text:
KMKY: ARTIST TALK SERIES #5
INTERVIEW WITH KMKY ARTIST JENNY BARTHOLOMEW ON COLLABORATING WITH TERRY WILLIAMS
Arts Project Australia's first exhibition for 2014, Knowing Me Knowing You (KMKY), will question the collaborative process and explore the complex nature of collaboration between professional artists.
We invited artist and curator Lindy Judge to work with us to create an in-depth collaborative investigation involving ten of our studio artists and ten external contemporary artists. From 2012 through 2013, cinematographer Shelley Farthing-Dawe has been filming the evolution of the project as a film journal that will later be edited into a documentary.
This post will be the fifth in a series of artist interviews, and will focus on the collaboration between Arts Project Australia artist Terry Williams and external artist Jenny Bartholomew.
Artists Terry Williams and Jenny Bartholomew working on their collaborative KMKY project in the Arts Project Australia studio.
Jenny Bartholomew discusses working with Terry in the following interview:
KNOWING ME, KNOWING YOU INTERVIEW
Tell us about your background. Have you studied? What is your practice and have you always been an artist?
JB: I went to Art College and graduated with a degree in painting in the mid-eighties from RMIT. Some years later, after spending a year travelling in South America, I became more interested the way art emerges through the material culture of everyday living, in things like ceramics and textiles. So I went back to college to study ceramics, and eventually did a post-graduate degree at the VCA. These days my practice is quite mixed, involving work in textiles, ceramics, painting, and the use of found materials in sculpture and installation. My work is very much about hand making and arranging. Like many artists, I have also had to work at other jobs as well – I've done my share of waitressing and ticket selling, but I also worked for about a decade as an arts facilitator, and have done a few community and artist in residence projects.
Where is your studio based? Describe it. How often do you work there?
JB: While I do a lot of work at home (I'm always making something), over the years I've also usually maintained a separate studio space. But when I became pregnant about six years ago I stopped using the studio I had – the guys there were using a lot of chemicals and stuff like that – and after my son Ben was born, it just wasn't practical. A couple of years ago I set up a small ceramic workspace in a shed in my mum's back garden, and that's been really handy while Ben's been small. But most of my work over the past five years has been done at home.
In the middle of this year (2013) I was really lucky to begin a twelve month residency as one of the studio artists at St Vincent's Hospital in Kew. It's been great to be able to have a clear separate space again, with room to try out new arrangements for my on-going 'Conversation Pieces' installation project. It's an interesting space, as it used to be a small hospital ward and it still has some of the fittings and other things in place. I try to work there a couple of days a week, but I expect I'll have more time next year when Ben starts primary school.
Exhibitions are a big part of an artist's life. With that in mind, where have you exhibited your artwork recently? Where would you like to show your work in future?
JB: At the moment I don't have a relationship with a commercial gallery, so most of my exhibition activity has been in public gallery spaces. Because of the nature of my work, I've shown quite a bit at Craft Victoria over the last decade, but also in regional galleries and spaces like the City Library in Flinders Lane – I showed a suite of small arrangements in their display cases. Early next year I'm doing another display case arrangement project at the Richmond Town Hall, and I also have an installation to do for St Vincent's Hospital in Fitzroy – and, of course, the collaborative work in KMKY.
In 2007 I did a big outdoor installation in the courtyard at the LaTrobe Regional Gallery in Morwell, and I'd like to do more work of that scale, perhaps in a non-gallery space – over the last few years I've been eyeing off greenhouses and related buildings in botanic gardens and places like that. Of course, it would also be great to get the chance to do bigger installation projects in gallery spaces as well – for some reason I seem to have been doing lots of little things over the last few years, so it would be good to find opportunities do work on a larger scale.
JB: Everyday stuff, patterns of living, the objects we use, histories of these patterns and objects, places. One of my favourite places is Gabo Island, off the coast of far east Victoria. Its tiny and remote, it's exposed buffeted by winds and incredibly beautiful. One of my favourite activities is to 'mud lark', which is to collect from liminal spaces like tidelines, the best being the banks of the Thames at low tide (the teeth in the 'mouth work' are bits of old ceramic pipe collected along the Thames).
How did you first find out about Arts Project Australia?
JB: I've known many of the artists working at Arts Project for a long time, and have worked with some of them in other contexts in the past.
The KMKY project has been collaborative for all involved. Do you normally work collaboratively? If so, can you talk a bit about they way you approach this process. If not, can you talk a bit about why you have never worked collaboratively before working on KMKY.
JB: I've done quite a bit of collaborative work over the years, sometimes with just one other artist, at other times in larger collaborative projects. I like to leave things really open, to leave room for different ideas and practices to react with each other. One of the things I like about collaborative projects is the freedom they give you to enter and interact with another person's practice – it's exciting, and you always learn something you didn't expect.
What did you hope to get out of this collaboration? What were your expectations?
JB: Working with Terry, the conversation wasn't really verbal to begin with, but a conversation began between different pieces of work we brought into the project. Collaboration takes time, and just working alongside each other allowed us to build up a trust and rapport – you can't rush good art, but it can happen really quickly. Terry's a devil with a needle and thread.
Were there any highlights along the way that particularly stick out in your mind?
JB: Terry made a piece in response to a conversation and then it went missing before I had a chance to see it, when it resurfaced, it was so exciting because I knew at once that we had found our groove.
Were there any challenges? If so, can you explain?
JB: Making art can be challenging, some days you're on, some days you're off, and some days you just have to let it go. It's knowing when to do this, and respecting each other's making-rhythm.
How do you feel now that the project is finished and waiting for exhibition? Give an insight into the process? Are you happy with the final artwork(s)?
JB: I'm very happy with the outcomes, and don't see this as the end but as something 'to be continued' …
How would you describe the finished artwork?
JB: It's a conversation, a funny conversation.
What do you hope happens to the work once this exhibition is over?
JB: It would be great if it could go on tour, to allow a bigger audience to see it – perhaps to some regional galleries. Of course, it would be great if it was acquired by a really important art gallery for a lot of money … ha ha!
Would you ever work collaboratively again? Why/why not?
JB: You bet. In fact, I'm already involved in other collaborative projects. I love bouncing off other people's ideas and work, it makes you rethink and evolve your own practice, it's so stimulating.
Artists Terry Williams and Jenny Bartholomew looking at their collaborative KMKY project in the Arts Project Australia studio.
Here is a sneak peak of one of Terry and Jenny's works that will be featured in Knowing Me, Knowing You next week:
Terry Williams and Jenny Bartholomew, Untitled Thinking, 2013
material,wool, stuffing, lights, battery
TRW&JB3D13-0003
© Terry Williams and Jenny Bartholomew
Supported by Arts Project Australia
All image credits: Penelope Hunt
Thanks to our Major Supporters Arts Victoria for a Community Partnerships Grant and the Besen Family Foundation:
Thanks also to the following Supporters for their in-kind contributions:
SHELLEY FARTHING-DAWE for giving additional time and resources to the project
SILK CUT LINO for sponsoring lino for artists Angela Cavalieri & Fiona Taylor
FOLLOW THE EVOLUTION OF KMKY ON:
FOR FURTHER INFO & MEDIA ENQUIRIES:
Sim Luttin, Gallery Manager & Curator: [email protected], +61 3 9482 4484
Melissa Petty, Gallery Assistant: [email protected], +61 3 9482 4484
Twitter: @artsprojectaust
Pinterest:@artsprojectaust
Instagram: @artsprojectaust #artsproject
Facebook: facebook.com/artsprojectaustralia
facebook.com/artsprojectgallery
KMKY OPENING HUGE!
Read more from Arts Project Australia.
Explore our exciting suite of exhibitions, articles, videos, publications and more.
2022 APA ANNUAL GALA | VIRTUAL TOUR
Arts Project Australia's Annual Gala is a celebration of the achievement of our artists and acknowledges their unique contribution to contemporary art. Featuring over 200 artworks by more than 150 APA artists, the Gala is an exhibition where the buyer gets to walk away with a new artwork at the...
2 X 2 ARTIST SOLOS | VIRTUAL TOUR
Arts Project Australia presents two concurrent solo exhibitions by APA artists Kate Knight & Simon Paredes. Kate Knight is a painter, ceramicist and print-maker whose work shows a keen eye for the ornate, often focusing on repeated motifs, while Simon Paredes works in coloured pencil on paper, utilising bold, simplified...


text:
No State, No Nation: Balkan Federation
By Andrej Grubacic
Posted in: Anarchy, Broad Theory, Vision/Strategy, Central America, Europe, India, Latin America, Mexico | 1 comment
"It is the barbarians who now represent faith in human destiny and future of civilization, whereas the "civilized people" find their salvation only in barbarism: the massacre of the Communards and the return of the Pope"
Michael Bakunin,Protestation of the Alliance, 1871
"If in order to win it were necessary to erect the gallows in the public square, then I would prefer to loose"
Enrico Malatesta, Pensiero e Volonta, 1924
"Does such an environment exist? It does not. It follows, then, that it has to be created."
Michael Bakunin, Integral Education, 1869
A Few days ago, the famous British integrated intellectual, Timothy Garton Ash, invited us to "tell our Kosovo". "Kosovo is many things to many people", asserted Ash, "tell me your Kosovo and I will tell you who you are". Allow me then to start by telling you my Kosovo, and my Balkans. I advocate another Balkans, neither capitalist nor bureaucratic-socialistic, a trans-ethnic society with polyculturalist outlook that recognizes multiple and overlapping identities and affiliations, based on voluntary co-operation and mutual aid, direct democracy of nested councils and a self-managed economy with participatory planning, framed within a regional frame of a federation.
I believe that the Kosovo question can only be answered in a regional framework, and I believe that the Balkans can provide a model for another Europe, a balkanized Europe of regions, as an alternative to both transnational European super – state and nation – states. Balkanization of Europe would be premised on the politics of autonomous regions and plurality of cultures. I see the region, an entity once eroded by the centralized nation-state and capitalism, as the basis for the regeneration and reconstruction of social and political life of Europe. My Balkans is the Balkans of regional units, rather than nations, recuperating their culturally diverse, regional polycultural identity, which had been lost in it's incorporation into nation-state frameworks. For these reasons, I do not advocate the support for a new, mono-ethnic, Kosovo nation-state.
The Kosovo movement Verodonstovje has, as its motto, a catchy phrase: "no negotiation – self determination". The motto that I would like to offer is very different: no state, no nation – Balkan Federation. The project of Balkan federation is a project of radical decolonization, poly-culturality, social change from the bottom-up, analogous to, and in active communication with, such contemporary projects as the politics of zapatismo in Mexico and Argentine horizontalidad.
Regional experiences of the Balkans, such as its historical experience of self-organization, could balkanize, and denationalize Europe's political structures. You will notice that I use the term Balkanization in a different way then it is being used by pundits and Euro-American balkanologists. Balkanization is, one might say, an invention of political balkanologists. This term is a fantastic abuse of language. One could even make a little joke and suggest that Euro-American politics in the Balkans was, historically, guided by three B's: balkanization, barbarity and bombs. People in the Balkans are barbarians, or so this euro-imperial line goes, they tend to balkanize, and the only way to prevent that is to bomb them (or sell them bombs so they can do it themselves).
Before examining, at the end of this reply, your interesting and constructive arguments, I want to broach discussion of a few more general presuppositions and then try to contribute a few elements for a political reflection on Kosovo question.
Political balkano-phobia
If we take a historical view, I think that we could identify a phenomenon, or, rather, a whole complex of elite reactions, that I propose to call "political balkano-phobia": an elite fear of autonomous spaces. The European state system of the 17th and 18th century arose as a result of successful fights for the formation and territorial unification of a regional identity. The state-architects of Europe of that time were, in fact, obsessed with the demon of the Balkans, balkanization being taken here in the sense of an alternative process of territorial organization, decentralization, territorial autonomy and federalism. Balkanization, a process of constant fission and fusion, has been a remarkably threatening alternative for the emerging large, centralized, coercive systems. Debalkanization became a name, and an excuse, for a process of eliminating the threat of autonomous political spaces that lack any specialized and permanently constituted coercive authority separated from the society, as well as of eliminating the region's memory of its anti-colonial and anti-statist struggles.
Today, in this new era of integration, the Balkans, and balkanization, are presented and projected to the world opinion as nothing but historical residue of "primitive nationalisms", again poses the threat to delirious European bureaucratization -just like in the era of the Absolutist State- at its very base. The EU is unsettled by the prospect of a politically rebellious (unstable) region, inside of, and against, the imperial agglomeration. Listen to the words of the Hungarian prime Minister: "The problems of the Roma are not locked on the territory of the individual EU member states, because the free movement of people means free movement of social problems". Debalkanization, in a sense of a pacification of "social problems", is essential for the future integration, in this new era of European history. It signals the need of the European elites, and local oligarchies, to neutralize any potential- and non state-nationalist- alternative political design.
The real choice of our times is, more dramaticaly put, the one between barbarism and balkanization.
To say that Balkan nationalisms are somehow not real would be dishonest, even ludicrous, and in any event very irresponsible. But to say that inter-national and ethnic strife determine Balkan identity is to play into the hands of dominate Euro-imperial discourse. I would even advance a thesis that the Balkans, as a region, is much more courageous, even if sometimes tragically unsuccessful, in it's attempts to discover ways to confront the ethnic and confessional differences. It is enough, I think, to remember the courageous example of the former Yugoslavia; and then to compare it to Euro-American massacres of Jewish and Arab people, Amero-Indians, and it's historical legacy of feudal wars, colonialism, slavery and genocide. Who are the real barbarians? One of the crucial aspects of balkano-phobia is the particularism of the European universalism. Eurocentric universalism was forged, as an ideological balkano-phobic response, even before the colonization of the Americas, as a process of "othering" of the Balkans, in the struggle to "break the heavy, mute spell of wilderness," where the Balkans had became a symbol of everything mysterious and threatening in European culture. The Balkans became a "wild Europe", an entangling, intricate labyrinth inhabited by the creatures of sin, insolent nations, incapable of governing themselves, as a place in the heart of European darkness, where an evil thought will carry a good man out of the light. A place outside, if on the doorstep, where people need to be evangelized in the name of civilizing missions, human rights and civil society.
Allow me to sketch, for our readers who are not familliar with our Balkan peculiarities, something of a background. So what is this situation in which Kosovo, formally still part of Serbia, finds itself today?
Berlin's Institute for European Politics has just issued a 124 page long report, written on the behalf of the German Army. According to this interesting document, multi-ethnic society does not exist outside the bureaucratic pronouncements of the international community (in Trouillot's memorable description, the international community is a "Greek chorus of contemporary politics. No one has ever seen it, but it is singing in the background and everyone is playing to it."). The mission of the European Union, suggested by Ahtisaari, is not sustainable in either a conceptual or analytical sense, say the authors of the document. Kosovo is to be made destitute by bad management, corruption, and organized crime that involve not only Kosovo politicians but also members of European administration. The role of the United States, the document reads, is also counter productive: the US is aiding the members of organized crime groups, giving training to former members of the Kosovo Liberation Army, and spoiling European efforts to investigate war crimes. According the 2005 analysis by German's foreign intelligence (BND) former Prime Minister Haradinaj plays a "key role in a broad spectrum of criminal, political and military activities that significantly affect the security situation throughout Kosovo. The group, which counts about 100 members, is involved in drug and weapon smuggling, as well as illegal trade in dutiable items". The so-called "system Haradinaj", writes Der Spiegel, is supported by the regions de facto rulers from the West, represented by a string of envoys from the UN, NATO, EU and OSCE. At the same time, we can read in the European Stability Initiative Report that the average annual income is 1200 euros. Unemployment estimates range from 28 to more then 40 percent, with remittances from family members abroad comprising the second largest source of income, and accounting for 13 percent of household income. This rate has been dropping as Kosovo émigrés are returning home.
The Holbrook option
There are quite a few options on the table. One colonial and two nationalist. Serbian nationalists insist on "autonomy without independence". Albanian nationalists insist on " independence and autonomy". The EU and US are imposing, under the so-called Ahtisaari Plan, an "independence without autonomy". Russian politicians talk about the possible use of their veto in the General assembly if the wishes of Serbian nationalists are ignored. Serbian and Albanian nationalist politicians are in the process of long and not successful negotiations.
I think that we can safely assume that the future of Kosovo has already been decided. The so called negotiations are a charade, with the sole purpose of giving some illusion of legality. In an interview given with the Balkan Investigative Research Network, Richard Holbrook, America's former Balkan negotiator, says that independence, now or next year is inevitable: Serbia has lost the "moral rights to rule Kosovo". "The Russians don't give a damn about the Serbs. They care about Georgia. They are incredibly angry at Saakashvili. They want to overthrow Mikheil Saakashvili…"The history is on the side of the Kosovo Albanians for the first time in 800 years. The horrible events of 1912 and 1989 are in the process of being reversed. Albanians are very understandably impatient.. [and] I share that impatience". He does admit that "The whole area is full of organized crime … But our goal is not to fix every problem in the universe". Then he goes on to ask: "Where is the Kosovar Nelson Mandela?"
His Hannibal Lector-style cynicism and his exquisite subtlety aside, I think that Holbrook is right, and that Russia does not intend to interfere for the sake of Serbia. That is also the opinion of Fodor Lukjanov, editor of one of the leading foreign policy magazine in Russia (Russia in Global Politics), who, in an interview given to radio Free Europe, says that Russia is not going to use her veto power, but will support some version of the Ahtisaari Plan. I am not at all convinced that Georgia is what is at stake here. As is usually the case, the truth is simpler. Kosovo and Metohija are the largest deposit of lignite in Europe. According to the web magazine Energy Observer Russia is very interested in these reserves. The fact that much of the province's wealth lies in minerals is an advantage because Kosovo's mining tradition ensures a pool of skilled workers, and mineral investors are not as likely to be scared away by Kosovo's economic chaos, as it says on the web site. Russia is, in my opinion at least, using the opportunity to negotiate better terms for the privatization of Kosovo's minerals. To put things very simplistically, as Zbigniew Brzezinski likes to say.
It is, at the same time, painfully obvious that United States will not allow anything short of supervised independence of Kosovo. In a letter- report of the German conservative politician Willy Wimmer to the former German Chancellor Schroder, we can find the outlines for the US policy in the Balkans: the purpose behind the Kosovo war was to enable the USA to correct an oversight of General Eisenhower's in the Second World War and to establish a US military presence in the Balkans with the perspective of controlling the strategically important peninsula; the American aim was to draw a geo-political line from the Baltic Sea to Anatolia and to control this area as the Romans had once controlled it; for all this, the US needs a speedy recognition of Kosovo, the exclusion of Serbia from Europe, and to give people's self determination a priority before all other regulations or rules of international law.
The Radical Left and Kosovo question
This complicated situation presents a very difficult dilemma for the radical left, and it frames the complex and sensitive nature of our conversation about Kosovo's future. It poses complex, deep and unpleasant questions.
Let me come try to address some of your criticism, which I find to be very inspiring and constructive in its tone. It seems to me that you propose a very European solution to our Balkan problems. Your answer to the Kosovo question is to establish new States, built on seemingly unavoidable ethno-nationalist principles. You object to my "self avowed utopian approach", and see it as not political enough. What I think is happening is that we have different ideas of what politics is. This is probably related to the differences, and concrete disagreements, inscribed in our respective political traditions: anarchism and marxism-leninism. By politics I mean an organic, dialogical, shared and participatory activity of the self-governing public. What you call politics I would call state-building or statecraft, a set of operations that are premised on the seizing the State power, and which are realized through a political party, or political movement; a miniature State, that replicates the State in its organization. For me, this approach intimates precisely what you reproach me for, and that is an abdication of a genuine politics, with a grave concomitant and related symptom of atrophy of political imagination. It prevents critical and political reflection on the social change, whose meaning would lie in the attempt to bring into being other possibilities for human existence.
I do not avoid the national question, in proper or any other sense. But I do reject the nationalist-as opposed to polycultural- and statist solution, Serbian and Albanian, in every sense.
The radical Left should not worship the status quo, and should not adore fait acompli. What we need in the Balkans, where daily papers are rarely our morning prayer, but rather our brutal colonial farce, is a conquest of a point of view beyond the given, therefore a work of a new, restored politics that separates recognition of peoples creativity from adoration of power of facts. For the resurgence of the radical decolonization project, new political objectives and new intellectual attitudes are required.
Your solution is support for "the right of Kosovo to self-determination, to its own independent state." This is, of course, a very legitimate position to take, but it leaves us with two major problems.
Firstly, I do not see how this proposal is real. It seems to me that it is (even) more utopian then my own. You reproach Noam's advocacy of partition on the grounds that it would inflame "still further the already inflammatory state of Albanian-Serb relations", and maybe even "lead to yet another war over new ethnic border lines, and to yet another round of ethnic cleansing of Albanians from majority Serb districts and vice-versa". I agree with you. But something does not work here. Your proposal is vulnerable and open to criticisms for the precise same reasons. In my opinion, the future of Kosovo has already been decided in the gentlemen club of Europe, US and Russia. So what is that we can do? If our intention, the most fundamental one, is to care about actual human lives, and not for dead principles, if Kosovo becomes independent, as it almost certainly will, the fate of Roma and Serb civilians is sealed. They will be ethnically cleansed. The ones who manage to get out of the Kosovo alive, that is. The UN refuge commision is already preparing for this. Even the former Ambassador to Serbia, Wiliam Montgomery, certainly not a Serbian nationalist, warns, in in his weekly column in the Serbian weekly Danas, that "Serbs in Kosovo cannot trust the international community and the gurantees given are no more worthy then paper on which they were writen". If the radical left decides to support the state-ethnic solution, it will have to support the right of Serbs and Roma to secede. Once the right for Albanians to secede from Serbia is established, no-one will be able to deny the same right to the others, including, perhaps, or even very probably, to Republika Srpska, the Serbian part of Bosnia. And that will take us right back to Noam's solution of inevitable partition.
My fear of inevitable ethnic violence is supported by a recent proclamation of Hisen Durmisi, one of the leading activists of Vetenovedosje (Movement for Self-determination, or MSD) to Balkan Insight: "Decentralisation means secession and secession means war"… This will be peoples war for freedom, and Vetevendosje movement will be there to lead it."
This brings us to another weakness of your position. You maintain that MSD is an "anti-colonial movement". Perhaps so. The question is if we should support this movement.
I like their sense of political humor. Twice they surrounded the UNMIK building with a yellow tape saying "Crime scene – Do not cross". And they have a skilful sense of euphemism: "UNMIKistan", "UNMIKolonialism", playing with words like"F-UN-D" for "the end", or "T-UN-G" for "goodbye" in Albanian. While I completly support their fight against "autocratic neo-colonial power", I am very skeptical as to the other part of your argument, or your belief that "MSD is not serbophobic". They appear to carry the flame of a very traditional Albanian ethno-nationalism. The leader of MSD is Albin Kurti, who I have had an opportunity to meet, back in the days when he was a student representative of the Kosovo paralel University. Kurti was, at that time, despite his dreadlocks, a fervent Albanian nationalist, advocating the legitmacy of the Great Albanian project, and of a very particular rural nationalist utopia. I have not heard anything about him until the moment when he became a political adviser to the KLA (UCK), a narco-guerilla group with a rather limited political imagination. I have read the manifesto of MSD and this document does not mention, in a single word, the idea of co-habitation or of an internationalist society. A journalist friend of mine, who lives and works in Kosovo, tells me that among the many colorful and intelligent stickers and graphiti of MSD, you can also find things like "Smite the Serbs". He also mentiones the relationship between MSD and "Balli Kombetar" (a Nationalist Front, right wing group that advocates the monoethnic project of Great Albania). I do not have enough information, but this is more then enough to make me uncomfortable.
In some of my writings on the Balkans I have tried to demonstrate that the case of Croatia, Slovenia, Serbian parts of Croatia and Bosnia, and Kosovo, is different, significantly so, from the history of anti-colonial independence struggles in the other parts of the world. We would be making a serious mistake if we would try to apply, or rather to impose, in a mechanic fashion, the same analytical and political framework. To use a very local joke, Otpor! does not always translate as "resistance". The reality on the ground is very complex and very nuanced; it defies tailor-made solutions, reflexive angeleology and demonology of particular struggles, and recognition of this nuanced reality demands from us to patiently tolerate regional complexities.
You further say that: " As for Serbia's claims to Kosovo, it is critical that the Serbian radical left fulfils its internationalist duty by opposing these nationalist claims". I could not agree more. But I also think that it is critical, in the very same way, for radical leftists to oppose Albanian nationalism. How can we oppose one nationalism and support another? We must refuse both. We should refuse all the above mentioned balkano-phobic alternatives for Kosovo, however "utopian" this might sound. What we can do is to lend our concrete support to the projects of mutual aid, mutual solidarity, poly-cultural identity, and politics of freedom.
I was always allergic to demands, expressed sometimes by other socialists, that anarchists need to come up with a "position" on the national question or imperialism. Anarchism is not a political party, a single political line, and there are as many "positions" as there are anarchists. But, this being said, I do believe that there is one fundamental common premise. Let us call it a prefigurative promise. We cannot create a future that we want by supporting, in the present, those projects, and those movements, that contradict our vision of future. "If in order to win it were necessary to erect the gallows in the public square, then I would prefer to loose". Or not to choose, between imposed balkano-phobic solutions. To refuse the rationalization of the real, rationalization of the imposed alternatives, colonial and state-national.
We, the people of the Balkans, need to go back to, and build upon, what is the most precious part of our history, and that is a polycultural vision of multi-ethnic, indeed trans-ethnic, anti-authoritarian society. To understand the scandal borne by the word " Balkans" and rediscover the trenchancy of its idea. This kind of society is possible only in the framwork of a Balkan Federation, with no state, and beyond nation. A world where many worlds fit. If this is not our reality today, it follows that our duty, our only duty, is to fight to make it our reality tomorrow.
No State, No Nation: Balkan Federation | Idler on a hammock	March 28, 2014 5:26 pm Log in to Reply
[…] via ZCommunications » No State, No Nation: Balkan Federation. […]
Grubacic's:
The Balkanization of Bosnia
Richard Holbrooke, the Butcher of the Balkans
Don't Mourn, Balkanize! Essay After Yugoslavia
Don't Mourn, Balkanize!
New Rounds of Enclosure and Resistance: Fighting Notes from "Transitional" Serbia
My Resoc Interview
Wobblies & Zapatistas: Talk at the Anarchist Book Fair
Wobblies & Zapatistas
Wobblies and Zapatistas

redpajama_set_name: RedPajamaCommonCrawl


This is likely the most unusual antenna design you'll find anywhere. It's a product of my experimentations with loop loading that I was conducting approximately a decade ago. In this particular case, I was looking to see if it was possible to have a very short dipole demonstrate good radiation efficiently plus a respectable bandwidth. The "Galaxy" dipole not only met that criteria, it provided a most useful bonus as well.
I'm not sure whether to say this dipole is omni-polarized or it just simply has no definitive polarization. Whatever the case, one of the most interesting aspects of the "galaxy" dipole is that one can tune it, say, on a pair of sawhorses on the ground, and the tuning will hardly change when it is elevated high above ground. Similarly, one can place it adjacent to wires and metal poles with equal results. In other words, it does not– to any significant degree– interact with the ground, or nearby metallic objects or wires. I suspect this is so because the antenna has no straight wires, lumped inductances, or a well defined polarity with which to induce mutual coupling or strong ground currents.
Since the radiation from this antenna is unlikely to load, by any great amount, into the network of wires, electrical conduits, etc., that are usually found in one's attic, this could prove to be the best little attic dipole ever, as very little of its radiated energy should get absorbed by its environment.
The "galaxy" dipole consists of approximately 50½ ft. of copper wire that is formed into a series of sinusoidal waves that become progressively smaller (or larger, depending upon the direction). A greater portion of the wire is twice folded back on itself in each half, with its waves occurring in both horizontal and vertical orientations to form a shape that is somewhat reminiscent of a series of spheres that have progressively smaller circumferences away from center. The end result is an electrically resonant dipole that is about ½ normal length that employs no lumped L or C or LC constants.
A prototype was made of #12 solid copper wire using two joined 8′ lengths of 1½" PVC tubing as a support structure. Holes, in groups of four, are drilled through the PVC tubing (two vertical and two horizontal) at the specific points along its length where the wire waves will cross (and pass through). These holes are necessary in order to maintain wire position and wave-shape, and must be drilled slightly offset to prevent shorting between the crossing wires as they pass through.
The tubing sections are joined in the center with a 4-way sleeve in which short vertical sections of PVC tubing are inserted to support the top and bottom of the large center loop and feed-point. In retrospect, square fiberglass tubing would likely be a much better choice of material.
The numbers shown in the drawing below describes the length of each wave, and wire directions are color coded in an effort to illustrate the continuity. Short (3 to 6 inch) stubs are added at points A and B to allow some adjustment of the resonant frequency and feed-point impedance. This is accomplished by modifying the stub lengths as suggested. It is highly recommended that a 1:1 balun be employed at the feed-point (FP) to suppress common-mode feed-line radiation.
Although no calibrated field-strength comparisons were made, on-air transmit/receive tests suggested the VSWR bandwidth and overall performance was consistent with a full-sized dipole. It seemed he "Galaxy" dipole gave slightly better performance off the ends than was expected.
For other bands, simply scale the dimensions accordingly.


text:
News / Simon Hantaï / Announcements
New Representation
Estate of Simon Hantaï
Gagosian is pleased to announce the representation of the Estate of Simon Hantaï. Born in Bia, Hungary, in 1922, Hantaï is best known for originating the technique of pliage (folding), in which a canvas is crumpled and knotted, uniformly painted over, and then spread out to reveal a matrix of abstract alternations between pigment and ground. Hantaï moved to Paris in 1948 and began creating pliage paintings in 1960, conceiving of the process as a marriage between Surrealist automatism and the allover gestures of Abstract Expressionism. The technique dominated the work he made during the rest of his career, re-emerging in diverse forms. To inaugurate Hantaï's representation, LES NOIRS DU BLANC, LES BLANCS DU NOIR, an exhibition of black-and-white paintings and prints dating between 1969 and 1997, will be presented at Gagosian, Le Bourget.
Simon Hantaï in his studio, Meun, France, 1967. Artwork © Archives Simon Hantaï/ADAGP, Paris. Photo: Édouard Boubat


Prepare competent graduates by providing high quality education.
Conduct quality research that addresses contemporary challenges and advances knowledge.
Identify and meet the needs and aspirations of society.
Provide effective and efficient support and facilities to academic missions and maintain a supportive environment for the university community.
The assessment of the first cycle plan was conducted each year beside quarterly updates for monitoring the progress, detecting and correcting deviations from the plan and taking resource allocation decisions. The annual strategic plan report was submitted and presented to the Board of Regents every year to take action on needed decisions.
During the academic year 2012-2013, the process of preparing the second planning cycle was started. It was imperative to consolidate the experiences of the first cycle in terms of what was achieved, and challenges faced so that this would feed into the second cycle. QU second Strategic Plan will cover the three academic years (2013-2014 to 2015-2016); having a three year cycle plan was decided to be mapped with Qatar National Development Strategy which will be completed by 2016.
This strategic plan identified long term strategic priorities to guide on developing the key performance areas and objectives for the coming three years. Those priorities focus on nurturing the experience of students, recognizing scholarly excellence, building international recognition of the university, and optimizing effectiveness and efficiency.
Maximize student success in becoming competent graduates by providing high quality education. This performance area has 8 objectives and 25 prime performance indicators.
Address contemporary challenges and advance knowledge through quality research. This performance area has 8 objectives and 12 prime performance indicators.
Integrate Qatar University with the community to support social, economic and cultural development. This performance area has 7 objectives and 17 prime performance indicators. Key Performance area 4: Provide effective and efficient support environment and facilities to the University community. This performance area has 6 objectives and 15 prime performance indicators.
The President presented the new strategic plan to the University community on 19th November 2013. This was followed by follow-up with all units to ensure that they are working accordingly to revisit their initial 2013-2016 strategic plans and proceed with taking actions to meet their targets. The University shall continue its process on managing the institutional strategic plan by reporting on its performance based on the performance of the units' strategic plans.


expenses for meals, lodging and local ground transportation for the Dependent child if he or she is receiving outpatient treatment. The maximum combined reimbursement for the parent and the Dependent child is $75 per day. Original written receipts must be submitted to the Administrative Office in order to obtain reimbursement.
The Emergency Treatment Air Transportation benefit is available for all Participants. This benefit will pay for up to $500 for coach class air transportation to the nearest medical facility where Medically Necessary Emergency treatment can be given, when such treatment is not available without air transportation. This provision does not apply to travel for diagnostic testing.
For air ambulance services, the Plan's preferred providers are Guardian and LifeFlight Air Ambulance Services in Alaska only, and must be utilized by calling 1(800) 478-9111. If the Plan's preferred provider for air ambulance services is not utilized, the reimbursement rate will not exceed the Plan's preferred provider's retail rate.
Transportation and Lodging – Round-trip air transportation and lodging for the patient and a medically-necessary companion are paid in full by the Trust when using a pre-approved BridgeHealth provider located more than 100 miles from his or her home. To be covered, any and all travel arrangements must be scheduled, reserved and specifically approved in advance and in writing by both BridgeHealth and the Trust.
Waiver of Deductible and Co-Insurance for Approved Treatments – Because of the cost of savings to the Trust for approved BridgeHealth treatments, the deductible is waived and charges for the BridgeHealth provider are paid at 100% for BridgeHealth treatments approved in writing in advance by BridgeHealth and the Trust.
Incidental Expenses – Incidental expenses of up to $50 per day during travel to obtain treatment at an approved BridgeHealth provider will be paid by the Trust.
Any medical services not performed by an approved BridgeHealth provider or not approved in advance in writing by BridgeHealth and the Trust, including pre- and post-surgery care, are subject to the usual deductibles, coverage limits, and other terms of the Plan. Orthopedic or podiatric surgeries that are not performed by an approved BridgeHealth provider or a Preferred Provider of this Plan are not covered at all by this Plan, unless provided in an emergency. A portion of the lodging and incidental expense benefits provided through the BridgeHealth program may be subject to income tax.


An Oak Brook mansion came on the market last week for the fourth time since October 2009, still with the same asking price of just a hair under $5 million.
"This is the minimum price I will go," said Dr. Zubair Syed, who owns the home with his wife, Uzma Shahin. "I've put a lot of money into my house." He declined to say how much construction cost.
"If I can sell it at this price, I will," he said. "If not, I'll stay in it and enjoy it with my family."
The listing for the 12,500-square-foot home shows ample marble floors, detailed ceilings and a master bathtub set into a columned nook. It has an elevator, a view over the largest pond in its gated subdivision, called the Midwest Club, and "all the upgrades you can imagine," said listing agent Lina Shah of Coldwell Banker Residential Brokerage.
Dr. Syed bought the home's half-acre lot for $1.88 million in 2005, according to the DuPage County Recorder. Construction was completed in 2009, Ms. Shah said, shortly before it was first listed for sale.
They listed it in October 2009 and in 2010 and 2013, as well as last week.


text:
Tag Archives: Giulietta Verdon Roe
Review of 'Seeing Ourselves'
July 4, 2013 by Sophie
Document Scotland were delighted to be interviewed by The Dundee Courier about the exhibition 'Seeing Ourselves'. Stephen spoke with Jennifer McLaren and explained a little about what brought us together, our aims and our passions and how we curated the exhibition.
| Colin McPherson, exhibitions, Fife, Giulietta Verdon Roe, glenrothes, Jenny Wicks, Jeremy Sutton-Hibbert, Martin Hunter, Radek Nowacki, review, Robert Ormerod, Sarah Amy Fishlock, Scotland, Seeing Ourselves, Sophie Gerrard, Stephen McLaren | 0
Why I Took This PIcture……Giulietta Verdon-Roe
July 1, 2013 by Stephen
It had been a long day.
I had started early, going straight to Home-Start Levenmouth offices and interviewing all who worked there.
It was just before Christmas and everyone was running around trying to organise the bags of presents which had been donated. Never ending lists filled with children's names were being checked off and discussed…
"who would like the fire-engine over the small truck?"
"is she too old for this book?"
"her sister might steal that"
"ooo this is perfect for…"
"she's a Tom boy she won't like that!"
I was told that these were likely to be the only presents that these children received this year, so it was very important to find the right thing for the right child.
After the morning of sorting out toys and interviewing, I had arranged to meet with a volunteer and her young charge. We went to an arts and craft centre in a park where we painted magnets. It was incredibly windy and it was difficult to even open the car doors without them closing in your face as we climbed back into the car. It was freezing cold and the last of the trees clinging leaves flew from their branches. The magnets were going to be presents that the young girl could give to her Mum for christmas.
I took pictures through-out the day and found myself learning a great deal about the community I was documenting, the role of a volunteer and the children and parents they then helped.
On our way back we stopped off at the local super-market. The little girl I was with charged around pointing at everything and hoping she could persuade her volunteer to buy it.
I was so aware of her wanting these things and equally aware of her mums inability to afford them and there it was, aisles and aisles of toys that all the parents had to walk down and say no to. That's why I took this picture.
Giulietta's photograph, and others from her series, "Home-Start Levenouth", can be seen at Fotospace Gallery, Rothes Halls, Glenrothes, as part of the "Seeing Ourselves" exhibition, which is curated by Document Scotland. The exhibition continues until August 1st 2013.
Document Scotland's latest newspaper, which accompanies the exhibition can be bought online. Treat yourself. http://www.documentscotland.com/seeing-ourselves-newspaper/
| b/w, exhibitions, family, Fife, Giulietta Verdon Roe, levenmouth, poverty, Scotland, Seeing Ourselves, society, Why I Took This Picture | 0
'Seeing Ourselves' newspaper
May 31, 2013 by Jeremy
Document Scotland are delighted to announce that to coincide with our first collaborative group exhibition, 'Seeing Ourselves', we've published a newspaper showcasing the fine documentary photography work from the show. A certain amount of the papers will be available for free at the gallery and exhibition, to thank you for making the effort to come along and see the show, but for those of you unable to travel to Fife for the show, the paper can be bought via this page for a nominal fee.
Document Scotland's 'DOC002, Seeing Ourselves' newspaper.
The work on show, and in the newspaper, will feature photography by the four founding members of Document Scotland (Jeremy Sutton-Hibbert, Colin McPherson, Stephen McLaren and Sophie Gerrard), along with work by six contemporary photographers working in Scotland – Radek Nowacki, Jenny Wicks, Martin Hunter, Giulietta Verdon-Roe, Sarah Amy Fishlock and Robert Ormerod.
'Seeing Ourselves' aims to hold a mirror up to life in Scotland today and reflect some of the social, political, environmental and economic issues facing the country at this pivotal time in our shared history.
The newspaper is printed in full colour, over 24 pages, and features a double page spread of images by each of the 10 photographers involved in the exhibition, there is also an editorial essay by Docment Scotland.
Document Scotland is a not for profit registered company, and all proceeds of the sale go back into financing this website, and helping fund furthers shows and publications. Many thanks for your interest and support, we greatly appreciate it.
'Seeing Ourselves' will open at FOTOSPACE Gallery, Fife on June 3 until July 30th, 2013. The show has been curated by Document Scotland, in association with Colin Cavers of the Fife Photo Group.
To UK, with p&p £4.00 GBPTo Europe, with p&p £5.00 GBPTo World, with p&p £6.00 GBP
| Colin McPherson, DOC002, exhibitions, Giulietta Verdon Roe, Jenny Wicks, Jeremy Sutton-Hibbert, limited edition, Martin Hunter, newspaper, publication, Radek Nowacki, Robert Ormerod, Sarah Amy Fishlock, Scotland, Seeing Ourselves, Sophie Gerrard, Stephen McLaren | 4
'Seeing Ourselves'- Press Release
April 23, 2013 by Jeremy
Document Scotland is proud and delighted to announce the date of our first collaborative group exhibition.
'Seeing Ourselves' will open at FOTOSPACE Gallery, Fife on June 3, 2013, and feature work by 10 leading Scottish photographers. The show has been curated by Document Scotland, in association with Colin Cavers of the Fife Photo Group.
The work on show will feature photography by the four founding members of Document Scotland (Jeremy Sutton-Hibbert, Colin McPherson, Stephen McLaren and Sophie Gerrard), along with work by six contemporary Scottish photographers (Radek Nowacki, Jenny Wicks, Martin Hunter, Giulietta Verdon-Roe, Sarah Amy Fishlock and Robert Ormerod) who have been invited to show images from projects either recently-completed or still in progress.
Drawn To The Land – Women working the Scottish Landscape © Sophie Gerrard 2013 all rights reserved.
Amongst the diverse selection of projects which will be shown are Sophie Gerrard's compassionate depiction of the Scottish landscape through the eyes of women who manage it, Stephen McLaren's sideways look at everyday life on the road, entitled 'Scotia Nova', Giulietta Verdon-Roe's intimate study of a Home-Start charity project in Levenmouth and Robert Ormerod's striking portraits of young people involved in present-day politics in Scotland.
Commenting on the exhibition, Jeremy Sutton-Hibbert said: "We are excited to be able to showcase projects not only by Document Scotland, but by a number of talented photographers whose work is becoming instrumental in shaping the direction of documentary photography in Scotland. We are delighted to be able to collaborate with FOTOSPACE Gallery to bring to the public's attention this exciting new work."
Speaking on behalf of FOTOSPACE Gallery, Colin Cavers said: "This is a wonderful opportunity for FOTOSPACE Gallery, in collaboration with Document Scotland and On at Fife Theatres and Arts, to be able to bring such a unique exhibition of Scottish documentary photography together, that will be of such interest and relevance to the current national and international debate around Scotland's future."
In addition to the exhibition, Document Scotland will produce a commemorative publication in the form of a newspaper which will serve to publicise the show and the work of the participating photographers.
For further information regarding 'Seeing Ourselves', please contact:
Colin McPherson, T: 07831 838717 E: [email protected]
Jeremy Sutton-Hibbert, T:07831 138817 E: [email protected]
Sophie Gerrard, T: 07810 445431 E: [email protected]
Formed in 2012, Document Scotland is a collective of four Scottish documentary photographers brought together by a common vision to witness and photograph the important and diverse stories within Scotland at one of the most important times in our nation's history. For more information, please visit www.documentscotland.com, or follow us on twitter @DocuScotland.
FOTOSPACE Fife is organised and run by the Fife Foto Group whose aims are to promote the exhibition of photography; to foster an engagement with photography and to encourage the enjoyment and practice of photography as a cultural, educational and leisure pursuit to the benefit of the community. More details can be found at http://www.fifefotospacegallery.org/
'Seeing Ourselves' – work by 10 contemporary Scottish photographers, curated by Document Scotland, on show at FOTOSPACE Gallery, Rothes Halls, Glenrothes, Fife KY7 5NX from June 3 until July 31, 2013. Opening times to the public Monday to Saturday, 10am – 5pm.
Forth and Clyde Canal. ©Martin Hunter 2013, all rights reserved.
| Colin McPherson, exhibitions, Fotospace, Giulietta Verdon Roe, Jenny Wicks, Jeremy Sutton-Hibbert, Martin Hunter, Radek Nowacki, Robert Ormerod, Sarah Amy Fishlock, Scotland, Sophie Gerrard, Stephen McLaren | 1
'Seeing Ourselves' exhibition
March 19, 2013 by Jeremy
Document Scotland, in conjunction with FOTOSPACE Gallery, are very pleased to announce the 'Seeing Ourselves, New Documentary Photography from Scotland' photography exhibition, which will take place in June and July of this summer.
"With 'Seeing Ourselves' FOTOSPACE is proud to be showcasing the best in new Scottish documentary photography. Curated by the recently-formed Document Scotland collective, this exhibition brings together ten leading photographers working in Scotland right now. A dynamic and varied range of projects are presented all exemplifying the strength and depth of current photographic practice in the country. Beguiling images and strong sense of national story-telling make 'Seeing Ourselves' a photography exhibition that is both timely in its presentation and ambitious in its subject matter. See Scotland through the eyes of ten photographers with a unique vision."
The photographers whose work will be on show are Document Scotland's Sophie Gerrard, Stephen McLaren, Colin McPherson, and Jeremy Sutton-Hibbert, along with Jenny Wicks, Martin Hunter, Sarah Amy Fishlock, Giulietta Verdon-Roe, Radek Nowacki, and Robert Ormerod.
'Seeing Ourselves' will be on show at FOTOSPACE Gallery and FifeSpace Gallery, situated in Rothes Halls, Glenrothes, Fife, Scotland. The show will be open Monday-Saturday, 10am-5pm, and will be on from June 3rd- 31st July 2013.
| Colin McPherson, exhibitions, FOTOSPACE Gallery, Giulietta Verdon Roe, Jenny Wicks, Jeremy Sutton-Hibbert, Martin Hunter, Radek Nowacki, Robert Ormerod, Sarah Amy Fishlock, Seeing Ourselves, Sophie Gerrard, Stephen McLaren | 0
As You Are in North Ronaldsay
December 18, 2012 by Sophie
On a brilliantly bright, icy cold, winter Sunday afternoon recently I caught up with Giulietta Verdon Roe over coffee and cake.
I knew that Giulietta had made several visits to the remote Scottish island of North Ronaldsay over a number of years to create a documentary photographic project of the population and character of the island. I was really interested to hear how her photographic project As You Are had begun and why, and what it had been like making the work. The relationships she established with the island inhabitants over time culminated in a body of work which has been exhibited in numerous locations in the UK including The Manse House on the island itself. In an ex-Royal Mail van, Giulietta drove the exhibition from London to Orkney and, due to a storm preventing the ferry taking her work to the island from the mainland, had to freight plane the entire show to the island.
With freezing hands that afternoon we looked through her box of prints and chatted about what had attracted her to the project in the first place.
John O ' Westness, The only fisherman on North Ronaldsay, doesn't have a working boat, Bay of Ryasgeo, North Ronaldsay.
Photograph © Giulietta Verdon-Roe 2008 all rights reserved.
GVR: "I'd been living and working in New York for three years and in 2007 I found myself unexpectedly back in the UK. Maps have always fascinated me, I've always been drawn to the romance of far away places and after living in NYC I'd found myself looking, this time, to those out of the way places which were a little closer to home.
It appealed to me that for this project I would be constrained to a specific location when making the work. I began researching remote places in the UK and my attention was drawn again and again to Orkney and to North Ronaldsay in particular. Being the furthest most northernly island in the UK, it was its isolation which first fascinated me, that and the fact that it is home to both to the tallest land based lighthouse in the UK and had unique seaweed eating sheep. I bought a tent and booked my flight.
In 2008 I set off. Arriving on the island alone, I didn't know what to expect. the first thing that struck me was that island life is utterly dependent on the weather. By the time I'd pitched my tent that first night in North Ronaldsay in September it was cold, windy and dark and I was wondering what on earth I was doing…
I'd romanticised the idea perhaps, an island adventure, far away. My photographic process took quite a few days to begin, and it was almost 2 weeks before I made any pictures, I was interested in the stories and so I walked, and I met people and I talked to them, eventually borrowing an old bike to get around.
The conversations were what came first, with the photographs coming relatively late in the process. I was interested in understanding the everyday life of the island, of understanding how things worked there, I wanted to explore the past, present and future of the island and its community. The locals were used to ornithologists visiting, but not so used to people like me, someone who wanted to know about them and the land. It took time for a mutual understanding and confidence to start to become established."
Heading towards Bridesness, North Ronaldsay.
GVR: "Island life is all about the weather. You are at the mercy of it. I felt very aware of my size in relation to the elements, the vulnerability of everything. I felt that I couldn't make portraits without shooting the elements. The people are so much part of the landscape, it meant that I didn't want to photograph the people without photographing the land."
Jennie O' Scottigar, The oldest lady on the island when this was taken, bringing in her washing, North Ronaldsay.
GVR "One interesting aspect of community life on North Ronaldsay is that people adopt the names of their houses, as a way to refer to each other. Jenny's house was O'Scottigar, and that was how she became known. We spent a lot of time talking, We talked about the war, she remembers walking to school with her gas mask in her hand and how heavy it was. She was born on the island and didn't leave its shores until she was in her very late teens."
Point of Twingness, Seaweed eating sheep, North Ronaldsay.
GVR "The seaweed eating sheep are unique to North Ronaldsay, they are kept out to shore by a 12 mile long dry stone dyke that surrounds the island. There are about 3000 of them and they're quite beautiful and wild, nearly everyone has some sheep of their own. Twice a year, there is an event that I have yet to see, it's called Punding and its one of the oldest forms of communal farming still practised today. The whole community help round up the sheep into pens known as 'punds', once a year to separate the pregnant ewes from the flock to keep them on the land for lambing and at another time of year to sheer their coats and give them their injections."
(Heather O' Twingness), Nouster Bay, North Ronaldsay.
GVR "Heather was the youngest female on the island when I photographed her in 2010. She is the daughter of the island doctor and the owner of the islands Bird Observatory. Heather commutes to mainland Orkney to go to school."
The population of North Ronaldsay when I first arrived in 2008 was 63, just 2 years later in 2010 when I re-visited the project the population had dropped to 50. In a small community like this, this was a big change and the school was left temporarily without any children to teach despite being kept open. The orkney island council built two new houses on the island in response to the situation and launched a promotion to select two new families to move to the island, which was a great boost to the community and resulted in putting children back into the school."
(The Manse), North Ronaldsay.
"I exhibited the 'As You Are' exhibition in this house in 2010. At that time it was un-lived in and had been empty for 40 years, but since then the islands school teacher has moved in and there is now new life in the building, it's been brought back into habitation again. There's been so much change. It's also an important place for me as the exhibition was shown here. By seeing the exhibition, I'd hoped the islanders could really understand the project. It's one thing to see the work online or as small images but to see yourself in a 30″x30″ print is a very different thing."
Jimmie O'Lochend on his roof of Lochend, fixing his chimney. North Ronaldsay.
Gavin O'Twingness). The youngest islander when this was taken, in a bird catching cage in order to ring and monitor birds.
He has just put out some North Ronadlsay Mutton Bones down to attract the birds.
Lighthouse and Moon, the UK's Tallest Land Based Lighthouse. North Ronaldsay.
Jen in the Wool Mill processing some of the islands native sheep wool. Many islanders have multiple jobs, Jen worked at the Bird Observatory, was an ornithologist and also work part-time at the islands yarn mill. North Ronaldsay.
Byre, North Ronaldsay, 2010. A native North Ronaldsay sheep whose lamb has died 'not taking' to a non-native orphaned lamb. North Ronaldsay.
GVR: "Whenever I met people they would always ask where I wanted to take their portrait and if they should get dressed up or how they should be posed. So in a way the project named itself as I always explained I want to photograph you the way you are, just as you are.
I loved working in Scotland, it really became a huge part of my life and one that was important to me. It has meant that I have gone on to do other projects in other areas of Scotland and I am also planning future ones too. I now for example cannot watch a weather forecast without looking at Orkney. Just as the environment is so wild and changeable, so can my feelings and emotions be when I am there. Sometimes I loved it, and sometimes I just couldn't place what on earth I was doing, but more importantly I've been left with a powerful relationship with the area."
Many thanks Giulietta for talking to Document Scotland about this project. To see more of Giulietta Verdon-Roe's photography visit http://www.giuliettaverdon-roe.com/#/home
| As You Are, b/w, Community, Giulietta Verdon Roe, Islands, Landscape, North Ronaldsay, Orkney, portraiture, remote, Scotland | 1


text:
Quick Answer: Why Is It Called A California Corner?
Three stud corners, also known as California corners, are an easy way to reduce the lumber used in a building project.
You're correct on the number of studs; perhaps we should have called this a "modified" California corner.
Is there always a stud in the corner?
If you don't have a stud finder, there are several methods that can be effective in finding studs. When a home is framed, the wall studs are usually spaced 16 or 24 inches apart. If you start in a corner and measure out 16 inches and you don't find a stud, you should find one at 24 inches.
What advanced framing?
Advanced framing refers to a variety of framing techniques designed to reduce the amount of lumber used and waste generated in the con- struction of a wood-framed house. Advanced framing techniques, sometimes called Optimum Value Engineering (OVE), have been researched extensively and proven effec- tive.
What is California roof framing?
When one roof is framed on top of another, already existing roof, this type of roof framing is sometimes called "California" roof framing. Sometimes I sheath the existing roof before framing the California roof and also add a "flat valley board", ( usally a 2″ x 12″ ) to nail the California jack rafters to.
How far are studs apart in ceiling?
Ceiling joists are usually installed either 16 or 24 inches on center, which means roughly 16 or 24 inches apart. Once you've located the first one, the others are easier to find.
Do stud finders work on plaster walls?
Stud finders, however, will not always return accurate results with lath and plaster walls because of the very inconsistent method by which they are constructed. First, wood laths, narrow strips of wood, are nailed horizontally across vertical wall studs. Two wet coats of plaster are applied to the laths.
What State Does Japan Compared To In Size?
Quick Answer: How Long Does It Take To Receive Title From DMV?
© Town of Douglas, MA 2023 • ThemeCountry Powered by WordPress


CPU and RAM sizing requirements are the same as for the Veeam ONE Server.
Important! These requirements assume that the Veeam ONE database is hosted on a dedicated Microsoft SQL Server. If the SQL Server is shared by several applications, compute requirements will be higher. To calculate the amount of resources required by other applications, see application-specific sizing recommendations for Microsoft SQL Server.
Install the OS and Microsoft SQL Server on different drives.
Other: SSD is recommended for Microsoft SQL Server.
If you use a virtualized Microsoft SQL Server, this server must run on a separate LUN/datastore from Veeam ONE Server.
To calculate an expected size of the Veeam ONE database, use the Veeam ONE Database Calculator. The calculator helps estimate disk space required to store VMware vSphere, Microsoft Hyper-V and Veeam Backup & Replication data.


19 + 15 = ?
Eyebrow tinting will create that all-important definition and add both frame and structure to your face. If you have light coloured or blonde coloured eyebrows then eyebrows tinting will be most suitable for you. Eyebrows tinting will make your eyelashes look more defined and prominent. With dyed eyebrows, you wake up with looking like you already have light make-up applied.Eyelash tinting is a great option for women who lead a busy lifestyle and the perfect solution for brighter and more beautiful eyes.
17 + 20 = ?


Purpose On June 6th, 2010 Senate Bill 1633, otherwise known as the "School District Transparency Act" was signed into law. This law, effective November 1, 2010, requires that the Oklahoma State Department of Education make available certain information on its website as pertaining to Oklahoma Public School Districts' expenditures, cost descriptions, amounts of funds spent, types of transactions, copies of credit card statements, and current per-pupil expenditure figures. The database does not include voluntary payroll deductions for employees to receiving parties.


Free Travel guide Ooaj.com A free travel guide for holidays. Hotels in south australia, Bed and Breakfast!
South Australia is an Australian state with many contrasts. The southern portion of the state is pastoral, but as you drive north it becomes progressively drier and more barren until it becomes arid desert. Because of this, the majority of the population live to the south and east of Adelaide.


text:
Home > STUDENTS > SENIORSYMP > 2013 > 13
Access and Activism: Reproductive Health at Oberlin College, 1960-1980
Brittany Craig, Oberlin College
Science Center, A154
4-26-2013 2:45 PM
This research traces how, at Oberlin College, the reproductive rights movement was first born within the women's liberation movement and later emerged as an autonomous social movement. I use oral histories, archival documents, and student publications to paint a picture of Oberlin women's activism as a particular representation of American second wave feminism with characteristic motivations, tactics, and goals. From 1960 to 1980, reproductive rights activism formed through discussions of institutional sexism, development of a feminist vocabulary, and evolving sexual mores. Reproductive rights activism existed in dialogue and overlapping membership with campus feminism, but maintained its own constituency, practices, and objectives.
Session II, Panel 6: Written on the Body: Inscriptions of Gender, Racialization, and Student Activism
Moderator: Greggor Mattson, Assistant Professor of Sociology
Craig, Brittany, "Access and Activism: Reproductive Health at Oberlin College, 1960-1980" (04/26/13). Senior Symposium. 13.
https://digitalcommons.oberlin.edu/seniorsymp/2013/presentations/13
Gender, Sexuality, and Feminist Studies; History
Zeinab Abul-Magd, History
Project Mentor(s)
Carol Lasser, History
Apr 26th, 2:45 PM Apr 26th, 3:45 PM


Ministers 'must act on faulty white goods fire risk'.
More people will die in house-fires if faulty white goods are not fixed before purchase.
More people will die from fires started by faulty white goods if ministers do not act to implement recommendations, the London Fire Brigade, the city's mayor, and safety groups have warned.
In a letter to Theresa May, they say some fridges and freezers are being sold with a flammable plastic backing.
People continue to use products that are subject to recalls, it adds.
The warning comes a year after a tower block fire in west London, started by a faulty tumble dryer.
The letter also refers to the fire from August 2016 in Shepherds Court, which began in a Indesit dryer.
Surely it is not a lot to ask for that the design of new white goods should be good enough NOT to go on fire after a few years use.
Re: Ministers 'must act on faulty white goods fire risk'.
This needs to be fixed in the design phase and not left to get dangerous as they grow old.
It certainly does not look as if the quality control people or the Health and Safety Executive are taking enough to do with this.
I must agree that if the design was right, instead of going on fire when such machines get old they should just stop working. Then, it will be up to the owners to either get them fixed to high safely standards or simply get rid of them as outdated.
That is what happens to almost all of the other electric and electronic goods.
Surely this problem can be sorted when the manufacturers come to the point of putting a fire-safety sticker on their machines.
The consumer watchdogs should be ensuring this long before these dangerous machines come out of the factory gates.
This standard just needs to be enforced properly.
Thanks for that important information Angie.
I think that so long as the machines are safe to run after manufacture and sale the fire-safety regulations might not apply to them at that point.
Unlike clothing and such-like, which have to be up to a fire-safety standard at new point of sale, it would be very difficult to enforce fire-safety regulations on an old white-goods machine.
I think the minimum that the Fire-safety authorities could do would be to force the manufacturers to put metal backs on their machines, ( especially fridges and freezers ), instead of flammable plastic ones.
It was actually one of these plastic backed fridge/freezers which started the Grenfell Tower Fire.
Yes, it certainly was HG.
And, I think it was that incident and awful disaster that is now making the government and the H&SE sit up and pay attention.


Hint: Click on one of the above thumbnails to open the enlargement of the road maps !
BAB A30 in direction Hanover. After the motorway intersection "Lotte/Osnabrück" follow the next exit "Hasbergen-Gaste", then turn right to Rheiner Landstraße. At the next traffic lights turn right in direction Gaste. Behind the end of the village Gaste you will find AMAZONEN-Werk Gaste.
BAB A30 in direction Rheine/Amsterdam. Follow the exit "Hasbergen-Gaste", then turn left to Rheiner Landstraße. At the second set of traffic lights turn right in direction Gaste. Behind the end of the village Gaste you will find the AMAZONEN-Werk Gaste.
BAB A1 via "Bremer Kreuz" in direction Osnabrück. Follow the exit "Delmenhorst-Ost" in direction Emden. Then follow road A28 in direction Oldenburg. Exit "Ganderkesee-West" and follow road B212 in direction Hude. Turn left into the Huder Straße. Follow this road until the turning left into the Heinrich-Dreyer-Straße. You will find the AMAZONEN-Werk Hude on the right hand side.
BAB A1 from Osnabrück in direction Bremen until motorway junction "Alhorner Heide", then follow A29 in direction Oldenburg until junction "Oldenburg-Ost", to ahead on A28 in direction Bremen. Follow the exit "Hude" intoVielstedter Straße in direction Hude. Approx. 1 km after the town sign Hude before the railway underpass turn right into the Hohe Straße. After approx. 2 km you will find the AMAZONEN-Werk Hude on the left hand side. (ACTIVE Center is signposted).
BAB A9 "Schkeuditzer Kreuz" in direction Munich. Follow the exit "Leipzig West" to road B181 in direction Leipzig. At the set of traffic lights turn right to road B186 in direction Markranstädt. At "Möbel Boss" turn left, in the first roundabout take the first exit, in the second roundabout take the third exit. Pass the Kulkwitzer See (lake) until set of traffic lights, turn right into the road "am See". At the next set of traffic lights turn right into the Ratzelstraße. Pass the tram rails and at the next cross roads turn right into the Schönauer Straße. Follow the turn of the main road to the right into the Rippachtalstraße. You will find the factory BBG Leipzig on the right hand side.
BAB A9 "Hermsdorfer Kreuz" in direction Leipzig. Follow the exit "Kreuz Rippachtal" to A38 in direction Lützen. Follow the exit "Leipzig-Südwest" to road B186 in direction Leipzig. Turn right in direction Leipzig. Straight ahead via set of traffic lights in direction "Zentrum". Follow the main road, on the left hand side is BBG Leipzig.


text:
{-# LANGUAGE FlexibleContexts, ScopedTypeVariables #-}

module Numeric.HMM
  ( Hmm(..), HmmLayerDesc(..)
  , makeDenseHmm
  ) where

import Data.IndexRange
import Numeric.Probability.Discrete

import Data.Array.IArray (IArray)
import Data.Array.Unboxed (UArray)
import Data.Bijection (Bijection(biTo))

data HmmLayerDesc state =
  HmmLayerDesc
  { hmmLayerSize :: Int
  , hmmLayerStates :: Int -> state
  , hmmLayerTransitionsFromPrev :: state -> [Int]
  }

data Hmm state obs prob =
  Hmm
  { hmmStartProbs :: Probs state prob
  , hmmTransitionProbs :: state -> Probs state prob
  , hmmObservationProbs :: state -> Probs obs prob
  , hmmStatesForObservation :: obs -> HmmLayerDesc state
  }

-- | Create HMM model from dense input.
-- Uses O(N) memory where N is number of variables in model,
-- (for fast output generation).
makeDenseHmm
  :: forall s o p. (Floating p, IArray UArray p)
  => IndexRange s -> IndexRange o
  -> (s -> p) -> (s -> s -> p) -> (s -> o -> p)
  -> Hmm s o p
makeDenseHmm statesRange obsRange startProbs transProbs obsProbs =
  Hmm
  { hmmStartProbs = makeProbsFast statesRange startProbs
  , hmmTransitionProbs =
      irMemo statesRange (makeProbsFast statesRange . transProbs)
  , hmmObservationProbs =
      irMemo statesRange (makeProbsFast obsRange . obsProbs)
  , hmmStatesForObservation =
      const
      HmmLayerDesc
      { hmmLayerSize = irSize statesRange
      , hmmLayerStates = biTo (irIndex statesRange)
      , hmmLayerTransitionsFromPrev = const [0 .. irSize statesRange - 1]
      }
  }

redpajama_set_name: RedPajamaGithub


text:
FTT Token Jumps By 32%
The value of FTX's native token, FTT, pumped by 32% a few days after the company's new CEO, John J. Ray III, discussed ambitions to revive the defunct crypto empire that was formerly ruled by none other than the self-proclaimed "crypto genius," Sam Bankman-Fried.
The new CEO of FTX then reaffirmed that they are still looking for and recovering FTX's assets. However, he has already given each group a mission to investigate the viability of resuming the exchange's international component. Ray added that some of the company's stakeholders were already working to determine what they considered to be a viable business.
The Recent Pump
According to reports, FTT's pump brought the stock up to roughly $3, a 165% rise from its all-time low of $0.82 on December 30. FTX has been completely in a downward spiral, however its native token FTT is said to have never reached zero. According to reports, FTX released this token so that users of its exchange might receive fee reductions.
Additionally, FTX has used FTT to acquire the assets and businesses it desired, including the now-defunct company Blockfolio. It is still unknown why traders continue to buy and sell FTTs. Despite the fact that some industry experts believe it's likely that traders see a chance to benefit from the token's extreme volatility. Another thing is that traders might be making predictions about whether FTT will ever again be useful on the FTX exchange.
FTX Reboot
But it's not exactly breaking news that FTX might keep rebooting. This information about restarting was brought up again last week when the creditor committee lawyers for the relevant cryptocurrency exchange said that disclosing the identities of the exchange's 9 million clients could jeopardize a "possible reboot."
FTX, formerly one of the largest cryptocurrency exchange platforms, has collapsed in the fourth quarter of 2022. A bank run on the exchange that occurred after it filed for bankruptcy forced it to acknowledge that it did not have one-to-one reserves of customer assets. Which essentially indicated that they were unable to satisfy client withdrawal requests.
The respective platform then stopped allowing withdrawals, and Sam Bankman-Fried, who was the platform's then-CEO, was charged by American prosecutors with eight financial offenses relating to the demise of FTX. Bankman-Fried is currently under home arrest while she awaits her October trial.


text:
Q: error : expression must have class type I have a problem with the class in C++; it's written like this.
in second source,
void idealtype::compare(idealtype T1)
{
if (height.size() > T1.height.size())
    cout << T1.getname() << " " << T1.getage() << "\t" << T1.getheight() << "\n";
else if (height.size() < T1.height.size())
    cout << getname() << " " << getage() << "\t" << getheight() << "\n";
else if (height.size() == T1.height.size())
{
    cout << T1.getname() << " " << T1.getage() << "\t" << T1.getheight() << "\n";
    cout << getname() << " " << getage() << "\t" << getheight() << "\n";
}
cout << "\n";
}

in header;
class idealtype
{public:
void compare(idealtype);

....
private:
int height;
}

in main source;
....
idealtype A(a,b,c) // c is "height"

....
idealtype B(a,b,c) // c is "height"
B.compare(A)

I think it's all done well, but Visual keeps showing me,
(in second source, on every if() state) error : expression must have class type
So, what's the KEY of this problem?
Plz help me, guys :)

A:
So, what's the KEY of this problem?

In your code you say
if (height.size() > T1.height.size())

class idealtype {
    // ...
private:
    int height; // <<<<<<<<<<<<
};

since height is declared as int it doesn't have any class like methods. That's why the compiler complains.

redpajama_set_name: RedPajamaStackExchange


The ever versatile Stray steps up for Critical sub-label Modulations to deliver a pair of cut-up jungle smashers! Ginseng Smash combines '94 era jungle breaks with some heavy sub stabs and a vocal that is as weird as it is infectious, while Akina takes a few notes from Fracture's book of production, cutting up the breaks and another odd vocal to create a seriously hyperactive juke-infused belter. Syncopation ADHD! Look out for these dropping on vinyl and Digital May 20th.


text:
Rouillac è un comune francese situato nel dipartimento della Charente nella regione dell'Aquitania-Limosino-Poitou-Charentes.

Dal 1º gennaio 2016 ha assorbito per fusione i comuni di Plaizac e Sonneville.

Società

Evoluzione demografica

Note

Altri progetti

Collegamenti esterni

Rouillac

redpajama_set_name: RedPajamaWikipedia


She is said to be an Acolyte of 80th level. Hailing from Dacia Cathedral of Vigilence in the Steel Empire, she is said to have braided hair, green eyes and tanned skin. Her buxom figure has been sighted rushing into battle with an amorous warcry.
When girded for battle, she is known to wield her Supreme Anthem of the Heavens (Superior) and Starsteel Crusader Maul (Extraordinary), and is arrayed in her Blessed Starsteel Plate Mail and Tabard (Superior). Foes are said to wither before the might of her Original Transcript of the Ascension (Superior) and Devotees of the Divine Cult (Superior).
Eclavdra was born under the sign of The Balanced Prisoner. This star sign is part of the Reason Phase and the Misfortune Aspect.
Eclavdra is ranked 2nd among those born under The Balanced Prisoner.
Eclavdra is ranked 2nd among Acolytes.


We want to raise up children who love, trust and obey God from a tender age. Our aim is to make Jesus real in their lives and nurture them to grow up to be responsible youths. We believe that this is achievable through persistent prayer.
We conduct strong biblical teaching in a loving, fun-filled and creative yet disciplined environment. Songs, games, play, skits, stories and craft are used to enhance learning and retention. Our group of dedicated teachers work closely with parents to reinforce the lessons taught.
Children are also organized into small groups according to their age to ensure every child receives personal attention.
Older children are paired with younger ones via a buddy system which teaches and emphasizes values such as responsibility, care and concern. They are encouraged to be actively involved in the children's church through worship, giving and service.


NILES - A Mass of Christian Burial will be held Saturday at 10 a.m. at Immaculate Heart of Mary Church for Brian Cleckner, 36, who died unexpectedly on Monday.
Brian was born May 17, 1982, in Youngstown, the son of Jerry Cleckner and Margaret (Ritter) Cleckner.
He was a 2000 graduate of Austintown Fitch and attended Youngstown State University.
Brian currently worked for Midwest Industrial Contract Services contracted through Vallourec Star in the maintenance department and was a member of Ancient Order of Hibernians.
Brian loved being a father and spending time with his children.
He had a passion for theater and loved classical music. He had a brilliant photographic memory and craved knowledge of any kind. He practiced yoga daily and enjoyed running.
Brian will be remembered for his sense of humor and kind heart.
He is survived by his wife, the former Danielle Miller; daughter Sophia Grace Cleckner of Niles; son Malachy Cleckner of Austintown; his parents, Margaret Cleckner of Akron and Jerry and Kathy Davey Clecker of Youngstown; seven sisters, Debbie (Tim) Lantz of Canfield, Joanie (Vince) Martinelli of Austintown, Sherry (Rusty) Zents of Austintown, Diana (Tom) Puz of Austintown, Teresa (David) Bencivengo of Canfield, Megan (Maxwell) Anderson of Struthers, and Kara Cleckner (fiance Joe DeCapita) of Cleveland; two brothers, David (Justina) Cleckner of New Middletown and Scott Cleckner of Austintown; and grandmother Margaret Ritter of Kinsman.
Brian was preceded in death by his sister, Veronica S. Cleckner Vigorito; and grandparents, Thomas Ritter and Gerald and June Cleckner.
Family and friends may call Friday from 2 to 6 p.m. at the Higgins-Reardon Funeral Homes, Austintown Chapel.
In lieu of flowers, the family has requested that material tributes take the form of donations to the family.


text:
Premier and Cabinet (11)
(-) Compliance (10)
Financial reporting (11)
(-) Internal controls and governance (15)
Management and administration (15)
Search filters applied: education, finance, justice, treasury, whole of government AND 2016, 2012 AND compliance, internal controls and governance .
Actions for Education 2016
The Auditor-General, Margaret Crawford released a report today highlighting the impact of the growing student population on school infrastructure and the increasing cost of psychological injury workers' compensation claims in Education. The report also gives updates on an initiative designed to create new out of school hours care (OSHC) places and on the expected final cost and completion date for the Learning Management and Business Reform (LMBR) progra
Actions for Justice 2016
Justice 2016
Overcrowding in the NSW prison system continues to worsen along with the backlog of cases in the District Court, according to a report released by the New South Wales Auditor-General, Margaret Crawford on the annual financial statements audits in the Justice cluster.
Actions for Finance, Services and Innovation 2016
Finance, Services and Innovation 2016
This report analyses the results of the financial statement audits of the Finance, Services and Innovation cluster entities for the year ended 30 June 2016.
Actions for Fraud Survey
Fraud Survey
In a report released today, the NSW Auditor-General, Margaret Crawford provides a snapshot of reported fraud in the NSW public sector and an analysis of NSW Government agencies' fraud controls based on a survey of 102 agencies.
Actions for Implementation of the NSW Government's program evaluation initiative
Implementation of the NSW Government's program evaluation initiative
The NSW Government's 'program evaluation initiative', introduced to assess whether service delivery programs achieve expected outcomes and value for money, is largely ineffective according to a report released today by NSW Auditor-General, Margaret Crawford. Government services, in areas such as public order and safety, health and education, are delivered by agencies through a variety of programs. In 2016–17, the NSW Government estimates that it will sp
Actions for Agency compliance with the GIPA Act
Agency compliance with the GIPA Act
In a report released today, the NSW Auditor-General, Margaret Crawford found some NSW Government agencies were not publicly releasing all the required information on contracts with the private sector, nor were they publishing it in a timely manner. This report assessed whether 13 agencies were complying with Part 3 Division 5 of the Government Information (Public Access) Act 2009 (GIPA Act), relating to Government contracts with the private sector.
This report analyses the results of the financial statement audit of the Total State and General Government Sectors for the year ended 30 June 2016.
Actions for Red tape reduction
Overall, NSW Government initiatives and processes to prevent and reduce red tape were not effective, according to a report released today by the NSW Auditor-General. In 2015, the Government reported that its red tape reduction initiatives, implemented between 2011 and 2015, had resulted in $896 million in savings. While these initiatives resulted in some savings, the total value of savings is unknown because estimates for some initiatives were based on
Actions for Early childhood education
Enrolments in quality early childhood education programs in New South Wales are increasing but are below the national benchmark, according to a report released today by the NSW Auditor-General, Margaret Crawford. Ninety-five per cent of children should be enrolled in at least 600 hours in the year before school, but according to the latest NSW figures 77 per cent of children were enrolled in quality early childhood education programs. This 2015 figure i
Actions for Areas of focus in 2015
Areas of focus in 2015
This report focuses on key observations from financial and performance audits in 2015. The findings have been broadly classified into four themes, which has informed the focus of financial and performance audits for 2016.


text:
PK-661 crew may have been poisoned, says investigation report
7:58 PM | January 16, 2017
ISLAMABAD: The crew of the Pakistan International Airlines (PIA) flight PK-661, which crashed near Havelian on the way to Islamabad from Chitral, might have been poisoned or some intoxicant was given, the ongoing investigation into the causes of the crash revealed.
The ongoing investigation into the PK-661 crash has took a new turn as the investigators are now suspecting the crew of the flight might have been poisoned or some intoxicating substance was given to them.
According to sources, the investigators have decided to exhume the bodies of the pilots and other crews of the plane.
In this regard, the Capital Administration and Development Division (CADD) has issued directives to Pakistan Institute of Medical Sciences (PIMS) to constitute a special medical board comprising senior doctors to exhume the bodies of the crew and examine the remains for possible poisoning.
They said that special permission would be taken from the district administration for exhumation of bodies and the process will be carried out under the supervision of the CADD ministry.
READ MORE: Austin Butler to play Elvis Presley in Luhrmann-directed biopic
On the other hand, PIMS administration confirmed receiving directives for constituting special panel for exhumation of bodies.
It is to be mentioned here that the PIA's flight, PK-661, crashed into a hillside near Havelian while travelling from Chitral to the capital, killing all 48 people on board including crew.
The black box of the ill-fated plane was sent to France to the ATR company for decoding. But the transcript analysis of the contents has failed to find the real cause of the crash.
As per the information obtained after decoding the black box, both engines of the aircraft were running 100 per cent fine when the plane took off from Chitral. Also one of the engines was still working when the plane crashed.
READ MORE: The King has returned – Disney's remake of The Lion King releases this Friday!
As the black box data indicates that no effort was made to land the aircraft before the crash, so investigations are trying to determine why the plane crashed despite the fact that one of its engines was properly working.
ATRs are designed in such a way, that even if both the engines fail, the plane can still glide for a little while and the pilot can then try and make it land safely.
The weather conditions on the day of the crash were normal, the pilot had extensive experience of flying in the northern areas and the plane also seemed to be working fine, which led investigator to consider other possibilities.
PLRA performance report
Malik denies report about not signing no-trust resolution
Report about PM's participation in EEF speculative: FO
Report says path to Dharmarajika monastery encroached
The official fire-thrower
Mina Malik-Hussain
Champions of nothing
Syed Miqdad Mehdi
Malnutrition: Need for legislation
Dr Aman ur Rehman
Poverty alleviation and microfinance
Tasneem Yaseen
Kashmiri youth: Symbol of hope
Reverting To Old Stratagems
False Equivalence
A Test For The US Supreme Court
Protect traffic wardens
CNIC verification drive
Modi claims all the water?
Sensitivity towards employees


The Specsavers team in Accrington have painted the town red…and green, and blue, and yellow all in aid of Pendleside Hospice.
Louise Sessions, Melanie Warren, Claire Currey and their families took part the fun-packed 5k Burnley Colour Dash and raised a fantastic £200 for the hospice.
The annual event sees hundreds of locals run, jog or walk through Towneley Park while being covered in different coloured paint at 'Colour Blast Stations'.