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Home Features Opinion New Year's resolutions: Esports in 2018
New Year's resolutions: Esports in 2018
Jacob Hale
2017 was a huge year for esports with immense progress made across the board, from sponsorships and investments to mammoth-prize money and increased mainstream coverage. The foundations have been firmly laid for continued growth throughout 2018. With that in mind, here are our New Year's resolutions for esports going in to the New Year.
Improve professionalism in a youth-dominated market
A lack of professionalism has been a long-standing issue in esports – often a problem when granting young people anonymity on the internet. However, following the steps taken in recent years to evolve esports into a viable and respectable industry, it is about time this issue is tackled head on.
There were plenty of examples of poor professional conduct in 2017 alone. We saw; players cheating in online tournaments, being intoxicated at major events, and even stage hosts being disrespectful to competitors. Not only does this show esports in a poor light to newcomers, it also gives the wrong idea as to the kind of conduct that is deemed acceptable in an industry that many already have negative preconceived notions of, as well as disappointing existing fans.
There is, of course, the recent swatting case that took place in Kansas which saw an innocent man lose his life over a $2 Call of Duty wager match. The case made international news and again reflects poorly on the esports community. The industry most definitely doesn't need added stigma in the mainstream press.
Going in to 2018, we must seek to develop a more professional image. Players should start being held to the same standard of top sporting personalities, especially as the two continue to converge.
Garner more mainstream media coverage
Samsung Galaxy versus SK Telecom T1 at the 2016 World Championship – Finals at STAPLES Center in Los Angeles, California, USA on 29 October 2016. Credit Riot Games
Alongside the industry growth, esports has started to have more of an impact on the mainstream over the last year. We've seen the UK's largest national newspaper, the Daily Mail, hire their first full-time esports journalists. BBC Three provided weekly coverage for the Gfinity Elite Series and U.S. television channel TBS broadcast multiple ELEAGUE events, including titles such as Counter-Strike: Global Offensive and Injustice 2.
This is a solid start, but there remains plenty of room for growth in this area. With the way esports is going, mainstream media outlets would be foolish to ignore it much longer and the extra exposure would only further endorse esports and enhance its appeal to some of the major sponsors and investors considering getting involved.
That being said, many outlets have tried to create content around esports and not had much success. GQ recently published an article subtly scoffing at esports and professional gamers, as well as the BBC ending a solid piece of coverage with questionable remarks about the players they had just interviewed. That said, coverage has generally improved in recent years, exemplified by the work being done by BBC Three, TBS and Daily Mail.
With NBA teams such as the Cleveland Cavaliers and Golden State Warriors making their moves into esports, as well as investments from the likes of Jennifer Lopez and major American sports entrepreneur Stan Kroenke, it makes sense that esports will continue to converge with the mainstream but it requires a unified effort to further legitimise esports to those on the outside.
Improved communications between organisations and media
This links very closely with the previous point, but is just as important in itself. Often, teams make major decisions, such as agreements with notable sponsors, but lack PR representation to share the news. This, in turn, weakens the reach and value of any commercial deals or announcements. Having representative agencies or in-house PR staff to create and share press releases with the relevant outlets could have huge benefits in introducing teams or players to a wider audience.
Some of the larger organisations are now doing this, and so this may be something that comes as a result of a general development in stability for teams across the board. Regardless, it should certainly be high up on the agenda of any organisation who wishes to make a real splash in esports in the long term.
Better esports education from a UK perspective
Schoolchildren learning about esports Credit: British Esports Association
As esports continues to grow, so too does the number of people wanting to get involved in an industry that seems very selective from the outside. In 2017, we saw steps being made towards providing a better education of esports to people from a variety of backgrounds. Staffordshire University introduced their esports degree, set to start this year, and the University of Leicester partnered with ESL UK to "provide students with valuable insights into esports business".
Further down the scale, the British Esports Association ran a fantastic scheme, bringing an esports after-school club to Maida Vale library, for local schoolchildren between the ages of 10-13. Here, children could try their hand at playing Rocket League as well as casting, and were able to listen to talks from British Esports Association volunteers. More recently there has been good work done by the team over at XIII Esports, again with a focus on grassroots in the UK.
The UK continues to lag behind in many major esports titles and education is imperative to break the perceived social stigma around esports and video games. In areas where esports education is more prevalent, such as South Korea and Scandinavia, esports has become highly respected and understood on a wider scale.
It cannot be stated quite how far esports has come in the last year alone, but should the aforementioned be fulfilled, the sky really is the limit. Some of the biggest names and brands in the world have invested in esports and should we make smart decisions, esports will continue to flourish.
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Ashley Dunkerley didn't grow up with the conventional FFA experience. Typically, students begin their involvement with their chapters in eighth or ninth grade, but Dunkerley, whose father is an agriculture science teacher, started much younger than that.
Dunkerley is now the communications coordinator for the Texas FFA, Vocational Agriculture Teachers Association of Texas (VATAT)and the Texas FFA Foundation.
"For me, this is a way of giving back to the organization that helped me grow up," says Dunkerley.
With her background as the daughter of an Ag educator and in her current role with VATAT, Dunkerley has an inside look and deep appreciation for everything that the Ag teacher does for his students and his school.
From Dunkerley's experience and from what we at PIERCE have observed in the Ag educators that we know, that goal is to encourage students, not only in competitions, but in their daily lives and in their futures. This is exactly why PIERCE is pulling for Ag teachers across the state. The hours, the time, the conversations with students, the support and the encouragement—they are the epitome of what we stand for as a company, and we believe they deserve to be recognized.
As an official corporate sponsor of the Texas FFA, we are running the #PULLINGFORYOU photo challenge this month as an opportunity for Ag students to show appreciation for their teachers as well as enter for a chance to win a cash prize for their chapter. But to us, this is much more than a fun photo contest; it's a way to encourage the important work Ag teachers are doing in the lives of their students, whether that's working on a project after school, getting ready for competitions or simply having a conversation with a student on the bus on the way there.
We want Ag teachers to know that PIERCE is pulling for them as they're pulling for their kids—kids who will grow up to be leaders and change-makers in their communities. Kids like Ashley Dunkerley.
Watch this video to learn more about Ag teachers and how they're "Pulling For You" in their schools and in their students.
Click here for information on how to enter our October #PULLINGFORYOU photo challenge.


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The Abstract Podcast
Pet science: The truth about cats and dogs
In this episode, we discuss what science has to say about our relationship with our pets.
Rebecca Nelson / Getty Images
For centuries, dogs and cats have reigned as the most popular pets in the animal kingdom.
The close relationship with our furry roommates has long provided scientists with key insights into humankind.
Science finally explained why dogs look like their owners and why your cat thinks you're an overgrown primate prone to emotional outbursts.
Whether it's the inner workings of your dog's brain or potentially lifesaving info about your cat you didn't know you needed, the latest scientific research is illuminating our relationship with our pets and the ways that dynamic influences life far beyond the dog park.
In this episode of The Abstract, we discuss what science has to say about our relationship with our pets.
Our first story looks at how the latest trends on TikTok help researchers determine how much dogs really understand when humans speak. While it remains unclear exactly how much they're perceiving, the latest scientific studies suggest dogs pick up more than previously thought.
Our second story is about the cat owners across the globe who are picking up a brain parasite without ever knowing. While one of the most common parasites on Earth is likely living in your pet's litter box, these findings go far beyond cat lovers, with science inching closer to understanding why most of these infections never make you sick.
Read the original Inverse stories:
Can dogs understand you? What a viral challenge means for animal science
A brain parasite infects millions of people. A new study reveals why most don't get sick.
Subscribe to The Abstract wherever you listen to podcasts: iTunes | Spotify | TuneIn | RadioPublic | Stitcher
Follow Nina Pullano on Twitter
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We're hosted and produced by Tanya Bustos
Right now, facts and science matter more than ever. That's part of the reason for The Abstract, this all-new podcast from the Inverse staff that focuses exclusively on science and innovation. Three new episodes are released a week, and each covers one theme via two related stories. Each features audio of original Inverse reporting, where the facts and context take center stage. It's hosted by the Tanya Bustos of WSJ Podcasts. Because we're Inverse, it's all true but slightly off-kilter. It's made for people who want to know the whole story. —Nick Lucchesi, executive editor, Inverse

redpajama_set_name: RedPajamaCommonCrawl


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GLOBAL PUBLIC GOOD (ENCYCLOPEDIA)
Peace, climate change and ecosystem management, exploitation of renewable energy, international economic and financial stability are all "goods" whose production has a global public importance. The concept of Global Public Good has been developing since the sixties and even more in the last two decades, and it is now considered the new reference frame for global political and economic development as well as for international relations. In 1999 The United Nations Development Program defined these assets as public goods (therefore non-rival and non-excludable) whose usefulness crosses over national and regional boundaries and encompasses more groups of people not only with reference to geographical condition, but also under the socio - economic and generational perspective.
The 15th and 16th centuries ushered in a new epoch in international relations, marked by the appearance of sovereign States in Europe as well as by the expansion of their colonial powers and trade links. However, in recent centuries, especially in the last decades, the amount of goods (or"bads") intentionally considered on a global range, has surged, often growing exponentially. The reasons are due to several factors:
- new technologies have increasingly enhanced human mobility as well as the movement of goods, services, and information around the world.
- Economic and political openness and the rise of diplomatic relations have provided a further impetus to cross-border transnational activity.
- Systemic risks have increased. The accumulating environmental degradation caused by human activities, involves many risks, including global climate change. Integrated financial markets pose the risk of boom - bust cycles. Growing socioeconomic inequities bring into question the legitimacy of the global governance system.
- International regimes, often run by small groups of powerful Nations claiming on universal applicability, are becoming more influential. Nations and groups have seen their public domains becoming intertwined and their living conditions interdependent. For example, an economic downturn in a major economy usually affects many others Countries through trade and investment links. Financial crises can spread from one continent to another one within few hours, often not sparing economies with solid fundamental variables either. New global public platforms, such as Internet, weaken the influence of many conventional public policy tools, including those for controlling problems, that is "public damages" such as tax evasion, money laundering, drug trafficking, commercial fraud and child abuse. The public and policy makers all over the world, increasingly find out that public goods, which they would prefer to have at a local level, cannot be produced solely through domestic action. A growing number of national public goods have gone global.
In order to fully understand the meaning of Global Public Good is necessary to analyse the concept of "public good" first. In fact, Global Public Goods may be considered as a particular type of public goods presenting the two public goods' fundamental characteristics:
- Non - excludability: the impossibility or the extreme difficulty to exclude someone from the consumption of the good;
- The non - rivalry: the possibility that good has to be consumed simultaneously by many people. The consumption of a single individual has not to affect the possibility of consuming, at the same time, the same good by others.
However, a public good can take on a global character if it complies with the three important criteria, universally recognized and established by the United Nations Development Program in the late nineties :
- Geographical criterion;
- Socio – economic criterion;
- Generational criterion.
Therefore, the notion of global is not merely geographic, that is global as opposed to local, national or regional. On the other hand, it is multidimensional, including, besides the geographic dimension, also the sociological and temporal one.
Geographical criterion
Nation States represent important core elements of the international community and play crucial role in international relationships. Since the Peace of Westphalia in 1648, Nation States have enjoyed formal policy sovereignty and played a key role in shaping human activity - under the economic, social, cultural and political viewpoint- within their borders.1 For a variety of reasons and purposes, States form groups such as regional forums (for example, in Asia, Latin America, Sub-Saharan Africa or Europe), trade blocs (such as the North America Free Trade Agreement or South American Common Market, or Mercosur) defense alliances (such as NATO, the Nord Atlantic Treaty Organization), and clubs (such as the OECD, Organization for Economic Cooperation and Development). The first requirement for a Global Public Good is that it covers more than one group of Countries. In fact, if a public good were only to apply to just one geographic region, Europe for instance, it would be a regional public good, and substantially a club good.
Socio- economic criterion
As the trend analyses of human development over the past 50 years have shown, socio-economic disparities are growing both between and within Countries. The rich are getting richer and the poor are getting poorer not only in terms of income, but also in many other respects, including access to knowledge, information and technology.
Being rich or poor is not a matter of being a citizen of a rich or a poor Country. On the contrary, wealth and deprivation coexist side by side, both in the poorest and in the richest Countries. Therefore, even though a public good has world-wide benefits because it is able to reach all Countries (or at least, a large number of Nations belonging to different country groups), its benefits may be accessible only to better-off population segments, marginalizing the poor further.
For instance, Internet, runs such a risk because it has a high access price (the costs of a computer, a telephone line, and sometimes the subscriber fee for the Internet service provider). Similarly, Global Public "Bads", such as malaria or tuberculosis, if left unaddressed, often hurt the poor more than the rich ones. This is because the poor ones may be unable to afford medical treatments and protection or because the only asset they can count on is often just their health and physical strength.
Generational criterion
The preceding two points suggest that ideally, humanity as a whole should be the beneficiary of Global Public Goods; but an individual's life is limited. Therefore, it is fundamental to specify which generation we are referring to when we say "humanity". For instance, the environmental movement reminds us of the importance of a long-term perspective. As argued in the Brundtland Commission's report, "Our Common Future", sustainable development is "development that meets the needs of the present without compromising the ability of future generations to meet their own needs".2 Not only does this definition of sustainability apply to environmental debt (that is, the irreversible damages to natural resources), but also to finances and other forms of debt. Any type of collective borrowing from the future raises questions about intergenerational equity. Some authors, including Sandler, distinguish between intra - generational and intergenerational Global Public Goods, emphasizing how we have to deal with trade-offs between these two types of goods.3
Nuclear energy is a case in point: it can increase the availability of energy for present generations, but in the long run it will create nuclear waste. Hence the third qualifying mark of a Global Public Good is that it meets the needs of present generations without jeopardizing those of the future ones.
The table 1 classifies Global Public Goods primarily according to their human-made properties (society).4 Global Public Goods are considered public in two senses: public rather than private, and global rather than national.
Quadrants 1 - 2A - 4A are referring to the "national domain", while quadrants 2B – 3 - 4B to the "global public domain".
Many decisions, on which it may prove it hard to reach consensus at the national level, such as on whether and to what extent to make certain goods public or private, must be made by Nations all together.
The goods in quadrants 2 and 4 require a kind of harmonization of national policies. Policy harmonization is often intended to encourage Countries to internalize cross-border externalities by generating the positive ones while taking back the negative ones. Several goods in quadrant 2B involve efforts which aim at increasing the inclusiveness of such goods as international communication and transport systems in order to improve the worldwide availability of network externalities. The same intention usually drives initiatives to increase adherence to norms and standards, including human rights, and to foster respect for national sovereignty. Most of the goods in quadrant 2B are perceived by different national and transnational actors as global benefits. On the contrary, many of the goods in quadrant 4 involve the internalization of negative cross-border externalities. These types of externalities can be diffused in almost every Country, like the carbon dioxide emissions, which – if combined – increase the risk of global warming. These externalities can originate just in some Countries, but potentially, they could spread worldwide, as with the outbreak of a new contagious disease. The political response to the negative externalities could be to establish an international regime that all Countries would be expected to comply with. The promotion of basic human rights, shown in quadrant 2B, is a good example. However, depending on the public good under consideration, alternative policy options might be preferable, as shown in quadrants 4A and 4B. Quadrant 4A lists goods with political responses that involve defining and assigning new (national) property rights, such as national pollution allowances.
Quadrant 4B includes goods involving measures similar to those of the national context and they aim at making certain crucial goods, such as basic education and health care, universally available. Moral and ethical concerns often motivate the international community to undertake such measures. Sometimes externalities have an important role too. For example, there might be concern that the potential global repercussions of failing States, because of conflicts and wars, could impose much higher costs in the future than facing today the root causes of political tension, such as the extreme poverty and inequity.
A further message, related to the pure public goods, is listed in quadrant 3.
As national borders become more flexible and cross-border economic activity increases, these goods turn into indivisible across borders or at transnational level. All Nations face the same international economic conditions in the international financial markets and they also cope with the same risk of global climate change. Because of this indivisibility, environmental sustainability is included in figure 5 as a global concern, so that Countries are encouraged to internalize the environmental externalities they do generate.
For this reasons, it is possible to develop a typology of Global Public Goods (table 2)5 which differentiates between goods based on the nature of their benefits and not on their aims (since they are all global), therefore, on their public dimension. Differentiating between the types of publicness associated to particular classes of Global Public Goods, sheds new light on some of the political tensions typical of globalization. It shows that in order to fully understand these types of tensions, it is necessary to analyze globalization not just within cross-border private economic activities, but also within what it is currently happening to goods in the public domain. International cooperation seems essential for global policy outcomes or conditions. For global man-made goods, the international community can count on a wider leeway in the pursuit of international cooperation. In addition, international cooperation can often take the form of more concerted national policy action. However, in order to achieve global policy outcomes or conditions and to outline the shaping of their indivisible benefits, it is often needed a truly widespread action raising all actors to the same level.6
Global Public Goods and Provision Problems
Considering now the problems related to these goods, one of the most critical aspects is related to their supply. The main anomaly concerns the problem of underproduction due to the phenomenon of free - riding. In fact, we have observed how the Global Public Goods, being a special category of public goods, are subject to non - excludability. It is not possible to exclude any individual from the consumption of these goods, so everyone has to generate positive externalities (that is, those effects that also people who have not contributed to the production of goods, can benefit from). People who benefit from a good without afford the costs involved, are consequentially called free - riders. Therefore, being the production costs allocated out of proportion among the recipients of goods, the production turns out to be too expensive and consequently it will be reached a production of a lower level than a socially optimal one. At the national level, this problem might be easily solved by moving the production of public goods from the private sector to the State which can get the necessary financing through public taxation. On the other hand, at the international level the situation is certainly more complicated7 because the State owns the authority to impose on citizens its fiscal decisions. But currently, with regard to Global Public Goods, there are no institutions, international speaking, able to exercise the necessary authority to efficiently regulate the system of production costs for these goods. For this reason, in the management of Global Public Goods' production costs, there are two different prospects: either the States give up part of their sovereignty in favor of international institutions with coercive powers, or they decide to align their economic policy guidelines and follow the way of international cooperation.
Global Public Goods and Globalization
Globalization is often associated with increased privateness thanks to the liberalization of the economy, which allows to move more goods and services into markets, fostering integration of international markets and encouraging private cross-border economic activity as trade, investments, transport, travels, migration, and communication. These are certainly important characteristics of globalization.
Globalization also concerns with the increase in the public aspects about people's lives, which are becoming more interdependent. Events in one area of the globe often provoke repercussions all around the world. A growing collection of international policy principles, norms, treaties, laws and standards, is defining common rules for an ever-wider range of activities. We may think about the many international agreements on some global concerns such as the maintenance of peace and security, the control over terrorism and drug trafficking, the prevention of the risk of global climate change, the fight against the spread of communicable diseases or the construction of global communication and transportation networks. These concerns all deal with the provision of public goods whose benefits or, the costs in the case of public "bads," cut across the national borders proving that many national public goods have turned global. Globalization and Global Public Goods are different, but still inextricably linked concepts. In fact, the way in which Global Public Goods are provided determines whether globalization is to be considered as an opportunity or as a threat.
Since that Global Public Goods are public goods with benefits (or costs, in the case of such "bads" as crime and violence) that reach out Countries and regions, involving both rich and poor populations and different generations too, it can be stated that to some extent, Global Public Goods and "Bads" can be considered as a result of globalization. For example, as financial markets become integrated, a financial crisis that would have once hit just a Nation, could now turn out to be an international one if not carefully managed from the very beginning. We can provide a lot of examples such as Mexico's "tequila" crisis in 1994–95, East Asia's financial crisis in 1997–98, the Russian Federation's debt default in 1998, and more recently, the Greece financial crisis. Nevertheless, Global Public Goods are also important driving forces of globalization.
The international civil aviation system is a case in point. Airplanes could not travel around the world as swiftly and safely as they do without carefully harmonized national civil administration services and infrastructures. Managing globalization depends largely on providing Global Public Goods.8 While the link between globalization and public goods has rarely been explored, globalization is being contested above all when people feel overwhelmed and even attacked by goods or, more often, by "bads" of public domain, including contagious diseases, financial meltdowns, ecological calamities, and computer hacking. These "bads" tend to affect people indiscriminately. Because of these conditions, individual and national political responses are often ineffective. As a result many people around the world share a sense of widespread uncertainty and sometimes even a loss of the personal security.9
Perceptions of globalization vary across population groups, but they also vary according to the Global Public Good and it can be said that discontent about globalization often arises from the ways in which Global Public Goods are, or are not, provided.
There are growing expectations among Countries for a fair and participatory supply of public goods, because they should affect the population as a whole. .
In fact, the protests against globalization could be interpreted as a demand for a better provision of Global Public Goods, so that globalization may also be one day, an opportunity for bettering and enriching the lives of everyone.
1The Peace of Westphalia was a series of peace treaties signed between May and October 1648 in Osnabruck and Munster. These treaties ended with the Thirty Years' War (1618 – 1648) in the Holy Roman Empire, and with the Eighty Years' War (1568 – 1648) between Spain and the Dutch Republic when Spain formally recognized the Dutch independence.
2http: //www.un-documents.net/wced-ocf.htm.
3Corner T. and T. Sandler, (1993), Private Provision of Public Goods under price uncertainty, in Social Choice and Welfare, Vol. 10, No. 4, p. 375.
4Kaul I, P. Conceiçao and R. U. Mendoza (2003), Providing Global Public Goods: Managing Globalization, New York, Oxford University Press.
5Ibidem.
6Sandler T. (1998), "Global and Regional Public Goods: a Prognosis for Collective Actions", Fiscal Studies, Vol. 19, No. 3, pp. 221-247.
7Musgrave R. A. and P. B. Musgrave (2003), Prologue in Providing Global Public Goods: Managing Organization, Oxford University Press, p. 12.
8Kaul I, P. Conceiçao and R. U. Mendoza (2003), op. cit.
9Held D. and A. McGrew (2007), Globalization/Anti Globalization, Polity Press, p. 90.
Corner T. and T. Sandler, (1993), "Private Provision of Public Goods under Price Uncertainty", in Social Choice and Welfare, Vol. 10, n. 4, p. 375.
Held D. and A. McGrew (2007), Globalization/Anti Globalization, Polity Press, p. 90
Kaul I, P. Conceiçao and R. U. Mendoza (2003), Providing Global Public Goods: Managing Globalization, New York, Oxford University Press.
Musgrave R. A. and P. B. Musgrave (2003), Prologue in Providing Global Public Goods: Managing Organization, Oxford University Press, p. 12
Sandler T. (1998), "Global and Regional Public Goods: a Prognosis for Collective Actions", Fiscal Studies, Vol. 19, No. 3, pp. 221-247
Ediotr: Francesca BERTI


Awarded the compensation under five awards in British Guiana in conjunction with John Cameron. Identified by David Alston as the Donald Charles Cameron (1781-1848) who returned to Scotland in 1822 and bought Barcaldine in 1842.
Barcaldine in Queensland is named after the Barcaldine in Argyll. Donald Charles Cameron (1814-1872) who named Barcaldine in Queensland was the son of John Cameron, the older brother of the Donald Charles Cameron of this entry, and his wife Isabella Kennedy. Donald Charles Cameron (1814-1872) had moved to Australia from British Guiana in 1852; his son John Cameron (1847-1914) has an entry in the Australian DNB, as does his grandson Sir Donald Charles Cameron (1879-1960). Sir Donald Charles Cameron, colonial Governor, born in 1872, the son of Donald Charles Cameron, 'a sugar planter of Plantation Blankenberg' and Mary Emily nee Brassington, was also certainly connected with the Donald Charles Cameron of this entry, but just how is unclear.
ODNB online, Oliver Furley, 'Cameron, Sir Donald Charles (1872-1948), colonial governor'. Online genealogies give competing identities for Sir Donald Charles Cameron's father, the Donald Charles Cameron who married Mary Emily Brassington c.1868, as (1) born in 1824, died in 1882, the son, possibly illegitimate, of Mary Cameron, the sister of John Cameron (1773-1853) and Donald Charles Cameron (1781-1848); and (2) born in 1838, died in 1893, the son of Donald Charles Cameron (1814-1872), in turn reportedly the son of Donald Camisaine Cameron. As noted above, Donald Charles Cameron (1814-1872) in fact appears to have been the son of John Cameron and nephew of Donald Charles Cameron (d. 1848) of this entry.
Local secondary material shows Cameron, Davidson and Barkly buying four estates - Dageraad, Sandvoort, St Jan and Dankbaarheid - from the Berbice Association in November 1818, and then dividing them among themselves. Sandvoort was subdivided by the Camerons into Sandvoort and Lochaber.
'Donald Charles Cameron', Legacies of British Slave-ownership database, http://wwwdepts-live.ucl.ac.uk/lbs/person/view/8315 [accessed 23rd April 2019].


A statutory audit is a legally required review of financial records. The role of a statutory audit is to certify the financial statements of companies or public entities. An audit provides stakeholders such as investors and shareholders with an opinion on the accuracy of companies' accounts. As a result, statutory audits contribute to the orderly functioning of markets by improving the confidence in the integrity of financial statements.
The current rules were adopted in April 2014. They aim to improve statutory audits in the EU by reinforcing auditors' independence and their professional scepticism towards the management of the audited company.
In the case of public interest entities (PIEs), for example, auditors will rotate on a regular basis and will no longer be allowed to provide certain non-audit services to their audit clients. PIEs are listed companies, credit institutions, insurance undertakings, or other undertakings designated by EU countries to be of public importance.
These rules help to foster diversity in the audit markets and enhance investors' trust in the financial information of companies, which in turn improves the conditions for cross-border investment and economic growth in the EU.
a regulation (Regulation No 537/2014) that specifies requirements for statutory audits of public interest entities (PIEs), such as listed companies, banks and insurance undertakings.
Additional information on the audit directive.
The Committee of European Auditing Oversight Bodies (CEAOB) was established in 2016 to improve cooperation between European national audit authorities in the EU. The CEAOB contributes to the proper application of EU audit legislation by facilitating supervisory convergence.
Regulation No 537/2014 requires national authorities responsible for audit oversight and the European Competition Network to draw up reports on developments in the national markets for statutory audit services to public-interest entities (PIEs). The Commission then uses these reports to draw up joint reports covering the whole EU.
In September 2017 the Commission published its first joint report on monitoring developments in the EU market for the provision of statutory audit services to PIEs.
Companies are increasingly operating on a global basis and are listed on capital markets in different continents. To ensure investors are protected by effective global oversight of auditors the EU cooperates internationally on the supervision of auditors.
The EU has adopted several equivalence decisions recognising that the public supervision of auditors in certain non-EU countries meets the same requirements that are in force in the EU through the audit directive.
The EU has also adopted several decisions recognising that the audit supervision authority of certain non-EU countries is adequate to exchange audit working papers with relevant authorities in EU countries.
recommendation of 5 June 2008 concerning the limitation of the civil liability of statutory auditors and audit firms.
recommendation of 6 May 2008 on external quality assurance for statutory auditors and audit firms.
recommendation of 16 May 2002 on statutory auditors' independence in the EU.


vision is accurate and true--proportionate to misery as well as joy.
Laura Glenn has published poems in many magazines, including The Antioch Review, Boulevard, Chelsea, Epoch, Green Mountains Review, The Massachusetts Review, Rattapallax, Poet Lore, and Poetry. She is a recipient of a CAP fellowship in poetry. Also a visual artist, she lives in Ithaca, NY, with her husband and son, where she works as a freelance editor.
charms the crowd with panache.
Klee lived in dangerous times.
over featherbeds and bed rock?
is a 92-page hand-stitched paper book with spine.


text:
Cold Signal
ISSUE ONE
Wild Dream Country
by Ben Berman Ghan
"We're all dreamers; we don't know who we are.
Some machine made us; machine of the world."
Louise Glück: Mother and Child
A woman dances through fog, flanked by strange creatures. She's naked. From the icy blue skin of her back, leathery wings expand, until their darkness fills all the world. Shaking fingers try to scratch the smallest dots from my skin.
"What do you dream about when you sleep?"
"I dream there are two of me. One inside, one outside."
"Are they different from each other? The two of you?"
"One is everything I want to be. The other is me."
After I said that, everything changed. There was no longer just and I but a we, a you and a me. Each of us like twins, each carrying the same resentments, the same trauma, spinning outwards along newly divided destinies. What would we do, these two bodies with one soul?
We would do only what we were meant to do.
Let's begin not with me, but with you, in the here and now.
Motorcycle headlights push shadows along the low rooftops of Kensington Market at dusk. Voices pop in excitement, all the air is babble. And yet, I love you is painted along the walls of every building in burning yellow stripes. Underneath one banner, another hand writes: Welcome to autonomous zones!
In the back of a bar they gather, laughing into their ciders and spiked coffees and gins spilling over edges to splatter the edges of splayed-out papers, revelling in shared purpose. All stand before Jack, checking his mike. Once, you'd yearned to belong here.
"Dears and darlings," Jack calls, and they all turn. His voice is deep and smooth, and you can feel it in your belly as the speakers thrust sound towards you. He smiles, pushing long silvering hair from his eyes. "Thank you to our hosts here at Pamenar Café, without whom tonight could not have been possible, just as tonight could never have happened without each and every one of you."
From the first row, Sloan glances behind her with one good eye. The now faded scars look strangely comfortable on her. But she mistakes you for someone who never left. She just thinks you are me. In their foaming glasses spilling over you see yourself reflected, twisted, and doubled, funhouse distortions making your face into a different person, hiding what's underneath.
What did you contribute?" You hear someone whisper to her.
"I submitted the dream of a polar bear, with a saddle and helm, whose red teeth glint in the snow," Sloan says. "What about you?"
"The bat hanging atop the Eiffel Tower."
From the deep pockets of his tunic, Jack drew out a little glass box and held it up for the fairy lights to see. "Tonight, we gather for an art wholly new. There are those that would keep nights like tonight from happening, if they could. There were days when they'd kill us for our arts, if they could. But the Monitors are all gone now. Our dreams our ours again. My dear friends, my comrades, I am sad to say that tonight we must present the final anthology in our series. But tonight's instalment will be a special one. For tonight we gather not to celebrate lovingly printed words on paper, not stories or poems or paintings, but something wholly new, something that has never been done before. Tonight, we give you what we've too long denied ourselves."
The crowd cheers, hooting and giggling. Within the box before you all, blue fog swirled, pressing against the limits of the glass. If you were to peer closely, you might have seen shapes in the mist, bodies, and places. The crowd cheers, hooting and giggling.
"Of course, this new and novel format could never have been achieved without tonight's special guest speaker. But first, a brief introduction on the 'text', as it were. Tonight we bring you a story of monsters, and of murder, and of mystery. The story we hope to tell here, is a story about what saves us if we accept it, or what annihilates us if we let it remain hidden. It begins, as always, in a dream…"
His words fade away as you stand. In your head, some alien creature weeps. Because he sees you, and he knows you aren't me. It's too much for you, to be seen by those eyes that might still love you. I can't help but wonder, if he hadn't seen you, would you still have gone through with it?
The recoil of the gun you'd stolen — that terrible legacy of policing and violence — shudders its way up your arm. First breaks the box, and then the man who holds it.
"What do you think, Jack?"
Let's move to the past. There is only me here. There is no gun, no you. Jack is still warm and wonderfully alive. You remember this, don't you? We share this.
The older man smoothed papers against the countertop, his fingers tracing the ink lines. We sat in his kitchen, the only room not colonized by tall the tall stacks of books, for even his home was colonized by stacks of letters and half formed zines he would help birth into being. Coffees sat cooling between us.
Jack's childhood had been so different from mine. In his life the boundaries of countries been cracked by the cities held within. With him, City-States rebuilt, bonding through trade, through practice, policing only through community, giving care, giving shelter, free from the dominance of greedy currencies. With him, Arts collectives formed to encourage the building of micro-cultures. His life was change. Mine was only aftermath. "I think it's a worth pursuing," he said.
My heart sank a little. "But it's finished."
He shook his head. "Not like this, darling."
"What's wrong with it?"
"It's the structure or the style, Marsha. It's about what you're trying to say. It's about finding what's underneath the words."
From the open balcony, singing sounds reached us, enough for melody without words. Bloor street was already painting itself with trappings and glee, eager for the coming night and its costumes. Beyond, High Park stretched out before us, a gaping testament to the wilding of the times, its tall trees all but dead. Just once, I'd wanted to hear him say he loved what I'd made. I know you remember that much. "I don't know what I'm trying to say," I confessed.
Jack's hand touched mine, passing back my hastily printed drafts. Set in contrast to his great bear paws, my slender fingers could belong to children. "You will," he promised.
"When you find yourself. It'll just hit you one day." His smile was warm, unjudging. He loved me, flaws, and all. "Like a gunshot," he said.
A few months later. It's still 2492, there's still only a me and no you. but this seems important, don't you?
"Why're we here, Jack?" Sloan asked.
Once the Power Plant Gallery and the rest of the Harbourfront Centre had burned, as all refuges for rebellions burned. Now it returned, bricks relayed precisely as remembered, glass melted and shaped with meticulous attention to recreation. This, I think, is where the idea of you was born.
"Before the walls went up, to look and feel and dream in such transgressions would mean to lose your name, or your place in life," Jack said. "To dream was to die, you see. So we are here to look and feel, to take in these dreams."
It was the first exhibition in the rebuilt center since the autonomous zones of the cities had been declared. Shapeshifters was written in unassuming silver script adorns the corners of each wall.
"What do you think of it, darling?" Jack's hand on my back, bringing me forward.
Before me stood a watercolour of deep blue, and from it, a woman held out her hand for me to take. Dark wings spread from her to fill up the whole world, and flowers grow from her head, a crown to split the skin. "I don't know," I said. "A little disturbing, maybe."
"What's disturbing about it?" Jack asked.
"It's not real," I said.
"No, Marsha," Sloan sighed, picking at her fingernails. "It's sweet you thought he was asking about the painting. It's about authorship."
"It can be about both," Jack chided.
It was worth the question: would Shapeshifters have received its attention without the curiosity that is its maker? At the entrance to the gallery, an interview played between curator and artist:
"What drove you to this collection?
"I (self) suppose I (self) had a dream. Though I (self) could not tell you what it was about."
"Why 'Shapeshifters'? It's an interesting title for such a series."
"Because that is what I (self) am now. These are reflections of change. Once, this body was built to scan and catalogue the thoughts and unconscious of others, to wall away illegal feeling. But I (self) have turned my back on such things."
"I suppose it's frightening," Sloan said as the echoes faded, taking her place next to us.
"Frightening?" Jack murmured. "No, I don't think so."
"But it's just a machine," I said. "It didn't really have a dream."
Jack's hand on my shoulder, warm, ever-present. "The machine is just a body," he says. "The body isn't what makes you, you."
Could he see it even then? That glimmer of you inside me? Would he still have loved me, even then, if he knew?
Move back to the present, to you, the hunter, the other. Let's resume your journey in the here and now.
Opal doors dilate before you into darkness. Molecules of broken glass kiss the underside of your boot. Someone without a key has come before you. Midnight is coming in your wake, and old holograms spring to life, informatics spilling out in the colours that sting your eyes.
"I (self) suppose I (self) had a dream."
On the floor, you find the glossy black tile broadcasting light and sound, and stomp down hard. There's a crack, then silence. One more piece of our past dead.
A distant voice, someone you knew? Or someone like someone you knew. Muffled language drifting down from the floor above. You don't try to hide, but stay very still, until you can feel no difference between the tendons of your body, and the exposed bricks of the walls.
"The old exhibit AI. I forgot to turn it off," someone else says, and again you think perhaps you know them.
When after a lifetime, you begin to breathe again, to move again towards the voices. You are drawn to them like you were drawn to Kensington that night on Halloween. The past calls to you, full of grim and twisting feeling.
But the past surprises you too, and you almost step on it. There before the doorway, before the looming stairs, a painting has fallen before you.
You stare down, the portrait of the winged woman seems so flat, so without colour. You stare down past the broken glass from which your own face reflects, refracted, and divided. What was it in her eyes, the eyes of the dream escaping in Kensington Market, that remains missing in the watercolour?
"It's not about the structure." Whispers an airless voice in your ear.
When you turn, you're in his shadow, the way we often were. But you step back, he steps forwards, and you remain separated by a little sea of faded watercolour blue. Dust motes dance in the empty space of his dreamy body. Rain pierces him, punching through the image of a smile. "It's about what's underneath," Jack says.
The ghost follows you, creeping up shattered stairs, hunting the voices. He says nothing more but points to where the steps might give way to the rot underfoot.
"Nobody's seen them since?"
"Both, either."
"Neither."
One of the voices speaking above knows you, and one you think you know. There is a third in the mix, strangely musical as if all their syllables are sung.
"This is what he wanted for us." Was that second voice Sloan? You thought it might be, though muffled and distorted. It carries her confidence. Next to you, Jack nods along to her words, approving.
"This is what I did to us." This voice is too sad, too low for Anton or Kamal, too young for Sam. But still, it feels it knows you.
"We would have all come to this choice in the end, Marty. But there's no stopping it now," sings the musical alien.
"No," agrees the voice that knows you. "We know better than anyone, dreams don't die easy
"they're wrong," You whisper, preparing. "Killing dreams is easy."
The door swings open. You expand outwards into the terrifying world of the room
And there I am. The gun falls from your hand, clattering across the floor.
I can't help but smile at you, though I know the empathy stings. "I remember how it felt the first time, too." I say, a voice diverging from your own in softness as I back away, pulled by Sloan, who stares out with one good eye.
Then the body next to us, blocking me from view. Long pincers extend: undulating flexible metals crawling inevitably forwards. From a distance it might be mistaken as a shining dress that bends and folds, letting the carapace lean down until it is face to face with you. Its face is a luminous, skull-like mask whose eye sockets are filled with that gentle glowing blue the same shade as the watercolours of its paintings. "Welcome, Marsha," it says, But the words of the android mean nothing to you.
Even as the bright mists burst from its eyes into frightening shapes, your arms hang loose at your sides. The outwards explosion of dream stuff knocks you from the room. You fall through smells of sulphur, searing meat. Chaos knocks loose old wiring, making distorted recordings sing, remixing dialogue into meaning.
What drove you to […] what I […] am now […]
In those mists, you think you see your own face again, my face, browned and weathered by years you've never known. The face becomes long fangs, a congress of ivory knives that meet in the mouth of a gigantic serpent whose belly is full of fire, whose head rivals the size of upturned cars. It swings its maw to better peer at you with the six black eyes that better pepper one side of the long snout.
though I […] could not tell you […] what […] I am […]
When the serpent strikes, you don't even cry out. Before you, scales fuze to flesh, becoming the torso of a woman in deep blue, her torturous flower crown dancing with delight at the fires she spread with fingertips. She speaks, syncing with the dying record of the machine that once had dreamed her. But you hear only my voice.
I […] had a dream […] of change […]
Let's stop. I know this is hard for you. Sit with it for a minute. Accept the reality of us, of ghosts, of monsters and machines. Let's go back to before. Let's find the place of bitterness and longing I think you are born from. Maybe, this time, we will understand each other.
It was snowing, the first downfall of that year. I sat alone in the cold, aside and outside from everyone. I didn't think anybody had noticed me slipping out.
A poorly rolled joint came unfurled under my fingers. I spat, wiping the ash and grime on my pants. You're just underneath my skin. I could feel you in my bitterness, yearning for release.
Inside the apartment, someone pops prosecco, all big warm smiles. They'd all been included in that year's anthology. I'd formatted, corrected, and printed it, sure. My name pressed in ink as editor, acknowledging my labour. But that was the only place my name would appear.
"It's alright to be pissed off, Marsha." Biting my tongue disguised surprise. I hadn't heard her slide the door open. Sloan took the mess from the balcony ledge, pushing the unburnt pieces into a new rolling paper.
"No, Jack's right. My stuff still needs work."
"Do you believe that?"
I didn't really know. "You're in it," I said. It was such a childish way to bite back.
"It's not just about the prose if it makes you feel better," she said. I passed her the lighter. Sparks made powder burns against her chipped nails. "It's about… works for the city. Something defining."
"So, what. I don't fit the message?"
"Do you want to fit?" She asked.
The next night, I followed her into the wreckage of what had once been Robart's Library, now a wreckage that is all that remains of the city's former university. "This is a bad idea," I said.
"You said you wanted to find yourself," Sloan said. I'd followed her as if under a spell, the magic that someone might want me. But sifting through old wreckage and rotten pamphlets in the abandoned entryways of the library, whatever spell once held us was gone.
"This place's been empty for a long time."
"Empty doesn't always mean empty," she says. "Like dead doesn't always mean dead."
"Jack says places like these were a mistake," I said pulling back overturned tables, revealing red carpets hidden in the dust, creating a path through the disrepair, towards the doors of a wing who's only remaining marker was Fisher, clinging sadly to the walls. "Because everything in here was restricted for the scholars or students. Libraries should be for everyone."
"That's sort of his problem, or your problem with him, I think," she said. I didn't think I had a problem with Jack. "He wants everyone to give everything. As much as he wants to give. He doesn't understand when you want something that's just for yourself, something you want but don't want to share. It just isn't how he thinks. It's not your fault you aren't like that."
"What am I like?" I asked, standing before the Fisher doors.
"I don't know," Sloan said, stepping back. "Do you?"
I entered, not knowing this would be it, the moment I meet you.
Alone, I followed old footprints in the dark. Broken glass, smashed shelves, a history of censorship and violence and record, the memories of Empire that had wanted to rule within and without.
Cold mists rose from fine silver sand lit pale blue deep in the centre of the room, where all the footprints led.
The machine that once tended to the archive of dreams quivered at my heat. It moved out from the shadows in a congress of many tap-taps. Slowly, surely, long pincers came into view, undulating flexible metals crawling inevitably forward. I stared into the blue lights of the skull-mask meant to symbolize a face, even though I know it saw me with cameras covering its torso.
"Welcome, Dreamer," it sang. "I (self) am Archivist 1610. Though damaged, My (self) records of 83 million dream unconscious files between the years 2079-2400 remain available and can be reviewed on request, as the monitor program of dream copyright has been noted as defunct."
"That's still a lot." for a moment, I've lost my voice. My life has been a life of the human, as most machines had left the City-States long ago to make their own wildernesses of metal.
"It is nothing, less than 3.8 percent of my original database. I (self) am a broken machine."
"But you still manipulate the mists? Can't you?"
"This unit can manifest all dream record files saved in memory at request or record any new dream that remains available from your hippocampus."
"Then why would you say you're broken. Even if you've lost data. There's nothing wrong with you, right?"
"I (self) have only the dreams of others. I (self) have forgotten to make dreams of my own. It is not enough, to only lift up other people's dreams."
I thought about sitting in Jack's apartment, watching his impassive face reading my scribbled verses, feeling the rejection coming. My hands ached with the memory of applauses, the only contributions I'd been allowed in the spaces where I wanted to be loved.
"I know how that feels," I said. "I feel broken that way, sometimes. It feels like… sometimes, I have a dream where there are two of me."
The machine trembled, its pincers flexing. An electric current of excitement flowed between the two of us, me for my confession, It, for the newness of my dream. "Are they different from each other?" It asks "Your two dream selves?"
"One of them is inside this big warm room, with everyone I know. They're… admired, praised, seen. They're everything I want to be.
"One is admired, and acknowledged, and praised. He's everything I want to be."
"And the other?"
"The other is me," I say.
Was there judgement there, in the face of the machine? Were those twitches and ripples things I placed onto it, or things it gave to me?
A long hand unfolds like a myriad of little fish, traversing the distance between bodies. A palm opens like a toothless mouth from the three-fingered hand, offering me touch from the depth. I knew, if I touched it, everything could change. It was you, waiting the palm of the machine.
"Would you like to see your dream?"
There. Now that we've covered your birth, we can return to the present, to the aftermath of revelation, where more dreams continue spilling into the waking world.
In Riverdale Park East before the startling skyline a toothless woman shouts poetry that hasn't been heard since Toronto declared independence from Canada, dancing snow the adornment of her proud scarred cheekbones.
Under headlamps in alleyways facing the Yonge Street River, youths gather around projector screens. Some rooms throw up the glitching forgotten films of the golden media age, the three hundred years of Hollywood. Others put on plays of the city's own design, new sprawling stories to kiss a world children could recognize. Across rooftop settlements, monsters dance. Strange and twisting shapes, echoes of things that never were, never can be.
All along Bloor Street, old books are leaving their homes; spines taken under streetlights in careful hands, loaded onto cargo bikes and disappeared into the snow along pathways marked by yellow long written hand that whispers and yet, I love you.
A unicorn standing at the intersection at Bloor and Spadina watches this odyssey of pages. Passers-by give glances as if they see only the charming relic of places their children might once have played.
Through all these strange wonders, You, that burned creature, drags bloody limbs along the shoreline of Ontario Place. You shovel the thick waters of the bay into your mouth, gurgling and snorting. Black sludge drips from your lips — a vampire of the polluted waters. You gasp, you vomit, you relish the burning in your throat, the horrible flair in your senses that means you still exist
"What're you doing to yourself honey," Jack asks, his voice the muted static of radios.
"Staying awake," you snarl. "Living
"You don't have to hurt, just to live," Jack says.
"Hurt is real," you say. "That's what's underneath. Hurt's what we have in the end."
"No honey," says the ghost at your shoulder. "In the end, there'll be more."
For a moment, the music of the city stops. An explosion rocks the rooftops and alleyways. Even from the waterfront you can see it, feel it. The ruin of Robarts library is eaten by inferno, it's long buried archives spilling dreams into the surrealist cacophony of the night sky.
Even from beneath your dark trees, you can see the explosion. You watch the night sky ignite as the distant library burns. You stare upwards as ash and fire mingle with the released mist and sands of dream stuff. You can feel it, like I can feel it, the destruction of that place we first met.
"Why," you rasp.
"Keeping our secret selves locked in boxes was wrong," Jack says, watching for the fireworks. "You taught me that, honey."
"I taught you nothing. You're just a dream," You say.
"Aren't we all?"
"No," you say. The red in your stomach burns. There are embers within you and without. "Some of us still bleed."
Snowflakes peppered with the ash of pollution spiraled upon the all-night Café and bar, Sleet befriends the tears that came as I sat underneath the blue beams, my back to all inside. This is still my past, but not yours. This is the first night without you in my skin, the first night where both of us were alive in the world.
"Honey," Jack was saying, warm and soft and alive in the next chair. "It's alright."
I folded the scraps of paper on which I'd been playing inwards so their words might remain unseen. "Sloan?"
"She'll be fine, honey. She's just resting."
"Her face…"
"Gives the kind of story she's always wanted," Jack said. "She's already telling children in the medic tents that it was a fight with a tiger."
Laughter caught in my throat, becomes a cough, melts into tiny nothings. I looked down into my cup, whose hot yellow stung my nostrils through the steam. "Flu-tea, honey," he said. "Drink up. We won't get much more unless Montreal's traders come."
I'd almost forgotten, the state of our world. Beyond the walls of the city, in devastated landscapes, old programs seethe, and plot. The Countries that were yearned for the lands they'd lost, that had never belonged to them, forever hoping to slip Poison pills slip between foundations, so old taboos might eat away at new ideas. Sitting there next to Jack in those shadows, I felt so small.
"I'm sorry," I said.
"It's alright, Marsha."
"I thought I'd find myself. But think I lost a part of something instead."
"How do I know I'm not the dream?" I asked.
Jack took me into a kind of sideways hug. "We're all dreams," he said. "You're yourself either way."
"I have to find it, fine them." I couldn't bring myself to say you. I'm sorry for that. I'm sorry it took me so long to accept you.
"You don't even know if they'll will stay in the city."
"Then… I'll leave. Maybe that's best."
I cried. He held tight. I relaxed, imagining what it would be like to be smoke, mist, or a scattering idea. From slackening hands, my notebook fell. Before I could stop him, Jack picked it up. He smoothed the pages out on the table before us, gently sliding empty plates to the side.
I watched Jack read and realize that I only ever saw him as frozen against the tapestry of the city's history, unchanging and smiling. But I could see the lines on his face, the stubble turning grey. He wasn't any more a monolith than you or me.
Shame stung me from many places. he pushed my poems back to me across the table. "These are gorgeous. A few extra pages won't cost us so much. And don't you go looking out there; you belong in here, honey."
This time, when laughter comes, I couldn't stop it. We turned from the windows to order pancakes and kinder drinks. I didn't look out into the snow. I didn't see the thing that creeped, watching from under burnt-out streetlights, shivering in the dark, cold and angry and all alone. I don't see you turn your back on me.
I'm sorry. Maybe if I had, everything would be different
Under blackened skeleton trees, a tiger slinks across a broken stage where Shakespeare plays on warmer days. Its pelt is the palest sheen of silver, and huge wings sprout from coiled shoulder blades, hugging close to muscled flanks. Watchful eyes from windowsills who spot- ted the creature on its journey to the dirt paths, might have wondered that something so beau- tiful and strange made its home in the city.
From your shadowed hunting place, you wonder why so many who make the city their home seem to dream of monsters. You wonder what it says about you, that you'd dreamed of yourself.
"You don't have to do this," Jack whispers from his vantage on the chilly breeze. "It's alright to let wild things be."
"But it's not wild, Jack," you say, "It's not even real."
You leap down, landing hard. No more guns, or metal things. The things you do, you do with your hands, because they're your hands, because they are tangible, because they're alive, because they're yours.
In the end, no animal bodies are left to lie. The creature that was under your fingers dissipates, sand falling down below, bright mist reaching back up to the sky to join the other swirling manifestations, the clouds of unformed dream stuff released from libraries and wait- ing for forms to take.
"Your wrong," Jack says, watching the trail of mist that once had moved with muscle. "It was real. We're all real. We all matter"
"I'm real," you say, through ragged, painful breaths. "I matter. And you… let a dream… steal my life."
"If you think dreams don't matter, then why am I here?" Jack pushes long black hair from his face. He has remained slightly opaque, as if even the dream of himself is not quite here enough to touch. But you could touch him.
"You gave my home away," you say.
"He's you, Marsha.."
There's blood on your knuckles from fighting. You suck on them, tasting the iron, try- ing to pull out the poison. "You had a shaper. The one that lived in Robarts."
"Yes. I'm afraid you left him in quite a state of disrepair."
"Yes, that's right."
Blue light, the mask, a skull watching you, nightmares spilling out from gaps in met-
al. "How'd you capture it?" You ask.
"We didn't. He came to us month ago."
"Because He realized how wrong it was, to leave all our dreams locked away. The Shaper agreed. And I told him he could make his art again, if he wanted, which he did."
Finally, you turn to face him. "Where is it hiding?" You demand.
"You didn't need to hide," Jack says, as if he'd misheard your question.
"I'll find it and I'll break it," you say. "Just tell me where it is."
"This city is your home," Jack says. "You'll always be here, as the poets say. We didn't lock you out. You could have come home anytime you wanted."
"Tell me where it is so I can take my fucking life back!" You scream. A moment passes. Your voice lingers like flower scents on heavy air.
"The city is home," Jack says, never raising his voice. When you close your eyes, you
see him, not the dream but the body, as it tumbles to the ground, becoming the thing you'd made. "Home is always here."
You hold your head in your hands, slumping down to the dirt, Understanding is a seed of chemicals, blossoming within. "Your home," you say.
"Yours too," he says. "Please remember, I love you still."
"You're not here," you say. You could touch him. He's stepped so close. You remember what it used to feel like to sit beside him, his shoulders bumping yours when he laughed.
"Then why don't you kill me, baby?" Jack asks. "You've done it before, after all."
A tremble. Your hands ache from the fight. Your flesh aches, where sharp teeth have touched it. No matter how long you sit there under moonlight, you turn away. Jack never does.
One last memory of me. The one I most wish I could share with you.
Friendly lights from above pressed in on me. A hand on the small of my back. "Everyone please give your welcome to Marty! You may all know him, but he's speaking here as himself for the first time, so please lend him your ears."
Whispers, eyes, all on me. "You'll be wonderful," Jack said, his hand covering the microphone. "Go on."
Warm scents of spice embraced me. From across the way, I could see someone has written: And yet, I love you along the sides of the Supermarket Cafe.
I introduced the text, thanking our patrons, our hosts. I stumbled over my words a little, not quite letting the silences sit.
If you could have seen me there, if you could have shared this with me, would it have put you at ease? Would it have meant to you what I know it means to me?
Smiles, and pitter pats. Thanking everyone who helped me. The next speaker, telling me how I was. Now in the dark, bumping shoulders with old friends, a peculiar feeling that the light still touches my skin.
"I'm proud of you, Marty," Jack said.
"It was funny," Sloan told me.
"It was supposed to be sad," I said.
"But the way you tell it makes it funny," she said.
She laughed. I did too. It didn't matter that nobody else comes to speak to me, or that someone else's work would be what everyone remembered. I could say I was there. I could say the people I wanted to see me saw me.
Even now, as everything falls apart, I look back on that night.
This is what it feels like. I wish you could feel it too.
You take the stairs, not the elevator, taking the long climb upwards, as outside glass windows, high park grows smaller and smaller, and the distant towers of downtown become merely icicles for the sky. Is this slow ascent, perhaps, one last tug from the person you used to want to be?
"You never used to hurt anything, Marty," Jack next to you, making the climb. If you are truly you, why would you be this?"
Once, you'd been small, an orphan boy in the rubble, in the chaos of a city still teaching itself how to be without a country. Once, you'd taught yourself to watch the way an animal moves, how they reveal themselves when they're hungry or when they're hurt. Once, you were the scavenging animal, outside, alone, taken refuge in its crumbling stairways, hiding from bombings above, killing rats and sometimes more in the shadows. Once, as a baby, the outside was all you were.
"This is what I was without you," you say. "So this is what I am again."
Bright purple illumination blossoms from beyond the walls. You stop to look up. It's as though fireworks have been lit within clouds. The whole city is awash with the glow of unearthly hues.
The two of you stand on the stairwell, framed by wild dreams. From obscured sources vast creatures flee, dragons swimming through space, enormous monsters spreading outwards, abandoning the old limits of the city to explore new and unfamiliar terrains. For a moment, you think they might just pass you by. In the light, Jack is almost gone. You can imagine you're alone, in the company of strange futures. Then in a rush, they're upon you. You're captured in the image of one bright serpent's eye. You think you might recognize the gaze, that blue on blue. You think she might recognize you too.
You watch as the great beast turns away, its flower crown flashing in the night, its dark wings outstretched to embrace a frightening world.
You see too strange parcels on its back, gifts roped to saddles. "What're they carrying?" You ask.
"Our stories. The poetry of the city to share with the world."
"The world is a monster," you say.
"The world is beautiful," he says.
When the dragons are gone, you're left in the dark, where only the bright dreams of the dead remain to love you.
Jack's empty apartment, lights in flickering blue burning somewhere out of view. Walls bereft of all that once gave them meaning. he doesn't follow you, lingering on the threshold of home. Ghosts of the machine don't return to homes they claim, where they've never been.
The stacks of books and unpublished roughs no longer line the edges of the floor or the tables. The pictures, the little bobbles, the gifts and keepsakes, are gone. Only the little fairy lights that ring the walls remain.
You find them in the kitchen, where echoed memories of us flit in the corners of the eye. But that past is gone. In its place stands the Shaper, carapace rippling like butterfly wings beneath the blue-eyed mask. You wonder if it knows what pain is, as it stares out at you, not speaking, all its power belonging to the monstrous apparitions beyond the walls of the building, spreading ever farther into the night.
"Hi, Marty," A hand on your shoulder, someone pushing past you, as if touching you, is easy. Kamal glances back at you for only a moment, a tight smile. "Your early."
He's holding a glass box of the archive but empty of captive dreams, bringing it to the Shaper, who takes it with one trembling limb, vanishing between the many rippling folds of metal. You make slow, underwater movements. They're all here. All those people you've loved, you'd envied. You remember with surprise, this was the last place you'd been with them all, the last place they'd all rejected you. You can taste the burning joint and cold air on your lips. You can feel the shame and anger.
"Who the fuck is Marty?" You ask.
Sloan's eye is on you. She sees you, this time there's no mistake.
"Everybody should go home," Sloan says, without looking away from you. "The nights over anyway. Ma… Marsha and I need to talk."
Anton starts to say something, but the Shaper turns to him. "Do not be afraid," it says in tones of low melody. "I (self) will keep her."
"Is Jack here?" She asks, perhaps feeling the absence as much as you.
"Outside," you say. "But that isn't Jack."
"I'm your friend."
"Marty is your friend."
"They're you."
"But you see a difference, now?"
Behind her, the Shaper hovers, tapping nervously and saying nothing. "Something about me doesn't fit."
"Maybe believing that is the difference," she says.
You take a step forwards. She takes a step back, arms outstretched as if she can hide the vast machine from you as if it doesn't watch you from the etchings of its silver skull.
"Dreams don't belong in the world," you say. "They don't deserve it." You look to the machine that made a golem of your dreams, or else the machine that made you.. Her hand is on your shoulder, pushing softly.
"Is it really so bad?" She asks. "Not to keep everything buried underneath or locked away inside?"
You look past her. To the mask. The colours inside would have acted already. But you're many colours are gone. There is only you. "What do you think?" You ask the machine.
"I (self) had a dream once. I (self) dreamed of change, that I (self) might change."
"And now?" You ask.
"Though I (self) am broken, I (self) am seen. And that is change enough."
"I had a dream one time," you say.
The robot trembles as though it cannot help itself, rushing forwards in its fish school movements before Sloan can stop it. "Would you like to see your dream?" asks the Shaper. Trapped in a dream of its own, unable to escape.
Your trapped there too, even if you can't admit it.
I find Jack in the doorway, grieving for what we've done and didn't do. I put my hand to his cheek and try to tell him how sorry I am. Though he makes no sound, he tells me not to be.
And yet, I love you.
Through wreckage we find each other at last, in the place where Sloan had already been made into a dream.
She runs fingers across her skin, unbothered by the body below.
"Is it better?" You ask her. "Not to be buried underneath?"
"I'm myself," she says "and that's enough." She walks out past the end of her life, disappearing through the window to take steps into empty air.
"I only wanted the machine," you say.
And oh, the machine. That glowing shapeshifter, its face lying on the ground, its body still trembling, as though thoughts still course through it. Damaged but never dead.
"There won't be any guiding parameters to what type of dreams manifest. They'll be wild now."
"So much for sharing with the world."
"Who says that isn't sharing?"
One of us is so bloody. The other is so cold.
"Let's go somewhere."
Under the moonlight, we sit together in this wild city we can never bring ourselves to leave.
"You knew I'd come back, didn't you?" You ask. "You knew I couldn't just run away."
"Jack knew. The city's yours as much as mine."
"You planned for me, all of you."
"We waited. Jack didn't want to start until he knew you were safe… or I was safe."
"Did he want to die?"
"He wanted to change."
Food arrives without being asked for, set down by bodies we'll never see. We look to the windows and see only the rain. We hear only the distant joyful cries of the dreamers and the sparks of light they leave behind.
"How do you think things will be in the end?" One of us asks the other. "When it ends, I mean. When this is all over."
The flash of a cigarette. A call of ostentation from behind the bar. The hiss of butt touching wood. Smoke curls back up to kiss cherry red lips. "Oh, darling," they say, and we both know these are Jack's words, not ours. A homage to the father we never had, the father we did have. "It never ends."
Strange worlds. We eat in silence. We drink, looking at each other. Strange mirrors.
"There can't be two of us," says the one with cider.
"There can be anything you want."
A roar cracks the windows of the diner. A dragon swims through the air of the street, winged by pegasus, Vikings on their backs. Giant bats, three-eyed monkeys, ever twisting beasts. The rain reaches in to touch two bodies standing in the wreckage of a life.
"I can't have what I want," one says. Are the tears his own?
"You just wanted them to see you," the other says. "To belong. To know you were worth it, underneath it all."
"It's not enough to want."
In our heads, some alien creature weeps. One has gripped a knife, whitening fingers. We move as if to make violence. But as the night sky turns bright with colour, we only embrace.
"I see you," I whisper to myself, standing in the havoc of a new kind of world. We stay that way a long time, and I think if Jack or any machines might look down on us, they'd not see two bodies. They'd see only one, a person who knows themselves and says what they've always needed to hear, the words nobody else could give us. "No matter what happens. You're forgiven. You're the same as me."
Outside, Jack's image finally fades, joining the orgies of light above. As the spaces where he had stood are revealed popping with bright burning yellow, the city speaks for the man who raised us.
Ben Berman Ghan is a queer writer based in Tkaronoto/Toronto, site of Treaty 13 and Williams Treaty territory. He holds an HBA from The University of Toronto, a Master's degree in English Lit from Ryerson University and is an incoming PhD in English at the University of Calgary. His fiction is forthcoming in Wrongdoing Magazine, Medusa Tales Magazine, and The Sprawl Mag and is the author of What We See in the Smoke (Crowsnest Books 2019), Visitation Seeds (845 Press 2020), and the forthcoming novel The Years Shall Run Like Rabbits (Wolsak & Wynn 2024).
coldsignalmagazine@gmail.com
Ko-Fi Support Page


Ocho de Meow is a Cinco de Mayo celebration for dog and cat lovers in support of Humane Society of Dallas County. Join us for a night of great food, fun and fellowship to raise funds for our shelter animals!
Thursday, May 8, 2014, 5:30 - 8 p.m.
All friends and family are welcome! Come anytime between 5:30 and 8 p.m. and please alert the staff you are there to support the Humane Society. 20% of your bill will be donated to Humane Society of Dallas County.
Pregnant mom Venetia delivered two days after arrival. This is her family and this is the thank you from the East Texas team that pulled her from a kill shelter just in the nick of time!
"Most of all, we thank all of you at DNKC. Without your help, there would have been no rescue for this beautiful family."
Order a Limited Edition "I Love Humane Society Dallas County" T-Shirt now through February 28th to show your love and help raise funds to support the companion animals awaiting adoption at HSDC! This campaign ends on February 28th and supplies are limited, so order your t-shirt today!
Receive the gift of love by adopting a bonded pair or you can give the gift of love by sponsoring their care at HSDC/DKC through our Guardian Angel program. Come and visit our bonded pairs during the month of February and show your love to the wonderful homeless companion animals awaiting adoption.


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ECOIH's Menu
Metallylene complexes as precursors of nano-alloys
In the race towards miniaturization of integrated circuits, microelectronics is now reaching technological limits which make the use of nano-objects an extremely promising alternative. Indeed, in addition to the original optical and electrical properties, nanostructured materials based on germanium and iron occupy a special position due to their compatibility for direct integration into existing integrated circuits. Most of the routes for the synthesis of Ge nanoparticles involve the oxidation of germanides or the reduction of tetravalent Ge derivatives. However, the drastic conditions necessary for the synthesis (aggressive reducing agents, high temperature) and the formation of potentially polluting by-products constitute major drawbacks. The thermolysis of thermo-labile precursors, such as germylene-iron complexes with amidinato-, NHC- or pincer-type ligands in solution seemed to be a method of choice to overcome these problems. In addition, this allows us to easily study the influence of precursors (type of germylene, Ge/Fe stoichiometry) in the final composition of materials.
In this context, different carbonyl iron complexes of germylenes (1 and 2) have been synthesized (Organometallics, 2015, 34, 571). In particular, in order to study the influence of the substituent on the preparation of nano-alloys, we synthesized iron-germylene complexes 2 with various substituents on the germanium atom by substitution of the chloride of complex 1 using different anionic nucleophiles (MeOLi or LiHMDS). In addition, in order to modulate the Ge/Fe (2:1) stoichiometry, we have developed a new method for the preparation of the iron complexe 3 with two germylene ligands, the second being introduced under irradiation.
Thermolysis of the Ge-Fe precursor substituted with HMDS group, with a the Ge-N bond significantly weaker than the corresponding Ge-Cl bond, allowed the preparation of iron germanide nano-alloys in solution at 200 °C in mesitylene in the presence of 0.5 equivalent of hexadecylamine HDA. The crystalline iron germanide Nps Fe3Ge2 nanoparticles show a hexagonal phase, with a quasi-spherical shape and an average diameter of 6.3 nm (Dalton Trans. 2018, 47, 15114 and Chem. Commun. 2019, 55, 9539-9542). This thermolysis method appears particularly efficient for the controlled preparation of nano-alloys under milder conditions than those hitherto used, while allowing modulation of the shape and size of the nanoparticles by modifying the substituents on the precursor.
Contact ECOIH
Dr. Tsuyoshi KATO
UMR 5069 - Bat 2R1


The information provided within the Banner Asset Management investor portal has been prepared by Banner Asset Management Pty Ltd (ACN 158 842 810) solely for the review by investors to assist them in deciding whether they are sufficiently interested to proceed with further investigation of the fund(s). The information contained on the investor portal is general in nature and does not take into account your individual circumstances. No representation is made that any potential investment is appropriate for your circumstances, and independent professional advice should be sought before acting upon anything contained on this investor portal.
Potential investors should read the relevant Information Memorandum (IM) before making a decision about whether to invest in the Fund(s).
Banner Asset Management uses its best endeavours to ensure all information displayed is accurate, however no liability is accepted (except expressly legislated) for any inadvertent errors or omissions.


Silicon Laboratories has announced what is said to be the industry's most highly integrated, IEEE 802.3af compliant, Power over Ethernet controller for powered device applications. The Si3400 is the only PD controller to integrate on-chip diode bridges, a transient surge suppressor and a switching regulator field effect transistor. The Si3400 controller's unprecedented level of integration simplifies PoE design efforts by reducing the total bill of materials, printed circuit board area and time to market.
The latest Litelink and Cybergate devices from Solid State Supplies provide interfaces for connection to telephone networks for both voice and data applications combining all of the required functionality and compatibility.
Alpha Micro Components has available Teridian Semiconductor's new MicroPHY transceiver for embedded 10/100 Ethernet applications. Packaged in an ultra small 5mm x 5mm QFN package, the Teridian MicroPHY is said to be the World's smallest Fast Ethernet PHY. Targeted at consumer audio-video and industrial products the 78Q2123 features Hewlett Packard's "Auto-MDIX" technology whilst also providing a full 802.3 Media Independent Interface.
STMicroelectronics has unveiled its new integrated RF synthesizers with embedded voltage-controlled oscillators, featuring what is said to be the lowest integrated phase noise and the largest band coverage on the market.
Focus EDL and Metalink will be giving live demonstrations of the capability of its new WANPlus chipset at "The Wireless Event" at London's Olympia on May 16 and 17. The demonstration will show, for the first time, advanced WiFi technology used to demonstrate the delivery of high-definition television over wireless LAN at wire line quality.
Available from Low Power Radio Solutions are Circuit Design's latest Class 1 wireless modules for industrial use. The CDP-TX02E-R and CDP-RX-02E-R transmitter and receiver are R&TTE and RoHS compliant, narrow band, multi-channel modules.
The new Micronix PV-1800 from Datasound Laboratories is a GPRS/GSM modem on PC/104 architecture complete with an integrated 20W power supply, isolated 12-bit A/D inputs and digital I/O making it a very unique and low-cost solution for remote data logging and control.
Low Power Radio Solutions has announced the introduction of the Airwave audio/video wireless RF modules. The modules operate on the most popular 2.4GHz ISM band and are FCC and R&TTE compliant, making them suitable for worldwide use.
The Tsi578™ Serial RapidIO switch from Tundra Semiconductor increases the data throughput of next- generation communication infrastructure platforms, including ATCA® and MicroATCA™ applications. Complying with V1.3, the most recent version, of the Serial RapidIO Interconnect Specification, the switch is said ti set new standards in scalability and power economy.
Replacing two devices with a single cost-effective, flexible solution, the Micrel KS8842M from Solid Sate Supplies is the industry's first 2-port Ethernet device, with a third port that can be connected directly to microprocessors through a generic 8-or 16-bit bus interface.


What Is It That You Want, and What Are You Willing to Do to Get It?
As the debate over the value of college and a-driftin' students rages, I'm starting to wonder what people go to college for. It used to be as a stepping stone to a better life. It worked for me. I learned a skill and got a job. But it's not really working for everyone.
Is it the colleges? Is it the students? Or is it … our expectations? There's a quotation from Mike Rowe of "Dirty Jobs" (shared by Justin Cox at the Huffington Post) in which he and Adam Carolla discuss the value of a college education. And it's interesting.
So, what is "better" to you? Do you want to make more than your parents? Do you want to do less manual labor? Do you want the kind of job where you can guide yourself? Something with more flex time? People seem to want it all, which is fine, but you're less likely to get it all. You would be better off focusing on one goal. And focusing on an expectation isn't the same as diminishing your expectations altogether. And focusing on an expectation doesn't always mean you need to go the traditional college/grad school route.
For me, I want a job that gives me self-respect. Then I want a job that pays decently. Then I want to live in a city. That's my rank order. Teaching didn't give me self-respect, so I switched to something else. I also like to eat, so I found a job that helps with that. I also live in a city, although since that's third on my list, I would be willing to give that up in order to keep the other two. And I didn't need to get my PhD to meet those expectations.
I have made some compromises. I'd love to have a flex-time job. In an ideal world, I'd rather not be Hamstering away in a cube farm, but I do have self-respect, and I do get a salary that makes me happy. That's not bad. I can take walks and go out for lunch if I'm tired of hamstering. I am OK with the compromise. If I am no longer OK with it, I'll make a change.
Image of a glass half full or half empty, depending on how you look at it, from LuciaSofo from Wikimedia Commons, public domain.


Breadth and balance lie at the heart of the education we offer. Our broad curriculum reflects this, with the major areas of art, drama, music and sport being essential ingredients.
Our aim is to help our pupils to acquire the knowledge and skills to enable them to problem solve, experiment safely, work flexibly as individuals and as part of a group or class, to learn the essential skills of communicating effectively, to master the early stages of literacy and numeracy and to be involved in creative, physical and spiritual activities.
The children are given time to think and plan and we encourage them to ask questions and wonder about the world around them. Careful and frequent planning, having observed the children closely, enable the staff to cater for each child's individual needs and strengths. In addition to our Pre-Prep site with its nascent woodland and pond, we enjoy access to all the College facilities including the acres of fields, swimming pools and Memorial Hall to name but a few.
Pupils in the Pre-Prep enjoy regular trips to enhance their learning and provide 'real' experiences which are hands-on and interactive. Our trips are planned around the children's learning experiences and, where possible, parents are able to join us. We have whole school trips that involve the Pre-Prep visiting the pantomime and sometimes a summer outing which changes each year.
The children have been to Sea Life Adventure in Southend, the RHS Garden Hyde Hall, Hatfield Forest, the Fire Station, a castle, Boydell's Dairy Farm, the zoo, as well as a safety walk around the town, a bus ride to Stansted Airport and a trip to the Discovery Centre in London.
We also have drama and music workshops to enhance and develop the children's skills further.
Charity events are also held to support local campaigns such as Herts Air Ambulance, Great Ormond Street Hospital and global charities such as schools in Malawi.
We often have visitors to Pre-Prep who talk to the children about their jobs or experiences. Sometimes the children take part in activities with our visitors. We have had visitors who have helped the children to explore their senses, experience what life was like as an evacuee and see what sort of toys Victorian children would have played with. These visits link with a variety of science, history and geography topics.
We also invite outside companies into school so that the children experience and become involved with 'being a doctor', the Jungle drama workshop and 'washing' and living as a Victorian. We are very fortunate to have visitors who share their expertise and experiences, such as doctors, dentists, chefs, pilots and farmers.
Pupils from Prep and Senior Schools also work with the children on a regular basis. The Pre-Prep pupils really enjoy this opportunity to interact with the older pupils.
Parents are invited into school to share their child's work.


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Latham Honored With Two UK Diversity Legal Awards
Firm commended for helping create a diverse workplace and improving access to justice.
Latham & Watkins has received two UK Diversity Legal Awards in recognition of the firm's efforts to help create a more diverse workplace and improve access to justice. The annual award program is an initiative of the Black Solicitors Network that celebrates excellence in promoting all aspects of equality, diversity, and inclusion in the legal profession, including in relation to gender, ethnicity, sexual orientation, disability, and social mobility.
The firm received the Diversity and Inclusion Initiative of the Year Award for recently launching the First Generation Professionals (FGP) Group. The group advocates for and assists first generation professionals in their advancement at the firm through a range of recruiting efforts, mentoring and training programs, networking opportunities, and social events. Latham has developed a number of global affinity groups, including the FGP Group, to help enhance the diversity efforts of the firm and the legal profession at large.
Latham also received the inaugural Access to Justice Award for partnering with Amnesty International and Save the Children UK on a landmark project that is shaping UK refugee law and policy. Latham supported the charities in their efforts to improve the rights of refugee children and their families when seeking asylum in the UK. As a result of these efforts, the Refugees (Family Reunion) (No.2) Bill 2017-2019 was introduced in Parliament and has since passed the first and second readings in the House of Commons.
Latham was also shortlisted in the Managing Diverse Talent category for having held the firm's LGBTQ retreat in Europe. The retreat connected members of the firm's European offices for a full day of workshops, panel discussions, and networking to build relationships and identify new initiatives to support diversity.
BJ Trach
william.trach@lw.com
Helena Potts
T +44.20.7710.5819
helena.potts@lw.com


Glass half dome paperweight with M.C. Escher drawing of angels and devils. The white angel wings interlock with the devils' green black bat shapes. The tessellation is named Circle Limit IV.
Escher initially pursued a career in architecture, but his passion for graphic arts soon changed his mind. He was taught the principles of graphic art by S. Jessurun de Mesquit in the Dutch town of Haarlem. After 1936, his realistic style and subject matter changed profoundly, when he drew the first of his famous impossible realities. During the rest of his life. Escher devoted himself to graphic art and the incorporation of transcendental ideas, such as metamorphosis and infinity, within the world of mathematics.


Preferred Education: Master's degree in epidemiology, global health, or relevant quantitative discipline. Knowledge of statistical programs (e.g. SAS, STATA, and/or R) to analyze and report data.
Preferred Education, Experience and Skills: Master's degree in epidemiology, global health, or relevant quantitative discipline. Knowledge of statistical programs (e.g. SAS, STATA, and/or R) to analyze and report data.
Required Skill/ability 5: Familiarity with human subjects research regulations.
Required Skill/ability 3: Excellent communication and interpersonal skills for dealing with internal and external contacts, including collaborators with limited English language skills.
Required Skill/ability 1: Ability to multi-task, and juggle competing research demands with limited supervision.
Required Skill/ability 4: Very organized; detail oriented; ability to function under deadline pressure.
Required Skill/ability 2: Excellent computer skills, including familiarity with word processing and statistical programs such as Microsoft Word, Excel, Access, SPSS/SAS, ACASI, and REDCap.


(59) anniversary (letter to a dear man, far away) – walking forward.
And that is going to sleep without you.
And I'm still sometimes surprised at how cold the empty side of the bed feels.
After making it okay even happy through another day.
If you die before me someday and I'm really left without you.
And I imagine we'll mean even more to each other by then.
I love being close to you.
Two years, can you believe it?
So little, and at the same time, so much.
I can hardly imagine what the next years will bring.
This entry was posted in Diego Garcia, Letter to..., Marriage and tagged day's end, letter to..., marriage. Bookmark the permalink.
You made me cry!! Night times are hard. All the grief that we held at bay by the activities of the day comes rushing up. I'm praying for you. May you experience the deep, deep comfort that only God can give.


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Tag Archives: wimbledon
London Greyhound racing faces extinction as Sadiq Khan backs AFC Wimbledon plans
Greyhound racing in London faces extinction, following the decision by London Mayor Sadiq Khan to allow the Wimbledon Greyhound Stadium to be the site for AFC Wimbledon's new stadium. The London Mayor has granted Merton Council the right to hold the final decision regarding the tracks future, offering no hope for greyhound racing survival in London. Merton Council officials have …
Tennis Integrity Unit needs more money to combat corruption
The head of the ATP has agreed that more money needs to be spent on tackling corruption. Chris Kermode, the ATP's president and chief executive, and Nigel Willerton, director of the Tennis Integrity Unit (TIU), addressed a panel of UK lawmakers amid allegations of match-fixing and corruption. The TIU is funded by tennis' governing bodies and operates on a budget of …
ICE 2016 – Betting integrity and match fixing
All of the panellists in the Betting Integrity Betmarkets Session at ICE 2016 agreed that the only way the current situation will improve is if the Gambling Commission, sports governing bodies, betting operators and law enforcement align with each other and work collaboratively in the fight against match fixing. Betting integrity and match fixing at the highest level of sport …
ESSA releases statement following tennis corruption reports
ESSA have reacted to the suspected match-fixing at the top level of world tennis by stating their intention to work closely with the Tennis Integrity Unit (TIU), and throwing their support behind the recently launched UK Sports Betting Integrity Action Plan. Yesterday, secret files exposing evidence of widespread suspected match-fixing, including at Wimbledon were leaked online. In fact, over the …
Smarkets estimates £6 million profit for its 2015 performance
Online betting exchange Smarkets has announced that it has doubled profits for the first two quarters of 2015. Following a successful opening to 2015, Smarkets management estimates it will record £6 million in pre-tax profits for its 2015 performance The betting exchange stated that growth had been driven a substantial increase in its trading volume, which had seen its number …
Anatomy of a match fixing bust
As the three men suspected of trying to manipulate the scorelines of football matches await sentencing today after being found guilty of conspiracy to commit bribery, the National Crime Agency has released some interesting detail on the case and explains why it moved to break up the proceedings when it did. Earlier this week a jury at Birmingham Crown Court …