One of the primary concerns surrounding Oscillococcinum is the way that it's produced.
The preparation is diluted to 200C, which is a measure commonly used in homeopathy.
This means that the mixture is diluted with one part duck organ to 100 parts water.
The dilution process is then repeated 200 times until there's hardly a trace of the active ingredient remaining in the final product.
Dilution in homeopathy is believed to increase the potency of a preparation (2).
Unfortunately, research is still limited on the effectiveness of these ultra-diluted substances and whether they have any benefits on health (3, 4).
Oscillococcinum is highly diluted until there's hardly a trace of the active ingredient remaining in the final product.
Bacteria Don't Cause Influenza
Another issue with Oscillococcinum is that it was created based on the belief that a specific strain of bacteria causes influenza.
This strain was also supposedly identified within the heart and liver of a kind of duck, which is why they're used in the formulation of Oscillococcinum.
The physician credited with the creation of Oscillococcinum also believed that this type of bacteria could be beneficial in the treatment of many other conditions, including cancer, herpes, measles and chickenpox.
However, scientists are now aware that influenza is caused by a virus rather than bacteria (5).
Furthermore, none of the other conditions believed to be treated by Oscillococcinum are caused by bacterial strains either.
For this reason, it's unclear how effective Oscillococcinum can be, given the fact that it's based on theories that have since been proven false.
Oscillococcinum was created based on the idea that a particular strain of bacteria causes influenza. However, it's known today that viral infections rather than bacteria cause influenza.
More Research Is Needed on Its Effectiveness
Studies on the effectiveness of Oscillococcinum have turned up mixed results.
For example, one study in 455 people showed that Oscillococcinum was able to reduce the frequency of respiratory tract infections (6).
However, other research found that it may not be particularly effective, especially when it comes to treating influenza.
A review of six studies reported no significant difference between Oscillococcinum and a placebo in the prevention of influenza (7).
Another review of seven studies had similar findings and showed that Oscillococcinum was ineffective at preventing influenza.
The results suggested that Oscillococcinum was able to decrease influenza duration but only by less than seven hours, on average (8).
Research on the effects of this homeopathic preparation is still limited, and most studies are considered low-quality with a high risk of bias.
High-quality studies with a large sample size are needed to determine how Oscillococcinum may impact flu symptoms.
One study found that Oscillococcinum was able to reduce the frequency of respiratory tract infections, but comprehensive reviews show minimal benefit in the treatment of influenza.
It May Have a Placebo Effect
Though research on the effectiveness of Oscillococcinum has turned up mixed results, some studies suggest that it may provide a placebo effect.
For example, in one review of seven studies, no evidence was found to suggest that Oscillococcinum could effectively prevent or treat influenza.
However, researchers did notice that people taking Oscillococcinum were more likely to find treatment effective (8).
Other research suggests that many of the benefits associated with homeopathic preparations like Oscillococcinum may be attributed to a placebo effect rather than the medication itself (9).
But because of the conflicting findings on the effectiveness of Oscillococcinum, more research is required to determine if it may have a placebo effect.
Some research suggests that Oscillococcinum and other homeopathic preparations may have a placebo effect.
It's Safe With Minimal Risk of Side Effects
While it's still unclear whether Oscillococcinum can help relieve symptoms of the flu, studies have confirmed that it's generally safe and can be used with minimal risk of side effects.
In fact, according to one review, Oscillococcinum has been on the market for over 80 years and has an excellent safety profile due to the lack of reported adverse effects on health (10).
There have been some reports of patients experiencing angioedema, a type of severe swelling, after taking Oscillococcinum. However, it's unclear if the preparation caused it or if other factors may have been involved (11).
Additionally, keep in mind that Oscillococcinum is sold as a dietary supplement rather than a drug in many areas, including the US.
Therefore, it's not regulated by the FDA and not held to the same standards as conventional medications in terms of safety, quality and effectiveness.
Oscillococcinum is generally considered safe and has been associated with very few adverse effects. However, it's sold as a dietary supplement in most places, which are not as tightly regulated as other drugs.
Oscillococcinum is a homeopathic preparation used to treat flu symptoms.
Due to the questionable science behind the product and a lack of high-quality research, its effectiveness remains controversial.
It may offer a placebo effect rather than true medicinal properties.
Yet, it's considered safe with minimal side effects.
If you find that it works for you, you can safely take Oscillococcinum when the flu plagues you.
How Garlic Fights Colds and the Flu
Written by Helen West, RD
Eating garlic provides many health benefits, including improved immune function. It can help prevent the common cold and the flu.
Here Are 5 'Fake Flu Products' You Should Watch Out For
The Food and Drug Administration is warning consumers to be on the lookout for unapproved products that claim to prevent or treat the flu.
Early Flu Symptoms
Medically reviewed by Stacy Sampson, D.O.
During flu season, having a scratchy throat, body aches, or fatigue can signal the arrival of the flu virus. Detecting early flu symptoms can help…
Flu Diet: 9 Foods to Eat When You Have the Flu and 4 Things to Avoid
You may not feel much like eating, but choosing the right foods to eat when you have the seasonal flu can help keep you hydrated and give your body…
The Annual Flu Shot: Is It Necessary?
Medically reviewed by Meredith Goodwin, MD, FAAFP
The flu can be life threatening. Some groups of people are at higher risk for developing complications from the flu, which makes it very important to…
Can Fasting Fight the Flu or Common Cold?
Many people claim that fasting can help you heal from infections. This article explores whether fasting is a good way to fight the flu or common cold.
Treatments to End the Flu
Medically reviewed by Alana Biggers, M.D., MPH
The flu is a virus, so antibiotics aren't effective. Treatment for the flu centers on relieving major symptoms until the flu goes away. Learn about…
What Home Remedies Work for an Overactive Bladder?
You can help normalize your overactive bladder naturally by avoiding artificial sweeteners, caffeine, and alcohol, losing weight, and performing…
Do Antibiotics Help the Flu? Plus Other Treatments
The flu can be frustrating and take you away from school, work, and activities you'd much rather be doing. So what about taking a quick round of…
The "Greatest Pandemic in History" Was 100 Years Ago – But Many of Us Still Get the Basic Facts Wrong
This year marks the 100th anniversary of the great influenza pandemic of 1918. Between 50 and 100 million people are thought to have died…


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A project has been established in a large bank to develop a new secure online banking platform. Half way through the development it was discovered that a key piece of software used as part of the base platform is now susceptible to recently published exploits.
Who should be contacted FIRST by the project team to discuss potential changes to the platform requirements?
The security administrator has been tasked with providing a solution that would not only eliminate the need for physical desktops, but would also centralize the location of all desktop applications, without losing physical control of any network devices.
Which of the following would the security manager MOST likely implement?
A number of security incidents have been reported involving mobile web-based code developed by a consulting company.
Performing a root cause analysis, the security administrator of the consulting company discovers that the problem is a simple programming error that results in extra information being loaded into the memory when the proper format is selected by the user.
After repeating the process several times, the security administrator is able to execute unintentional instructions through this method.
Which of the following BEST describes the problem that is occurring, a good mitigation technique to use to prevent future occurrences, and why it a security concern?
A. Problem: Cross-site scripting Mitigation Technique.
interrupt the availability of the network.
Security Concern: Exposes the company to liability buffer overflows and can enable malicious actors to compromise the confidentiality/availability of the data.
actors to compromise the confidentiality of data or interrupt the availability of a system.
malicious actors to interrupt the availability of a system.
A security architect is assigned to a major software development project.
The software development team has a history of writing bug prone, inefficient code, with multiple security flaws in every release.
commenting, and preventing typical security problems.
security problems, and testing code standards.
managing customers, and documenting extra requirements.
The sales division within a large organization purchased touch screen tablet computers for all 250 sales representatives in an effort to showcase the use of technology to its customers and increase productivity.
This includes the development of a new product tracking application that works with the new platform.
The security manager attempted to stop the deployment because the equipment and application are non-standard and unsupported within the organization.
However, upper management decided to continue the deployment.
Which of the following provides the BEST method for evaluating the potential threats?
B. Benchmark other organization's that already encountered this type of situation and apply all relevant learning's and industry best practices.
of the hardware and software deployment.
D. Develop a standard image for the new devices and migrate to a web application to eliminate locally resident data.
A security audit has uncovered a lack of security controls with respect to employees' network account management.
Specifically, the audit reveals that employee's network accounts are not disabled in a timely manner once an employee departs the organization.
The company policy states that the network account of an employee should be disabled within eight hours of termination.
However, the audit shows that 5% of the accounts were not terminated until three days after a dismissed employee departs.
Furthermore, 2% of the accounts are still active.
Which of the following is the BEST course of action that the security officer can take to avoid repeat audit findings?
A. Review the HR termination process and ask the software developers to review the identity management code.
B. Enforce the company policy by conducting monthly account reviews of inactive accounts.
C. Review the termination policy with the company managers to ensure prompt reporting of employee terminations.
D. Update the company policy to account for delays and unforeseen situations in account deactivation.
The Chief Executive Officer (CEO) has decided to outsource systems which are not core business functions; however, a recent review by the risk officer has indicated that core business functions are dependent on the outsourced systems.
The risk officer has requested that the IT department calculates the priority of restoration for all systems and applications under the new business model.
Which of the following is the BEST tool to achieve this?
A company has decided to relocate and the security manager has been tasked to perform a site survey of the new location to help in the design of the physical infrastructure.
The current location has video surveillance throughout the building and entryways.
Which of the following would MOST likely be implemented to meet the above requirements and provide a secure solution? (Select TWO).
The Chief Executive Officer (CEO) of a corporation purchased the latest mobile device and connected it to the internal network.
The CEO proceeded to download sensitive financial documents through their email.
The device was then lost in transit to a conference.
The CEO notified the company helpdesk about the lost device and another one was shipped out, after which the helpdesk ticket was closed stating the issue was resolved.
This data breach was not properly reported due to insufficient training surrounding which of the following processes?


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International Cultural Heritage Informatics Meeting: 2007
Paper: Visitors' Contributions As Cultural Heritage: Designing For Participation
Luigina Ciolfi, Liam J. Bannon and Mikael Fernström, Interaction Design Centre, Dept. of Computer Science and Information Systems, University of Limerick, Ireland
In this paper we discuss our approach to designing two public exhibitions, where our goal has been that of facilitating and supporting visitors' own contributions to the exhibits. The approach behind our work sees the role of technology that is supporting people's experiences of heritage as moving away from delivery of information, and towards enabling visitors to create the content of the exhibit. This approach is aimed at encouraging active reflection, discussion and appropriation, in the tradition of human-centred interaction design. In the paper we present two installations, "Re-Tracing the Past" and the "Shannon Portal". The former was aimed at supporting visitors' experiences of a museum collection; the latter had the goal of encouraging visitors and travelers to share their experiences of Ireland. We then discuss the impact of this design strategy, and analyse the role of visitors' contributions to each exhibit, and the particular interactions between participants, the content they produced and other people's contributions that took place around the two exhibits.
Keywords: interaction design, participation, visitors experience, ubiquitous computing, public exhibitions, user-contributed conten
1. Introduction: Interaction Design for Museums and Exhibitions
This paper discusses the importance of designing interactive exhibits that allow for visitors' direct participation and contribution, from the perspective of human-centred interaction design. We present an overview of research featuring a participative approach to exhibition design, highlighting the relevant issues that have emerged in the field, and we present two examples of interactive exhibitions that we have designed with an explicit concern for visitors' participation. Finally, we discuss the positive outcomes that such a design approach has led to regarding both examples.
The fields of Human-Computer Interaction, Computer-Supported Cooperative Work and more recently, Interaction Design, have paid considerable attention to issues related to the introduction of technology within museums and exhibition spaces. Concerns regarding the usability, usefulness and educational value of technological museum interventions have been raised, both regarding the design and production of these tools and the evaluation of their use by museum visitors (Marti, 2001; Grinter et al., 2002). Examples of interventions that have been developed in the past number of years include interactive information points, mobile digital visitors guides and interactive exhibitions. As well as reflecting on the qualities that such installations should feature from the point of view of their design, several issues surrounding the problematic nature of overlaying digital content over museum artifacts have also been discussed, including the impact on the social nature of the museum visit (vom Lehn et al., 2001), the educational value of the installations (Hall and Bannon, 2006), and their potential to support engagement and flow (Giaccardi, 2005). In other words, besides ensuring that a certain technological intervention responds to specific design guidelines both in terms of physical and of interface design, it is also necessary to reflect on how technology impacts on the museum experience as a whole.
For example, electronic museum guides have evolved from inflexible and isolating single user tools into adaptive presentation devices that can take into account social aspects of the visit as well as the visitor's personal preferences and physical path (Woodfruff et al., 2002)
Interactive exhibits and interactive informational support to exhibits have changed from the format of a standard touch-screen terminal which might distance visitors from the objects on display to complex orchestrated performances that can be aware of visitors' presence and gaze, their actions and preferences (Sparacino et al., 2000; Barrass, 2001).
Therefore, as well as technical developments, Interaction Design disciplines have devoted significant reflections into conceptualizing higher-level issues when looking at the role of technology in the museum visit. Notable examples include vom Lehn at al.'s (2001) discussion of the role that visitors' participation in the exhibit can have in supporting the social nature of the visit, and Chalmers and Galani's (2002) study of visiting experience at different levels: exploring the complex interplay of the object, the technology and the different voices that come into play in the interpretation process.
The vast majority of this research, however, has dealt extensively with technology that has the ultimate function of delivering information to visitors, albeit in sophisticated ways. A more recent development in interaction design for museums and exhibitions is that of designing for visitors' participation and direct involvement in shaping, and even creating, the content and message of exhibits. In the following section, we will discuss some relevant examples.
2. Visitors' Participation in Museum Exhibitions: Open Issues
The approach to design museum technologies that focuses on enabling and facilitating visitors to actively participate in shaping or creating the content, and in contributing to an exhibit, has been less commonly applied in traditional museums. In fact, many technologically cutting-edge installations (see for example Sparacino et al., 2000), although employing novel input and output mechanisms that allow for some degree of innovative interaction, still work on the assumption of the visitors requesting and being delivered more information. However, several examples of installations that are open to visitors' active participation have been successfully deployed.
Heath et al. (2002) and Hindmarsh et al. (2002) have discussed in detail the ecologies of participation surrounding low-tech exhibits that visitors can visually become part of, such as "Deus Oculi" and "Ghost Ship". The main goal of these exhibits is to encourage and engender episodes of social interaction and communication around an exhibit, making the visitors part of the exhibit itself, and thus drawing the interest of companions and onlookers.
Other examples feature the possibility for visitors to shape the exhibit in other ways. Visitors to the Memory Exhibition at the Exploratorium in San Francisco can contribute their own stories to the body of information associated with the exhibition (http://www.exploratorium.edu/memory/index.html). On a similar theme, Lane and Parry (2003) describe an installation to support the re-evocation and expression of personal memories of visitors at the British Museum. As part of another science and technology exhibition at "The Ark" cultural centre in Dublin, "Terraria" (Vaucelle et al., 2005) was designed to encourage visitors to create their own content by creating captures of their performance while playing a game.
More commonly, such exhibitions allow for some degree of visitors' activity and for the creation of personalized "mementos" of their visit, but not for an explicit contribution of content to the exhibition itself. For example, at the National Library of Medicine's exhibit on female surgeons, visitors could create Morse code message that could be sent to friends, but not be used as a direct contribution to exhibitions (Mullen and Tuohy, 2002).
From these examples, it emerges that an approach that is open to visitors' contribution is more often adopted when designing exhibits in the context of hands-on museums such as exploratoria and science centres, and it is less commonly found in "traditional" galleries exhibiting artistic artefacts and antiquities. The main issue surrounding the introduction of such an approach in this context is one of authorship: museums tend to assume a role of authority when it comes to providing information about their holdings. The interpretation of a certain object on display is decided a priori by the curatorial team: thus the narrative that is presented to visitors is not really open to challenges or external contributions. Interactive art has produced interesting reflections on collaborative practices in designing exhibitions, and on authorship issues ((Diamond, 2005), embodied by pieces that are explicitly designed to create active visitor engagement (Giaccardi, 2005). This approach however is more seldom found in more traditional art museums.
We believe this approach is effective because it relies on visitors' curiosity and interest on a topic and rewards their active engagement and reflection. Having the possibility of expressing their own ideas and feelings makes visitors connect strongly to what they experience, rather than just being passive observers of something that is detached and unchangeable. Such involvement strategies have been applied for many years by museum educators and docents; we feel that appropriate technologies can embody a similar approach and work successfully, also – if necessary - in conjunction with human facilitation and guidance during the visit.
In our research, we aim at supporting visitors' engagement, reflection and appreciation of the exhibit by supporting their active participation in contributing to the content of the exhibition, in the context both of established art museums and of more informal exhibition spaces. In the following section we present two examples: an interactive exhibit for a museum housing a collection of art and antiquities, and an interactive installation on the theme of Irish heritage that was exhibited at an international airport.
3. Designing for Participation: User-Centred Design Approach
The work leading to the design of both exhibitions has been driven by a user and activity-centred approach (Bannon, 2005): the development of usage scenarios and technology demonstrators is constantly informed by in-depth studies of the end users, their activities and the broader context where they take place. In order to develop a thorough understanding of these issues, we adopt methodologies aimed at gathering information not just on how visitors physically move through the exhibition space, which exhibits they prefer, and what kind of information about them they seek; we also investigate how visitors communicate to each other around the exhibits and how they make sense of what they see. We believe that sense making is also tightly coupled with place, or how the physical environment is lived and experienced by people: the qualities of the physical layout of an exhibit become a factor of how the exhibits themselves are associated with meaning by people (Ciolfi and Bannon, 2007). The range of methods we employ include observations, interviews, inspirational materials sessions and walkthroughs (Ciolfi, 2007b).
The data gathered during this initial phase of the design process is analysed in order to extract relevant dimensions, regarding the visitor experience, that design could support and augment. As well as pointing out how technology could aid the delivery of the museum's own message to people, we also consider how visitors' views and thoughts could be represented, and how technology could act as facilitator in this case.
Based on such findings, we conduct design sessions, where a number of emergent themes are discussed and developed into scenarios. We also adopt Participatory Design methods, involving museum experts, educators, volunteers and sample visitors in the discussions and evaluations of prototypes, in order to incorporate their views and concerns into the design process. PD has recently been applied to the design of a number of interactive installations in order to include a larger group of stakeholders into the process (see for example Taxén, 2004).
This approach was applied to both the cases we present in this paper: "Re-Tracing the Past" and the "Shannon Portal".
3.1 Case 1: "Re-Tracing the Past"
"Re-Tracing the Past" was designed and developed for the Hunt Museum in Limerick, Ireland: a personal and eclectic collection, the Hunt Museum includes a great variety of artifacts, including a number of objects that have never been fully interpreted. The Museum's approach to communicating the collection is that of fostering debate and discussion among visitors, and of facilitating this through informal volunteer help provided by the Hunt Museum Docents. The goal of our work with the Hunt Museum was to extend the Museum's ethos and message through an interactive experience where visitors' own opinions would become part of the exhibit (Bannon et al., 2005).
Fig. 1 Overview of "Re-Tracing the Past": the Study Room (right) and the Room of Opinion (left)
"Re-Tracing the Past" supported the exploration of four of the Museum's "mysterious" objects through two fully interactive environments, a "Study Room" and a "Room of Opinion", both including several hands-on interactive components, and housed in the temporary exhibition gallery of the Hunt Museum, which is accessible from the main galleries (Ferris et al., 2004). "The Study Room" is where known information about the objects could be discovered: the Interactive Desk provided information on the geographical provenance of the artifacts; the Interactive Trunk showed visitors were each object was found; the Interactive Painting displayed visual and auditory information on the material qualities of the artifacts. In the "Room of Opinion", the participants could record in voice their own theories and opinions regarding the objects and store them for future visitors, thus actively contributing to the exhibit and to the development of a body of information that was produced "live" in the context of "Re-Tracing the Past", and not previously pre-packaged. The body of opinions was a perceivable representation of the discussion and debate that surrounded the museums objects, and it was made available to visitors through an Interactive Radio, where people could browse through the body of audio recordings and hear other participants' experiences and thoughts. Each interactive installation could be explored thanks to RFID-enabled keycards representing the mysterious objects. The Museum staff and volunteers were also invited to record their opinions of the objects, so that the Interactive Radio became a representation of the different voices that are present in the Museum: visitors, staff, docents and curators
The design rationale for "Re-Tracing the Past" emerged from studies of the Hunt Museum exhibition policy and from the history of the collection, as well as from observations of visitors' explorations in the museum. The museum encourages discussion and reflection around the objects. The information regarding the collection is kept intentionally minimal also in order to encourage the Docents' personal support of visitors.
The two spaces had very different design qualities to suggest different activities: the Study Room is where information can be retrieved and pieced together, whilst the Room of Opinion is where reflection occurs (Fig. 1). All the installations were designed to support group interaction and collaborative discovery.
Visitors' reactions to "Re-Tracing the Past" have been discussed elsewhere (Ferris et al, 2004); it is important however to point out the very important role that the creation of recordings, visitors' own contributions to the exhibition, have played in the overall experience of "Re-Tracing the Past".
The recordings were appreciated by people as mementos of their visit, as traces left of their presence and activities in the space. People were keen to make recordings of their opinions as a mark of their efforts in researching and understanding the mysterious objects.
The recordings were treated as new sources of information to inform one's investigation of the objects, thus becoming important elements in new explorations: people were as interested in hearing other visitors' comments as well as their own, in order to glean more ideas and suggestions to fuel further reflection on a object. Similarly, the recorded opinions become for participants perceivable representation of their investigation work, and not simply of their presence. They appreciated the fact that their contribution would be useful to others, whether because well-informed and plausible, or humorous and imaginative.
The recordings also worked as powerful triggers for social interaction and collaboration within "Re-Tracing the Past": both companions and strangers would initiate discussions while listening to previous recordings or making new ones (Fig. 2). The activity of bringing forth personal thoughts and ideas seemed to stimulate social interaction more than the activity of retrieving pre-prepared information about the objects from the other interactive components of "Re-Tracing the past". Collaboration and discussion took place both among visitors and between visitors and members of the museum staff who regularly attended the exhibition.
Fig. 2 Discussion among visitors while listening to recordings on the Interactive Radio
Overall the possibility of contributing to the exhibition, and more generally to the museum, led to high levels of engagement and connection between visitors and the Hunt Museum, without replacing the role of the museum as the "expert voice" regarding the objects.
3.2 Case 2: "The Shannon Portal"
The second exhibit, the "Shannon Portal", was designed for Shannon International Airport in County Clare, Ireland. The goal of the installation was to extend the airport's role as a connection hub, allowing users to create content that would document their travels and experiences in the West of Ireland. The "Portal" made it possible for participants to create "e-cards" of their own photographs of locations and monuments in the area, to annotate them with a personal hand-written message and email them for free around the world (Fig. 3).
Fig. 3 The Shannon Portal
Participants could also "donate" annotated photos to a public image gallery that was displayed in the airport's transit lounge, which constituted a visual record of their journeys and of the heritage sites they had visited.
The public gallery of images was displayed on a "Image Wall" that visitors could browse, navigating by body movement: a computer vision system detected the presence of people in front of a particular portion of the Wall, and subsequently triggered a virtual digital magnifying glass to move in correspondence of the person's position, so that annotated images could be viewed more clearly (see fig. 4).
Fig. 4 The Image Wall
The design of the Shannon Portal was informed by studies of people's activities in the airport, and particularly by the travel stories that passengers exchange while in the space: the airport is where travels and visits to interesting parts of the country are recounted for family, friends and sometimes strangers. Our goal was to design an interactive installation that would entertain and engage waiting passengers. The theme of Irish heritage appeared appropriate to the particular context of the exhibit. The physical design of the Portal, in the shape of a portal dolmen, reflected this theme: dolmens are Neolithic monuments that can be found in high numbers in the West of Ireland, and that represented the focal point and memento of a community in prehistoric times (Ciolfi et al, 2007).
The Portal supported both private interactions (writing a message on a photo and emailing it privately) and public ones (adding one's image to the Image Wall and exploring the Image Wall by moving in front of it) around content that the participants themselves had produced and personalized (Ciolfi, 2007a).
Similarly to "Re-Tracing the Past", personalised content was viewed by visitors as a memento of their presence and of their journey. Participants uploaded photographs of the places they had visited, the people they traveled with and also of the airport they were going through at the time. They enjoyed the possibility of making their experience visible to others. As well as in the museum, personalised content was a trigger for social interaction, and a starting point for conversations among both traveling companions and strangers regarding the places and monuments visited and the experience of traveling around Ireland. Interestingly, participants commented on how the annotated photos provided them with other perspectives on the same places, or landmarks, and other views of the airport, such as for example those expressed in photos uploaded by airport staff members (Fig. 5).
Fig. 5 Discussion among staff and passengers while creating e-cards
Collaborative creation of content was also a recurrent phenomenon around the "Portal": families and groups collaboratively created messages and drawings both for emailing to friends and for contributing to the image wall. The participative aspect of the interaction particularly encouraged collaborative use of the system, as groups of users enjoyed creating humorous messages and sketches, and composing notes for their loved ones together.
Both cases showed how visitors' participation in contributing to the exhibition content had repercussions not only on the appearance and layout of each exhibit, but also on the patterns of interaction that occurred.
Social interaction, in particular, was greatly affected by people's ability to make direct contributions: not only in terms of collaboration while creating the content, but also regarding the role that visitors' contribution played in engendering reflection, discussion and debate around the exhibits. This happened equally in "Re-Tracing the Past" and the "Shannon Portal", although the two settings of the museum and the airport supported different themes for discussion.
In the case of "Re-Tracing the Past", visitors' opinions were very effective triggers for reflections on the nature of museum exhibitions in general: visitors who were engaged in developing their own theory were keen in discussing issues related to how museum exhibitions are created and shaped. In this respect, designing for participation does not simply respond to the need for technological innovation in supporting cultural heritage; it also responds to the need of museums and other sites to allow for a more active visitors' role.
Visitors were able to view museums and exhibits as places that represent multiple voices. In both cases, visitor contributions were seen as perceptible mementoes of one's presence, thus increasing engagement with the exhibit.
One important issue that we had to consider in developing our design for both exhibits was the risk that some visitors might produce inappropriate content. In order to minimize the risk of this phenomenon happening, we put in place monitoring systems that would allow the museum and airport staff to easily monitor what was being displayed in the exhibition, and to delete inappropriate contributions. However, this kind of content appeared only very seldom, and could easily be dealt with without any major effort by staff. The public setting of the exhibitions meant that inappropriate content could easily be traced back to its creator, and this dimension of openness worked as a deterrent in this regard.
In this paper we have discussed a user and activity-centred approach to the design of interactive exhibitions that focuses on the possibility of participants actively contributing by producing personal content. We feel that novel technologies could be use effectively in supporting more active visitor participation, moving away from installations that –albeit in technologically sophisticated ways - simply deliver pre-packaged information.
We have exemplified this approach to design with the description of two cases, "Re-Tracing the Past" and "The Shannon Portal". Both exhibitions have been designed and developed on the basic of in-depth studies of the broader context of the exhibit and of the activities taking place in each setting. The two examples show how this approach to design can be effective not only in informal exhibition spaces, but also in more traditional art museums.
We have described the main impact that visitor contributions had not only on the layout and designed features of the exhibitions, but also –and more importantly- on the patterns of interaction that occurred around them: the contributions were powerful ways of engaging visitors in the exhibition and creating a sense of belonging and attachment. Social interaction and collaborative production of content was also greatly affected by visitors' ability to contribute to the exhibit. The two cases show how a participative approach to interactive systems design can be successful at a variety of levels, not least in triggering visitors' reflections on the role and nature of museums and exhibitions.
The "Shannon Portal" has been developed as part of the "Shared Worlds" research project funded by Science Foundation Ireland. "Re-Tracing the Past" has been developed within the EU FET "SHAPE" Project, in collaboration with the Royal Institute of Technology (Stockholm, Sweden), King's College London and the University of Nottingham (UK). Many thanks to staff and visitors at both the Hunt Museum and at Shannon International Airport, and to the many IDC colleagues who have participated in the projects.
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