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July 10, 2017 by Shawn Davison
The concept of ONE DECK DUNGEON, designed by Chis Cieslik, is pretty simple: Fight baddies, level up, and survive to defeat the dungeon boss. Each player—anywhere from one to four with the base game—takes on the role of an adventurer. There's your typical gamut of heroes here: the wizard, the warrior, the rogue, the archer. Each character has certain skills and abilities (usually manifested in the form of dice) that makes them better-suited for certain types of challenges. The challenges you face are really of two varieties, enemies and traps. Enemies are everything from slime blobs to giant insects to vampires to dragons. Traps are usually either spiky pits, automatic arrows, or swinging logs. As you progress through the three levels of the dungeon, you can gain more skills, more power, and even level up. In many ways, the game emulates the experience of a typical dungeon crawler quite admirably. It's a quick game to set up and play, which might be a good thing or a bad depending on the kind of experience you're hoping to have. ODD isn't probably the type of game you would build a whole game night out of, but it's probably slightly more than just a filler-game, too. Personally, I enjoyed having it around to bust out for a solo adventure when I had twenty or thirty minutes to kill. It doesn't require a lot of deep thought, since it's largely luck-based, but at the same time there is some strategy involved in choosing which aspects of your character to level up; It's luck-based, but you can aim your luck.
As you would expect from the title, the majority of the cards in the box represent the dungeon itself. Or, rather, they represent the challenges you face in said dungeon. There's no map or movement, so the "dungeon" is more theoretical.
At the start of the first turn, you lay out four cards facedown from the top of the deck. These represent different doors you're facing in the immediate "area." Each player can open one door (turn over the card) and either have the encounter listed or flee to try another door next turn. The encounters, as I said before, are only of two types: enemies, which must be defeated with a combination of all of your skills and abilities, or traps, which you must choose to overcome two different ways—usually defeating the trap with brute force, or skirting around it with deftness.
Each character has a variety of skills an abilities, which are all represented with different colored dice. The number of dice you get for each ability obviously determines how easily you can overcome challenges that require that ability, and that number can increase as you progress. There are also skills that can give you black dice, which are essentially "wild" and can be used toward any ability check. Further, there are potions you can pick up from time to time that have various effects, from healing wounds to re-rolling and more.
When the deck is exhausted, players move to the next "level" of the dungeon, which adds various effects to the game to make it more challenging. After finishing the deck on the third level, the boss card is revealed and the players have to beat the final, very difficult challenge to win the game. Add in the element of time passing, which depletes cards from the deck and can potentially cause the players to take wounds, and you basically end up with trying to balance fighting enough baddies to build up your strength without taking on more than you can handle before you're ready. In that regard, the game is very challenging.
Unfortunately, ODD as it is now feels very limited. I don't know if the company plans to release expansions that will add more variety, but right now the fact that every card is either an enemy or a trap starts to feel very stale after even one game. (And the variety of enemies isn't even that great; there are multiples of almost all the enemies and traps. It would be nice if each and every card were a unique challenge.) In order for the game to feel more like a true dungeon-crawl experience, the deck should include: rooms with only treasure inside, empty rooms, rooms that reveal tunnels or secret passages, cards that have lasting negative effects like curses, and cards that make you start the deck over again like a maze that takes you back to the beginning. These are just a few suggestions, of course. As it stands, however, the game is essentially a dungeon-themed, cooperative combat simulator. And if you look at it that way, it actually works pretty well.
The clever aspect of this game is really the leveling-up feature. ONE DECK DUNGEON functions similarly to a deck-builder, but then again it's not like that at all. Every card that you encounter contains "loot" of some kind, and usually more than one type. A monster may allow you to upgrade your combat ability, or add a special skill to your character, or just add XP to the party to work towards leveling-up. The player that defeats the card gets to choose how to apply the loot, and the card gets placed in a certain configuration to indicate the purpose it now serves. (Note: "Defeat" isn't really an important term here, because every card is in essence "defeated" whether the challenge is met or not. If the player is unable to meet the criteria of the challenge, they take some amount of damage, but the challenge is still considered "defeated." In essence, there's no winning or losing individual challenges, it's just a matter of degrees of victory. Another aspect I would prefer to see altered in a future release.)
HOW LIL IS IT?
It's definitely a li'l game, about the size of a pack of processed cheese. (The chunk kind, not the slices.) The space in the box is used well, as everything fits nice and snugly without feeling like it's crammed in there.
THE SECOND OPINION
I feel like I may have given the impression this game isn't enjoyable, but it really is—I just don't know why, exactly. I liken it to BOSS MONSTER, a game that I really enjoyed getting out from time to time, and found myself thinking about playing quite a bit, but which ultimately felt like it was missing some key core element when it came to actually playing it. Like that game, though, ONE DECK DUNGEON has a lot of fans who don't seem to think anything is missing at all.
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text:
VssPowerTools
=============

Provide several useful tools for Visual Source Safe databases:

* Log
Display last made checkins with filtration and groupings.
Based on VSS log file, so can be not reliable.

* Blame(Annotate), File log
Create temporary Subversion repository with all versions of specified file.
After creation Log and Blame (for this single file) available.
Require installed TortoiseSvn.

* View unified diff made in check-in
Require installed TortoiseSvn for display patch

* Make patch for selected files from log
Require installed TortoiseSvn for display patch

* Copy selected checkins to Clibboard in CSV format(tab separated)

![vsspowertools-screen](https://cloud.githubusercontent.com/assets/703544/5605913/e3cf69ec-9426-11e4-9d51-4825a3ba458c.png)

redpajama_set_name: RedPajamaGithub


Let your little boy pull off a cool look with the help of these stylish track pants from Allen Solly Kids. You may be rest assured that he will be at ease in these printed ankle length track pants, owing to their comfortable good quality fabric.
Your little boy will look extremely smart wearing this pair of track pants, which has been designed according to the latest trends. It will go well with a stylish tee while he goes out to play.


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The Most Beautiful Book Covers From Around the World
Covers courtesy of Penguin Random House, Little Island Press and Charco Press
From colourful illustration, to black-and-white photography, by way of digital collage, here are some of the most beautiful book covers from around the world.
Choosing the cover image of a book is an art in itself. It needs to communicate the essence of a work in the briefest of moments, whilst also remain subtle enough to encourage intrigue and curiosity. In light of the e-book boom, publishers have refocused their attention on producing stunning book jackets, as a way to bring people back to print. As such, we have seen a major increase in original and highly aesthetic book jackets, which for for book and art lovers alike, is a very good thing. The cover is how we enter a book, how we enter into a world – it is our first impression of what the author is trying to communicate, and so ultimately, it becomes part of the overall reading experience. Here are some of the most beautiful and eye-catching book covers from publishers around the world.
The Flight by Gaito Gazdanov (Pushkin Press)
Cover courtesy of Pushkin Press
This Russian 20th-century classic recounts an affair between a son and his father's mistress, over one summer along the French Riviera. The unique and compelling cover to Gazdanov's The Flight and published by Pushkin Press, was created by Julien Pacaud, a French artist and illustrator specialising in digital collage.
White Plains by Gordon Lish
Cover courtesy of Little Island Press
Simple, stunning and daring you to dive in, the cover to Gordon Lish's White Plains was created by the award-winning design studio 'typographic research unit'. Published by UK-based Little Island Press, the work was characterised as closer to a 'snarling rant than a work of fiction… reads like the freewheeling wordplay of a mad person', in The Times Literary Supplement.
River by Esther Kinsky (Fitzcarraldo Editions)
Cover courtesy of Fitzcarraldo Editions
It is perhaps arbitrary to single out Esther Kinsky's River among Fitzcarraldo's titles, as all their titles follow the same beautiful template and blue/white motif. The now iconic series by London's most stylish publisher is designed by Ray O'Meara and uses a custom typeface.
Siddhartha by Hermann Hesse (Penguin Drop Caps)
Courtesy of Penguin Random House
Ornate patterns and eye-catching colours are the two stand-out features of Penguin's Drop Caps series which, as well as Hermann Hesse's renowned work Siddartha, includes titles by Gustave Flaubert, Jane Austen and Charles Dickens. Each cover in the 26-book series, which in its entirety comprises the full spectrum of the rainbow, was designed by Jessica Hische and Penguin art director Paul Buckley.
The President's Room by Ricardo Romero (Charco Press)
Cover courtesy of Charco Press
In Ricardo Romero's The President's Room, the narrator tells us of a nameless suburb in a nameless country where every house must reserve a room for the president. This unique and eerie book is published by Edinburgh-based Charco Press, with the stylish and subtle cover created by Argentinian designer Pablo Font.
Don Quixote by Miguel de Cervantes (Penguin Classics Hardback)
Cover courtesy of Penguin Random House
This edition of Don Quixote, one of the most famous tales in literature, is part of Penguin's hardback Clothbound Classics series. Each cover in the series is designed by Coralie Bickford-Smith, an award-winning British designer and author.
Poetry of the First World War ed. by Tim Kendall (Oxford University Press)
Cover courtesy of Oxford University Press
This beautiful new anthology, published by Oxford University Press, offers a generous selection of the Great War poets, including Wilfred Owen, Siegfried Sassoon, Rupert Brooke, and Ivor Gurney, as well as lesser-known soldiers of the time. The edition is part of the Oxford World's Classics Hardback Collection, which features beautiful, minimal designs and includes title such as Crime and Punishment, Sense and Sensibility, and Anna Karenina.
I Love You Too Much by Alicia Drake
Cover courtesy of Macmillan
Alicia Drake's I Love You Too Much follows the life of 13-year-old Paul in the sixth arrondissement of Paris, where 'everything is perfect and everyone is lonely'. Published by Macmillan this February, the artistic jacket was created by book designer Justine Anweiler.

redpajama_set_name: RedPajamaCommonCrawl


text:
Asseco achieves CMMI compliance. Success of the International Organizations and Uniformed Services Division
Asseco as the first Polish software producer joined the elite group of companies with business divisions, whose manufacturing processes are compliant with the Capability Maturity Model Integration for Development at the...
Asseco Poland to build LTE technology network in Radom
Open tender for the design and construction of wireless broadband network infrastructure in Radom has been won by a consortium led by Asseco Poland S.A., which proposed to use modern LTE (Long Term Evolution) technology.
Letter of intent for the acquisition of ZETO Poznań
On 24 December 2012, Asseco Poland signed a letter of intent to acquire shares in ZETO Poznań. In line with the Asseco's strategy, the acquired company will become part of the Group's consistently built nationwide...
Asseco to build the ZEFIR2 system for the Customs Administration
On 19 December 2012, Asseco Poland and the Ministry of Finance concluded a contract worth PLN 32.6 million for the construction, maintenance and further development of the ZEFIR2 system.
Contract with Południowy Koncern węglowy a Tauron Group company
Asseco Poland has concluded an agreement with Południowy Koncern Węglowy to provide SAP system maintenance and development services. The service provider has been selected by PKW through a public tender.
Subscription of Asseco Poland's series K shares
Asseco Poland's ordinary bearer shares of series K were subscribed during the period from 12 to 30 November 2012. Investors made 77 subscriptions for a total of 5,434,773 series K shares, with a par value of PLN 1.00...
Asseco's Solution to Improve Road Traffick Safety
Asseco Poland has signed a PLN 170 million worth contract with the General Inspectorate of Road Transport. The subject of the contract is to implement the Central Processing System for the Automatic Road Traffic...
Nearly PLN 300 milion in net profit for the first nine months of 2012. Finantial Results of Asseco Group
Sales revenues reached nearly PLN 4 billion, growing 13 percent as compared with the corresponding period of 2011.
Asseco's Solutions Ready to Cooperate with eVEB
The National Healthcare Fund is providing medical facilities with eVEB (Electronic Verification of Eligibility of Beneficiaries) information system, which will be used to electronically verify the eligibility of...
Asseco to Develop an Information System for Warta Insurance Group
Asseco Poland and Warta Group entered into an agreement for the development of the Integrated Information System (IIS) by Asseco Poland. IIS will be the main product management system after the merger of WARTA and HDI...


text:
September sets record of 382 Covid-19 infections in BC children
Vancouver – September has proven to be a brutal month for child Covid-19 infections in BC.
A full 46% of infections in age group 0 to 19 during the pandemic occurred during September when hundreds of thousands of children were shoved into ill-prepared schools.
Statistics published by the BC Centre for Disease Control show kids registered a total of 382 infections in September.
That's the highest number of infections in one month during the entire pandemic.
On Sept. 1 BC had 145 children under 10 infected.
For September 30, that figure stands at 298. That's total of 153 children 0 to 10 infected this month.
In the age group 10 to 19 BC had 293 infected on September 1 and now that figure has surged to a total of 522. That's up 229 this month.
Total child infections in September number 382. For the past six months from March to August child infections numbered 438.
A total of 6 children have been admitted to hospital so far in the pandemic while there are 8 suspected cases of MIS-C.
MIS-C, according to the US CDC, is a dangerous multi system inflammation of organs resulting from either covid infections or proximity to a Covid-19 infected person. It was identified in May as a separate illness. Early on it was thought to be Kawasaki's Disease.
61 BC schools have reported infections and exposures with numerous children isolated. In some cases children have brought infections home and in turn made their parents ill.
The worst scenario appears to be at Caulfeild School in West Vancouver where two division classes have been sent home.
Facebook forums show the outbreak has resulted in at least 7 confirmed infections.
Worried parents are accusing BC Public Health Officer Dr. Bonnie Henry of spreading misinformation.
She has claimed schools are safer than home for children.
A frustrated mother posting on a North Shore forum stated she felt misled by Henry.
"There have been no transmissions or outbreaks of COVID-19 at schools and health authorities follow up individually with anyone who has been in close contact with someone who has tested positive," she quoted Henry as saying.
"This is misinformation," the angry mother said.
"The 5 kids (so far) who have tested positive in grade 2, Div 12 at Caulfeild Elementary were with absolute certainty not all together outside of school.
"A couple of them may have been, but certainly not all in a group."
"It is not a coincidence that they are all in the same small classroom and all have tested positive."
"In one case (mine), the kid also transmitted it to other family members — her mother (me) and her older sister."
Several parents said they are keeping their children home. Some said they'll not send their children back out of fear of infections.
Henry removed almost all safety rules practised out of school settings that she has insisted on during the pandemic.
The 2-metre distancing no longer applies in schools, masks are not mandatory in class and children can associate with large cohorts even as rising case numbers have resulted in her warning the public to stick to a bubble of six.
Caulfeild
child Covid
child infections
Previous articleBC Teacher – if my son didn't have MIS-C then what caused this life and death illness?
Next articleBC schools report Covid-19 infections


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Seyi
[18:49, 07/08/2021] Rory Duffy: I'm here where are you
[18:49, 07/08/2021] Rory Duffy: Just went upstairs, claire is in there
[18:49, 07/08/2021] Rory Duffy: So I came downstairs
[18:49, 07/08/2021] Rory Duffy: And now just by the door
I was feeling triggered enough without having to go upstairs into the top floor of Little Ku and see one of the rebel admins, Claire, sitting there. I am not sure if she noticed me. I had a quick scoot around for Jenny, did not find her and then bolted back downstairs. One of the attendees found me perched on a stool by the front door and asked me if this is the Meetup. I said yes, but that I was waiting for Jenny. We ended up sat there for a good 45 minutes waiting for Jenny and me answering awkward questions about whether we hired the space, before we decided that it was time to head upstairs. Upstairs, there seemed to be loads of people who were not part of the Meetup. Anyway, I did my best at holding it together with Claire sat a few metres away (suffice to say, she was not part of the Meetup). At one point, she looked over at me and have me what looked like a death glare.
[19:37, 07/08/2021] Rory Duffy: She's gone now
Thankfully, Claire upped and left at 19:37. I was able to carry on hosting Jenny's Meetup in peace. Throughout the course of the evening, I saw 3 of the guys from the rebel group, James, Tireni and Seyi. All 3 of them were perfectly friendly and understanding towards me. All of them were asking me if I was feeling OK after everything that happened on WhatsApp this week. There was no sign of hostility. James was the one who opened that disastrous can of worms on Tuesday night and appeared to side with the admins (see tabbed). Despite his initial reaction (😡😡😡😡😡😡 - see tabbed), he said to me that he did not think that I was acting malicious. Thank you. People behave much nicer to one another in person.
Jenny finally arrived. By then, the Meetup was in full swing and the room was packed. We spent some time in Little Ku (I introduced Jenny to the members of the Green Park Meetup who I knew, including Seyi). Later on we went to She Bar (1st time!). Jenny & I shared many conversations going over the events of the week and what we thought of the other admins.
04/08/2021, 20:41 - Tony: Ive been going to the group since the early years and know Jenny Rory and many of you personally. Joining this because people need to speak up.You "appreciate that Rory was trying to be nice" but banned him because he didnt rectify the favour he was trying to do you as quickly as you wanted? Why would anyone steal a logo after gifting a group as a favour?You people are too quick to accuse and its just bullying at this point.
In particular, there were those messages from Tony. Tony totally nailed it. Jenny was angry at Jaron for how he responded. I told Jenny that Jaron was one of the people who reached out to me privately while this was happening. Although I gave him the courtesy of responding, I did not respond a 2nd time or reveal any of my thoughts. As it turned out, he was on the fence but ultimately sided with the admins. I wonder what the atmosphere will be like when we next cross paths.
[21:28, 03/08/2021] Jaron: Hey Rory, I want to apologize for jumping the gun there, and asking if you directly copied the group name and logo. I don't know if you actually own that new group in the new place or have an arrangement with the new folks. I hope you folks all do have a new arrangement and that it isn't some silly sabotage. I've met you in person a few times, I think you're lovely and kind — so this'd be totally out of character for you!
[01:22, 04/08/2021] Jaron: Hey Rory, why are you doing this? I don't get why you keep copying and creating duplicate events for the Meetup group.
[07:08, 04/08/2021] Rory Duffy: Hey Jaron thanks for your sweet and thoughtful message, no worries at all mate! I created the meet-up page last Saturday and notified the other admins. Apparently they've formed a separate group and removed me as admin.
[10:05, 04/08/2021] Jaron: It just seem wires are crossed then. I've been speaking to them and they say you're not replying to any of their messages for a while now, and just keeps replicating the events and group without clarifying it with them first. 🤦♂ Anyway they've made a group now we can just use that for the Saturday picnics…
Jenny wonders why everyone is accusing us of causing the drama when it is the admins who are causing the drama! She says that Lily has become the worst. She describes her as manipulative and controlling. I told Jenny how I had made Lily a co-organiser on the Meetup page. Lily reverted it back to how it was, moved all of the events and attendees over to the new page, used MY mailing list to signpost 2000 people to the new page and posted the links on the main group. Jenny was shocked that she used my mailing list. She thinks that Lily deliberately booked Retro Bar to spite her. Lily knew that she uses that venue for the M&M and it was a way to get back at her. I kept quiet about the fact that it was Rob who put that idea in her head.
07/08/2021, 08:07 - Jacek: Morning everyone despite from weather outside the window I hope you will have a fabulous day 😀
07/08/2021, 10:48 - Rob: Charing x
07/08/2021, 11:21 - Lily: I sprained my ankle so might not be able to come out today 😔 but like Rob said I think retro is a good option
Read More...
[02/08/2021, 22:53:12] Anna: Thanks. I'm sorry this is happening. That really sucks
[02/08/2021, 22:53:17] James: Yeah big thanks to the admins for looking out for us 🤗
[20:53, 03/08/2021] James: @Anna what happened? Also why is Jenny in the Queer 20s/30s group? 🤔
[20:53, 03/08/2021] Anna: Is she?
[20:53, 03/08/2021] James: On the meetup page under leadership team yeah
[20:54, 03/08/2021] Lily: Well... It seems they've decided to go rogue with of our name and imagery...
[20:54, 03/08/2021] Katie: The whats app group is different to the meet-up
[20:55, 03/08/2021] Katie: There was a coup, and the meet up was split down the middle
[20:55, 03/08/2021] Yasmin: And she's in her own team lol
[20:55, 03/08/2021] Anna: Yeah, so that's actually Rory's South London page that he rebrandes using our brand. That's unrelated to us
[20:56, 03/08/2021] Anna: I realize it is incredibly confusing, but there isn't much we can do about (voluntary or not) other people trying to sabotage this page
[20:57, 03/08/2021] James: So this meetup page is unrelated to the WhatsApp group?
[20:57, 03/08/2021] Leila: Goodness me what is going on
[20:57, 03/08/2021] Anna: Yeah...
[20:57, 03/08/2021] Anna: Hopefully they'll get tired eventually
[20:57, 03/08/2021] Anna: And move on
[20:57, 03/08/2021] James: Took the logo and everything!!!
[20:57, 03/08/2021] Anna: Yup
[20:57, 03/08/2021] CW: @Anna Fill us in on the gossip! What was the email 😂
[20:57, 03/08/2021] James: 😡😡😡😡😡😡
[21:13, 03/08/2021] Anna: Yeah that's Rory's page
[21:13, 03/08/2021] J: I am with you so so we have a meet up page as well? Apologise for asking dumb questions and thank you for patience 😅🙈
[21:14, 03/08/2021] Yasmin: There's no meetup page. Just Instagram x
[21:14, 03/08/2021] Anna: We don't have a page on meetup (yet!)
[21:14, 03/08/2021] James: We do not..
[21:14, 03/08/2021] James: So we're going to get one? 🤗
[21:14, 03/08/2021] 🙂: Why can't they just rename the group and create a new logo?
[21:15, 03/08/2021] James 🏳🌈: 'Cause it's easier to steal someone else's than to create your own
[21:16, 03/08/2021] 🙂: I see, so I guess they want to draw out members so that they join the Meetup group. I don't know. Strange!
[21:16, 03/08/2021] CW: Let's not make claims until Rory has responded. There may be more to this than we know! Rory isn't malicious!
[21:16, 03/08/2021] Cyrece 🏳🌈: 👍🏾
[21:17, 03/08/2021] Jaron 🏳🌈: 👍 Hopefully it's just being transferred into the new group. We're just folks here for drinks in the park. No need to steal names or logos... 😂
[21:17, 03/08/2021] CW: Let's not jump to conclusions and give Rory a chance to respond without becoming overwhelmed with all of these messages and accusations! Anyone who knows Rory will know exactly what I mean and will understand that he isn't that type of guy
[21:17, 03/08/2021] Jaron: 👍 Hopefully it's just being transferred into the new group. We're just folks here for drinks in the park. No need to steal names or logos... 😂
[21:19, 03/08/2021] Yasmin: 🙏🏽🙏🏽🍸🍹🍷
[21:19, 03/08/2021] James: OK I'll reserve judgement but the evidence does not look good
[03/08/2021, 23:20:58] Seyi: The drama never ends recently
[00:38, 04/08/2021] Lily: https://www.meetup.com/queer-london-20s-30s
[04/08/2021, 01:05:04] Seyi: Joined
[01:05, 04/08/2021] Justin: I literally was ready to go on my first meet on Green Park this weekend but now I have no idea what's going on xD
[01:07, 04/08/2021] Seyi: Don't worry. IRL it's totally chill without all this weird drama


High Design is a makeathon: a designated set of time to develop ideas against design prompts. It's a team-based competition, where ideas will be evaluated by design and cannabis industry experts.
What do you win? Besides from an incredibly rewarding experience working alongside top design talent, each member of the winning team will receive $500, and Smart will feature the concept in future publications on the topic.
Cannabis legalization is spreading across the United States revealing new users and unanswered needs. We're interested to understand what its future can look like — while still unclear, it abounds with opportunity. The Wild West of industries, cannabis and its future demand good design. We think bringing the best and brightest innovators in New York City to the challenge will generate a new, fresh perspective on what could be.
We'll kick off the festivities on Friday evening with drinks, snacks, and intros. For those who came without a team, you'll have some time to network with the team members you've been matched to work with. We'll go through some high-level information about the industry and reveal the design prompts so that you can start brainstorming an approach with your team. Make sure to get some rest – you'll need it for Saturday!
We'll kick off Saturday morning with a few speakers to frame the day with an inspiring start. After a quick breakfast, you'll have an opportunity to interview experts and users so you can get insights first-hand, and better understand the people for whom you're designing. We'll have coaches and mentors available to help guide and inspire you as you ideate and narrow in on an opportunity.
During the latter part of the day, teams will focus on concepting and prototyping. We'll provide plenty of inspiration in the way of chats, examples, and other stimuli, and again mentors and coaches will help you stretch and stress-test your ideas.
In the evening, teams will present their ideas to a panel of judges and to the broader group. Presentations will be limited to 8 minutes, and we can't wait to see what you come up with! We'll all kick back and enjoy some food and drinks while the judges deliberate, and the day will culminate in announcing the winning idea and team, and awarding prizes.
What happens after that? That's up to you to decide. Our intent is to get brilliant minds together to work on an interesting, time-capped design challenge, network, and learn more about this nascent industry and opportunity.
The High Design Makeathon will be held at Smart Design, located in west Chelsea.


text:
Engineering & Tech
Professor Christiane Solte-Gresser – Using Dreams to Depict the Nightmare of the Holocaust
Apr 9, 2019 | Social Sciences
It began with a boycott of Jewish shops and it ended in the gas chambers, as Adolf Hitler attempted to exterminate the Jewish population in Europe. Six million victims were annihilated and their voices and stories lost forever. Professor Christiane Solte-Gresser from Saarland University in Germany interprets Holocaust literature about dreams to help tell the story of the millions who disappeared.
People frequently also use the concept of a dream to discuss the ideals they desire to attain in their life – for example, the 'I Have a Dream' speech delivered by Martin Luther King Jr or the idea of 'The American Dream'.
Given the importance of dreams in expressing our hidden desires or our deepest fears, dreams are regularly used as a literary device by artists, composers, poets, playwrights, novelists and non-fiction writers. Taking the series of Harry Potter books as an example, even before Harry knew he had magical powers, the magic had started to percolate through into his dreams. By mixing reality and imagination inherent in dreams, the author is able to creatively explore an aspect of the story in order to evoke certain expectations and elicit certain emotions or reactions from the reader.
Using Dreams to Come to Terms with the Holocaust
The Holocaust, also known as the Shoah, was state-organised genocide in which six million Jews and other victims were murdered by the Nazis and their abetters during World War Two. Part of the Nazis' plan was total annihilation of the Jewish population in Europe, and as a result, Jewish people were eradicated in most towns and cities.
In many ways, the Holocaust is a story that has never fully been told. Holocaust survivor Primo Levi described the Holocaust as an event without witnesses, as most victims were annihilated and their voices silenced forever. Of the people who survived the Holocaust, many were either too traumatised to explain what they experienced, or they did not feel able to speak on behalf of the dead.
The Holocaust is also difficult to portray in conventional narratives or visual approaches, because it exceeds our imagination. Holocaust survivor Elie Wiesel described the event as the murder of humanity. As such there is a paradox inherent in depicting the Holocaust – that is the telling of something that is untellable. This is where literature, and especially the literary depiction of dreams, comes into the picture. Given the importance of dreams in our everyday lives and as a literary device to express the unutterable, it is not surprising to see that numerous texts about the Holocaust use the dream as a narrative or poetic technique. For example, a Holocaust survivor's nightmare can reflect the transmission of the trauma experienced in the concentration camp.
https://doi.org/10.33548/SCIENTIA339
'Occasionally the survivors even perceive their liberation as a dream and see their imprisonment as the only true reality'
Overview of the Dream Cultures Research Training Group
Professor Christiane Solte-Gresser is a contributor and spokesperson at the European Dream Cultures Research Training Group, at Saarland University in Germany. The European Dream Cultures Research Training Group researches the literary, media and cultural histories of the dream in Europe.
Alongside her colleagues in the research group, Professor Solte-Gresser explores how the representation of dreams in literature and arts transcends eras, media, languages and cultures. This research is innovative in its approach to dream interpretation – in contrast to psychological decoding of dreams, it is cultural-constructivist and focuses on poetics and media.
Analysis of Holocaust Literature
In her scientific research, Professor Solte-Gresser explores Holocaust literature to gain new perspectives and to increase our understanding of the Holocaust. As she explains: 'The literary and autobiographical texts produced during the Nazi tyranny and right after WWII already show a significant source of knowledge, namely both knowledge about dreams and about the Holocaust trauma.' Professor Solte-Gresser also focuses on post-Holocaust texts, which, as she explains, 'pull the dreamer right back into the concentration camp experience.' Her objective is to assess how literary texts make the inconceivable experience of the Holocaust comprehensible to the reader.
Professor Solte-Gresser compiles literary texts about the Holocaust that use dreams as their method of expression, and then compares them, paying particular attention to their functions and various literary forms. She analyses texts of real dreams in autobiographical writing as well as in fiction. For example, she studies concentration camp dreams from narratives, stage plays, poems, reports, music and films, across different languages.
Initial Findings
In her analysis, Professor Solte-Gresser found that there is a broad range of motifs, themes, and narrative styles that are deployed to approach the Holocaust through literature, and that these are present in both autobiographical and fictional dreams. Through her compilation of literature and analysis, she found that there is broad ambiguity and inconsistency in presenting the dream. However, the dream is presented in such a way that it condenses perceptions and experiences of the Holocaust, making it an essential way of exploring its unimaginable horror.
Professor Solte-Gresser finds that some of the texts describe the reality of the concentration camps, 'where the fine line between life and death becomes so fragile, the hallucinations, delirium, and agony of it all dissolve the boundaries between waking and dreaming.' For other survivors, dreaming was an escape from the reality of the concentration camps, and for later generations dreams are sometimes regarded as a way to reunite with the dead and to give them a voice.
Recurring nightmares also feature in Holocaust texts, and Professor Solte-Gresser interpreted this to mean that for many survivors, 'life after the concentration camps turns out to be a harrowing delusion.' The omnipresence of the trauma of the Holocaust in dreams also is an indication that, as Professor Solte-Gresser explains, 'occasionally the survivors even perceive their liberation as a dream and see their imprisonment as the only true reality.'
Erwin Hahs: Konzentrationslager, watercolour, pencil, varnish (52 x 70 cm)
Keeping the Legacy of the Holocaust Alive
As a society of storytellers, and given that there is no 'sense' to the Holocaust, we need to examine the testimonials and various literary memories, and use them as a vehicle to bring about a better society. The Nazis wanted to erase Jewish culture and memory from the world, and it is society's duty to prevent this from happening. Keeping the memory of the Holocaust alive is now more important than ever before, because most Holocaust survivors are either reaching the end of their lives or have already died. This is why literary and even fictional preoccupations with our past are so indispensable.
Professor Solte-Gresser's critical reflection on the untellable aspects of the Holocaust and her decoding of dreams, recovers and passes on knowledge of the Holocaust. She explains that this knowledge is not accessible in any other way. Her research helps to personalise the Holocaust and to establish individual experiences amid a sea of facts and statistics.
Primo Levi: If this is a Man (Se questo è un uomo), 1947
The Future of the Research Training Group
Professor Solte-Gresser is continuing her work on the cultural and media history of the dream in Europe, and has ambitious plans lined up for the European Dream Cultures Research Training Group. Among many other projects, Professor Solte-Gresser and her colleagues have set up a Wiki page called 'Traumkulturen', which outlines their analyses of examples – from literature, film, theatre, painting, comics, computer games and music – mentioning dreams, such as texts written by Holocaust survivors. Although still in its infancy, Professor Solte-Gresser hopes to expand the range of entries on the website and welcomes interest from researchers who want to read the contents or contribute their own material.
In addition to the joint dream Wiki, numerous books and articles on European Dream Cultures have already been published or are in the works. These attest to the Research Training Group's research achievements and serve as a comprehensive and unifying overall structure for individual research approaches. The Research Training Group also intends to continue publishing its newsletter about their activities, which is typically available each semester.
As spokesperson for the European Dream Cultures Research Training Group, Professor Solte-Gresser aims to continue the group's current activities, such as conferences, meetings, cultural projects opened to the general public, and workshops. These forums provide researchers with the space to discuss their findings with peers and wider audiences. Professor Solte-Gresser and her colleagues also incorporate their research findings into their teaching curricula, which 30 PhD students and postdoctoral researchers currently benefit from.
Meet the researcher
Professor Christiane Solte-Gresser
Department of German Studies
After graduating in Germanic and Romance studies in Bremen and Paris, Professor Christiane Solte-Gresser obtained her PhD from the University of Bremen. Before transferring to Saarland University, she served as Associate Professor of French and Italian Literature at Goethe University in Frankfurt, and visiting professor at Aix-Marseille University in France. Professor Christiane Solte-Gresser is currently a Professor of General and Comparative Literature, and the Chair of Comparative Literature, at Saarland University in Germany. Here, she is also the spokesperson for the European Dream Cultures Research Training Group. Her main research interests are in narrative research, such as the aesthetic representation of everyday life and of dreams, the relationship between literature and philosophy, the history of autobiography and literary theory.
E: solte@mx.uni-saarland.de
W: http://www.traumkulturen.de/beteiligte/professorinnen/solte-gresser-christiane.html
Barbara Hahn, Vanderbilt University
Bernard Dieterle, University of Haute-Alsace / Mulhouse
Cécile Kovacshazy, University of Limoges
Janett Reinstädler, Saarland University
Manfred Engel, Saarland University
Roland Spiller, University of Frankfurt am Main
Susanne Goumegou, University of Tübingen
Vittoria Borsò, University of Düsseldorf
William Franke, Vanderbilt University
The project is funded by the German Research Foundation (2015-2019). The decision about an extension until 2024 will be taken in May 2019.
C Solte-Gresser, If this is a man (Primo Levi), Encyclopedia dream culture, 2016, Available at http://traumkulturen.uni-saarland.de/Lexikon-Traumkultur/index.php?title="Se_questo _è_un_uomo"_(Primo_Levi)&oldid=866
C Solte-Gresser, The Dream (Vercors = Jean Bruller), Encyclopedia dream culture, 2016, Available at http://traumkulturen.uni-saarland.de/Lexikon-Traumkultur/index.php?title="Le_Songe"_(Vercors,_d.i._Jean_Bruller)&oldid=885
C Solte-Gresser, The Third Reich of the Dreams (Charlotte Beradt), Encyclopedia dream culture, 2017, Available at http://traumkulturen.uni-saarland.de/Lexikon-Traumkultur/index.php/"Das_Dritte_Reich_des_Traums"_(Charlotte_Beradt)
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Description: Sheep in the middle of the figure of eight roundabout of junction 31 of the M6 at Preston due to sudden flooding of the River Ribble! Courtesy of Highways England camera.
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We have 1 answer for the clue Philosophical possum of the comics. See the results below.
Comic strip character who said "I refuse to have a battle of wits with an unarmed person"
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I wanted to share our trip to the Mexican Riviera! It was a lot of fun and we ate tons and enjoyed ourselves. My personal favorite spot was definitely Mazatlan it was the most authentic of the three. I hope you like clips from my travel vlog!


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A lesson in Marketing Analytics: The magnetism of the Boston Celtics
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In January 2019, Lionel Pailloncy, Manager at Keyrus Management and Hult MBA graduate from the Class of 2015, published an article on French tech portal "Le Journal Du Net" about…
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Pratik More, 2 years ago 4 min read
Week of Disruption, Fall 2018: Embracing a changing world, around the globe
Hult campuses around the globe experienced an interruption to their schedules – and their thinking – this November, courtesy of Fall 2018's Week of Disruption. A major (and enduring) buzzword…
Kimberley Lovell, 2 years ago 7 min read
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This page presents information about hydrogen chloride – or hydrochloric acid – HCl: characteristics, effects on health, detection systems – hydrogen chloride detector – and proper respiratory protective equipment (gas mask or PAPR with E-P3 gas filter).
Hydrogen chloride (HCl) – also known as hydrochloric acid under its liquid state – is a natural gas exhausted during volcanic eruptions. This gas is even present in the human body at very low concentrations to give stomach its pH acid. HCl hazards are present in many sectors as this substance is widely used as a base product in the chemical industry (fertilizer production), pharmaceutical industry (drugs synthesis), oil wells and steel production.
In its gaseous state, hydrogen chloride is a colorless substance with a pungent and irritant fragrance. Very soluble into water, its reaction releases high heat and hydrogen – a highly explosive gas. Very toxic by inhalation (R23), hydrogen chloride is very corrosive too and causes severe burnings (R35) when in contact with the skin and may seriously damage the eyes.
Despite its pungent and irritant smell, only an hydrogen chloride detector can accurately measure concentrations of this highly toxic gas. Thus a fixed or portable hydrogen chloride gas detection system in ppm values is advised.
As hydrogen chloride is irritant to the eyes, it is recommended to use a full face mask for short interventions or a complete powered air purifying respirator equipped with an E-P3 filter. A self-contained breathing apparatus (SCBA) is required If concentrations exceed 60 times the OEL.


We have a new CD and CD release concert coming up in June! Follow us on Facebook to receive reminders for our upcoming shows. As always, thanks for your support of Lazybirds.
PS - Our website is currently under construction so please bare with us.
Lazybirds is a classic American band with roots in the Appalachian Mountains of North Carolina. Formed in 1996, the quartet began by immersing into the old forgotten styles of blues, jazz, country, and ragtime that had been the soundtrack of the American underground several decades earlier. The band quickly developed a reputation in the High Country for playing music that touches people at their core in a way that hearkens back to a time when music was more closely intertwined with nature. Lazybirds have created a sound that is all their own, at once familiar and original. Loyal fans have danced through 2 decades with the band at bars, festivals, and parties across the southeast. Much like the old New Orleans Jazz bands, Lazybirds keep on doin' their thing … and every year, they do it a little better.


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Return of the Moose
When Bob Weber, creator of the classic comic strip "Moose Miller" (re-titled "Moose & Molly" since 1998), visited Baltimore about ten years ago, he called and invited me to dine with him at the Denny's out on Ritchie Highway. Bob, born and raised in South Baltimore, has for many years lived in Westport, Connecticut. We hadn't talked for at least ten years, hadn't seen each other for over twenty, but I wasn't surprised to hear from him. You see, Bob sort of owes me—or at least I think he thinks he does.
Our connection goes back to June 27, 1986, when I wrote the following note to the Features Editor of the Baltimore Sunday Sun: "I'm a big fan of comic strips—have been all my life—and I especially love some that appear daily in the Evening Sun: "Peanuts," "Andy Capp," "B.C.," and, more recently, "Zippy," "Calvin & Hobbes," and "Moose Miller." However, it's very disappointing to follow these features each day of the week and then not be able to enjoy them in color on Sunday. I refer to "Calvin & Hobbes" and "Moose," my two very special favorites, which have so far been missing from the Sunday pages. Can this situation be corrected?"
That was the first of several letters I wrote, over the span of a few years, to insure that "Moose Miller" got some respect in the Sunday comics section, and to help see to it that the feature was reinstated once it had been dropped from the funny pages altogether—which, if memory serves, happened three times, with the third strike turning out to be terminal. Sadly, "Moose" has not run in Bob Weber's hometown paper since about 1995.
During the period I was able to help keep "Moose Miller" in Baltimore. My reasoning emphasized the local angle, the fact that the characters referred often to Baltimore landmarks such as "Sparrows Point Shipyards" "Curtis Bay" and "Pratt Street," and used the names of local people in the balloons, mine included. Here's a memory jogger for Balti-morons, as we like to call ourselves. In the strip below "Bill Buxton" refers to the Baltimore Sun fishing writer Bill Burton; "Vince Baggy" was the beloved local sports columnist Vince Bagli; and announcer Stu Kerr plays himself, a real announcer for a real local TV station; and me, Jim Sizemore. Along with Vince Baggy I'm the "written by" guy. For some reason Bob didn't, or couldn't, come up with nicknames for Stu Kerr and me. (There are also three names in the strips I was unable to I.D. (If you know them, let me know.)
But I believe the strongest points I made in favor of the strip were aesthetic and social. The gag writing is excellent, words and images working together to create the humor, a characteristic always present in the best comics. The visual appeal of "Moose" is the result of strong composition and the use of simple shapes to define human and animal characters, places, and things, as in the "Nancy," "Henry," and "Snuffy Smith" mold, all of which, like "Moose Miller," read well visually when reproduced at very small sizes. That's important these days with the shrinking space given to comics features. The strip above is an excellent example of Bob's astute way with dramatic visual composition—it couldn't be simpler, or bolder, or better.
In my opinion "Moose Miller" was (and is, since it's still running) a unique work at once fluid, funny and very lively—and it's an example of very good graphic design. And finally, the strip has social value. It may be the only remaining syndicated comic strip that depicts the day-to-day humorous conflicts of working class family life. These are simple comic characters but they have real lives and real jobs. Well, except for Moose—but at least he makes an effort to find work, he just can't seem to hold on to it when he does get it.
The way I see it, Bob repaid my small efforts on behalf of "Moose Miller" many times over with his friendship — intermittent but always fun — plus the pleasure the feature gave me when it ran locally and I could read it every day, including Sunday. (Not to mention the sliver of immortality having my name appear in it from time to time.) Bob, being a humble South Baltimore guy, doesn't realize I'd happily settle for that. Well, a bit more than that. I would like Bob to show up in Baltimore more often so we can stroll around the old neighborhood and gab about the misty days of yesteryear. But it's O.K. with me if he never again feels he has to spend big bucks on me at fancy restaurants. After all, guys like us have simple tastes.
This is an edited re-post from May 28, 2008
2 Comments | cartooning, class, comic strip, comic strips, composition, couples, drawing, family, graphic design, humor, images, relationships | Tagged: Baltimore, Bog Weber, cartoonist, comic strips, couples, domestic conflict, friendship, love, marriage, Maryland, Moose and Molly, Moose Miller, relationships, Sunday comics | Permalink


 Sikiru Adepoju on talking drum.
 With Mike; Bass duet with Phil Lesh.
 Trey first on acoustic, then electric guitar, before returning to acoustic.
 Trey acoustic with Jen and Natalie on vocals.
 Trey acoustic with full TAB.
 By request "because you guys have been yelling for it all night."
 Lyrics changed to reference "Paulie Walnuts."


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Dynamic changes in the outer ionosphere in the region of the ionospheric trough during an intense magnetic storm
H Rothkaehl; F Jiricek; J Šmilauer; M Förster
Advances in Space Research 20(3): 409-414
F -region ionospheric perturbations in the low-latitude ionosphere during the geomagnetic storm of 25-27 August 1987. Annales Geophysicae 22(10): 3479-3501, 2004
Parameters of the Geomagnetic Activity, Thermosphere, and Ionosphere for the Ultimately Intense Magnetic Storm. Geomagnetism and Aeronomy 58(4): 501-508, 2018
Effects of TADs on the F region of the mid-latitude ionosphere during an intense geomagnetic storm. Advances in Space Research 44(9): 1013-1018, 2009
Effects observed in the ionospheric F-region in the South American sector during the intense geomagnetic storm of 14 December 2006. Advances in Space Research 46(7): 909-920, 2010
On ionospheric phenomena during pre-storm and main phase of a very intense geomagnetic storm. Acta Geophysica (Druk) 58.6, 2010
Magnetic storm effects on the F region of the ionosphere. Journal of Geophysical Research 65(3): 893-895, 1960
Ionospheric Effects of the March 13, 1989 Magnetic Storm at Sub-Auroral Region. Journal of geomagnetism and geoelectricity 48(1): 85-90, 1996
Ionospheric disturbances around East Asian region during the 20 October 1989 magnetic storm. Journal of Atmospheric and Terrestrial Physics 55(7): 1009-1020, 1993
Parameters of the ionospheric effect of an sc magnetic storm as a function of the distance from the source region. Geomagnetizm i Aeronomiya 9(2): 207-210, 1969
Ionospheric effetcs of an intense geomagnetic storm. Studia Geophysica et Geodaetica 51(4): 563-574, 2007
Monitoring the ionospheric storm effect with multiple instruments in North China: July 1516, 2012 magnetic storm event. Journal of Atmospheric and Solar-Terrestrial Physics 102: 261-268, 2013
A severe negative response of the ionosphere to the intense geomagnetic storm on March 17, 2015 observed at mid- and low-latitude stations in the China zone. Advances in Space Research 59(9): 2301-2312, 2017
Ionospheric observations on the schooner 'zarya'-magnetic field at the level of the ionosphere. Geomagnetizm i Aeronomiya 4(6): 811-816, 1964
Disturbances in theF2 region critical frequency before the earthquake of September 11, 2008 off the coast of Hokkaido, Japan, and during a moderate magnetic storm based on data from ground-based vertical ionosphere sounding stations. Geomagnetism and Aeronomy 56(3): 331-341, 2016
EISCAT data base for ionospheric modelling: F-region and topside ionosphere. Advances in Space Research 16(1): 37-46, 1995


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Agustín Delgado: The Ultimate Cheap Striker of FM '07
If your immediate thought wasn't to hope on the Transfer Market and search for a transfer listed striker, then what game did you even play?
As reality would have it, Agustin Delgado would be remembered as a striker who flourished on home soil, but struggled in an injury-laden few years when Southampton came calling in the early 2000's. But as virtual reality would have it, he was a goal fiend waiting to be poached by any lucky employer who happened upon him.
Like most football nerds, I'm a fiend for anything and everything 'Football Manager'-related – and it's been like that since I first played the game in 2007. Since then, 15 new editions have come and gone and yet the same question remains. Who, in this new era, will be my ultimate striker? And considering my personal preference for 'Road to Glory' saves, the 'ultimate-ness' of that striker will mean that they need to be cheap.
'How cheap?', I hear you ask. 'Very' is the answer. You see, I come from Birmingham and never really felt a personal affiliation to the areas larger clubs in Aston Villa, West Bromwich Albion or indeed … Birmingham City themselves. Instead, I took a particular fancy to the cute little club down the road who played in a shanty little square called 'The Banks's Stadium'. By the way, I'm allowed to call it that because I secretly love it – you are not, because you do not … you got that?! Good!
Plus, if you think starting a save with Walsall nowadays would be challenging, it was even tougher back then – when I even had to sell one of my better players in midfield to finance a move for a top striker at League Two level in 2007. I doubt I could even look Darren Wrack in the eye today if I ever met the lad, for what I put him through!
So, with a whopping £250,000 to my name (almost half of which was committed to the new academy build for whatever reason), I had to find a radical solution. Thankfully for me, that precise solution came in the form of nippy Ecuadorian forward, Agustin Delgado. And it's a decision that I've never quite been able to replicate on such a level in any Football Manager edition since. Except maybe FM 07 with Fraizer Campbell – might write about that too, tbh.
At the time, Agustin Delgado was plying his trade in Ecuador with L.D.U. Quito, and the game was released at a time where it didn't matter how long he'd been at the club before wanting a move. I mean, this was the mighty Saddlers we're talking about, so no wonder he put pen to paper on a £170,000 deal when it was presented to him.
Almost ten years earlier in his career, Delgado once claimed a 30 goal-in-30 appearance season for El Nacional. And I'm guessing that the FM boffins decided to go off this particular season when awarding him a 17 stat for Finishing. His pace, composure and stamina were also up there too – seeming to ignore the aforementioned injury problems he'd suffered with the Saints only two years before buying him. But I am not complaining.
Seemingly on his own, the digital version of Agustin Delgado was an absolute menace to League One and Two defences anywhere. On average, he brought at least 20 goals p/season before his powers seemed to wain in the eyes of the EFL Championship and above. But no matter how much of a 'fall from grace' the FM pundits might throw at him for that, he will always be one of those lethal strikers the '07 creators tried to hide away from us.
Did you ever purchase Agustin Delgado in any Football Manager save? If so, let us know your own experiences in the comments and share this post with the rest of the FM Community!
Tags:FM 07Southampton
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nextWhen Rafael van Der Vaart Surprisingly Came to Spurs in 2010


Randy Osborne follows his Narrative Urge.
Many people around town will be surprised. And many will claim they are not.
WABE has been given the scoop on the solution—of sorts—on an art mystery two years in the making. Randy Osborne, Atlanta writer and curator of Carapace Raconteurs storytelling night, has come forward to reveal himself as Narrative Urge.
Considerable intrigue mounted starting in April 2011, as folks around Atlanta and beyond either found or were mailed an art project from an anonymous someone. The project came in the form of a mysterious package containing three puzzling things: a cryptic letter with a clue on it, a slip of paper with a quotation, and a ten-dollar bill.
Now, 100 mystery packages later, Randy Osborne says, "I really wanted to claim this project as mine. It's one of the things I'd done while I'm on the earth…but I didn't want to do that until as much juice had been wrung out of it by the people who were enjoying it as they could wring." Besides, sometimes it's a little lonely being the secret someone who makes everyone else feel connected.
Osborne says he chose WABE because, while all the stories about the project were flattering and fantastic, our coverage "came the closest to understanding the essence of what the whole project was about." Well, thanks.
Listen here, as WABE's Kate Sweeney interviews Randy Osborne on all the details behind Narrative Urge and Ten Stories High.
Randy Osborne talks about his alter-ego, Narrative Urge.
You can also view "Hydra," the full story created by everyone's quotations, at Scoutmob.


You are on Outside Access (Ibrox Suite Entrance). Skip to the next section.
This information is for the entrance located on the East corner of the Sandy Jardine Stand.
The width of the door opening is 100cm.
You are on Other Floors (Ibrox Suite). Skip to the next section.
The stairs are located ahead as you enter the Ibrox Suite Entrance.
The stairs are approximately 3m from the Ibrox Suite Entrance.
You are on Lift (Ibrox Suite). Skip to the next section.
The lift is located ahead as you enter the Ibrox Suite Entrance.
The lift is approximately 6m (6yd 1ft) from the Ibrox Suite Entrance.
You are on Hospitality (Ibrox Suite). Skip to the next section.
The suite is located on the first floor.
There is step-free access to this area, via lift.
There is a glass viewing area overlooking the pitch.
The seating for the Ibrox Suite is located in the Sandy Jardine East Stand.
Access to the stand is via either lift and exiting the Ibrox Suite and re-entering the concourse via 51 gate or via 15+ steps directly to the concourse.
For more information about the matchday seating for supporters using the Ibrox Suite please click here (opens in new tab).
There is an/are accessible toilet(s) available within the room/suite.
This accessible toilet is located at the rear of the Ibrox Suite.
This accessible toilet is approximately 12m (13yd 4in) from the lift.
There is step-free access to the accessible toilet, via lift.
The dimensions of the accessible toilet are 215cm x 225cm (7ft 1in x 7ft 5in).
The height of the soap dispenser is 75cm.
The female and male toilet facilities that were surveyed are located at the rear of the Ibrox Suite.


text:
Q: TsconfigPathsPlugin type not compatible with webpack 5 I'm trying to upgrade to webpack 5, but I'm now getting a type error when
trying to use the TsconfigPathsPlugin. (npm tsconfig-paths-webpack-plugin).
I need this plugin so that I can resolve the alias paths in my files. You can see a usage example here: https://betterprogramming.pub/the-right-usage-of-aliases-in-webpack-typescript-4418327f47fa
resolve: {
    extensions: [...],

    // resolve aliases from tsconfig.server.json
    plugins: [
      new TsconfigPathsPlugin({ // type error here
        configFile: './tsconfig.server.json',
      }),
    ],

    alias: {...},
},

I get the following error:
Type 'TsconfigPathsPlugin' is not assignable to type '"..." | ResolvePluginInstance'.
Type 'TsconfigPathsPlugin' is not assignable to type 'ResolvePluginInstance'.
Types of property 'apply' are incompatible.

I have the feeling that this isn't a widespread issue as I can't see any mention
of it in other places, but I would have thought that I'd be able to find at least someone
that has come across the same problem.

A: I encountered the same problem, but today I found the plugin works under below versions.
"tsconfig-paths-webpack-plugin": "^3.5.1",
"webpack": "^5.51.1",

A: I also faced the same issue but use the below version:
"tsconfig-paths-webpack-plugin": "^3.5.1",
"webpack": "^5.9.0",

redpajama_set_name: RedPajamaStackExchange


text:
Fine Art and Design / Artist at Work / Featured Article
The merrily macabre world of wood cut illustrator Lydia Puddicombe
May 30, 2019 / 5:59am / By Debra Domal
Lydia Puddicombe's home studio is filled with plants, pets, natural sunlight, and, of course, the friendly phantasms of her wood cut illustrated characters. For anyone other than this artist, the combination of warm and weird would fail to mix. But for Puddicombe, it is this very tension that is the source of her magic.
Her work is the result of an alchemical process which blends the things she loves (plants, pets, patterns, working with wood) with the things that haunt her (the notion of ghosts and how they serve as a way for us to process death). As we spoke, I asked her how she described her work, and we both agreed that there was a note of "whimsy" but that there was more to it. Their dark, domesticity makes them oddly, but happily suited to living in the quiet corners of her buyers' homes. In fact, Puddicombe "loves to hear that one of her pieces lives in a bathroom" and is there to ponder and interact with during our mundane, human moments.
With Puddicombe, the paradoxes continue. Her engaging smile and enthusiasm live side-by-side with her edgy body art and the merrily macabre subjects of her work. When talking about her inspiration she dives deep and dark into childhood fears of ghosts and death while acknowledging the whimsical humor of her skullflowers. In a sense her work brings death to life, and manifests it in a way that feels approachable, friendly, and not without humor. This vision of a living (and often laughable) death, includes ghost teeth, ghost toast, and clumsy ghosts literally bumping into kitchen applicances in the night.
In Puddicombe's world, death exists within the natural world, its empty skulls putting into sharp relief the joy of the flowers. When death is made familiar perhaps we fear it less; perhaps the colors of the flowers brighten in contrast. Or maybe that's just what this reviewer sees. For someone as thoughtful and intentional about her subject matter, Puddicombe embraces the idea that the meaning of her work is co-created by owners. When a piece goes home, its up to the owner to continue to write its story. The first whispers of the idea, the seed is planted in her mind and manifested with her hands, but the rest is up to you.
Starting out in art school, Puddicombe was gently disuaded from her initial path as an illustrator by an instructor who first saw that she had not found the right fit. As the daughter of a carpenter, wood carving seems like a natural fit. She set forth to find her process, her subject matter and her audience. And now, as full-time artist, she's killing it (sorry, I couldn't resist!).
For an artist who traffics in such ethereal subject matter, Puddicombe's process is suprisingly straight-forward. Her diligence and streamlined process come from this acceptance of the business-side of her life. There are drawings days, there are carving days, and there are coloring days (featuring colored pencils and the occasional bit of paint). Occasionally there is a break for promotional work, during which she tends to her website and social media presence. There are days of cranking out ideas, good and bad, because a successful, full-time artist knows you can't just sit around and wait for the muse to strike. Yes, those gifts from universe do come, but they are rare.
Once a month, or maybe more, she takes the show on the road, bringing her art to fairs and shows around the area and beyond. Occasionally she sees a familiar face return for another piece. She has built an audience. They are as complex and paradoxical as she is and she wouldn't have it any other way.
Working in analog is deeply satisfying and a welcome relief from our digital world, but it doesn't come cheap. Hours of talent, training, and hard work are behind each piece and, though its taken her time to get there, Puddicombe knows that in order to continue she must charge accordingly. Every single mark is handmade. And this is the piece of advice she gives to every young artist: "know your value." She knows there are shortcuts she could take, but chooses not to. She does offer limited prints of her carvings in order to reach out to young buyers with limited art budgets.
In yet another seemingly paradoxical way, Puddicombe pushes herself harder each year (she doubled her output last year and I'm exhausted just hearing about it), but that doesn't stop her from taking time to participate in and nuture the network of artists and makers she feels lucky to be a part of. She expressed her continued suprise that despite the number of talent artists, makers, and designers in our town, collaboration and support win out over competition. Another piece of advice for artists —and, perhaps, for all of us—"do the work you want or need to do, not what you think you should do."
As we wrapped up, I asked her what was next. In addition to noting the two upcoming events listed below, Puddicombe shared that she is experimenting with size—both working in slightly larger sizes and using the illustrator's magic trick of scanning large to produce more detailed, vibrant prints. She also observed that her work is getting more complex, particularly in her use of patterns—a nod to her love of blending the familiar and the domestic (rugs, wallpaper, quilts)— in her depiction of her beloved, beguiling ghosts.
Here are two upcoming opps to meet Lydia and snag some of her work. They will haunt you in the best possible way.
Lyd & Ted at Urbana's Market on the Square
Saturday, June 1st, 7 am to noon
See Facebook for future dates
Photo from Facebook event page
1st Friday Gallery Opening of Death Show
The Art Farm
Friday, June 7th, 5 to 7:30 p.m.
252 N Park St, Decatur
Find out more about Lydia Puddicombe on her website, or follow her on Instagram
All additional photos by Debra Domal


text:
package rawdata

import (
	"strings"
	"time"

	utime "github.com/eure/appsflyer/util/time"
)

type Report struct {
	AttributedTouchType       string `json:"attributed_touch_type" csv:"Attributed Touch Type"`
	AttributedTouchTime       string `json:"attributed_touch_time" csv:"Attributed Touch Time"`
	InstallTime               string `json:"install_time" csv:"Install Time"`
	EventTime                 string `json:"event_time" csv:"Event Time"`
	EventName                 string `json:"event_name" csv:"Event Name"`
	EventValue                string `json:"event_value" csv:"Event Value"`
	EventRevenue              string `json:"event_revenue" csv:"Event Revenue"`
	EventRevenueCurrency      string `json:"event_revenue_currency" csv:"Event Revenue Currency"`
	EventRevenueUSD           string `json:"event_revenue_usd" csv:"Event Revenue USD"`
	EventSource               string `json:"event_source" csv:"Event Source"`
	IsReceiptValidated        string `json:"is_receipt_validated" csv:"Is Receipt Validated"`
	Partner                   string `json:"partner" csv:"Partner"`
	MediaSource               string `json:"media_source" csv:"Media Source"`
	Channel                   string `json:"channel" csv:"Channel"`
	Keywords                  string `json:"keywords" csv:"Keywords"`
	Campaign                  string `json:"campaign" csv:"Campaign"`
	CampaignID                string `json:"campaign_id" csv:"Campaign ID"`
	Adset                     string `json:"adset" csv:"Adset"`
	AdsetID                   string `json:"adset_id" csv:"Adset ID"`
	Ad                        string `json:"ad" csv:"Ad"`
	AdID                      string `json:"ad_id" csv:"Ad ID"`
	AdType                    string `json:"ad_type" csv:"Ad Type"`
	SiteID                    string `json:"site_id" csv:"Site ID"`
	SubSiteID                 string `json:"sub_site_id" csv:"Sub Site ID"`
	SubParam1                 string `json:"sub_param_1" csv:"Sub Param 1"`
	SubParam2                 string `json:"sub_param_2" csv:"Sub Param 2"`
	SubParam3                 string `json:"sub_param_3" csv:"Sub Param 3"`
	SubParam4                 string `json:"sub_param_4" csv:"Sub Param 4"`
	SubParam5                 string `json:"sub_param_5" csv:"Sub Param 5"`
	CostModel                 string `json:"cost_model" csv:"Cost Model"`
	CostValue                 string `json:"cost_value" csv:"Cost Value"`
	CostCurrency              string `json:"cost_currency" csv:"Cost Currency"`
	Contributor1Partner       string `json:"contributor_1_partner" csv:"Contributor 1 Partner"`
	Contributor1MediaSource   string `json:"contributor_1_media_source" csv:"Contributor 1 Media Source"`
	Contributor1Campaign      string `json:"contributor_1_campaign" csv:"Contributor 1 Campaign"`
	Contributor1TouchType     string `json:"contributor_1_touch_type" csv:"Contributor 1 Touch Type"`
	Contributor1TouchTime     string `json:"contributor_1_touch_time" csv:"Contributor 1 Touch Time"`
	Contributor2Partner       string `json:"contributor_2_partner" csv:"Contributor 2 Partner"`
	Contributor2MediaSource   string `json:"contributor_2_media_source" csv:"Contributor 2 Media Source"`
	Contributor2Campaign      string `json:"contributor_2_campaign" csv:"Contributor 2 Campaign"`
	Contributor2TouchType     string `json:"contributor_2_touch_type" csv:"Contributor 2 Touch Type"`
	Contributor2TouchTime     string `json:"contributor_2_touch_time" csv:"Contributor 2 Touch Time"`
	Contributor3Partner       string `json:"contributor_3_partner" csv:"Contributor 3 Partner"`
	Contributor3MediaSource   string `json:"contributor_3_media_source" csv:"Contributor 3 Media Source"`
	Contributor3Campaign      string `json:"contributor_3_campaign" csv:"Contributor 3 Campaign"`
	Contributor3TouchType     string `json:"contributor_3_touch_type" csv:"Contributor 3 Touch Type"`
	Contributor3TouchTime     string `json:"contributor_3_touch_time" csv:"Contributor 3 Touch Time"`
	Region                    string `json:"region" csv:"Region"`
	CountryCode               string `json:"country_code" csv:"Country Code"`
	State                     string `json:"state" csv:"State"`
	City                      string `json:"city" csv:"City"`
	PostalCode                string `json:"postal_code" csv:"Postal Code"`
	DMA                       string `json:"dma" csv:"DMA"`
	AdvertisingID             string `json:"advertising_id" csv:"Advertising ID"`
	IDFA                      string `json:"idfa" csv:"IDFA"`
	CustomerUserID            string `json:"customer_user_id" csv:"Customer User ID"`
	IP                        string `json:"ip" csv:"IP"`
	Wifi                      string `json:"wifi" csv:"WIFI"`
	Operator                  string `json:"operator" csv:"Operator"`
	Carrier                   string `json:"carrier" csv:"Carrier"`
	AppsflyerID               string `json:"appsflyer_id" csv:"AppsFlyer ID"`
	AndroidID                 string `json:"android_id" csv:"Android ID"`
	IMEI                      string `json:"imei" csv:"IMEI"`
	IDFV                      string `json:"idfv" csv:"IDFV"`
	Platform                  string `json:"platform" csv:"Platform"`
	DeviceType                string `json:"device_type" csv:"Device Type"`
	OSVersion                 string `json:"os_version" csv:"OS Version"`
	AppVersion                string `json:"app_version" csv:"App Version"`
	SDKVersion                string `json:"sdk_version" csv:"SDK Version"`
	AppID                     string `json:"app_id" csv:"App ID"`
	AppName                   string `json:"app_name" csv:"App Name"`
	BundleID                  string `json:"bundle_id" csv:"Bundle ID"`
	IsRetargeting             string `json:"is_retargeting" csv:"Is Retargeting"`
	Retargeting               string `json:"retargeting" csv:"Retargeting"`
	RetargetingConversionType string `json:"retargeting_conversion_type" csv:"Retargeting Conversion Type"`
	AttributionLookback       string `json:"attribution_lookback" csv:"Attribution Lookback"`
	ReengagementWindow        string `json:"reengagement_window" csv:"Reengagement Window"`
	IsPrimaryAttribution      string `json:"is_primary_attribution" csv:"Is Primary Attribution"`
	UserAgent                 string `json:"user_agent" csv:"User Agent"`
	HTTPReferrer              string `json:"http_referrer" csv:"HTTP Referrer"`
	OriginalURL               string `json:"original_url" csv:"Original URL"`
	Language                  string `json:"language" csv:"Language"`
}

func (r *Report) GetAttributedTouchTime() (time.Time, error) {
	return utime.ParseDateTimeFormat(r.AttributedTouchTime)
}

func (r *Report) GetInstallTime() (time.Time, error) {
	return utime.ParseDateTimeFormat(r.InstallTime)
}

func (r *Report) GetEventTime() (time.Time, error) {
	return utime.ParseDateTimeFormat(r.EventTime)
}

func (r *Report) GetIsRetargeting() bool {
	switch strings.ToLower(r.IsRetargeting) {
	case "false":
		return false
	case "true":
		return true
	}
	return false
}


text:
package com.tle.common.settings.standard;

import java.util.ArrayList;
import java.util.List;
import java.util.StringTokenizer;

/** @author jmaginnis */
public class HostMatcher {
  private List<List<String>> matches;

  public HostMatcher(List<String> expressions) {
    matches = new ArrayList<List<String>>(expressions.size());

    for (String expr : expressions) {
      StringTokenizer stok = new StringTokenizer(expr, "."); // $NON-NLS-1$
      List<String> ips = new ArrayList<String>(4);
      while (stok.hasMoreTokens()) {
        ips.add(stok.nextToken());
      }
      matches.add(ips);
    }
  }

  public boolean matches(String host) {
    nextmatch:
    for (List<String> match : matches) {
      StringTokenizer stok = new StringTokenizer(host, "."); // $NON-NLS-1$
      int j = 0;
      while (stok.hasMoreTokens()) {
        String ip = stok.nextToken();
        String tomatch = match.get(j++);
        if (tomatch.equals("*")) // $NON-NLS-1$
        {
          continue;
        }

        if (!tomatch.equals(ip)) {
          continue nextmatch;
        }
      }
      return true;
    }
    return false;
  }
}


text:
The Official Site of the Vegas Golden Knights
Tickets Schedule News Team Lifestyle Worldwide Video T-Mobile Arena Scores Stats Community Fans Watch App Shop Teams
VGK Ticket Exchange
Full Season Membership
Partial Season Membership
The Premium Experience
Groups & Event Suites
Can't Wait List Membership
Membership Services Team
Dream Seats
Fan Account Ticket Manager
Preseason Bobblehead Pack
Printable Schedule (JPG)
Golden Knights Players
Ownership Team
City National Arena
The Inaugural Run
Chicago Wolves (AHL)
Fort Wayne Komets (ECHL)
Road Trip Report pres. by Allegiant
Credit One 1v1
T-Mobile Arena Website
T-Mobile Arena Parking
T-Mobile Arena Dining
Scoreboard Greetings
Golden Knights Express
VGK Foundation
Game Changer Program
Community Requests
High Performance Academy Hockey Camp
Henderson Community Hockey Facility - LIVE
VGK Worldwide
SLGND Podcast
VGK Cast
Vegas Born License Plate
AGS Play of the Month
VGK Inaugural Book
Team Retail Outlets
Golden Knights Auction
Marc-Andre Fleury Activated From Injured Reserve
The Golden Knights' goalie last played on October 13.
by Vegas Golden Knights @GoldenKnights / VegasGoldenKnights.com
VEGAS (December 10, 2017) - Vegas Golden Knights General Manager George McPhee announced today, December 10, the following roster transactions: the team has activated goaltender Marc-Andre Fleury from the injured reserve list and has assigned goaltender Maxime Lagace to the American Hockey League's Chicago Wolves.
Fleury missed 25 games after being place on the injured reserve list on October 14. Prior to the injury, he made four starts in net for the Golden Knights and compiled a 3-1 record to go with a 2.48 goals-against average and a .925 save percentage. The Sorel, Quebec native will be made available to media following practice on Monday, December 11.
Lagace was recalled by Vegas on October 22 and appeared in 14 games for the Golden Knights, making 13 starts in net. He sported a 6-6-1 record to go with a 3.79 goals-against average and a .872 saving percentage. On Saturday, he earned the victory after making a career-high 36 saves in the team's 5-3 win over the Dallas Stars. The Saint-Augustin, Quebec native signed a one-year contract with Vegas on July 1, 2017.
ABOUT THE VEGAS GOLDEN KNIGHTS
The Vegas Golden Knights are a National Hockey League franchise owned and operated by Black Knight Sports and Entertainment LLC. The Vegas Golden Knights were established by founding partners William Foley and his family and the Maloof family. For the latest news and information on the Golden Knights visit vegasgoldenknights.com. Fans can follow the team on Facebook, Twitter, Instagram and Snapchat.
Contact Us FAQ Terms of Service Corporate Inquiries Media Inquiries Jobs Privacy Policy
vegasgoldenknights.com is the official Web site of the Vegas Golden Knights. Vegas Golden Knights, LLC. NHL, the NHL Shield, the word mark and image of the Stanley Cup and NHL Conference logos are registered trademarks of the National Hockey League. All NHL logos and marks and NHL team logos and marks as well as all other proprietary materials depicted herein are the property of the NHL and the respective NHL teams and may not be reproduced without the prior written consent of NHL Enterprises, L.P. Copyright © 1999-2017 Vegas Golden Knights, LLC and the National Hockey League. All Rights Reserved.vegasgoldenknights.com is the official Web site of the Vegas Golden Knights. Vegas Golden Knights, LLC. NHL, the NHL Shield, the word mark and image of the Stanley Cup and NHL Conference logos are registered trademarks of the National Hockey League. All NHL logos and marks and NHL team logos and marks as well as all other proprietary materials depicted herein are the property of the NHL and the respective NHL teams and may not be reproduced without the prior written consent of NHL Enterprises, L.P. Copyright © 1999-2019 Vegas Golden Knights, LLC and the National Hockey League. All Rights Reserved.


Subject: Share our diverse backgrounds and create more values.
The Bank of America Merrill Lynch revealed that "diversity and inclusion are good for business and make the company stronger". Like building a strong company, forming and operating a unitive business team needs team members create values by recognizing and understanding their diversity as strengths. Therefore, I propose that each team member positively share his diverse backgrounds and experiences to others in every group meeting in order to effectively motive us to generate more valuable thoughts.
1.	We need to actively encourage ourselves and team members to discuss and research different values we have. This rule aims to help us fully understand our individual values and reach an agreement on team values.
2.	We should have an one-hundred-percent respect to each other's cultural diversity and different life experiences. This rule could help us establish a favorable behavior toward each story we talk.
3.	We need to regard us as a team and have an awareness that enlarging team benefit is our goal. This agreement is intended to help us have the correct attitude on team work.
I believe those three rules could be helpful and useful for our team to create more values. Since the research found that "if the organizational goal of embedding an inclusive environment is at odds with the values, behaviors, and attitudes of its employees, then inclusion will not be fully achieved and organizational performance will be impacted", having the right values, behaviors and attitudes assists our group to reach the goal of this propose.


1367 Redsail Circle, Westlake Village, CA 91361 | Sotheby's International Realty, Inc.
$7,950 Per Month3 Bedrooms3 Full Baths4,246 sq. ft.
Exceptionally located on a coveted corner point lot of 9,522 square feet, this lakefront residence offers unsurpassed views of miles of the main channel, mountains in the distance and cooling lake winds. A beautiful glassed-in gazebo at the lake's edge along with an immense wrap around deck are the crown jewels of this iconic landmark. The residence is privately gated with a long driveway and three car garage. Double all-glass entry doors lead to generous, open living areas. An inviting 30 ft x 20 ft home theater is on the first floor. The master suite offers magnificent lake views and a large sitting area. There is a guest bedroom on the first and the second floor. There are two remarkable home offices. One is completely isolated from the main house, with its own second floor entry, perched above the lake with surrounding views and doors to a second story deck. The unique architectural features of this property, including a three story viewing tower, mirror the nautical theme throughout the residence.the residence is luxuriously appointed with treasured art and design, and includes a private u shaped boat dock. Westlake Island is a 24-hour guard gated lakefront community.


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If you are considering opening a juice bar, it is essential to learn everything you can about juicing.
Understanding what motivates a customer to buy, effectively managing the day to day logistics and ensuring the juice or smoothies you produce are consistent on quality and taste amazing will ultimately determine whether your juice bar is going to be a successful and profitable venture.
So how much do you really know about juicing?
We ask this question because as a new arm to your business, you may not realise there are many variables which will have an impact on the success of a juice bar enterprise. Just buy a cheap juicing machine, read a juice recipe book, order some fruit and veg from the local wholesaler and hey presto, job done? Not quite – at least not if you want your juice bar to be a success from the outset.
It is easy to think this way in the beginning, and some will do just that: buy some equipment and see how it goes. There's nothing wrong in having a trial run, right? Well, it depends if you want to impress your customers so much that they keep coming back for more, or whether you are content with just selling juices or smoothies which are mediocre at best, and which only capture the business of one-time buyers.
Building product knowledge and being in-tune with the logistics of running a juice bar are fundamental to its success.
Cruz has over 30 years' experience and has provided guidance, on-site training and on-going support to many, many coffee shop and sandwich bar owners who have been keen to ensure their juice bar business turns a profit from Day 1.
The Cruz Support Team knows exactly the right tools for every size of operation, and will provide training and expertise on all levels, from initial equipment set up and user training to advice on recipes and quality control.
We can help with this by matching the key features of a machine to your business needs. Prices can vary greatly, but it isn't always the most expensive machines which are the best and often it makes much better business sense to rent or lease a machine as opposed to buying because rental packages offer much more value.
An important consideration when choosing a juicer is what juicing volume you need to produce. If you buy a cheaper machine that can't work to high volume, it will burn-out quickly. Once we have assessed demand, we can then recommend a machine that can generate this volume and cope with the required level of demand.
Following a consultation to understand your goals and aspirations, and using our industry experience, we will be able to provide an accurate assessment on the cost per unit and how many juice drinks or smoothies you will need to sell in order to turn a profit. We can help you to calculate the time it takes to make the drink, how many pieces of fruit you need to make enough juice to fill a glass, the cost price of the fruit and any wastage costs. Once you have all the figures, we can then calculate an RRP that will make you a profit.
How do you plan to monitor consistency and quality of the juice you are producing? The juices need to be consistent in taste and appearance therefore you will need to consider implementing quality control testing periodically to ensure this consistency isn't lost. Sometimes changes in staff can produce vastly different results and the quality of fruit you buy will also greatly affect the taste and consistency of the drink. Cruz provide advice on how to manage quality control effectively so you can be confident you are always delivering the best and most amazing tasting juices and smoothies you can possibly can.
Regular servicing will increase the efficiency of the machine and reduce repair costs, so having a reliable support team in place to get your machine back up and running again is crucial so you don't miss out on valuable trade. Cruz guarantees spare part delivery within 24 hours and can also provide technical support when required.
It does pay to have the support of people who have proven expertise. Most who dabble in juicing without fully understanding and researching their product are the ones who don't achieve the extra business they were looking for.
The Cruz Juicing Package combines important elements which are crucial to a successful juicing operation regardless of whether it's small or large.
All Cruz Juicing Packages represent outstanding quality and amazing value and consequently are an ideal choice for start-ups looking to trial a new juicing venture without breaking the bank.
All Cruz Juicing and Smoothie Packages, include equipment + ingredients + training + point of sale + menu + starter pack. Every base is covered and we guarantee you can make the perfect juice or smoothie in forty seconds or less, without wastage!
We offer rent to buy options on all juice bar equipment, spread over 36 x months. Complete juice bar equipment packages start from around £30 + VAT per week.
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