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Instant download Kymco Super 8 50 service repair manual. It is an inexpensive way to keep you machine working properly. Each manual provides step-by-step instructions based on the complete disassembly of the machine.


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Media groups face stiff competition in following the buzz on cannabis: Don Pittis
Business·Analysis
Consolidation is already underway in the high-stakes business of satisfying the public's need to know about cannabis. But as Canadian players face off again the historic High Times, they are struggling to find a business model that works.
But will the euphoria fade before they figure out how to make a profit?
Don Pittis · CBC News · Posted: Oct 01, 2018 4:00 AM ET | Last Updated: October 1, 2018
A look at the cover of the premiere issue of High Times, released in 1974. (HighTimes )
"What's the buzz? Tell me what's happening," goes the '70s rock anthem.
Part of the catchiness of the lyric — from the rock musical Jesus Christ Superstar — was that in that era the term "buzz" had developed a second spicy meaning.
It described the high that people got from smoking cannabis.
In the 1970s, the magazine High Times was a brand new title keeping an eye on the illegal but growing business of marijuana pricing and sales. It ran centrefolds of glistening pot plants and of an apartment filled to the windows with what the magazine insisted was an entire ton of cannabis.
Now some of Canada's most staid media voices are looking for ways to go toe to toe with High Times and its U.S. competitors, hoping to profit from Canada's global head start in legal recreational cannabis. But when it comes to making a killing from spreading the buzz on the cannabis biz, to quote another '70s rock anthem, It ain't easy.
Just because of its age and staying power, one of the titles to beat is High Times, currently trying to raise money through an initial public stock offering. Claiming a market capitalization of more than $200 million US, the magazine is itself becoming a story for its upstart competitors as it appeals directly to the public to try to find investors.
Profits and perils of the new Canadian pot economy: Don Pittis
So far, the magazine has failed to meet its money-raising target, well below the roughly $17 million US it will need to get a listing on New York's Nasdaq stock exchange. As of last month, the Los Angeles-based media company had commitments for about a tenth of its ultimate target of $50 million US in new shareholder investment, and it has already extended its deadline for people to take a piece of the action.
That's not a knock-your-socks-off investor reaction to the future of pot media, but already the company is putting its money to work. Last week, High Times bought Seattle-based DOPE Media, just one of a series of purchases orchestrated by High Times CEO Adam Levin.
One of the challenges in generating revenue at The Leaf, a special free-access site launched by the Winnipeg Free Press, has been Health Canada's restrictive rules on cannabis advertising. (Winnipeg Free Press)
Certainly, despite the hype and wall-to-wall coverage, it remains unclear if cannabis media will ultimately be any more profitable than other parts of the struggling journalism sector.
"The advertising revenue has been negligible," says Paul Samyn, editor of the Winnipeg Free Press and a Canadian pioneer of specialist cannabis coverage.
Like tobacco not liquor
Market research shows his paper's website, The Leaf, is a success, attracting about 40,000 unique hits a month from coast to coast, well beyond its normal Winnipeg and Manitoba coverage region. Seventeen per cent of the traffic comes from the U.S. But, as Samyn says, so far the financial case for an advertising-funded model is harder to make.
Almost one year after its launch, the site's most prominent ad is one of its own asking for advertisers. And while Samyn is convinced The Leaf has filled an important niche and brought the Free Press to greater prominence, the revenue potential was hurt by restrictive Health Canada rules on cannabis advertising.
"I think we all assumed it would kind of be like liquor," Samyn says. "And they're treating it like tobacco."
At the Financial Post, editor Nicole MacAdam has just hired another journalist to help cover the complex world of cannabis startups and mergers. The business section that runs in Postmedia papers across Canada has had a full-time cannabis business specialist for the past two years and many general assignment reporters who contribute to the coverage.
Can you trust a government pot dealer?: Neil Macdonald
Postmedia also has a free-access site called The GrowthOp that launched about five months ago. MacAdam says that while it may be difficult to show the direct revenue stream attributable to pot reporting, the sector has become so high-profile there would be a cost in lost readership if Postmedia failed to keep up.
At the Globe and Mail's Report on Business, Garth Thomas, the paper's head of business and financial products, has a different revenue strategy. He's offering a new paid subscription service called Cannabis Pro, produced by a team of five business reporters.
The Globe and Mail's Report on Business is trying to avoid problems with the advertising model by offering a pot business news subscription service regularly priced at $2,000 a year. (Don Pittis/CBC)
The service is regularly priced at $2,000 a year for a subscription, but with millions at stake in the booming sector, Thomas says that amount is well within the price range of not just those in the industry but those in the legal and financial professions that serve it.
"Not only are we serving the Canadian market, but we know, because we're a first mover as a country in this industry ... Canada is seen as a leader," Thomas says. He expects at least 25 per cent of subscriptions to come from outside the country.
But, of course, just as Canadian media groups target readers elsewhere, in the internet age, U.S. companies have their eyes fixed on Canadians.
Competition and consolidation
One U.S. competitor with a growing profile is Marijuana Business Daily, a service that's free online with a staff of about 20 specialist reporters, including one in Ontario, says CEO and founder Cassandra Farrington.
The Colorado-based Farrington says her business-to-business newsletter company saw an opportunity in 2011 as changing pot laws resulted in a growing number of inexperienced startup businesses.
"We thought, well that's an interesting group of people who really know their product but they don't know business."
She says that like many conventional media, the news service just barely covers its costs, but it draws an audience to the profitable company's list of other services including how-to books and cannabis business events, with total revenue of $18 million US.
Whether profitable or not, the cannabis information specialists listed here represent a small sample in a rare part of the news business that is growing. It is hard to imagine all these ventures surviving. After all, while there may be specialist publications for the alcohol and tobacco industries, they are few and far between, and certainly not mainstream money-makers.
As Ottawa looks to legalize pot, business lessons from the Prohibition era
Like the business it's covering, the cannabis media sector is itself going through a dynamic phase as new entrants struggle to compete in a growing but uncertain market, and as big fish eat little fish.
"You know you're talking to an entrepreneur and there's not an entrepreneur who's not willing to always have that conversation," says Farrington, referring the possibility of selling Marijuana Business Daily. "But we're not under any financial pressure to make an exit move."
Follow Don on Twitter @don_pittis
Don Pittis
Business columnist
Don Pittis was a forest firefighter, and a ranger in Canada's High Arctic islands. After moving into journalism, he was principal business reporter for Radio Television Hong Kong before the handover to China. He has produced and reported for the CBC in Saskatchewan and Toronto and the BBC in London. He is currently senior producer at CBC's business unit.
More by Don Pittis
This man made $1M investing in cannabis — but expert warns it's a lottery
Biggest marijuana ETF on TSX adds 9 new cannabis companies, including Tilray
Cannabis in Canada - what's it like to be a pot reporter? (The Investigators with Diana Swain)
Coca-Cola, Aurora exploring potential for cannabis-infused drinks

redpajama_set_name: RedPajamaCommonCrawl


On the west side of Tromsø, a mere 45 minutes from the city centre lies the fascinating pearl of nature, Sommarøy, where you meet chalk-white beaches, cosy coves, holms and reefs that encircle the hotel and everything we have to offer our guests. In close combat with the forces of nature, we facilitate authentic coastal experiences at sea and on land. Activities, wellness, coastal culture and a lively local community – and all the service and facilities you expect of a modern hotel in the kingdom of Ottar.
Fantastic location for nature lowers. Rooms in 2nd floor with a small balcony and great view to the mountains and waterfront. Evening buffet with a lot of nice tastes, and good service from the staff.
Hi James, Yes it's possible to clean your own clothes there for free after 4pm. Have a wonderful trip.
Has the arctic got a pool?
Hi! I can't understand how much a taxi does cost from Tromso airport (December th 30yh), back to Tromso City (Radisson Blue Hotel) on january the 1st… somebody told me 140 euros go and back, others 280 go and back, some other 450 euros go and back ! :( can somebody help me please? :) thanks in advance!
"Higher floor, new wing, if in the hotel. They also have lodges."
"a base room is fine for sitting outside but be sure your view is not blocked. Otherwise have a room at the second floor."
"I think to lay a little extra and have a cabin"
"'A cabin overlooking the harbour would be an excellent choice'"


Faculty are one of your institutions greatest assets. Are you doing everything you can to ensure a better user (IT) experience and give them a reason to stay?
While we have addressed issue of eliminating delay for emergency situations for faculty, it's imperative that we have system in place that can instantly identify your faculty users that require the most assistance. This can be done by making use of smart and Intelligent ticketing tools and telephony system.Imagine a situation wherein your faculty dials your help desk number and the agent on the other side straight away says, Hi Joe, are you in a classroom and is there an issue? At BlackBeltHelp, we do this by making sure that our agents have the capability of pre-identifying the user and pre-empting the name and the issue.This process is called Automated Number Identification, this entails VOIP system tightly integrated with the CRM and provides your callers details to the agent. This not only reduces the time to identify the user, however, it also allows the agent to assist the user better by getting access to the historical view of the caller's issues.


Jeremy Irons was in attendance on Friday 7 November 2014, at the Rhu Glenn Hotel in Slieverue, south Co. Kilkenny, Ireland, for a screening of his 1978 film Langrishe Go Down. The film was shown as part of the Éigse Sliabh Rua film festival.
A champagne reception took place at 7.30pm and the film was screened at 8:30pm. Also TG4 was there filming during the evening and Jeremy was interviewed by Rose Ann Foley.


Saintpaulia Plant – Ek-vrata Raia 4 out of 5 based on 10 ratings.
Cosmos Plants – Xanthos Marguerite Plant – Mini Standard Pink These wonderful Marguerite Daisies have been trained into a magnificent standard plant – perfect for an impressive display on the balcony or patio, or even as a feature in garden borders. Masses of large white blooms smother the crown of this Argyranthemum Standard from June right through to October.
Saintpaulia Plant – Ek-Vrata Raia Commonly Known as African Violets, Saintpaulias are a popular choice for an indoor houseplant that will brighten up any room.Saintpaulia Ek-Vrata Raia is a free flowering variety producing large blooms.
Saintpaulia Ek-Vrata Raia; Saintpaulia Plant – Ek-Vrata Raia. African Violet. This plant has large, semi-double pale pink flowers. From the centre emerge thick white rays. Very free flowering. Standard. This plant will flower intermittently throughout the year.
Saintpaulia Ek-Vrata Raia is a free flowering variety producing large blooms. The semi-double flowers are pale pink with road rays of white emerging from the centre. Flowering intermittently throughout the year, Saintpaulias are sensitive to fluctuations in temperature and will perform best in a bright position out of direct sunlight at a minimum of 16°C.


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By Gianfranco Jun 13, 2009, 2:59am CEST
Share All sharing options for: Disbelief
It has really been a surreal few day as a Rossoneri and a football fan. In the span of a week the EPL and Serie A had sold their biggest stars, and fans of both clubs are left sitting and waiting for what the future may hold. My intial reaction was how on Earth can anyone stop Real Madrid, followed shortly thereafter by who on Earth is going to buy all those Dutchmen, and then finally who is going to play defense for that club?!!? Does it matter!?!?! So as I wonder if Carletto and his new Blues can compete with La Liga for the CL, I have a terrible sinking feeling regarding Milan's chances in this new global order.
I have been relatively silent on Leonardo because frankly his appointment has left me very indifferent, I don't hate him, but I certainly don't like him. For a club who has been touted as a family, loyal, and rewarding of its elder statesman, I was baffled that this job didn't land in the hands of tenured players like Baresi, Tassotti, Donadoni, or hell even Costacurta, who at least has his coaching certs! I guess the fact of the matter is that the new family orientated and loyal Milan only applies if you are from Brazil, or gave very little to the club if anything. Does that mean Milan can bring Rui Costa in as the next coach, or Oliver Bierhoff? My other point of contention was this love fest that Nardo (FYI my plan is to use Nardo in negative connotation and Leo in positive, we shall see how that works out.) shared with Fester on Maldini's last match day. Fester should have been solemnly touting his outgoing Captain and Coach and instead all that was spewing out of his mouth was how great Nardo was, and that the only time he cried for a player, was him…blasphemy asshole, blasphemy. I remember him being injured A LOT, and I don't remember him doing much on the pitch either…as you can see I am still befuddled.
What makes me all the more upset is the complete loss of identity of AC Milan. Yes many of us were sick of the XMAS tree, me included, but that damn formation provided results. We also knew damn well that Carletto was all for two strikers if Borriello hadn't gotten hurt, and now we are left with a guy who hasn't even opened his mouth about tactis other than throwing out the potential for a 4-3-3. Nardo, you are not Pep Guardiola, there will be no Guardiola effect, and playing a 4-3-3 in Italy with this team will likely get you canned faster than the ever famous Oscar Washington Tabarez. Milan is not Barcelona, they lack the pace, skill, and players to play that way or that style, and I am not implying that Milan will want to play that way, but this whole be like Pep, be like Barca trend is wearing thin on me. What's next are they going to promote Dida or Clarence the minute they retire in an effort to channel some of the young coach magic!? Pep worked extensively with the Barca youth setup, played under great coaches, and had a profound effect on Barca and Cataluña as a whole, Nardo has done none of that. So forget those comparisons right away. My greatest concern with our lack of tactical identity is the fact that no one will want to come to Milan. How can you attract a guy like Eto, Adebayor or Dzeko when they don't know if the will be alone, with a partner, or in a group of a three!? Will a wingback like Criscito want to come to Milan if they are employing a 4-3-3 with stay at home backs? As you can see the scenarios and questions are numerous, and the answers are still quite a ways off.
On the brighter side, I am willing to give Leo a chance, despite not being my first choice, or really even my last, he does have a keen eye for talent, and hopefully he can attract some solid youngsters to the team. My preference will always be to do so on the boot because Milan is and always has been home to some of the best Italian players. Alarmingly that trend is no longer the case, though I would never have believed Milan would lose a Brazilian under Leonardo, and would never expect Pato to go now that he is Coach, but stranger things have happened. My biggest fear is losing both Pirlo and Rino to Chelsea which would leave the Rossoneri presence on the National Team to almost nothing, a feat that really has not happened in my lifetime, and leaves me feeling pretty bad when I think about it.
As you can tell my mood is a blend of disbelief and discouragement. I had written a season recap with player grades that will eventually see the light of day, but at this point all I can really do is sit and wait for something to happen. I feel like recapping this season is almost like recapping Milan as I know, and by doing so I will put a finality on it that I don't believe I am ready for. I will say that I wish the best of luck to Pirlo, Rino, and Zambro as they make their way to the Confederations Cup. The US game is a treat for any Italian-American and a bit of retribution for the lost to Brazil earlier in the year would be nice, but the special game for me will be Egypt. Egypt beat an Ivory Coast team in last year's African Cup of Nations that looked unstoppable, curios to see these guys in action. I look forward to reading all your thoughts on Leonardo and what we can expect and will recap the season when I am ready to put a stamp on Milan as many of us once knew it.


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WELCOME TO MY TRAVEL BLOG
I have always enjoyed traveling, even if it meant sleeping in a tent when I was younger. I prefer hotels and cruise cabins now, but the motivation is the same...an adventure waiting to happen. Sometimes you will find me traveling with my husband and/or family. Sometimes I will travel alone, and sometimes I will travel with friends. I hope you find it entertaining to keep up to date with me as I explore the world around me. Warning...I like to take pictures of food so don't read if you're hungry. More adventures await...see ya soon...Amy.
Trains, Wine and Family
on the train to Bordeaux
the train station in Bordeaux
new foliage
tiny grape clusters beginning
the owner of the vineyard is to the right giving the tour
barrels of wine
pulling a taste of the 2010 vintage said to be a great year
Ton Ton Jean, the owner of the vineyard, Vincent, Laurie, Danny and Me
and the group with Andy
the house at Lacaneau
Ta Ta Francois and her grandaughter (our cousin) Axelle
Walking to dinner...Ta Ta Francois, Danny and Sophie
Ta Ta Francois and Danny
Sunset on the Atlantic
Vincent, Sophie, Ta Ta Francois, Danny and Ton Ton Michelle
The whole crew with Axelle, Augustin, Appolline, Albane
Magret de Canard (duck breast)...a favorite of mine in France
Tart Tartine
Moellux de Chocolat (chocolate cake)
and as if I needed any more...Ton Ton Michelle ordered this for me...pastry with cream and caramel...yum!
Danny, Albane, Axelle, Augustin, Apolline, and me...love these kids!
Today started out VERY early with an early departure from the lobby at 5:50 a.m. to go to St. Pancras station to catch the Eurostar train to Paris. We decided to forgo a taxi and attempt going there via the Tube. This worked out great and we got there in enough time to grab a quick breakfast from Starbucks before we had to go through security. For future note, the security line closes 30 minutes before train departure so it is important to get there a bit early for your train. This is different than other trains because there is no security line for those. The train ride was very pleasant and we arrived on time in Paris. We needed to transfer to a different train station to catch the train to Bordeaux to meet Danny's cousin, Vincent. We bought metro (subway) tickets to Montparnasse station after a very helpful young man who spoke french showed us where to go to get the tickets in the train station. We arrived at Montparnasse station and couldn't figure out how to get to the TGV station. Danny asked for directions which led us out of the metro station and down the block to the train station. We later discovered that there was an underground tunnel, but we must have missed that along the way. We ate our first meal in Paris sitting in the train station, Croque Monsieur (hot ham and cheese), Quiche Lorraine (ham quiche), and Baguette sandwich with Jambon (ham), Compte (a type of cheese) and Buerre (butter). Unfortunately for Andy, his Croque Monsieur was not completely heated and wasn't very good but the rest of us enjoyed our train station meal. Our train was delayed by 15 minutes and there was a swarm of people to get on the train. Our car was completely full and we had to get creative with where to put the luggage as the ends were full and the racks above the seats were full. Danny ended up squeezing them in between the backs of the seats. This is important to note that the bags actually fit in case we need that info for a future trip. Once we were settled in 2nd class, the three hour train ride was really great. Everyone but me snoozed along the way. We were met at the train station by Danny's cousin, Vincent, and Danny's uncle, Ton Ton Michelle. They had arranged a vineyard tour for us at Chateau Picque Caillou. The owner of the vineyard took us on a personal tour and explained to us about the grapes and the soil and growing conditions of the area. He then showed us his winery and explained about the process of making the wine from the grapes and how they are aged in the wooden barrels. It was really fascinating and he spoke excellent English so we were able to follow the conversation and ask questions. He gave us a taste of his 2010 wine which he says will be known as a very good year for wine because of the growing conditions that year and the condition of the grape. After our tour, Vincent drove us about an hour to Lacaneax, where his family is on vacation at their summer beach house on the Atlantic Ocean. We checked into our hotel, Hotel du Golf, for our one night stay. Andy was disappointed that he wouldn't have time to swing a golf club even just once! Vincent then drove us to the Lacanau house. It was so wonderful to be greeted by Danny's Ta Ta Francoise, Vincent's wife Sophie and their four kids, Axelle, Augustin, Apolline, and Albane. Ta Ta Francoise is Danny's mom's baby sister and she greeted us with the biggest grin, a big hug and kisses. We had Champagne and Fois Gras appetizers and caught up on family news. We walked down to the Atlantic where Andy reminisced that he had watched the sun rise on the Atlantic on his honeymoon 20 years ago and now he was watching it set on the other side of the world. So cool. We had a fabulous meal with family at a restaurant on the water. Sophie was quite entertained by the fact that I knew more french dessert words on the menu than regular food words. She was so entertained that she must have whispered to Ton Ton Michelle to purchase a second dessert for me. As soon as I finished my first one, a different one appeared and Ton Ton Michelle said it was just for me! Andy and Danny shared with me thankfully, or I would have been too full to enjoy a wonderful walk back to the house with Ta Ta Francoise sandwiched between Danny and me. As we were saying our goodbyes, Ta Ta Francoise said we made her very happy to come and see her. This has been a delightful excursion and one we won't soon forget. Tomorrow back to Paris...until then....
written by Amy Terral at 5:40 PM
WHERE TO NEXT
December 2016...a cruise on the Disney Wonder for Christmas!
MY JOURNEY BLOGS
Joie de Vie
Washington D.C. w/ the 6th grade
UDA London/Paris
Last Day in Paris...Part Two
Last Day in Paris...Part One
Second Day in Paris
Hotel Millesime...Paris
First Day in Paris
Second and Last Day in London
First Day in London
London/Paris 2012


Description: APES Artisan Pool & Embelish is a business categorized under others miscellaneous retail, which is part of the larger category others miscellaneous retail. APES Artisan Pool & Embelish is located at the address 930 South Mason Road # A in Katy, Texas 77450-3897. The Owner is Jack Hopkins who can be contacted at (281)395-2737.


Being raised in a family of entrepreneurs wolves, once owning a retail business of her own, and a stint as in-house Creative Director of a mid-sized corporation – all provide SHPM with a unique understaning of what a business owner wants and needs. Nashville, where SHPMcreative is headquartered, has given her a degree's worth of knowledge in both the technical and creative sides of Design for Music. Formally educated in the fields of Graphic Design, Psychology, and Art History, her uncommon skillset helps her in producing thoughtful, multifaceted work.


The fleeting moment just before sundown is my favorite time of the day. Nightfall offers a peaceful opportunity for reflection on the day's events, the challenges that we face in our day-to-day lives, and for what inspires. I've been lucky to see the sun go down in all of the countries where buildOn currently works, and I've enjoyed capturing images of those colorful moments in life.
Here are my favorites from Haiti, Nicaragua, Senegal, Mali, Malawi and Nepal.


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Péri est un nom propre qui peut faire référence à :

Patronyme

 Claude Péri (1972-), patineuse artistique française ;
 Gabriel Péri (1902-1941), journaliste et homme politique français ;
 Noël Péri (1865-1922), missionnaire français, journaliste, traducteur ;
 Peter László Péri (1899-1967), sculpteur et peintre hongrois puis britannique ;
 Robert Péri (1941-2022), footballeur français.

Prénom
 Péri Cochin (née en 1965) animatrice de télévision franco-libanaise

Toponyme
 Péri, un village de Crète ;
 Au Péri, une rue de Liège.

Autre
 , nom de deux ballets
 Péri, génie de sexe féminin de la mythologie iranienne.

Patronyme français

redpajama_set_name: RedPajamaWikipedia


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Former Blades and Bantams winger completes Eastleigh move
Jun 28, 2017 | Interviews and Features
Former Sheffield United and Bradford City winger Mark Yeates has completed a move to Vanarama National League club Eastleigh.
The thirty two year old joins the Spitfires on a two-year deal afer leaving Notts County.
Yeates began his career at Tottenham Hotspur, making three first team appearances for the Premier League club.
During his time at White Hart Lane he had loan spells with the likes of Hull City and Leicester City.
In 2007 he left Spurs to join Colchester United, returning to the club where he spent a long-term loan spell in the 2005/06 season.
His time with the U's came to an end when Middlesbrough agreed a £500,000 fee to secure the winger's services.
His stay at the Riverside Stadium was a short one and since then he has gone on to play for the likes of Sheffield United, Watford and Bradford City.
It was during his time with the latter that he scored a notable goal in the Bantams shock 4-2 win over Premier League giants Chelsea in the Fourth Round of the FA Cup in January 2015.
Yeates spent the second half of last season with Notts County, making twelve appearances for the Magpies.
He now becomes the latest new addition to Eastleigh's squad, following the likes of Danny Hollands and Chris Zebroski in joining the Spitfires ahead of the new season.
Article: Mark Carruthers (@markldaily)
Image: Reuters Media


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UP Train Strikes Railroad Employee
On October 5, 2005, about 6:00 p.m., near Laramie, Wyoming, a westbound Union Pacific Railroad (UP) train struck and killed a maintenance-of-way employee who was working on an adjacent track. He had been walking on the track with his back to the approaching train. He had been preparing to move a tamper machine. The train was cleared through the work limits at 40 mph.
Throughout the day, the UP employee-in-charge notified several designated safety coordinators of approaching trains. In turn, the coordinators notified the workers for whom they were responsible. However, earlier in the year, the tamper operators had made an agreement with their safety coordinator that they did not need to be notified directly about approaching trains. They believed that (1) their equipment did not normally enter an area that could be struck by a train passing on an adjacent track and (2) they would monitor the radio in the cab of the tampers and would be aware of approaching trains when the coordinator notified other members of the work crew. On the day of the accident, the tamper operator who was struck by the train was not inside the cab to listen to the radio when the crews were notified of the approaching train. He was walking along the adjacent track with his back to the striking train.
The National Transportation Safety Board determines that the probable cause of the accident was the agreement among the employees that they did not need to be notified of approaching trains as required by rule and regulation. Contributing to the accident was the employee's failure to stay a safe distance from a track cleared for passing trains.
Accident Location: Laramie , WY
Accident Date: 10/5/2005
Accident ID: DCA06FR001
NTSB Number: RAB-07-01
NTIS Number:
RAB-07-01


Performance management programs too often consist of independent activities that occur in isolation or with varying degrees of correlation (e.g., performance appraisals, workshops, conferences, and other training and development activities). Performance appraisals, as a component of performance management programs, are generally created and given by supervisors with numerous factors influencing their development. First and foremost, a supervisor's training and experience factor into their effectiveness in developing and conducting performance appraisals. Now consider how often consistency and documented, validated objective factors from multiple perspectives, factor into performance appraisals as part of a comprehensive professional development program directly correlating to the organization's goals and strategic plan.
Performance appraisals are often designed to improve weaknesses using developmental goals rather than building upon strengths. Progressively, performance appraisals can improve weaknesses while simultaneously exploiting and developing strengths. When performance appraisals are conducted appropriately— performance appraisals can be used for aligning and guiding performance with organizational goals while recognizing good performance and motivating employees.
Remember that a performance appraisal is not a professional development program. A performance appraisal is one tool within a performance management program. Too often organizations rely on performance appraisals in isolation. This wastes opportunities to capture revenue and leaves talent untapped.
For various reasons, it's important to proactively manage your individual professional development. Your performance appraisal provides you with an opportunity to better understand how your performance compares to the expectations that have been set for you. It also helps you recognize your strengths and areas for improvement that promote the alignment of your efforts with the organization's expectations. Depending upon your organization, the performance appraisal meeting could be an appropriate time for you to express an interest in opportunities for growth.
Recognize the value in understanding your strengths and weaknesses independent of your work environment. Yes, consider and explore the feedback provided by your management – also consider your performance and the feedback you receive from the other areas in which you engage professionally. Do you volunteer in your community, serve on a board, coach a team or participate in other activities? These activities most likely influence your professional performance. Now consider the extent to which these abilities are used within your work environment.
Are you performing at maximum capacity, missing opportunities, or simply letting the "system" influence your performance and perhaps ultimately, your career? You can and should proactively participate in your performance management.
Yes, performance management programs can limit development and opportunities but this needn't be your experience. By becoming an active participant in your professional development you position yourself for improved performance and increasing levels of success.
Are you working toward fulfilling self-set professional development goals?
Can you describe measurable action that you've taken to improve your performance within the past month?
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New major and trace element abundances, and Pb, Sr, and Nd isotopic ratios of Quaternary lavas from two adjacent volcanoes (South Pagan and the Central Volcanic Region, or CVR) located on Pagan Island allow us to investigate the mantle source (i.e., slab components) and melting dynamics within the Mariana intra-oceanic arc. Geologic mapping reveals a pre-caldera (780-9.4ka) and post-caldera (<9.4ka) eruptive stage for South Pagan, whereas the eruptive history of the older CVR is poorly constrained. Crystal fractionation and magma mixing were important crustal processes for lavas from both volcanoes. Geochemical and isotopic variations indicate that South Pagan and CVR lavas, and lavas from the northern volcano on the island, Mt. Pagan, originated from compositionally distinct parental magmas due to variations in slab contributions (sediment and aqueous fluid) to the mantle wedge and the extent of mantle partial melting. A mixing model based on Pb and Nd isotopic ratios suggests that the average amount of sediment in the source of CVR (~2.1%) and South Pagan (~1.8%) lavas is slightly higher than Mt. Pagan (~1.4%) lavas. These estimates span the range of sediment-poor Guguan (~1.3%) and sediment-rich Agrigan (~2.0%) lavas for the Mariana arc. Melt modeling demonstrates that the saucer-shaped normalized rare earth element (REE) patterns observed in Pagan lavas can arise from partial melting of a mixed source of depleted mantle and enriched sediment, and do not require amphibole interaction or fractionation to depress the middle REE abundances of the lavas. The modeled degree of mantle partial melting for Agrigan (2-5%), Pagan (3-7%), and Guguan (9-15%) lavas correlates with indicators of fluid addition (e.g., Ba/Th). This relationship suggests that the fluid flux to the mantle wedge is the dominant control on the extent of partial melting beneath Mariana arc volcanoes. A decrease in the amount of fluid addition (lower Ba/Th) and extent of melting (higher Sm/Yb), and an increase in the sediment contribution (higher Th/Nb, La/Sm, and Pb isotopic ratios) from Mt. Pagan to South Pagan could reflect systematic cross-arc or irregular along-arc melting variations. These observations indicate that the length scale of compositional heterogeneity in the mantle wedge beneath Mariana arc volcanoes is small (~10km).


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Componente della Brigata di cucina nel ruolo di lavare a mano le stoviglie. Definito anche "Plongeur";
 Un elettrodomestico meglio noto come Lavastoviglie.


This position fulfills customer orders ensuring accuracy and prepares for shipment. Handles receiving of new product inventory and completes inspection and completes repackaging.
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Process orders using UPS Worldwide Ground/Overnight Services computer. Also stage and obtain BOL's for LTL shipments.
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text:
Home > June 2005 - Volume 13 - Issue 2 > Considerations for Osteotomy in the ACL Deficient Knee
Thought you might appreciate this item(s) I saw at Sports Medicine and Arthroscopy Review.
Considerations for Osteotomy in the ACL Deficient Knee
Aggarwal, Ajay MD; Panarella, Ludovico MD; Amendola, Annunziato MD
Sports Medicine and Arthroscopy Review: June 2005 - Volume 13 - Issue 2 - p 109-115
doi: 10.1097/01.jsa.0000162405.52400.47
The natural history of the isolated ACL deficient knee with or without reconstruction remains unclear. Although multifactorial in nature, evidence demonstrates these knees gradually deteriorate over time. Mechanical overload from knee malalignment has been identified to contribute not only to early failure of ACL reconstruction, but also to more rapid deterioration of the joint. However, assessing limb alignment as a contributing factor still remains largely overlooked in the ligamentously unstable knee, and reconstruction has generally focused on the soft tissue constraints. Therefore, the emphasis of this paper is that mechanical axis deviation in the chronic ACL deficient knee needs to be addressed as a means of treating the instability and protecting the joint. Over time, untreated malalignment can worsen ligamentous laxity and lead to symptomatic chronic instability. On reviewing the literature regarding the ACL deficient knee, some emphasis has been placed on the varus knee in the coronal plane, however little exists on the effect of malalingment, particularly in the sagittal plane. Previous authors have identified the varus component and advocate early intervention for the varus, anterior cruciate deficient knee. Most of these studies examined the effect of a closing wedge osteotomy in the chronically ACL deficient knee. In this review, the authors discuss the indications for realignment and the surgical technique utilizing an opening wedge technique at the time of ACL reconstruction. In addition, the importance of this paper is to discuss coronal and sagittal plane alignment and the need to assess and correct alignment in the unstable ACL deficient knee.
From the University of Iowa Sports Medicine Center, Department of Orthopaedics and Rehabilitation, University of Iowa, Iowa City, IA.
Reprints: Ned Amendola, MD, University of Iowa Hospitals and Clinics, 200 Hawkins Drive, 01018 JPP, Iowa City, IA 52242 (e-mail: ned-amendola@uiowa.edu).
Sports Medicine and Arthroscopy Review13(2):109-115, June 2005.
ACL deficiency, mal-alignment, osteotomy
Articles in PubMed by Ajay Aggarwal, MD
Articles in Google Scholar by Ajay Aggarwal, MD
Other articles in this journal by Ajay Aggarwal, MD


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Veerashaivism is a sect within the Shaivism fold of Hinduism. According to tradition, it was transmitted by Panchacharyas, ( from ), or five acharyas: Renukacharya, Darukacharya, Ekorama, Panditharadhya, Vishwaradhya, and first taught by Renukacharya to Agastya, a Vedic seer. The preachings of Jagadguru Renukacharya Bhagavadpada to rishi Agastya is recorded in the form of a book, Shri Siddhantha Shikhamani, which is regarded as an important holy book for the Veerashaivas. This text is likely an 8th century work, and it likely contains the earliest reference to Veerashaivism in literature.

Guru lineage
A small manuscript named Vira-Saiva-Guru-Parampara details the following guru lineage for Veerashaivism in order of priority: Visvesvara Guru, Ekorama, Viresaradhya, Virabhadra, Viranaradhya, Manikyaradhya, Buccayyaradhya, Vira Mallesvaradhya, Desikaradhya, Vrsabha, Aksaka, and Mukha Lingesvara. Viranaradhya is the father of the 18th century Telugu Veerashaivite acharya Mulugu Papayaradhya.

In the Virasaiva Agama, it is mentioned that in four main pontiff seats (Yoga Peetha, Maha Peetha, Jnana Peetha, and Soma Peetha), there are four gurus of different priority: Revana, Marula, Vamadeva, and Panditaradhya.

Panchacharyas
According to tradition, the Panchacharyas arose out of five great Sthavaralingas located in Kolanupaka in Aler town, Yadadri district, Telangana, Ujjain in Madhyapradesh, Kedar in Uttarakhand, Srisailam in Andhra Pradesh, and Kashi or Banaras in Uttar Pradesh under different names in different Yugas. The Panchacharyas established five peethas, which play an important role in Veerashaiva.

The five peetha of Veerashaiva
 Veerasimhasana of Rambhapuri in Balehonnuru (Karnataka)
 Saddharma Shimhasana of (Ujjain) (Madhyapradesh) later moved to Ujjini (Karnataka)
 Vairagya Shimhasana of Kedar (Uttarakhand)
 Surya Shimhasana of Srisailam (Andhra Pradesh) and
 Jnana Shimhasana of Kasi (Uttar Pradesh)

Peethas
Veerashaivism is continued to this day and is preserved and transmitted by five peethas  (Rambhapuri, Ujjaini, Kedar, Shreeshail, Kashi), who play an essential role in the Veerashaiva tradition.

Philosophy
The philosophy of Veerashaivism is explained in Siddhanta Shikhamani. While the Veerashaiva-tradition incorporates Vedic elements, the origin of panchacharyas has been explained in Sivagamas, especially in Svayambhuva Agama, Suprabhedagama and Viragama. The earlier portions of Agama literature are the fundamental source of Saiva religion, while the latter portions are of special importance to Veerashaivism. However, Veerashaivism differs from Agamic Shaivism and Pasupata Shaivism in its philosophy, in its doctrine of sthala, in the special kind of lingadharana, and in certain ritualistic elements.

References

Shaivism
Hinduism-related lists
Hindu traditions


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text:
RERUNS REZOOMED a serial novel
By Jonathan Baumbach
I am here without wife or woman, your guide and reporter, a hostage to the habits of rerunning the dead past in the cause of waking from the dream.
The first three nights of Reruns Rezoomed appeared in the March '07 issue of the Rail
At the outset, we find the narrator/dreamer, Jack, at a writer's colony in Italy, his former wife (and muse),
Molly, secreted in the bathroom. When he sneaks a glance, she leaves him once again.
Part One: Dreams of Molly
38th Night
In the morning, I went out into the hall to look for my old room, knocked on a few doors. Various residents answered my knocks, invited me in for a drink or not, seemed at home with themselves.
There were two more doors left to investigate and I approached the first one warily in the hope of discovering a more productive strategy, my fist in the air in readiness, though unready to entertain the door.
Catching me in the act of procrastination, the door abruptly opened and I was confronted by a woman dressed in black, who I imagined I recognized as the painter of nightscapes. "I thought this might be my room," I said.
"Right place, wrong time," she said. "This is or rather was your room, but as you can see I'm here now."
I wondered out loud why they hadn't given her her own room if she had been officially accepted as a resident.
She stepped aside to let me go by. "They did sort of," she said, "but then one day I discovered someone else had taken it when I was out doing my art so I commandeered the first unoccupied room I could find. We could share this room if you have no other place. I tend to sleep during the day and work at night so we shouldn't get in each other's way."
I looked at my watch, sat down in the hall for twenty minutes then knocked again.
"I know you from somewhere, don't I?" she said, going by. "Don't touch anything."
Everything else in the room, I noticed, was mine except for three black canvasses prominently displayed, two on the wall, one alongside the wall opposite the bed.
I went back to my sentence as soon as soon as I heard her leave the building. The sentence was a little different from how I remembered it, but also less hopeless, more susceptible to ultimate resolution.
She didn't return at first light as promised and I had my room to myself or so it seemed. The paintings had a way of insisting on their presence in a disconcerting sometimes oppressive way. They were signed—at least the two on the wall were—with the initial Q. The one on the floor, which I assumed was unfinished, was unsigned. Her name, the name she introduced herself to me by, was Leonora.
If she ever returned, I planned to ask L what the Q stood for.
When I wasn't writing—by this time I had moved on to the second sentence—I wondered if it was a coincidence that the two women in my life had both disappeared. Then it struck me that going back in time all the women I had known at length—Molly, Anna, Hannah, even my mother, had a talent for disappearing.
Feeling abandoned, I left the room in search of company.
When I returned the paintings were gone, at least no longer on the wall and I assumed—what else could it mean?—that Q removed them so that she would no longer have a reason to return.
But that night, someone shook me from sleep, wanting to know what I had done with her paintings. It was Q or Leonora or whoever and she had paint on her hands which transferred to the shoulder she had shaken.
I protested my innocence and then went off with her on a prolonged and seemingly hopeless search for the missing paintings. A sense of responsibility will take you down odd paths.
We went from room to room on tiptoes, looking in closets and under beds, taking something from each of the rooms in compensation for the loss. We had quite a haul of stuff in an orange garbage bag when we returned to our room to discover the paintings on the walls again, returned by the thief in our absence.
Q was pleased, though not greatly pleased, hugged me, and then began to moan, complaining that whoever took the paintings decided they weren't worth keeping, which was hurtful and cruel.
I meant only to console her, but it led to something else, something much more or slightly less, and we were on the floor together wrestling in a mostly pleasurable way. I had no complaints. We were an action painting for a time, a kind of retro happening when interrupted by an authoritative knock on the door. No one answered but some official entered (the Director of Transgressions) to banish us from the Villa. I suspected it was Molly who had turned us in for the reward.
From my vantage on the floor looking up (Q was on top looking down) the official, whom I'd never seen before, seemed obscenely large.
Q and I left the Villa together in disgrace, were forced to wander around Italy, doing whatever came along to earn our keep. With the last of our lira, we bought some realistic-looking faux metal chains and I improvised a strong man act in the various town squares. Q would tie the chains around my chest and I would huff and puff and groan until it seemed I had given up and then I would break my bonds by expanding my chest. The unit had a trick link that came apart when I exerted pressure in a certain way. Each time I broke my bonds, Q would scream with pleasure as if she had never seen anything like it before.
Q collected money from the crowd in one of her hats and arranged portrait commissions at reduced price with some of the local gentry. The money we earned was better than nothing, though not much better.
For the most part, we slept out of doors or in somebody's barn, using the other's proximity to keep warm.
We kept our spirits up by makings plans to return to the Villa under different identities, but of course we knew it was just idle talk. They warned us on leaving that we could never return no matter what we did to redeem ourselves, no matter how much time passed.
In the early days on the road, Q and I seemed pretty much of one mind about everything. But after awhile, we began to squabble about where to go and what to do and how to spend the little money we had between us. After one of our fights, I took the sock with the money and left Q in the deserted ramshackle barn we had been using as residence.
Two or three drinks later when I returned to our temporary home, she was gone and her small suitcase with her. She had left me one of her paintings—the blackest of the nightscapes, the one I professed to admire—as a parting gift.
"That's a totally stunning painting," Molly said during a brief visit but her comment only served to make me like it less,
I didn't miss Leonora for the first few hours of our separation, wrote an abbreviated version of our tragic love story in the ratty notebook I'd been carrying with me. The last line was: "He expected to miss her after awhile, after a week or so, but as it turned out the expectation sufficed for the feeling itself."
When the story was finished, when the last line that had been playing through my head got itself down on paper, I couldn't imagine how I would get on another day without her.
You could see it was an all day rain, but since I was low on funds, I went on to the next village with the idea of doing my strong man performance in the town square. As usual, particularly since I started drinking again, I was short of cash.
I put up signs in the town square, but when the time came to begin, there was no one in the audience. Eventually, a carbinieri showed up carrying one of my signs and waving it at me as if it were a weapon.
I assumed he was ordering me to leave and I packed up my chains, but on the contrary he was insisting that I perform for him even though he was the only spectator.
He had a folding chair and an umbrella and he opened them both and made himself comfortable.
I tied the chains rather awkwardly—it was generally Q's job to tie the supposedly unbreakable knot—while the carabinieri watched intently.
I went through the motions of failing, which was the performance part of the act, and my audience of one laughed and clapped his hands. "He can't do it," he said to no one in particular.
His skepticism provoked me. I took a deep breath and expanded my chest, expecting the chains to come apart as they always did.
I panicked at first when nothing happened, but then I thought I hadn't tried hard enough. So I took a deeper breath, expanding my chest to the breaking point, but the chains resisted me. And again. It then struck me that these were not the chains I had been using. Someone, no friend of mine, had made the switch.
The small crowd in the audience—I hadn't noticed them assemble—started throwing things, fruit for the most part. There was also the occasional puh-ching of flying lead and I fled the stage, still wrapped in chains. The only person in the audience cheering me on was a woman in the back row who resembled Molly.
I ran without looking back until, several miles down the road, I tripped on a loose 16th century cobblestone and I fell in a sprawl in the middle of the wet street. The passing thought that held sway was, Whatever else happens, Jack, you can't get much lower than this.
41st Night
I ran into Q (or L) again at the airport in Milan. She seemed to have forgotten that we had separated on bad terms and gave me a hug and told how she had made all this money selling paintings, some of them commissioned portraits, to Americans returning home. She only needed 21 more dollars to afford her own ticket back to the states. On the other hand, I was 69 dollars short. My visa card, which I assumed was good, had been repeatedly rejected.
It was a close approximation of old times. Q had a set of chains in her carry-on bag and after a couple of drinks of red-eye for courage I performed for the captive crowd on the tarmac.
The stamping and clapping my performance earned—the chains snapping at the appropriate moment—improved my shaky self-esteem.
We made a killing though most of the bills Q collected in her hat were in obscure foreign currency.
The exchange booth was Closed for Repairs so we had to hang out in the airport, plying our respective trades, catching a nap now and then in the luggage carousel.
To get rid of us, the authorities put us on a plane going back to the states but because of weather or perhaps faulty navigation we ended up in New Foundland for refueling purposes.
We made the mistake of getting off the plane with the others during what they told us would be a 70 minute stopover. But as we had no tickets when we tried to reboard the plane, the woman at the gate denied us entry.
When Q argued they arrested her and when I protested her arrest, they arrested me and though we had American passports, after a week's imprisonment in a makeshift cage adjoining the food preparation room in the local MacDonald's, they deported us back to Italy.
The Italian authorities refused to accept us—there was a fraud charge on the books against us—and we found ourselves once again on a plane going back to the states.
We fought continually on the plane ride back, and by the time we reached Boston—the destination of this particular flight—we were no longer on speaking terms.
Q's passport had expired and under duress I couldn't locate mine so we were detained together, as it turned out, while the authorities reviewed our situation.
I made an effort to be polite, though it was unfelt, while Q (or L)—they addressed her as Leonora—remain sulkily silent.
They searched our luggage for clues. My chains were seized as undetermined evidence against me. Two bottles of pills were commandeered from Leonora's case as well as one of her lesser nightscapes, which she said was not a nightscape at all but a portrait of an absent loved one painted in the dark.
While we were detained, we couldn't help but overhear the following conversation, which seemed to take place behind the wall to our right.
"I'm for going by the book," said the first official, "but it's not clear to me how the book reads on this case. You know what I'm saying, Chuck?"
"Hey I've seen the new regulations—you're going to love them when you see them, pal, lots more freedom of initiative, they just ask for creativity—though they don't actually go into effect until 3:00 this afternoon."
"Bummer. Three o'clock, huh? What time is it now?"
"We could always push the clock ahead if we have to, if time is of the essence so to speak."
"For argument's sake, let's say time is of the essence and we push the clock ahead, what then?"
While this conversation was going on in the next room, Leonora and I shared the occasional desperate glance. We were sitting next to each other at this point, our hands meeting as if inadvertently on the bench between us. The guards were talking in whispers now and it became increasingly difficult to pick up more than an idle word.
"We're in this together, whatever it is," she said, "and I'm not going to be afraid." Momentarily, the door opened and one of the guards entered the room. "I need to use the facilities," I said.
"Use whatever facilities you like," he said. "You're free to go." He unlocked the door behind us and held it open, standing absolutely still while awaiting our departure.
We were standing now, but we sensed we couldn't trust what they told us and so remained in place. Leonora asked the guard to repeat what he said.
"It only gets said once," he said. "That's the regulation."
I took Leonora's hand and tried to lead her through the door and she took a step or two then became rigid at the doorway, refusing the final step to freedom, glancing at the guard, who had not moved since he opened the door for us, who was standing at attention with an almost imperceptible smile, a congested smirk on his face.
The first three nights of Reruns Rezoomed appeared in the March '07 issue of the Rail (https://www.brooklynrail.org/2007/03/fiction/from-i-reruns-2-jack-in-the-box-i ) check in with the Rail every month for a new installment of Reruns Rezoomed.
Jonathan Baumbach
Brooklyn native Jonathan Baumbach is the author of 3 collections of short stories and 11 novels including Reruns, B, Seperate Hours, Babble, Chez Charlotte & Emily and On the Way to My Father's Funeral. His stories have been anthologized in O.Henry Prize Stories, Great Pool Stories, Best American Stories, Full Court, All Our Secrets are the Same, Best of TriQuarterly among other.
Matthew Vollmer's This World Is Not Your Home
By Zach Schwab
JUNE 2022 | Books
This World Is Not Your Home ultimately coheres as a collection committed above all to exploring the ramifications of emotional candor, a task it approaches in subtle ways that can alternately charm, haunt, and leave one wanting.
Jami Attenberg's I Came All This Way to Meet You: Writing Myself Home
By Carissa Chesanek
FEB 2022 | Books
Jami Attenberg's (The Middlesteins) new memoir, I Came All This Way to Meet You: Writing Myself Home, is sort of a manifesto to the struggling writer. Well, at least it was for me. Each chapter explored the complications of pursuing creativity while getting knocked down in the process, both by the industry and by self-doubt, only to finally achieve some success and wonder what it all really means.
In Judy's Room
By Ben Goldstein
MARCH 2022 | Fiction
When we first meet Michael, the narrator of "In Judy's Room" by Ben Goldstein, he has just arrived at a hospital in the Berkshires to receive treatment for an unspecified mental illness. We learn that, to Micheal, the onset of his illness is inextricably entangled with both love and heartbreak, a memory of a violent sexual rejection that he believes led him to commit his own monstrous act. The story's tension comes from Michael's journey between the past and present, his struggle to decipher the real from the unreal. One of the pleasures of reading this story for me came from Goldstein's gorgeous descriptions of the natural world and the town itself. As we navigate Michael's emotional landscape, he simultaneously moves through a setting so idyllical that it too feels dreamlike and magical—a place where the townspeople have a "yearly tradition of recreating a famous Norman Rockwell painting" and where Judy Garland "once dressed up in a gleaming ball gown and heels right out of The Wizard of Oz."
Returning: Hank Lazer's field recordings of mind in morning
Review by Joel Chace
DEC 21-JAN 22 | Poetry
Hank Lazer's remarkable new poetry collection, field recordings of mind in morning, is a sequence of chants rung upon the constants and the changes of his returns to a place that offers solace and restoration.
Looking For a Place to Hang
By Marie Carter
Nonfiction: Art on the Wall Inspires Duo
By Eleanor J. Bader
"When We Were Kings" Pro-Boxing Back in the Hood
By Karl Greenberg
Justice Center a Success, But Budget Cuts Loom
By Kieran K. Meadows
NYC: A Nice Place to Be Unemployed?
By Richard Wells
Crisis? What Crisis? Singing the Gospel at Crapola's End
By Christopher Ketcham
Wearing Me: A Tale of T-Shirts
By Rebecca Armstrong
Experimental Geography: From Cultural Production to the Production of Space
By Trevor Paglen
Remembering Huey Long
By Christian Roselund
Lux Interior (RIP)
Tales from the Other Side, Berger's From A to X: A Story in Letters
By Nicholas Jahr
Picking Up the Pieces, Sanger's The Inheritance: The World Obama Confronts and the Challenges to American Power
By Tom Bouman
Inside Detroit , Bergmann's Getting Ghost
By James Arnett
A Different Sort of Romeo, Sandweiss's Passing Strange: A Gilded Age Tale of Love and Deception Across the Color Line
By Nicholas DeRenzo
A Rather Bestial Fellow, Bailey's Cheever: A Life
By Ian Crouch
Robert Mangold with John Yau
Lisa Yuskavage with Phong Bui
Joe Amrhein with Phong Bui
Being Vincent van Gogh
Chris Martin Works on Paper
By John Yau
Imi Knoebel
Melissa Meyer New Works
Philip Guston 1954-1958
Jonathan Torgovnik: Intended Consequences: Rwandan Children Born of Rape
By Cora Fisher
Daria Martin: Minotaur
By Claudia La Rocco
Pierre Bonnard & Peter Doig
By Greg Lindquist
Today's Special: Saucy Curatorship and Tofu Art
By Shane McAdams
Susan Bee: Eye of the Storm
By Craig Olson
Mike Womack: High Grade Empty
The Art World on Facebook: A Primer
By Sharon L. Butler
Brooklyn Dispatches
The Third Mind—American Artists Contemplate Asia, 1860 – 1989
SHE: Images of Women by Wallace Berman & Richard Prince
By Natalie Haddad
Stephan Pascher: Who Got the Chickens
By Liz Wing
Letter from LONDON
By Sherman Sam
Grace Rim: YES Love, YES Life
Matta: Five Decades Of Painting
The Last Breath of Piero Manzoni
Keren Cytter
: Les Ruissellements Du Diable
By Thomas Micchelli
Lost in Space: Outsiderness and the Art of Dave Lane
DisEchoNance
By Warren Fry
FICTION: Who Is She?
By J.W. McCormack
FICTION/DRAMA: Triple the Tragic Fantastic
By Win Clevenger
NONFICTION: A Natural Inclination
By Brian Sholis
NONFICTION: Craziest Guys on the Lower East Side
By Jim Feast
NONFICTION: Skywriting
By Jackson Taylor
FICTION: Bodies In Motion
By Joseph Salvatore
NONFICTION: Who Is the Foulest of Them All
By Clinton Krute
By Jeffrey Cyphers Wright
By Sharon Mesmer, Dan Fall, and Polly Rosenwaike
DIY Parties
By Megan Martin
Voice(s) of America Robert Ashley at La MaMa
By Fred Cisterna
Tired Soldiers of the Modern Age
By Jed Lipinski
Kim Kashkashian with Alessandro Cassin
"Flourishes of Things You Love" Beirut's Zach Condon
By Kate Crane
Permission to Dance The Luminescent Orchestrii's Sxip Shirey
By Linda Leseman
By Steve Dalachinsky
Jill Sigman's ZsaZsaLand Keeps the Party Going
By Mary Love Hodges
Savion Glover, a Rhythmic Musician
By Emily Macel
Reviving the Grande Dame
By Dalia Ratnikas
Orfeo ed Euridice at the Metropolitan Opera
zoe/juniper at Dance Theater Workshop
By Erika Eichelberger
Quality Over Quantity: Dance in Immediate Medium's Chuck.Chuck.Chuck.
By April Greene
Got My Vans On But They Look Like Sneakers
Takashi Miike takes New York
Japanese Cult Cinema and Abjection
By Evan Walter
A Night at the (Virtual) Opera
On Golden Pond, With a Psycho
I Hate Mathematics and Racists
By Lu Chen
Bob Jude Ferrante's New Theory of Vision
By Susan Bernfield
Venice Saved: A Seminar
By Gary Winter
Take the Train
By Aurin Squire
HOLY CITY
By Lewis Warsh
The Sweethearts
By Mario Benedetti
By T. Motley
An Excerpt from Jacques Roubaud's forthcoming novel, The Loop
By Jacques Roubaud
Ginger, A Novelized Memoir in Progress— Comments and Other Confusing Advice From the Editor
By Guillermo Castro
Life Sentences
By Elizabeth Fodaski
Double or Nothing
By Ron Singer


text:
Posts Tagged 'listening'
See, Think, Design, Produce: Randall Munroe's Presentation
The last of the three STDP2 presentations I'll review was by Randall Munroe, creator of the online comic xkcd. I've read xkcd for years and am constantly amazed at the quality of his work.
Munroe started out by noting that it's ridiculously easy to get in your own way by trying to automate a process that can be done perfectly well by hand. As an example, consider a chart showing character interactions in the Star Wars or Lord of the Rings movies.
Original source: http://xkcd.com/657/
Gandalf's a plot hack.
– Randall Munroe
Munroe said that he tried for ten years, off and on, to develop a tool that could translate a script into a character interaction timeline. Finally, frustrated, he drew the graph for the original Star Wars trilogy by hand in an hour. I imagine the timeline for 12 Angry Men took slightly less time to complete.
Displaying data is easy, Munroe argued, but determining which data to show is tough. That said, some presentation modes are better than others. Once he finds an angle he likes, he looks for other ways he can leverage that approach. Recently, he published a graphic on California droughts that uses the physical shape of the state as its axes. I'd love to see this design metaphor used in other graphics.
Original source: http://xkcd.com/1410/
He makes his infographics more palatable by adding humor, such as asides about a specific data point or a joke to indicate that, while he takes the analysis seriously, he doesn't take himself too seriously. That approach lets him reveal that the Environmental Protection Agency assigns a human life an economic value of $8.2 million when performing cost-benefit analysis without inciting his readers.
Munroe came across as a soft-spoken, gentle person who is still slightly uncomfortable speaking in public. That said, his resolve strengthened when he discussed his wife's cancer diagnosis and how he communicated the realities of treatment and survival rates. The image that resulted, "Lanes", is one of the most powerful infographics I've encountered.
He didn't want to leave us on such a somber note, so he concluded by showing us a graphic called "Lakes and Oceans" that he thought was interesting but nothing special. It shows the relative depths of various bodies of water and the ocean floor. He was surprised to discover it was one of the most popular things he published that year.
I enjoyed my time in Seattle. The presentations by Jonathan Corum, Maria Popova, and Randall Munroe gave me a burst of energy that have let me approach my own work from a fresh perspective.
Posted in Creativity, Uncategorized
Tagged with #STDP2, appropriate humor, audience, collaboration, cooperation, Corum, critical thinking, Improspectives, improv, improvisation, informative, introvert, Lanes, leader, listening, live performance, management, managing, Maria Popova, Munroe, performance, Popova, presentation, Randall Munroe, speaking, xkcd
See, Think, Design, Produce: Maria Popova's Presentation
Maria Popova has produced Brain Pickings since October 23, 2006. What started out as an occasional email newsletter sent to coworkers at one of the four jobs she was working to pay for college has turned into a popular and well-regarded net resource.
Her presentation was substantially different from Jonathan Corum's. Corum concentrated on his visual design process, but Popova focused on what she calls combinatorial thinking. Her goal is to combine lots of information with a little wisdom to produce an interesting and useful intellectual product that helps readers live reflectively.
Popova's talk centered on the seven lessons that she learned from the first seven years of producing Brain Pickings. You can find the full post with commentary on her site, but I'll summarize the points here as she did in her talk:
Allow yourself the uncomfortable luxury of changing your mind.
Do nothing out of guilt, or for prestige, status, money or approval alone.
Be generous with your time and your resources and with giving credit and, especially, with your words.
Build pockets of stillness into your life.
Maya Angelou famously said, "When people tell you who they are, believe them". But even more importantly, when people try to tell you who you are, don't believe them.
Presence is far more intricate and rewarding an art than productivity. As Annie Dillard memorably put it, "how we spend our days is, of course, how we spend our lives."
Debbie Millman captures our modern predicament beautifully: "Expect anything worthwhile to take a long time."
Popova went into points six and the seven in a bit more detail, offering quotes from Mary Oliver, Tchaikovsky, Chuck Close, and Isabel Allende to support her points. She also shared a link to an interesting visualization summarizing the sleep habits of successful writers. Though the data was necessarily a bit piecemeal and anecdotal, it appears that late risers, meaning those who typically awake around 10 AM or 11 AM, tend to produce more work but win fewer awards. For someone like me, who is firmly in the late riser camp, the good news is that there is no secret hour of awakening that means you will win a Pulitzer Prize.
She also noted that, in many ways, our work ethic fights us. American culture measures us by what we achieve and, while just showing up is important to success in life, she feels we can let ourselves fall into a routine of meaningless productivity without truly living.
Popova's presentation was substantially different from Corum's and, at first, I was a little put off by the lack of compelling visuals like those presented by a member of the New York Times media team. Once I realized that her focus was more on internal processes as opposed to audience-focused visualizations, I was able to appreciate her points and ended up getting quite a lot out of her presentation. She also landed me as a new supporter of Brain Pickings, earning her the price of a cup of tea each month.
Posted in Creativity
Tagged with audience, Brain Pickings, brainpickings, collaboration, competition, cooperation, critical thinking, Improspectives, improv, improvisation, informative, leader, leadership, listening, management, managing, motivation, performance, Popova, presentation, responding, speaking
Smarter than a CIA Agent?
National Public Radio (NPR) ran an interesting piece on the Good Judgment Program, which is a trial program run by the United States Central Intelligence Agency. The program's goal is to find individuals who can forecast whether certain events will occur, such as a major attack on Israeli soil before May 10, 2014. The program's trial period has 3,000 participants, each of whom makes predictions through a website. The NPR segment featured a 60 year-old pharmacist who is in the top 1% of the group, making her a "superforecaster".
The question, of course, is whether this participant has any special abilities or insights. Program entrants don't have access to sensitive data — indeed, the pharmacist says she simply does a Google search to find information about each question and makes her best guess. Just as some lucky individuals can win five, eight, or even 20 coin flips in a row, I'm curious as to how much of the participants' success (or lack of same) is due to chance. I'm sure the intelligence community is, too. I'd love to see the statistical distribution of forecast success rates to see how it compares to random choices.
Despite the attempts to codify intelligence work in books such as Structured Analytic Techniques for Intelligence Analysis, it's much more of an art than a science. What's worse, humans are notoriously bad at explaining why we did something. Research has shown that we often have no idea why we perform an action, but feel compelled to provide a justification afterward. That explanation is usually based more on how we perceive ourselves as thinking than it is on the actual process.
If you're a performer and you do something good, try to remember the context of the scene and how you felt when you got the input that led to your good choice. Recording your performances lets you recapture more of the feeling than simple memory, which fades quickly and can be replaced by what you wished had happened. Then, the next time you're on stage, try to recreate that feeling so your subconscious can make good choices on your behalf.
Posted in Creativity, Humor, Improv Performance, Memory
Tagged with appropriate humor, audience, business management, CIA, collaboration, competition, cooperation, Improspectives, improv, improvisation, intelligence, listening, live performance, management, managing, memory, motivation, NPR, performance, responding, theater, theatre
Review of Tim's Vermeer
Johannes Vermeer, the 17th century Dutch painter, created works that diverged significantly from those of his contemporaries. Though he painted domestic scenes and portraits, his works' appearance shared more with modern photography than paintings of his era. Where he developed these skills is a mystery — there's no record of Vermeer's training, which is very uncommon for artists of the mid-17th century. Normally artists listed their apprenticeships and other engagements to enhance their prestige. His works also stood out through their lack or preparatory sketches on the canvas. How he produced his work is a mystery.
Tim's Vermeer, a Penn & Teller Film, investigates Vermeer's process. Penn Jillette and Teller, the taller and shorter halves of Penn & Teller, respectively, have in recent years branched out from their magic show at the Rio in Las Vegas. Their other projects include Penn's appearances on Celebrity Apprentice and Teller's well-received direction of Macbeth. The "Tim" of the film's title is Tim Jenison, a technologist, inventor, and friend of Penn's for many years. Jenison surged to nerd prominence in the 1980s with products such as DigiView and the iconic Video Toaster. His company, NewTek, produces LightWave 3D, popular modeling software for artists, designers, and engineers.
During a conversation with Penn, Tim casually remarked that he was trying to recreate a Vermeer painting. Tim's not a painter, but he has an inventive mind, an eye for detail, and an understanding of light from his work as a 3D design software developer. He happened to read British artist David Hockney's 2001 book Secret Knowledge: Rediscovering the Lost Techniques of the Old Masters, which postulated that Vermeer had used optical aids to produce his work. Over time, Tim intuited and tested a process that combined camera obscura projection and a series of mirrors to magnify the subject image and compare the subject's color with that on the canvas. When there is no discernable step at the edge of the comparison mirror, a condition that surely brings joy to professional magicians Penn & Teller, the rendering matches the subject.
The film then describes Tim's efforts to research the piece he has chosen to recreate, The Music Lesson, and build a full-size physical model of the scene in a San Antonio warehouse. One light-hearted moment comes when Tim and the gang visit London and request permission from the Queen of England to view the original work, which is in the crown's private collection in Buckingham Palace. Originally denied access, Penn & Teller recorded a rant that could easily have fit into their Showtime series Penn & Teller: Bullshit! Fortunately, just a portion of this segment played briefly and at very low volume while Penn's voiceover revealed the Queen had changed her mind and granted Tim a half-hour viewing.
While in England, Tim had the opportunity to speak with several experts, including David Hockney. One shot in Hockney's studio deliberately exposes the reflection of the director, Teller, and a cameraman in a full-length dressing mirror in Hockney's studio. It's a nice touch that reminds us we are watching a mediated depiction of a conversation about a mediated depiction of reality.
Back in San Antonio, Tim's team constructs the set and he starts painting in earnest. There are many terrific moments in this part of the film, but I won't spoil them for you. I will say that, at a late stage of the project, Tim's dedication to detail threatened to turn part of the process from a Seurat-like pointillist rendering into a Sartre-like existentialist nightmare. To his credit, Teller chose not to hype Tim's obsession on the project. Rather, he lets the viewer empathize with Tim by bringing to mind pursuits they've taken to unlikely extremes.
I recommend Tim's Vermeer without reservation. It's a compact film, running just 80 minutes, and I plan to buy DVD copies of it as gifts for friends. That said, I did have some small issues with the piece. There were several instances of double exposition, where an interview or voiceover repeated the same information in close proximity. Also, I felt that sped-up sequences where Tim shifted between views of the set's LightWave 3D model were interesting eye candy but went on a bit long and added nothing to the narrative. I found similar set construction sequences to be effective, so maybe I didn't see how the computer graphics furthered the story.
Regardless of these minor complaints, I think Tim's Vermeer is a terrific documentary that will appeal to anyone who has ever thought "That's funny…" and followed their observation to its logical, or perhaps illogical, conclusion.
Tim's Vermeer runs through March 20, 2014 at Cinema 21 in Portland, OR. You can find more information about the film, as well as showtimes and venues in other cities, at its dedicated page on the Sony Classics site.
Tagged with collaboration, critical thinking, Improspectives, improv, improvisation, leader, leadership, listening, live performance, management, managing, motivation, Penn & Teller, Penn Jillette, performance, presentation, review, Sony Classics, Teller, tim's vermeer, vermeer
Variety Keeps Things Fun!
I cringe whenever I hear an improviser say, "Whenever someone does this, I always do that." If you have multiple people doing that, you always get the same result. There are two improv games that rely on this gimmick: Mr. So-and-So and Pavlovian Response. In Mr. So-and-So, every time a player comes on stage, another player endows him with a particular characteristic. For example, a player could walk on stage and be greeted with, "Hello Mr. Yawns When He Talks." When the player honors that endowment, he will yawn whenever he opens his mouth to speak.
Even though I say you shouldn't repeat gags as you go along, I know that players with any significant experience will have characters and bits they can go back to when needed. They're fine in small doses, but don't depend on them.
In the game of Pavlovian Response, every player is given a trigger and an action that occurs whenever the trigger is noticed. A player might bark like a dog whenever someone turns away from her. You can have a lot of fun chaining these reactions together. Perhaps, upon hearing the word the, a player could respond by leaving the stage. Another player could be assigned to clap her hands twice whenever someone leaves the stage. If you want to get crazy, you can endow the light operator to turn the lights on or off whenever someone claps their hands twice.
In offstage life, not every interaction has to be unique. Companies have policies and procedures in place for very good reasons: legal compliance, standards compliance, and maintaining audit trails. For example, if you're in a customer-facing position, you need to have a series of procedures you work through to be sure you weed out the simplest and easiest-to-fix problems. (You're attempting to save your time at the expense of your customer's autonomy, but that's another story.)
One of the best interactions I've had with the company happened very recently. My house has a watering system from Rain Bird. After a power outage, the system turned on, and the only way to get it to turn off was to unplug the system's control board. After working through the manual, neither my wife nor I could get the system to reset correctly. I called the company's toll-free help line and, after a couple of questions to verify my information, the technician simply asked me to describe what was going on. Using his expertise with the systems, he was able to guide me to a solution very quickly. This interaction represented the best combination of procedure and allowing for open-ended input that I've encountered in quite some time.
In the end, your best bet as an improviser is to embrace the reality of the scene as you and your fellow performers have created it, and allow yourself to go in new directions. In business, you need to be ready to face the unexpected, but you should rely on existing procedures that help ensure smooth operations within your company.
Posted in Creativity, Improv Performance, Management, Uncategorized
Tagged with business, business management, collaboration, cooperation, customer service, Improspectives, improv, improvisation, listening, live performance, performance, Rain Bird
Institutional Memory and Improv
One of the best ways to pass on important information is to relate what happened on a trip, in a game, or during warm-ups. The more you know about the variety of situations you can face and how to handle them, the better off you are. Stephen Denning emphasizes the value of these stories in A Leader's Guide to Storytelling:
Listening to these stories isn't merely entertainment: it leads to the acquisition of vicarious experience by those participating. The limitation of sharing stories in an informal setting is that those who aren't present to learn. This limitation was overcome by the Xerox Corporation in its Eureka program, in which photocopy technicians were given two-way radios so they could be constantly in contact and share experiences; the most useful of the stories were vetted and made available on the web to the entire workforce of 25,000 technicians.
In addition to our online forums, ComedySportz maintains an internal wiki of games and warm-ups. A wiki is a shared database of information that can be edited by any member of the group. Wikipedia is the most prominent example of a public wiki.
The Portland team also has occasional workshops in which individual players get 10–15 minutes to share knowledge on a topic we're comfortable with. Some companies have brown bag lunches based on a similar theme. One project I haven't started yet, but hope to soon, is something I borrowed from a former boss at The MITRE Corporation. He sent out a survey asking what languages people spoke, what skills they had, and so on. A spreadsheet or database that contains this information can be extremely valuable when a situation arises and you need someone who can read Gujarati or can recommend a business hotel in the South Kensington area of London.
Posted in Improv Performance, Management, Memory, Teamwork, Uncategorized
Tagged with business, business management, collaboration, competition, cooperation, Improspectives, improv, improvisation, institutional memory, leader, leadership, listening, live performance, management, managing, MITRE, performance, Stephen Denning, strategy
Please, Be Easy to Work With
Comedians make a living by pointing out what's incongruent, unfair, or simply messed up in society. The hack phrase "What's up with that?" (you know the line's overdone when The Jester character on The Fairly Oddparents uses it as his catchphrase) expresses the premise nicely.
You'd think that stand-ups, improvisers, and writers would have a better sense of how to avoid the social traps we make fun of. Not showing up on time, being rude to the gatekeepers who can grant or deny stage time at will, and ignoring time or word limits don't make for promising careers. Very early in my writing career, an editor told me that hitting all of my deadlines would automatically put me in the top 10% of authors. That's kind of depressing, but I'm glad the bar was set so low. Once I broke into the writing field, good communication and attention to deadlines let me build up my portfolio and my network.
In an article published on The Atlantic web site, Peter McGraw (the taller and more academic co-author of The Humor Code) cited one of his studies investigating the personality traits of successful improv comedians:
The [Humor Research Lab] once studied 600 novices and experts in the Upright Citizen's Brigade, an improv comedy troupe, and found that the only difference was that the experts were more conscientious, McGraw said.
"The really screwed up people aren't comedians, they're criminals. They're in jails, and they're not funny. They're sad and angry," he said.
"No, there's something else that predicts success in comedy."
The article goes on to cite studies that indicate intelligence is a good predictor for success as a comedian. It takes smarts and a certain social adeptness to find bridges between concepts, identify the incongruities, and shape them into humor. It also turned out that, at least in another study that asked undergrads to create captions for New Yorker cartoons, guys were funnier. Why might that be?
Part of the answer, from a sociological standpoint, is that women often use humor as a proxy for intelligence when judging potential mates. If a guy can make you laugh by identifying and commenting on the incongruities in life, you might have found a match. The other aspect is the interpersonal version of stage time and reps: guys attempt a lot more jokes than women in conversation. That's good and bad — the guys get more practice, but the other folks in the conversation have to suffer through some atrocious material. Golf pros love and hate "Pro-Am" days, where they play with local amateurs. One golfer said he has a "Wednesday Face" that he puts on for pro-am days. He knows he's about to hear Bill Murray's "It's in the hole!" from Caddyshack and other hack lines a few hundred times from amateurs who use them to crack up their buddies on Mondays.
Repeating bits isn't intelligence. At best, it's mimicry. At worst, it's a slow torture visited upon someone who takes his craft seriously. Show up on time and be pleasant. Be funny if you can, but please don't try too hard. You'll just make everybody feel bad.
Posted in Creativity, Humor, Improv Performance
Tagged with appropriate humor, audience, Bill Murray, business, business management, Caddyshack, collaboration, competition, cooperation, Fairly Oddparents, Humor Research Lab, HuRL, Improspectives, improv, improvisation, introversion, Joel Warner, leader, leadership, listening, live performance, management, managing, performance, Peter McGraw, responding, speaking, The Atlantic, The Humor Code


Just as things were settling down in the aftermath of a polar vortex in the Midwest, a new issue presented itself at Mayo Clinic's Rochester campus. And staff stepped up to meet the challenge.
When the sun rose on Thursday, Jan. 31, staff at Mayo Clinic's Rochester campus found themselves on the tail end of an arctic outbreak of historic proportions. The mercury had dipped to 30 degrees below zero Fahrenheit in Rochester, Minnesota, that morning, but an end to the bitter cold was in sight. The weather forecast predicted a significant warmup later in the day. A sigh of relief and a 70-degree temperature swing were on the horizon.
Members of the Healthcare Incident Command System — a multidisciplinary team that's mobilized when routine operations at Mayo Clinic are interrupted — thought everything would be back to normal by the afternoon.
Then an alarm sounded on the twelfth floor of the Guggenheim Building. The incident command group had another challenge coming its way.
Guggenheim 12 houses mechanical systems for the building that is home to an array of laboratories. Hundreds of Mayo Clinic research staff work in Guggenheim, studying everything from mechanisms of stem cell aging to viral and gene therapies. All three of the building's air handling units had frozen in the extreme cold. That meant a controlled air supply and climate control no longer were possible on floors 13 through 20.
Joseph Schneider, unit head for mechanical systems in Facilities Operations, and Cameron Wood, heating, ventilation and air conditioning (HVAC) shop supervisor, went to assess the situation. What they found wasn't good.
The water coils in the air handling units had frozen. They had to be thawed out, and then checked for leaks and repaired. It wasn't going to be a quick fix. And because all three units were out of commission at the same time, the usual option of using a backup unit was not available.
That situation prompted a second activation of the Healthcare Incident Command System — this time with significant input from Hilary Blair, Research Operations administrator and Nicole Thome, biosafety coordinator.
They had to figure out the answers to two important questions: Are staff on the affected floors safe? Is any research in danger? Most of the affected floors contain eight to 10 laboratories. In all, more than 300 staff member were thrust into uncertainty that morning. "I needed to get over there to understand the impact," Blair says.
"Research typically isn't pulled into [the Healthcare Incident Command System], and we really appreciated the support structure they provided."
Together with Thome and colleagues from Facilities Operations and Environmental Services, Blair made the first of many rounds at Guggenheim, carefully assessing the situation on each of the upper floors.
"My concern was safety," Thome said. "If we have an HVAC impediment, is that going to change how we're working safely in the building?"
Even though chemical hoods and ducted biosafety cabinets were technically working, it was decided to post signs asking staff not to use them. "The hoods would not have been functioning in a way that would safely ventilate chemical and biological substances," Blair explains.
There also was concern about air pressure. Due to the unregulated airflow, hallway doors became hard to open or would slam shut, and elevator doors wouldn't completely close.
Once the team established that staff members were not in any danger — though much of their work was halted — attention shifted to another concern. By noon, the focus was on the more than 100 freezers that contained samples and other substances for use in research experiments.
"The value of those assets can't be overstated," Blair says.
While the freezers kept running, the temperature in the rooms where the freezers were housed rose to over 100 degrees, due to the problems with the heating system. That put an enormous strain on the freezers' compressors, as they worked to keep their contents at 80 degrees below zero Fahrenheit.
"If the freezers fail, and we have to clean them up and move the contents out of the building, we'd have to follow Department of Transportation regulations, which would present a huge logistical challenge," Thome says.
Blair and Thome put their confidence in their colleagues from Facilities Operations, who, together with a team of local plumbers and sheet metal workers, worked feverishly to get the first air handling unit back up and running.
They succeeded. The first air handling unit came back online that evening. That seemed to stabilize the temperature in the freezer rooms. But it turned out that one revived air handling unit was not enough.
"My heart sunk when the freezer rooms were still over 80 degrees," Blair says. "We needed to make sure these freezers weren't going to fail."
Plumbers immediately began work on the second air handling unit. They worked through the night in an attempt to make the necessary repairs. But by Friday morning, Schneider had bad news.
"Unit two had so many breaks in the water coils, they were not repairable," he says. "At that time, we decided to run the unit without the coils and try to repair the third air handling unit."
After another morning of intense repair work, the picture looked much more hopeful. By noon, the second air handling unit was running again, albeit with reduced capacity. Nevertheless, the building was fully operational, and staff could resume their normal work.
Plumbers continued to work throughout Friday and much of Saturday to repair as many of the coils as they could on the third unit.
"I really have to commend the entire team," Schneider says. "They had to deal with an enormous amount of breaks that had to be repaired."
Blair also has high praise for Schneider's team and the contractors who worked to get the upper floors back online. "They were very responsive and very communicative," she says. "We would not have gotten through it without them."
Blair adds that many research teams pitched in to monitor temperatures. One supervisor even volunteered to spend the night in Rochester, in case things went awry.
"The collaborative spirit from all involved, coupled with formal incident response processes, provided a foundation for effective coordination and communication, and successful recovery."
Thome also praises Blair for her efforts as a "boots on the ground administrator" and points to members of the staff who were willing to walk the floors to protect colleagues, equipment and assets. And she's grateful for the support her team received from the Healthcare Incident Command System.
"I was impressed," Thome says. "Research typically isn't pulled into that group, and we really appreciated the support structure they provided."
That's great feedback for Byron Callies, Jr., from Mayo's Clinical and Business Continuity/Emergency Management, who served as incident commander when the Healthcare Incident Command System was activated.
"A less-coordinated effort could have resulted in significant disruption or even loss of critical research," Callies says. "The collaborative spirit from all involved, coupled with formal incident response processes, provided a foundation for effective coordination and communication, and successful recovery."
Thome adds that she was impressed with the process from beginning to end. "We really didn't lose more than one workday, and credit goes to the massive team involved."
Check out Mayo Clinic's research laboratories.


Tooth Pain In Staten Island? Call Dr. Fred Hecht ASAP!
Aching Jaw In Staten Island?
Hi. I'm Dr. Frederick Hecht, and today in the Staten Island dentist blog, I want to look at some of the conditions that may result in jaw and tooth pain.
Many of my Staten Island patients who come to me with jaw pain have some type of dental problem, such as an infection or a problem in the temporomandibular joint (also known as TMJ).
The source of jaw pain and toothaches can easily be identified at your Staten Island family dentist, and treatment can begin from there. But remember, tooth pain shouldn't be ignored.
If you are looking for quality dental care around the Staten Island area, please consider Staten Island Dental Care. I have been serving the greater Staten Island area since 1976. If you have any questions about oral health or any cosmetic dentistry procedures such as teeth whitening, veneers, bonding, or dental implants, give us a call today at (347) 695-4370.
And so much more! Whether you need a routine dental check up or are considering a smile makeover, contact our comfortable staff today!