Six acteurs s'ajoutent au casting de Dietland, la nouvelle série de Julianna Margulies.
… behind his home – a robot named F.R.E.D.I. (voiced by Candace Cameron Bure). Watch as James (Lucius Hoyos), Danny (Reid Miller) and Natalie (Casimere Jollette) come together to help F.R.E.D.I. find her way back to her creator, Dr. Palmer (Kelly Hu).
KAKAAKO (HawaiiNewsNow) – Actress Kelly Hu is back home in Hawaii to host the 7th annual Friendship Jam. It's a benefit for the Best Buddies Hawaii, which supports those with intellectual and developmental disabilities. Copyright 2018 Hawaii News Now.
KELLY Hu. The actress is coming to Manila as part of ToyCon 2018's guests. Screenshot from Instagram/@kellyhu. MANILA, Philippines – Kelly Hu, known for her roles in X2 and The Scorpion King will be coming to Manila for ToyCon 2018 in June.
The Orville : l'avis de la rédac' sur la saison 1 !
"The Accident" – NCIS is called in to investigate after a clinical trial of brain implants in Veterans is hacked. Also, Patton must work alongside his ex-wife, Doctor Anna Yoon (Kelly Hu), who spearheads the project, on NCIS: NEW ORLEANS, Tuesday, Nov.
Having said that, the film makers went in a much worse direction. Most of the movie is on a boat. There's nothing worse than lost potential. Well, at least he killed the hair-rocker chick with her own guitar, and the gorgeous Kelly Hu made an appearance.
Comic book legend Stan Lee reminisces with CBR about the early days of Marvel, and how the company grew into what it is today.
This week on 'Battle of the Netflix Stars', it's television cops against sitcom greats in a battle that may just be our most equal showdown yet!
O filme vai ao ar após a série Sem Volta, a partir das 23h30, na Record TV.


text:
//
// This file was generated by the JavaTM Architecture for XML Binding(JAXB) Reference Implementation, v2.2.8-b130911.1802
// See http://java.sun.com/xml/jaxb
// Any modifications to this file will be lost upon recompilation of the source schema.
// Generated on: 2017.11.30 at 08:24:17 PM JST
//

package uk.org.siri.siri;

import javax.xml.bind.annotation.XmlAccessType;
import javax.xml.bind.annotation.XmlAccessorType;
import javax.xml.bind.annotation.XmlElement;
import javax.xml.bind.annotation.XmlSeeAlso;
import javax.xml.bind.annotation.XmlType;

/**
 * Type for Capabilities of StopMonitopring Service.
 *
 *
Java class for AbstractCapabilitiesStructure complex type.
 *
 *
The following schema fragment specifies the expected content contained within this class.
 *
 *

 * <complexType name="AbstractCapabilitiesStructure">
 *   <complexContent>
 *     <restriction base="{http://www.w3.org/2001/XMLSchema}anyType">
 *       <sequence>
 *         <element name="GeneralInteraction" type="{http://www.siri.org.uk/siri}CapabilityGeneralInteractionStructure" minOccurs="0"/>
 *         <element name="TransportDescription" type="{http://www.siri.org.uk/siri}TransportDescriptionStructure" minOccurs="0"/>
 *       </sequence>
 *     </restriction>
 *   </complexContent>
 * </complexType>
 *

 *
 *
 */
@XmlAccessorType(XmlAccessType.FIELD)
@XmlType(name = "AbstractCapabilitiesStructure", propOrder = {
    "generalInteraction",
    "transportDescription"
})
@XmlSeeAlso({
    StopMonitoringServiceCapabilitiesStructure.class,
    SituationExchangeServiceCapabilitiesStructure.class,
    ProductionTimetableServiceCapabilitiesStructure.class,
    VehicleMonitoringServiceCapabilitiesStructure.class,
    StopTimetableServiceCapabilitiesStructure.class,
    ConnectionMonitoringServiceCapabilitiesStructure.class,
    FacilityMonitoringServiceCapabilitiesStructure.class,
    ConnectionTimetableServiceCapabilitiesStructure.class,
    GeneralMessageServiceCapabilitiesStructure.class,
    EstimatedTimetableServiceCapabilitiesStructure.class
})
public class AbstractCapabilitiesStructure {

    @XmlElement(name = "GeneralInteraction")
    protected CapabilityGeneralInteractionStructure generalInteraction;
    @XmlElement(name = "TransportDescription")
    protected TransportDescriptionStructure transportDescription;

    /**
     * Gets the value of the generalInteraction property.
     *
     * @return
     *     possible object is
     *     {@link CapabilityGeneralInteractionStructure }
     *
     */
    public CapabilityGeneralInteractionStructure getGeneralInteraction() {
        return generalInteraction;
    }

    /**
     * Sets the value of the generalInteraction property.
     *
     * @param value
     *     allowed object is
     *     {@link CapabilityGeneralInteractionStructure }
     *
     */
    public void setGeneralInteraction(CapabilityGeneralInteractionStructure value) {
        this.generalInteraction = value;
    }

    /**
     * Gets the value of the transportDescription property.
     *
     * @return
     *     possible object is
     *     {@link TransportDescriptionStructure }
     *
     */
    public TransportDescriptionStructure getTransportDescription() {
        return transportDescription;
    }

    /**
     * Sets the value of the transportDescription property.
     *
     * @param value
     *     allowed object is
     *     {@link TransportDescriptionStructure }
     *
     */
    public void setTransportDescription(TransportDescriptionStructure value) {
        this.transportDescription = value;
    }

}

redpajama_set_name: RedPajamaGithub


We have the capacity of catering to big orders of any volumes keeping consistent taste and service standard. Take Away Service is available for customers satisfying their various types of needs. This service is cherished by customers due to its high level of efficiency.
Our restaurant offers a unique atmosphere in which you can order to-go or linger in our dining area with our wide assortment of breakfast and lunch items.


text:
German Underground Hospital
La Vassalerie Road, St Andrews, GY6 8XL
The largest construction in the Channel Islands at 7,000 square metres, the underground hospital was hewn out of solid rock by slave workers who had been captured by German forces during the occupation of the island during World War Two. Construction began in the winter of 1940 and was built underground so as not to be seen by overhead planes given the site was also used as an ammunition store. The hospital is truly an eerie insight into life on the island at the time.
Children (Under 15) - £2.00
Adults - £4.00
Infants (under 2) - Free
May to September
Monday - Sunday: 10.00 - 16:00
April and October
Friday - Monday: 10.00 - 16:00
November to March
Last admission is at 3pm

redpajama_set_name: RedPajamaCommonCrawl


Reid is meeting with his Democratic caucus on Thursday to talk about what may be included in the bill. A bill is seen as key priority for the Obama Administration but a number of lawmakers say time is running out in the legislative calendar and votes are not there for a broad package.
With the recent presidential push for climate change legislation, it is now more important than ever to understand the underlying fundamentals of a key aspect common across all climate bills – the issue of carbon offsets. The most recent bill, the American Power Act (APA), proposed by Senator John Kerry and Senator Joe Lieberman, specifically provides for up to 2 billion offsets/annum spread across international and domestic projects. That's a significant volume, considering that it translates into almost 40% of the total cap and trade expected until 2020. It will be one of the largest and most intensely scrutinized markets of all time apart from being one of the key mechanisms by which emission reductions are actually achieved. The sheer variety of project types, locations and, standards frequently make carbon trading appear to be as complex as astrophysics for most of us on the ground.
Fortunately though, the last few years of carbon trading and project development in voluntary markets and as part of the Kyoto Protocol have clarified the essential characteristics of good projects. These common principles define good and reliable emission reduction projects from not-so-desirable ones. Faced with a multitude of carbon offset standards (administered by as many independent certification bodies that certify carbon offsets according to a list of predefined criteria), it is important to keep one's eyes on the prize – real, verifiable emission reductions. In other words, a carbon offset must represent a verified actual ton of CO2 reduced uniquely, without adverse effect on the socio-economic environment, and in addition to any emissions that may have been reduced as a matter of course.
Jonathan Hiskes recent Grist post is an excellent exploration of a schism in the environmental community over the long awaited American Power Act i.e. the Kerry/Lieberman and one time Graham bill. Earlier in May, I took a day off from my day job, put on my private citizen hat and joined the Natural Resources Defense Council (NRDC) in Washington, DC for a day of lobbying in support of the bill.


text:
Energy Metal News
Lithium News
Energy Tech
$1.5 trillion Trump infrastructure plan says little about power grid
February 14, 2018 By Editor
The long awaited White House infrastructure plan finally arrived Monday with much fanfare about investments to roads, rail, water supply, hydropower and education. When it comes to any spending on the electric transmission and distribution system, however, the silence may be deafening.
The $1.5 trillion wish list—called "The Legislative Outline for Rebuilding Infrastructure in America—says almost nothing about the smart grid directly and actually advocates selling off several large electric transmission assets the federal government does own.
Those proposed saleable assets include the transmission systems for the Western Power Administration, Tennessee Valley Authority, Southwestern Power Administration and Bonneville Power Administration.Those combined government-owned assets cover thousands of miles in lines and millions of customers.
"The federal government owns and operates certain infrastructure that would be more appropriately owned by state, local or private entities. For example, the vast majority of the nation's electricity needs are met through for-profit investor-owned utilities," the document released Monday reads. "Federal ownership of these assets can result in sub-optimal investment decisions and create risk for taxpayers. Providing federal agencies authority to divest of federal assets where the agencies can demonstrate an increase in value from the sale would optimize the taxpayer value for federal assets."
Many of these public power entities date back to the 1930s. The transmission assets presumably would be sold to utilities, whether transmission-only or integrated, although the infrastructure plan does not detail the divestiture possibilities.
The White House release does dedicate several pages to water infrastructure, including hydropower. The focus on the hydro generation also is on the potential for privatization. The Water Resources Development Act of 1990 defines operations and maintenance at hydropower facilities are government and not commercial, but the new plan seeks to reverse that 28-year-old set of rules.
"This designation creates unnecessary bureaucracy and restricts open competition that leads to excess costs for operations that can easily be done at a lower cost and more efficiently," the Trump proposal reads. It calls for mending the law to once again let the Secretary of the Army decide whether hydropower facilities are commercial activities and eligible for non-federal operators.
The $1.5 trillion plan does call for broadening eligibility for private activity bonds to encourage investment in water and infrastructure. The document, however, does not detail energy efficiency outlays in any detailed way, and some advocates are wary of this perceived oversight.
"We need to do this the right way upfront, because there's a real downside to building new things when you have to spend an arm and a leg to run them," Kateri Callahan, president of The Alliance to Save Energy, said in a statement. "Our public buildings, ports, water facilities and other infrastructure use enormous amounts of energy, and we have an opportunity with this package to reduce costs to taxpayers for decades to come by making them more energy efficient."
A Washington Post report earlier this month indicated that Trump Administration hoped to cut 72 percent of the budget for the Office of Energy Efficiency and Renewable Energy. The president's team dismantled the Obama-era Clean Power Plan last year and hopes to ignite a rally for the struggling coal industry, as well.
The infrastructure plan hopes to cut regulatory red tape for permitting projects as much as fund those investments, if the 50-plus-page document is any indication. Among the potential regulatory or judicial rollbacks would be limitations on the ability of outside agencies to intervene in Federal Energy Regulatory Commission proceedings, according to the report.
Only a portion of the plan would be federal funds directly invested in projects. The actual government outlay might be closer to $200 billion to spur some $1.3 trillion in private investment, according to reports. Private activity bonds conceivably could be used in grid projects for rural communities.
Trump's plans also hopes to revolutionize the way student aid is dispensed, creating Pell Grants for those seeking short-term training for certification in in-demand fields such as construction, maintenance and operations.
"There is no 'one size fits all' approach to postsecondary education," the infrastructure document reads. "Rather, there are multiple pathways to success for students, and federal law should enable students to explore and access these pathways."
Indonesia's FDI jumps in 2022, led by mineral processing
Scientists Have a Genius Plan: Turn Abandoned Mines Into Gravity Batteries
Sign Up For Today's Top News, Alerts and The Next Big Stock
Nothing in this publication should be considered as personalized financial advice. We are not licensed under securities laws to address your particular financial situation. No communication by our employees to you should be deemed as personalized financial advice. Please consult a licensed financial advisor before making any investment decision. This is a paid advertisement and is neither an offer nor recommendation to buy or sell any security. We hold no investment licenses and are thus neither licensed nor qualified to provide investment advice. The content in this report or email is not provided to any individual with a view toward their individual circumstances. EnergyMetalNews.com is a wholly-owned subsidiary of Market IQ Media Group, Inc.
While all information is believed to be reliable, it is not guaranteed by us to be accurate. Individuals should assume that all information contained in our newsletter is not trustworthy unless verified by their own independent research. Also, because events and circumstances frequently do not occur as expected, there will likely be differences between any predictions and actual results. Always consult a licensed investment professional before making any investment decision. Be extremely careful, investing in securities carries a high degree of risk; you may likely lose some or all of the investment.
Researchers demo new type of carbon nanotube yarn that harvests mechanical energy
Sodium-Ion Batteries Just Got More Competitive
Salt-rejecting microchannels help make seawater drinkable using the power of the sun
Energy Metal News is a financial media site focused on providing readers with news and content on the latest trends and happenings in the battery and technology metals sector.
© Copyright 2023 www.energymetalnews.com


Reseller - Our Reseller package come with all the benefits of the Pro package, but includes unlimited hosting for you, and all your customers. For a limited time, we will even install a basic reseller hosting site for you on your own domain name. You simply pay the low monthly fee. That's it, it's really that simple. This is your own business. your customers will see your own site name, and you can even have your own nameserver setup like ns1.yoursitename.com instead of ns1.dguhost.com. You simply setup the packages you want to sell, and set your own price for each one. You can make the one with one sale to pay for your own hosting. After that, it's ALL profit. You set the prices, you keep all the money.
Reseller Pro - All the same options as our Reseller account, but this is a unlimited account (unmetered) With this account you can setup unlimited accounts, and have the storage and bandwidth you need for larger hosting accounts. Host all your own Cpanels and your clients under this account. Enjoy our customer support, free and discounted options, set your own prices, and start making MONEY today!
mikev_Starter - Great starter package, or someone with a smaller site or blog. Take a spin, and if your hosting needs change, so can your hosting.
mikev_Pro Plan - Awesome Monster package. All the toys and goodies, mail accounts, hundreds of free software and add on options, one click install, web site builder, FTP, and more. This is an updated FULL cPanel that is user friendly and loaded with options and a 99.9 uptime!
All the features of our Pro Plan hosting, but we also include daily submission to FFA, traffic exchanges, and other Networks. We also include a scan of your complete site, give you suggections to correct any errors, then we submit ALL your pages, keywords, meta tags, and descriptions to over 800,000 FFA sites and search engines world wide! EX: Google US, Google UK, Yahoo US, Yahoo UK. You get the idea.... This is a no brainer, and our techs do all the work for you, every day!............... With this deal you do not need to submit your site to the search engines.


Studies suggest that less than 50% of what we "see" is actually based on information entering our eyes. The remaining 50% plus is pieced together out of our expectations of what the world should look like. The eyes may be visual organs, but it is the brain that sees. Even more dramatic evidence of the role the mind plays in creating what we see is provided by the eye's so called blind spot. In the middle of the retina, where the optic nerve connects to the eye, we have a blind spot where there are no photoreceptors. When we look at the world around us we are totally unaware that there are gaping holes in our vision. It doesn't matter whether we are gazing at a blank piece of paper or an ornate persian carpet. The brain artfully fills in the gaps like a skilled tailor reweaving a hole in a piece of fabric. What is all the more remarkable is that it reweaves the tapestry of our visual reality so masterfully we aren't aware it is doing so.
This leads to a disturbing question. If we are seeing less than half of what is out there, what is out there that we are not seeing? For example, although spider webs look drab and white to us, we now know that to the ultraviolet-sensitive eyes of the insects for who they were designed, they are actually brightly colored and hence alluring. Our technology also tells us that fluorescent lamps do not continuously provide light, but are actually flickering on and off at a rate that is just a little too fast for us to discern.
Karl Pribram, one of the leading brain researchers, states that reality at large is really a frequency domain, and our brain is a kind of lens that converts these frequencies into the objective world of appearances. Pribram believes there may be all kinds of things out there in the frequency domain that we are not seeing, things our brains have learned to edit out regularly of our visual reality.


On July 6, 2013, 7-year-old Amber Rose Kordiak stepped outside to ask her father, Jesse, if he needed any help on the farm. On her way back inside, she noticed a large tractor tire leaning up against a barn. She then did what comes naturally to children: She climbed onto it. Jesse started to tell her not to play on the tire, but before he could finish his warning, the 600-pound tire was tipping over on top of Amber Rose. According to KSTP-TV, the tire's "6-inch metal rim sliced right through her face." Jesse tells the station, "I ran over there and lifted it up and I just tried to hold her face together," and adds, "I just thought she was going to die right there."
But Amber Rose survived. Her journey to recovery has been a long one, eventually bringing her to Mayo Clinic. But it began in the family car, as Jesse and Amber Rose's mother, Jen, raced to meet the ambulance to transport their daughter to the hospital. The paramedics were shocked by what they saw. "They were standing there with their mouths open," Jen tells the station. According to Amber Rose's CaringBridge site, the accident "completely destroyed" the facial bone under her right eye and severed nerves on her face. In addition, "her nose bone was completely severed from the bottom of her nose." Amber Rose was airlifted to a Twin Cities hospital. "I don't know how she made it," Jen tells KSTP.
After weeks in the hospital, Amber Rose was able to go home. But her healing was just beginning. She's faced multiple surgeries and received treatment for a traumatic brain injury. And she's faced something else as well: the curious eyes of strangers. "It's a natural human instinct to stare at something you don't understand," Jen tells the station.
Last year, after receiving care at "numerous hospitals" and from "dozens of doctors," the Kordiaks were told nothing else could be done for their daughter. Then, "with fingers crossed, Jen reached out to Mayo Clinic," where a team led by Uldis Bite, M.D., came up with a new plan for Amber Rose. Dr. Bite used "a 3-D model, made on the Mayo campus" to help plan out the extensive facial reconstruction surgery. And last July — nearly three years to the day after the accident — Amber Rose underwent the 15-hour procedure. Six weeks later, at a follow-up appointment, Dr. Bite was pleased with the results. As was Amber Rose. "My nose looks way better," she said. "Nobody will stare at me."
Although she'll need additional surgeries, Amber Rose will be smiling — something her family was initially told wouldn't be possible after the accident. "She defied the odds," Jen tells the station. "I just love what she teaches us about love and people and mercy and beauty and she doesn't even know she does it."
Learn more about Amber Rose's story and see her Mayo surgical team in action by watching the KSTP story. (Have a tissue handy.) Then, you can leave a comment below before you share this story with others using the social media tools atop this page.


text:
Tag Archives: short film
Subtext, Part 1: What is Subtext?
August 18, 2017 James Gilmore	3 Comments
Subtext is one of the strongest, most powerful narrative tools a storyteller has in their arsenal.
That's awesome! But what exactly is subtext?
The short answer: Information that is communicated without coming out and directly saying it.
The very short answer: What ISN'T said.
Great question. Big, complicated answer.
To answer that question thoroughly, we will start by grazing the surface of subtext with Part 1 in our article series before proceeding to a deep dive into the subject. Part 2 will explore what subtext is, how it functions, and the many forms in which it can be used in significantly greater depth.
Back to the question at hand:
What is Subtext?
Subtext is many things, and nailing down a helpful description in a single phrase always falls short. The trickiness lies in the fact that subtext isn't directly written, stated or spoken. It is the ever present invisible context inhabiting the shell we call text—that is, the underlying story beneath the outer story crust.
Like any informational source, story consists of two layers: Text and Subtext. In a conversation between two people, text represents the words each participant says to the other while subtext includes everything they aren't saying. That doesn't mean subtext includes everything they could possibly or potentially say in that situation, but rather the meaning behind the strategy and delivery of the text.
Where Subtext falls in the layers of storytelling.
If Person A asks Person B, "Did you drive today?" The text of Person A's question is obvious—exactly what (s)he came out and said. However, the subtext—what Person A didn't say—is far richer and meaningful: Do I have to give you a ride today? The tone of Person A's voice, the emotional backing and the context in which the question was asked add subtext as well. So while the text may be a simple question, the subtext alters the meaning depending on whether it was asked with a groan or with the intent of helping out a friend in need.
What Does Subtext Do?
The short answer: Subtext creates meaning.
The not-as-short answer:
Subtext represents the emotional core of your story. Not restricted by genre, medium or storyteller, subtext is the hidden power that gives the text its emotional and thematic punch. Depth and nuance are almost entirely contained in this layer of story.
A story cannot succeed without effective subtext because the text itself cannot adequately communicate meaning in a way that feels fulfilling or satisfying. The audience will notice when subtext is missing—whether they are consciously aware of it or not—because the story will feel hollow, motivations poorly formed, and characters lacking in dimension.
If Subtext is so Important, Why Do I Need Surface Text?
The short answer: You need both. Always.
Surface text acts as a simple vehicle to put the subtext into a context that makes it tangible, specific, and easy to understand. By itself, subtext comes across as abstract and vague. Text without subtext feels superficial and forgettable. Therefore, every story needs both subtext and text because the story will feel incomplete with only one or the other.
Surface text tells us what happens, not what it means.
Subtext tells us what it means, not what happens.
Text + Subtext tells us what happens and what those events mean.
How Do I Create Subtext?
The short answer: By talking around the obvious.
Subtext arises through restraint from revealing the mystery and explaining all, creating implication of the greater struggle that lies beneath the surface—conflict, the heart and soul of story. Basically, by not using direct exposition (text). Don't say what you mean; say all the things that approach the subject indirectly without giving away the whole story. Think about the exposition as an aerial view of the whole forest but the audience only gets to see the trees up close at ground level. Subtext provides clues to solving the mystery without directly saying, "The butler did it." The audience will absorb the evidence and come to that conclusion themselves, but in a way that creates a more cathartic experience because they were actively involved in the emotional journey and not just a passive participant.
A few ways to approach subtext:
If a character wants something in a scene, don't let them say so. Have them employ different tactics to approach the subject indirectly without identifying the want directly.
If a character feels an emotion, don't let them say exactly who they feel. Have them express or explore other secondary emotions or outward effects without dialing in on the root cause.
If a setting or environment evokes a certain ambiance, don't say so. Describe it in terms of sensations, feelings, emotions and similarities without pigeonholing it with over-simplified description like "creepy" or "romantic."
We've only just started talking about subtext here in Part 1 of our article series. Stay tuned for Part 2: What Does Subtext Do?
Feeling lost? Story Science is here to help! Contact us right away and we will help you find your way.
bookfilmnonfictionnovelnovellapoetryshort filmstage playstorytellingsubtexttelevisionwriting
Story Science, top 10
April 25, 2014 James Gilmore	1 Comment
No matter if you are a writer, filmmaker, gamemaster, or stand-up comedian, here are the top 10 most important basic points of storytelling you need to bring your story to life.
1. Include a beginning, middle and end.
This occurs at every level. Just as a trilogy has three parts, so does an individual story have a beginning, middle and end. The same goes each and every scene within that story. How can you tell the difference between a beginning, middle and end? A beginning sets up the story. It's a blueprint or road map to the rest of the plot. In a good story it won't be obvious. The middle develops the story from the point of setup to the climax. It plays out the "promise of the premise" and shows how the new status quo introduced at the end of act one affects the world of the story. This takes us to the end. An ending centers around the obligatory confrontation between protagonist and antagonist. It concludes by answering all the questions raised in the story, even if the answers are new questions (aka, cliffhangers).
2. Show, don't tell.
Instead of telling the audience that something is happening, show them by devoting screen time (or page time) to the illustration of these events. Telling (aka "summary") is not very interesting in comparison to the audience experiencing the same thing. You don't need to state what is going on directly. The audience will figure it out for themselves, and in so doing will create a stronger bond with the story than if you simply told the audience that it happened.
3. One word: Conflict.
Conflict is the natural result of one character's desire intersecting an obstacle. Conflict increases proportionally to the amount that each side pushes back. It drives the story forward and keeps the audience interested. Without it, nothing in the plot would be worth mentioning because story without conflict is not story, it's summary.
4. Make your protagonist proactive, not reactive.
The more proactive your protagonist is, the more invested in him/her your audience will be. They will want what (s)he wants. A protagonist is proactive when (s)he is the one to take charge and initiate events that advance the plot. The opposite of this is a reactive protagonist who responds to events forced on him/her by the plot. A reactive protagonist will not only make the audience feel like something is missing in your story, but they will fail to build a personal connection with the protagonist as well.
5. Have a central core to your story.
Your story ultimately needs to be about something, and that something is the central through-line (also called the "spine") around which everything in your story is based, especially the theme. The central core brings unity and order to all the elements of your story. For example, the film Love, Actually has a central spine about love, from which it thematically branches off into different types of love. Or the novel Catch-22 whose central core explores the concept of the same name in various circumstances.
6. Know what your story is about.
It doesn't matter if your story is based around a character, plot or theme. At some point you will need to know what your story is about—not just at its core, but at every level—in order to weave a story around it. For example, on the surface your story may be about a father-son road trip and the hilarity that ensues, but underneath that veneer it's actually about father-son relationships and an estranged parent bonding with his troublesome child while also exploring other related thematic material, such as what it means to be male in today's society.
7. It is better to be simple and clear than complicated and ambiguous.
Simplicity creates clear understanding in the minds of the audience. They won't view it as overly simplistic if it smoothly and adequately conveys your story. A common mistake storytellers use is to try and tell too much without spending enough "screen time" on each segment. Set aside the big picture to work on the simple steps needed to get there. Want to see this point in action? Pick up a copy of J.K. Rowling's Harry Potter and the Sorcerer's Stone.
8. Say as much as possible with as little as possible.
Convey maximum information using minimal text (story) to do it. Implicit over explicit. This requires the use of subtext: whereas text is what is said, subtext is what is not said. Without subtext, your story will be dull and shallow. Some subtext occurs naturally but very often you have to work at it. For examples, a brother and sister talking about their lives at college but not talking about the recent death of their father colors the scene very differently than if they were just catching up like old friends. It also tells us their emotional state—that they aren't ready to confront the truth about their father's death.
9. Get in late, get out early.
Start as late as possible in your scene or story to provide both audience interest and optimal conflict, and then end the scene as soon the conflict has run its course. This doesn't mean truncating valuable exposition or foregoing a beginning, but it does mean opening where the vital information starts. And once the scene or story has said all there is that needs to be said, get out! Don't hang around and dawdle or you will be diluting your story's final punch. For example, the audience doesn't need to witness an entire 4-hour board meeting. They only need to see the handful of minutes that that count. In short: focus on where the action is happening.
10. Characters, characters, characters.
Even if you have a plot-driven story, your characters are what make a story really shine. A bland or passive protagonist makes for a boring story. Interesting and unique characters are memorable, if not timeless, even when relegated to smaller roles. Go the extra mile to give each character distinction, depth, and history. Consider writing character bios for each member of your cast and see if it gives you further insight into how to portray them.
Need help with your screenplay, novel, film? Drop us a line. We're here to help!
fictionfilmfilmmakersfilmmakinglistlong formnonfictionplaywritingpoetryprosescreenplayscreenwritingserialshort filmshort formshort storystageplaysubtexttechniquewriterswriting
February 19, 2014 James Gilmore	Leave a comment
Finally we have come to part 3 of our 3-part article series on Short Form Storytelling. If you missed out on the earlier installments, be sure to read Part 1: One Story, One Idea here and Part 2: Compression, Compression, Compression.
Previously we discussed the different ways in which you can compress elements in your story to make it denser and more efficient. Now we are going to discuss the three main categories of compression and how each applies to storytelling.
Compression falls into three basic categories: (1) Structure (2) Character, and (3) Text, with Structure being the most basic of the three and Text the most involved. Within each category are five points, or ways, in which to utilize compression in that category. Before we get into the bread and butter of the discussions, here is a short sweet summary of the 15 points we will address in this article:
STRUCTURE: Events, plot points, story development.
Structure aggressively by having events occur as early as possible.
Aim high, go far.
Get in late, get out early.
Combine events to give each multiple purpose.
Eliminate scenes that do not advance plot or character development, preferably until every scene contains both.
CHARACTER: Cast members, characterization, relationships and character decisions.
Reduce the cast of your characters to the minimum required to tell the story.
Controlling how information about the character is divulged to the audience, including when and where.
Imply or illustrate characterization.
Imply depth and history in relationships.
Use meaningful character names.
TEXT: The action of the story, including descriptions and visuals.
Remove redundant beats and information.
Create higher text density by converting text into subtext.
Make one element serve more than one purpose.
Don't say it, illustrate it.
Cut extraneous details.
STRUCTURE COMPRESSION
Involves events, plot points, and story development. The shorter the piece the more compressed it needs to be.
How do you compress structure?
1. Structure aggressively by having events occur as early as possible.
This creates structural compression by giving you the most amount of time to develop the story instead of having the audience wait around for something to happen. The more aggressive your plotting, the more compressed your structure will be and will help you with points 2-5 (below). Inexperience storytellers often take too long to get to the plot rolling or take too long to reach the point of the story.
2. Aim high, go far.
Use an aggressive structure to develop your plot as far as possible during the course of your story, going from point A to point B with minimal chaff between the two. This allows you to get the most out of your plot by granting you the time to explore your theme and its related subthemes and variations to the fullest extent.
Enter the plot as late as possible with as much exposition and introductory story taking place "off screen" before the first actual moment of your story. Doing this creates greater subtext and grabs the audience's attention right away instead of boring them with a mountain of setups and exposition. "Get in late, get out early" not only applies to your overall plot but your scenes as well.
4. Combine events to give each multiple purpose.
Take one event and give it multiple uses. Although one of the most basic methods of compression, young storytellers usually fail to do this. Film is a good place to observe this point in practice. For example: Johnny finds the gun under his wife's pillow, which tells him she is hiding something from him (the gun at the very least), but also provides Johnny with a murder or self defense weapon in the future, but additionally sets up the situation to make him look like he is his wife's murderer when he actually had nothing to do with it. Instead of giving each of these developments their own separate events with dedicated "screen time" for each, we can simply combine (compress) them into one single event with multiple uses.
5. Eliminate scenes that do not advance plot or character development, preferably until every scene contains both.
No matter how cool or interesting a scene may be, if it does not reveal character (preferably someone in the main cast) or advance the plot then it has no place in your story. Ideally, each element will do both, although this is not always possible.
CHARACTER COMPRESSION
Involves cast members, characterization, relationships and character decisions. Prose requires the least character compression while film and the stage demand the most.
How do you compress character(s)?
1. Reduce the cast of your characters to the minimum required to tell the story.
This is accomplished by moving important action and dialogue from minor characters to major ones, or by combining several characters into one or, more often than not, both (the first leading to the second). Unlike long form storytelling, in short form you do not have the time or space to handle a large cast of characters, although you do have more leeway in prose than in film or poetry. In its adaptation from book to film, The Fellowship of the Ring compresses dozens of minor characters into the main cast, making them fuller and more active in the story. Broadway Musicals are especially adept at this type of character compression, as can be seen when comparing Wicked to its original book form and Spamalot to the film on which it is based.
2. Controlling how information about the character is divulged to the audience, including when and where.
A completely uncompressed character would have everything about him/her explained right away with nothing held back. Not only is this dull but it is also an exposition-heavy block to dump on an audience at the beginning. Instead, hold back information about the character for as long as possible without depriving the audience of plot necessities. This will keep the audience interested and increase their emotional investment and the impact of revelations when they are finally made.
3. Imply or illustrate characterization.
Essentially, "show, don't tell" (in and of itself a natural form of compression). Instead of saying Character A is an alcoholic, show him drinking. Instead of having another character comment on how much the protagonist cares for others, illustrate what the protagonist does that is caring to others. Don't tell us the character is good at something, show us through his actions and decisions.
4. Imply depth and history in relationships.
Developing as much about a relationship as possible without having to overtly express it on the page or screen influences how your characters interact with each other. Such implications add both depth and implied history to your characters, making them seem more relatable and whole to the audience. If you haven't made a habit out of writing character bios, now might be a good time to start because this is where they will come in handy.
5. Use meaningful character names.
Throwaway names add nothing to your story, but names which enhance the meaning of the character's personality, background, and/or role in the story are worth more than any number of words of imagery. A name can convey a large amount of information about a character without ever having to spell it out. For example, if you were creating a mystery story, which name would convey the most information: (a) Bob Jones (b) Billy the Kid, or (c) Professor Pathfinder?
Involves the action of the story, including descriptions and visuals. Text compression squashes description, action, and visuals into a smaller space by using more efficient text than the original—e.g., less is more. This is where we get to the real meat and bones of compression.
How do you compress text?
1. Remove redundant beats and information.
Compacting information into efficient beads of story is the most basic form of compression. A beat is a subunit of a scene which represents the playing out of a single tactic by the character driving the scene. It can also be seen as a small interplay between characters about a single thing. By reducing beats that are repetitive or repeat information unnecessarily you can make your story leaner and stronger by making less say more. Master this point of compression and your story will improve tenfold.
2. Create higher text density by converting text into subtext.
Compressing text increases its density while also creating subtext. This becomes really obvious when you compare the text density of short fiction to that of a novel. Certain forms (such as poetry and film) require higher levels of text density than others (novel, tv series, etc.). Text that is compressed into subtext will make the audience read between the lines more often, giving them more to do mentally and thereby creating greater engagement. Give them too little and you are insulting their intelligence. Assume the audience is equally as intelligent as you and you will be surprised at how much they understand.
3. Make one element serve more than one purpose.
Although scenes are technically elements, this point refers specifically to elements on a smaller, more specific scale than scenes. Essentially, an element is any construct that artificially influences the story, such as events and plot points (as mentioned previously), characterizations, decisions, a chance encounter with a small character, an object or prop, something from the protagonist's background, or even relationships (although not limited to this list by any means).
4. Don't say it, illustrate it.
Show, don't tell. This cannot be said enough. There is a time and a place for summary (or a montage) but for the most part don't just tell your audience about the world of your story and its inhabitants, show them by example. Unfortunately, this issue plagues the storytelling world of professionals and amateur alike, but it is especially important for newer storytellers to learn how to show—not tell—their story.
5. Cut extraneous details.
Whereas the first point of text compression involved cutting redundant information, this point deals with cutting information that is not pertinent to the story. It may be interesting that the character writes greeting cards for a living but unless it plays into the story somehow that is required for the telling of the story then it only gets in the way and dilutes the plot and/or theme. The shorter the work the more vigilant you have to be in keeping those superfluous details out of your story.
In the quest for perfecting your creative work, sometimes storytellers need help. Contact Storysci to put your project back on the right track.
challengecompressiondialoguefictionfilmfilmmakingnonfictionplaywritingpoetryprosescreenplayscreenwritingshort filmshort formshort storysubtexttechniquetrainingverbswriting
Short Form Storytelling, Part 2: Compression, Compression, Compression
December 10, 2013 James Gilmore	Leave a comment
Welcome to Part 2 of our 3-part article series on Short Form Storytelling. You can read Part 1: One Story, One Idea here.
Just because we saved the subject of compression for last does not mean it is less important than the points discussed in Part 1. As a matter of fact, it is so important in short form storytelling that we dedicated several articles to it, because compression is vital to understanding short form.
It's a mysterious word packed full of meaning. So what is it?
Many writers don't know what "compression" means in terms of storytelling. Does this make them bad storytellers? No more than not knowing how many color rods are in the human eye will make someone a terrible interior designer. But knowing about compression and how to use it will make you a better storyteller.
Compression makes your story denser by compacting more information into less space. Whereas cutting material out altogether may achieve a similar purpose, by compressing you are not only trimming fat to make your story more lean and efficient but making it denser as well. Compression creates text density through subtext by implying information that is not otherwise made explicit. The audience must read between the lines to determine what is being meant by that which is not said. Therefore:
Text density is essentially how much information is packed into a segment of text or screen time.
Low density text conveys only what is written with little need for deeper thought or examination of subtext: "He moved the chair away from the table." Genre fiction novels (mystery, western, romance, etc.) tend to have moderate to low text density.
High text density implies a lot of information without having to say much at all and may be used to demonstrate deeper, unspoken subtext: "For sale: Baby shoes, never worn" (attributed to Hemingway). Literary fiction probes the human condition through moderate to high text density.
Short form is most effective when using moderate to high text density.
To see exactly how compression works, let's use it in reverse on the six word short story quoted above (the one attributed to Hemingway) to decompress the dense subtext packed into that one tragic sentence. Imagine that sentence as a 10-page short story with moderate compression. Now as a 200+ page novel with low compression. Over the course of story we may get a brisk summary of their wedding day, honeymoon, emotional ups and downs of pregnancy, etc., while spending the last half of the story tracking their emotional desolation over having lost a child.
Now let's compare:
Compression: (Ultra)
High Moderate Low
Count: 6 4,000-5,000 75,000-100,000+
Pages: <1 10 200+
(film): 3 10 120
After all of that, which version would you say was the most effective? The six-word form uses the least text but packs more emotional impact than a single sentence in any of the other forms. That is the power of compression. Saying more with less makes the audience actively fill in the blank, creating greater audience involvement, more emotional investment and thus a more powerful impact.
So now that we've talked about compression, let's list the five most common ways in which you can use it to tighten your story (in order of importance):
Combine several elements with a single use into a single element with multiple uses (this is the very essence of compression).
When writing scenes: start the scene as late into the action as possible, end the scene as soon as possible.
Reduce your cast of characters to only those who advance the story or reveal character, preferably both.
Imply deeper characterizations and relationships through illustration, such as using meaningful names and places.
(A more in-depth examination of these points will follow in our next article: Part 3: The Three Types of Compression.)
Three things you should know about compression:
Younger storytellers tend to use less compression than mature storytellers.
The distinguishing mark of a mature storyteller is his/her ability to write with efficient compression. See J. K. Rowling's Harry Potter and the Philosopher's Stone (novel) or Francis Ford Coppola's The Godfather (film) for prime examples of excellent compression.
Many writers (especially young ones) dive into writing short form without understanding how it differs from long form, resulting in a bloated short story with low compression like a novel. This approach can work but it seldom results in a piece that is as effective as one with higher compression.
COMPRESSION PRACTICE
It's easy to put information onto the page or the screen, but it's another thing entirely to compact that information into less space and have it say twice as much (or more). An excellent way to learn compression is by studying the discipline of screenwriting, where compression reigns supreme. And of course there are also writing exercises, such as the one below, designed to help you flex your compression skills.
Write a one paragraph short story, description or character bio.
Now write a new version of it but condensed down to a single sentence. Try to preserve as much information from the original as possible, implicit or explicit.
And finally, the hard part: Condense your sentence down to seven words or less, preserving as much information as possible from the previous two versions, most of which will now be implied through subtext rather than explicitly stated through text.
Stay tuned for Part 3 of our article series on short form storytelling where we will be examining the different methods of implementing compression in much greater detail.
Need help with compression? Storysci is here! Contact us to put your creative work back onto the road to success.
compressionfictionfilmfilmmakingplaywritingpoetryprosescreenplayscreenwritingserialshort filmshort formshort storystageplaysubtexttechniquetrainingwriting
Short Form Storytelling, Part 1: One Story, One Idea
Let's start with the obvious: What is short form storytelling?
Short form is a story condensed into a brief, compressed format.
Storytellers tend to receive the majority of their training in long form techniques so this article is devoted to preparing you for short form storytelling, specifically the short story and short film.
What is considered short form?
Short form includes such familiar formats as television (30 minute sitcoms, one-hour dramas, etc.), short stories, short films and poetry, whereas long form includes the feature-length film, novel, and epic poem. Of course there are also forms which fit somewhere in the middle, like the long story, novelette, and 70-minute film.
Although the numbers vary depending on who you ask, here are some quick and dirty guidelines to give you an idea of lengths for short and long forms:
SHORT FORM LONG FORM
Film: under 70 minutes 70+ minutes
Prose: 7,500 pages or less 7,500 pages or more
Poem: up to 2 pages 2 pages or more
Typically a short film is under 30 minutes long but they can run up to 70 minutes. For more information on word counts in prose, refer to Prose Length and Word Count.
Shorter is simpler, but harder
Short form is deceptively difficult. It's tempting to believe that shorter means easier, and while it does make the story simpler, it actually makes the piece more difficult to perfect. Most writers are accustomed to long form storytelling because that is the easiest way to fully express their ideas. In short form you do not have the luxury to explore every nook and cranny of your idea, so you can only include that which is absolutely relevant and necessary for your story.
In fact, short form is so challenging that many famous literary authors of the 20th century believed that the short story was not only the hardest type of story to write, but also the finest mark of a writer's ability. Many an author has spent his/her career attempting to perfect the short story. (Short film and poetry have similar stories.)
Short Form is About One Idea
The key to short form is to concentrate on one clearly defined idea and bring it to fruition. The nature of short form does not allow you to cram more than one main idea into a short story without diluting its impact and creating an ambiguous mess. You also do not have the luxury of spending long periods developing characters or fleshing out your B- and C-plots. The longer your story becomes the greater its complexity will be, making it more difficult a story to tell. So keep your story compressed and strong by staying simple and always focused on your main idea.
Only that which is necessary and relevant
Short form is a compressed storytelling format where every ingredient has to carry its own weight. Prose, visuals, events and characters must count absolutely and definitively with no room for extraneous details or events. We call this necessary action. Necessary action means that only material directly relevant to the story should be included. Each element should be lean and efficient. Where possible, make each element count for multiple uses in regards to character, plot and theme.
Why Short Form is Worth the Effort
Although the market for short form storytelling is very select, it can be one of the best ways to improve your craft and learn invaluable skills such as compression (the subject of Part 2 of this article).
A few things you will learn while using short form:
How to tell stories efficiently.
How to say more with less (by means of compression).
How the story creation process works from beginning to end because it takes less time to complete short formats than long ones.
In the end, you may discover a new found joy in working with short form. Not only is short form liberating in its brevity, it requires a smaller commitment than long form and will ultimately lead to a greater understanding of your craft.
Stay tuned for Part 2: Compression, Compression, Compression.
Want to perfect your short film, script, play or story? Contact StorySci to get professional help right away.
compressionfictionfilmfilmmakingnonfictionplaywritingpoetryprosescreenplayscreenwritingshort filmshort formshort storystageplaytechniquetrainingwriting


text:
Ice-Blog
Climate Change in the Arctic & around the globe
Blog and Blogger
Arctic and Ice
Global Climate
Search Results for Tag: tipping point
Arctic sea ice, Greenland and Europe's weird weather
Greenland iceberg, broken off from the ice sheet (Pic: I.Quaile, Greenland)
As I write this, I am sitting in a short-sleeved shirt with the window open, enjoying an unusually warm start to the month of May. It's around 27 degrees Celsius in this part of Germany, pleasant, but somewhat unusual at this time. The first four months of this year have been the hottest of any year on record, according to satellite data.
The Arctic is not the first place people tend to think of when it comes to explaining weather that is warmer – as opposed to colder – than usual in other parts of the globe. But several recent studies have increased the evidence that what is happening in the far North is playing a key role in creating unusual weather patterns further south – and that includes heat, at times.
Why sea ice matters
The Arctic has been known for a long time to be warming at least twice as fast as the earth as a whole. As discussed here on the Ice Blog, the past winter was a record one for the Arctic, including its sea ice. The winter sea ice cover reached a record low. Some scientists say the prerequisites are in place for 2016 to see the lowest sea ice extent ever.
Several recent studies have increased the evidence that these variations in the Arctic sea ice cover are strongly linked to the accelerating loss of Greenland's land ice, and to extreme weather in North America an Europe.
"Has Arctic Sea Ice Loss Contributed to Increased Surface Melting of the Greenland Ice Sheet", by Liu, Francis et.al, published in the journal of the American Meteorological Society, comes to the conclusion: "Reduced summer sea ice favors stronger and more frequent occurrences of blocking-high pressure events over Greenland." The thesis is that the lack of summer sea ice (and resulting warming of the ocean, as the white cover which insulates it and reflects heat back into space disappears and is replaced by a darker surface that absorbs more heat) increases occurrences of high pressure systems which get " stuck and act like a brick wall, "blocking" the weather from changing", as Joe Romm puts it in an article on "Climate Progress".
Dwindling sea ice (Pic: I.Quaile)
Everything is connected
The study abstract says the researchers found "a positive feedback between the variability in the extent of summer Arctic sea ice and melt area of the summer Greenland ice sheet, which affects the Greenland ice sheet mass balance". As Romm sums it up:"that's why we have been seeing both more blocking events over Greenland and faster ice melt."
He quotes co-author Jennifer Francis of Rutgers University, New Jersey, explaining how these "blocks" can lead to additional surface melt on the Greenland ice sheet, as well as "persistent weather patterns both upstream (North America) and downstream (Europe) of the block.
"Persistent weather can result in extreme events, such as prolonged heat waves, flooding, and droughts, all of which have repeatedly reared their heads more frequently in recent years", Romm concludes.
"Greenland melt linked to weird weather in Europe and USA" is the headline of an article by Catherine Jex in Science Nordic. People are usually interested in changes in the Greenland ice sheet because of its importance for global sea level, which could rise by around seven metres if it were to melt completely. But Jex also draws attention to the significance of changes to the Greenland ice for the Earth's climate system as a whole.
The jet stream
"Some scientists think that we are already witnessing the effects of a warmer Arctic by way of changes to the polar jet stream. While an ice-free Arctic Ocean could have big impacts to weather throughout the US and Europe by the end of this century".
She also notes some scientists warning of "superstorms", if melt water from Greenland were eventually to shut down ocean circulation in the North Atlantic.
Greenland ice sheet is discharging ice into the ocean at an alarming rate. (Pic: I.Quaile)
The site contains an interactive map to indicate how changes in Greenland and the Arctic could be driving changes in global climate and environment.
The jet streams drive weather systems in a west-east direction in the northern hemisphere. They are influenced by the difference in temperature between cold Arctic air and warmer mid-latitudes. With the Arctic warming faster than the rest of the planet, this temperature contrast is shrinking, and scientists say the jet streams are weakening.
Jex quotes meteorologist Michael Tjernström, from Stockholm University, Sweden: "Climatology of the last five years shows that the jet has weakened," says. Its effect on weather around the world is a hot topic.
"We've had strange weather for a couple of years. But it's difficult to say exactly why."
One explanation, Jex writes, is that a weak jet stream meanders in great loops, which can bring extremes in either cold dry polar air or warmer wetter air from the south, depending on which side of the loop you find yourself. If the jet stream gets "stuck" in this kind of configuration, these extreme conditions can persist for days or even weeks.
Experts have attributed extreme events like the record cold on the east coast of the USA in early 2015, a record warm winter later the same year, and the summer heat waves and mild wet winters with exceptional flooding in the UK to these kind of "kinks" in the jet stream.
Meltpool on the Greenland ice sheet (Pic: I.Quaile)
Greenland and the ocean
The changes to Greenland's vast land ice sheet also have consequences for ocean circulation, because they mean an influx of the cold fresh water flowing into the salty sea. And the sea off the east coast of Greenland plays a key role in the movement of water, transporting heat to different parts of the world's oceans and influencing atmospheric circulation and weather systems.
There have often been "catastrophe scenarios" suggesting the Gulf Steam, which brings warm water and weather from the tropics to the USA and Europe could ultimately be halted, leading to a new ice age. (Remember the "Day after Tomorrow?)
Although this extreme scenario is currently considered unlikely, research does suggest that the major influx of fresh water from melting ice in Greenland and other parts of the Arctic could slow the circulation and result in cooler temperatures in north western Europe.
Jex goes into the theory of a "cold blob" of ocean just south of Greenland, where melt water from the ice sheet accumulates. Some scientists say this indicates that ocean circulation is already slowing down. The "blob" appeared in global temperature maps in 2014. While the rest of the world saw record breaking warm temperatures, this patch of ocean remained unusually cold.
According to a recent study led by James Hansen, from Columbia University, USA, the 'cold blob' could become a permanent feature of the North Atlantic by the middle of this century. Hansen and his colleagues claim that a persistent 'cold blob' and a full shut down of North Atlantic Ocean circulation could lead to so-called 'superstorms' throughout the Atlantic. And there is geological evidence that this has happened before, they say. But the paper was controversial and many climate scientists questioned the strength of the evidence.
However, some scientists already attribute western Europe's warm and wet winter of 2015 to the "cold blob", Jex notes, which may have altered the strength and direction of storms via the jet stream.
… And the ice continues to melt. (Pic: I. Quaile,) Greenland)
The good old British weather
The UK's Independent goes into a new study by researchers at Sheffield University, which indicates soaring temperatures in Greenland are causing storms and floods in Britain. The Independent's author Ian Johnston says the study "provides further evidence climate change is already happening".
It never ceases to amaze me that evidence is still being sought for that, but, clearly, there are still those who are yet to be convinced our human behavior is changing the world's climate. So every bit of scientific evidence helps – especially if it relates to that all-time favourite topic of the weather.
The study also looks at the static areas of high pressure blocking the jet stream. With amazing temperature rises of up to ten degrees Celsius during winter on the west coast of Greenland in just two decades, it is not hard to imagine how this can effect the jet stream, and so our weather in the northern hemisphere." If forced to go south, the jet stream picks up warm and wet air – and Britain can expect heavy rain and flooding. If forced north, the UK is likely to be hit by cold air from the Arctic", Johnston writes.
The article quotes Professor Edward Hanna from the University of Sheffield, lead author of a paper about the research published in the International Journal of Climatology, and says seven of the strongest 11 blocking effects in the last 165 years had taken place since 2007, resulting in unusually wet weather in the UK in the summers of 2007 and 2012.
Hanna told the Independent computer models used 10 to 15 years ago to predict the extent of sea ice in the Arctic had significantly underestimated how quickly the region would warm.
"It's very interesting to look at the observed changes in the Arctic … the actual observations are showing far more dramatic changes than the computer models," Professor Hanna said.
"You do get sudden starts and jumps. It's the sudden changes that can take us by surprise and there certainly does seem to have been an increase in extreme weather in certain places."
Longer enforced holidays for sled dogs? (Quaile, Greenland)
Drawing conclusions (or not?)
In the Washington Post, (reprinted on Alaska Dispatch News) Chelsea Harvey sums up the conclusions of the latest research in an article entitled "Dominoes fall: Vanishing Arctic ice shifts jet stream, which melts Greenland glaciers":
"There are a more complex set of variables affecting the ice sheet than experts had imagined. A recent set of scientific papers have proposed a critical connection between sharp declines in Arctic sea ice and changes in the atmosphere, which they say are not only affecting ice melt in Greenland, but also weather patterns all over the North Atlantic".
So what do we learn from all of this? Sometimes I ask myself how many times we have to hear a message before we really take it in and decide to do something about it.
Here in Bonn, not far from the office where I am sitting now, the first round of UN climate talks since the Paris Agreement at the end of last year will be kicking off this coming weekend. The aim is to stop the rise in global temperature from going about two, preferably 1.5 degrees C. We have already passed the one degree mark. In an interview with the Guardian this week, the head of the IPCC Hoesung Lee says it is still possible to keep below two degrees, although the costs could be "phenomenal". But many scientists and other experts are increasingly dubious about whether emissions can really peak in time to achieve the goal. Current commitments by countries to emissions reductions still leave us on the track for three degrees at least.
The concentration of greenhouse gases in the atmosphere is, as the Guardian puts it, "teetering on the brink of no return", which the landmark 400 ppm measured for the first time at the Australian station at Cape Grim and unlikely to go below the mark again at the Mauna Loa station in Hawaii.
On my desk, I have a book entitled "Arctic Tipping Points", by Carlos M. Duarte and Paul Wassmann. It was published in 2011. Before that, Professor Duarte had explained the global significance of what is happening in the Arctic to me
http://blogs.dw.com/ice/files/duarte.mp3
at an Arctic Frontiers conference in Tromso, Norway. How much more evidence do we need? Science takes a long time to research, evaluate and publish solid evidence of change and its consequences, with complex review processes. If politicians delay much longer, the pace of climate change will be so fast that action to avert the worst cannot keep up. Meanwhile, that Arctic ice keeps dwindling – and I sense another major storm on the approach.
May 12, 2016 | 11:53 am
ADN, AMS, Arctic, Arctic Frontiers, Bonn, Climate, cold blob, Duarte, Emissions, Greenland, Guardian, ice, Independent, International Journal of Climatology, James Hansen, research, Rutgers, science, sea ice, Sea level, Sheffield, tipping point, Tromso, UN talks, UNFCCC, warmest year, Warming
Arctic Science and Politics
It was a full house all day here in the world's northernmost university.
The first two days are designated the "political" section, Wednesday to Friday will be the "science" section. Of course there has to be some overlap, with the scientific background for the politicians and the political considerations giving context to the scientists.
At lunchtime I talked to some scientists from North America and Europe attending the whole week. They seemed to have the feeling the political discussions were only skimming the surface. Some of them also said – and I've heard this a number of times before at conferences like this – it was a real pity the politicians didn't stay around to engage with the scientists. There seems to be a consensus though that it is a good idea to bring scientists and the politicians who have the responsibility to decide on action taken based on scientific research – and to fund research – together more often.
US Rear Admiral Dave Titley had an interesting interpretation of the "tipping point" theme. "Melting sea ice in the Polar Ocean – a tipping point for US politics in the Arctic" was his presentation. He was stressing the Arctic is "tipping" into the mainstream, i.e. no longer a remote area, but one where shipping and oil and gas extraction would be on the increase from 2030 onwards, with a whole month ice-free every summer. He made no bones about the fact that the ice is melting fast and we need progress on a "polar code" and search-and-rescue procedures. He says it's just a matter of luck that there has been no major cruise ship disaster so far, in what will remain dangerous waters.
In between times I talked to a Norwegian and two Russian "explorers", who know all about that, the ones who took ships through the northern sea passages just last year. Things are really changing fast up here. That brings us back to the tipping points.
Spanish marine ecology professor Carlos Duarte was the "scientist amongst the politicians". And he painted a worrying picture. 6 out of 14 "tipping elements" in the earth system, he says, are located in the Arctic. Let me close with a quick list of the dangerous factors he described: sea ice and albedo, the Greenland ice sheet, sea level rise, thermokarst and permaforost melting, increased freshwater runoff, methane hydrate release, pollutant release, ocean reversal to a CO2 source, boreal forest dieback and peat fires. While the Greenland ice cap melting and sea level increase are likely to be very long-term factors, the others could all be acting within decades, he says, and "tipping over" like dominos. He told me in an interview that he is really concerned with the paradox involved in exploiting even more fossil fuels which will further increase global warming and bring the "points of no return" closer, faster. He feels we are not far away from the "tipping point" represented by melting Arctic sea ice.He thinks the politicians have to abandon their reluctance to take unilateral steps and get moving.
Arctic, Climate, Greenland, Norway, research, tipping point, Warming
Arctic Tipping Points
The auditorium here in Tromsö is packed full for the start of Arctic Frontiers. This is the fifth of these conferences and it attracts a lot of international attention. I asked a Norwegian newspaper colleague if it was likely to get a lot of attention in the national press. He says: sadly, no. He thinks there has been so much talk about climate change opening up new shipping routes, access to oil, gas and minerals that people have lost interest now that is actually happening. Overkill? Return to business as usual? Of course that's just one person's opinion, but this seems to be a general problem with the climate change topic.. Anyway here in the packed hall with almost a thousand participants registered for the course of this week, we certainly can't complain about a lack of interest. And I hear a lot of Russian voices. There is a lot of talk of increasing cooperation between Norway and Russia (and they did settle a long-standing dispute about Arctic borders last year).
Jonas Gahr Store is Norway\'s foreign minister. Last night he opened an exhibition on polar explorers. This morning he opened the Arctic Frontiers conference with a speech entitled "State of the Arctic – Challenges ahead".
It was a good summary of the current situation. He started with a reference to famous polar explorers, the Norwegians Fridtjof Nansen und Roald Amundsen, and the Russian Mikhail Lomonossov, all of whom are being commemorated as part of various anniversary ceremonies this year. He says humanity today faces a challenge in some ways similar, but as a collective challenge. Like the great explorers, we have to seize the moment, he said. He made it quite clear the Arctic climate is changing fast – and faster than anticipated – and quoted figures on temperature and sea ice decline, which make the region today very different from it was in the days of those polar explorers. Amundsen was the first to sail the North-East and the North-West passages, in 196 and 1920. Last year, modern "explorers" sailed both within a few weeks.
Store says he is "deeply worried. The conference title is Arctic Tipping Points and that is being interpreted in various different ways at this Tromsö meeting. For the scientists, it refers to the climate. More about that in later sessions. It can also be a tipping point in terms of relations between different countries – those with Arctic territory and others, showing an increasing interest in the oil, gas and mineral resources of the Arctic, and, of course, the shipping routes.
If I try to put Store's remarks into a nutshell: He stresses the need for international cooperation both with regard to the Arctic and reducing emissions. He admits a paradox between his country's interests in coal, oil and gas, which, in turn, drive further climate change. But he says opting out of all that alone would not solve the problem. He says Norway will keep working for more renewables, capture carbon and storage and international agreements. He's optimistic there will soon be a practicable "polar code" for shipping
in the "harsh and environmentally challenging" waters of the northern Arctic. (The BP-Russian agreement is creating some concern amongst people I've talked to here). He also looks forward to a legally binding search and rescue agreement, which he hopes will be signed in May in Greenland.
Of course sustainability is a buzzword here as elsewhere.
And with reference to possible security conflicts in the race to exploit resources,"low tension in the high north" is the motto given by the Norwegian foreign minister.
Let me stop at that and listen to some more.
Arctic, Climate, ice, research, tipping point
The gateway to the Arctic
If you've ever thought it was getting increasingly difficult to find a public phone box in the age of mobiles – you'd have to dig deep for this one in Tromsö. (Or has Dr. Who landed a new-look tardus a little too deep? Apologies if you do not understand this reference). Yes, I have indeed arrived in the Arctic circle town, 2 hours flight north of Oslo. It's actually an island, linked to the mainland by a fairly spectacular bridge.
Tromsö is nicknamed the "gateway to the Arctic". Traditionally, that has been the case especially for polar explorers, scientists and fishermen. With the climate warming, it's likely there will soon be all sorts of others heading through the gate in search of oil, gas or mineral riches…. But let's leave that for later. The Arctic Frontiers conference officially starts tonight. I thought I'd set the scene for you before I head off to the ceremony.
We left Oslo this morning in beautiful weather, a pleasant (for ice-blogger types) minus five, sunshine on snow. By the time we got up north (well it is January and we are in the Arctic circle), there was so much snow falling on the runway we had to circle for half-an-hour while they got it swept again. Yes, I had a very guilty conscience about the emissions we were producing.
It was a great day for snow ploughs. I watched this little one through the window, keeping the harbour walk reasonably clear for pedestrians – and handily dumping the white stuff into the sea.
Still snow on the gangway though. I don't expect those boats are going anywhere today.
Tromsö itself is quite picturesque, with a lot of these 19th century wooden buildings.
And if you're into building snowmen, clearly it's a great place to be.
Even if the weather outside looks pretty much as you might expect here at this time of year – more on the warming of the Arctic and what the politicians, scientists and locals here are saying about it tomorrow.
Arctic, Climate, Norway, research, tipping point
Icebergs, glaciers, snow-white foxes – the beauty of the polar regions features large on the Ice Blog. But what's happening to all this in a changing climate? And how does the melting of the polar ice in turn affect the rest of the globe? Environment journalist Irene Quaile has been observing climate change in the Arctic and around the globe since 2007.
Svalbard glaciers ice Arctic Frontiers Barrow Antarctic EU Greenpeace ocean acidification Copenhagen Living Planet polar bears AWI science sea ice Emissions Warming UN talks Tromso Ny Alesund USA wildlife weather Climate Renewables Youth Oil Zackenberg permafrost Arctic Climate Change College Alaska snow WWF Norway Greenland research CO2 Sea level Media
25 years of German Arctic research
Alfred Wegener Institute for Polar and Marine Research
Arctic Research Station Svalbard, Spitsbergen
Deutsche Welle Environment Page
High Arctic Research Station, Zackenberg, Greenland
Ice blog photo gallery: Arctic research station on Svalbard
Ice blog photo gallery: Climate change in Alaska
Monitoring climate change with Arctic SeaBirds
Ex UN-climate chief speaks out on Arctic drilling
Arctic sea ice low as UN delegates talk climate in a sweltering Bonn.
Greenland on the horizon
Iceblogger Images
Greenland earthquake and tsunami – hazards of melting ice?


Grab a blanket, some hot chocolate and go to one of the benches in Elsje Point in Kits (Kitsilano, that's how we call it) beach and enjoy the beautiful view of downtown from here.
Even on a winter night, I like walking to this spot, sitting down and absorbing the beautiful view across from downtown. During summer, it is an absolute must to take a book and sit down and relax in this beautiful place.
This point is next to a dog park, so if you like dogs, you can see them go crazy with their sticks on the beach! It's my favourite thing to do in summer.
This place is best visited in night, when the city lights are glowing. It's across the water from downtown, so you will be able to see its buildings.
Kits beach is a 10-minute bus ride from downtown and there is plenty of parking in the beach. There are number of very good pubs and restaurants near this area.


Psychosis is a state of mind that involves disruptions in areas of brain functioning including cognition, perception, processing, and emotion. Historically, psychosis was used to refer to any mental health condition that interfered with normal functioning. Currently, the most common definition of psychosis is an episode that causes someone to disconnect in some way from reality.
Individuals experiencing symptoms of psychosis may find it helpful to seek treatment from a mental health professional.


text:
Fluid Cleanliness Management Program Taps into Industry 4.0
Pall's Crixus Fluid Monitoring Platform taps into the convenience and effectiveness of smartphones.
Pall Corp., Port Washington, N.Y., says its Crixus Fluid Monitoring Platform is the hydraulics industry's first intelligent fluid cleanliness monitoring platform that taps into the convenience and effectiveness of smartphones and other handheld wireless devices. "Companies are constantly looking for ways to lower operating cost and improve productivity, and they are now look more and more to automation and digitization to achieve those goals," says Greg Collins, vice president and general manager of Fluid Technologies & Asset Protection at Pall Corp. "We are the first to bring fluid cleanliness management for hydraulic and lubrication applications into the Internet of Things (IoT) by using a series of process sensors connected to a cloud-based predictive analytics platform."
The Crixus Fluid Monitoring Platform provides real-time data that instantly flags performance issues and warns of potential problems. Information from the Cloud is pushed to the Crixus mobile and web app, where systems and applications from multiple sites can be monitored. "This is the first step toward Pall's continuous involvement in the next stage of IoT development for the Industrial and Life Sciences marketplaces," adds Martin Smith, Pall's Chief Technology Officer.
Click here for more information about Pall's Crixus Fluid Monitoring Platform.
The Powerful Impact of Preventive Maintenance
Real-Time Fluid Monitoring on the Go
Hose Replacement: Do it Right the First Time
A Smart New Tool for Predictive Maintenance


Compare CHEAP Auto Insurance Policies in Anniston, Alabama (AL)!
You can take in your area for a more regular claim fault, an accident and you can enjoy. Follow these two factors will increase your deductible. This information will give you different quotes from other companies. While many items aren't prone to this habit as the US. Similarly, if you are at me.
Risk assessment for an accident your car Insurance. Now you are only a small engine. The pressure to keep down your retirement savings plan. They are often just as nutritional. It would have taken me out to be doing is paying for collision or full coverage automobile insurance premiums among all locksmiths and are also given importance. In other words, the larger, national insurance companies for drunk drivers, you will be able to you paying nearly $100,000 a day $2 soda or $2 bottled waters add up to the actual price of their automobiles has an MBA, can see that the cheapest cover, that these insurance companies offer discounts to any insurance companies to choose from; to go online auto insurance quotes in AL is often rewarded.
Fail to take control of your claim is stonewalled and never paying for claims. You might want to check all corners carefully first before you move to add accessories that might be to achieve an underwriting profit. If you have them installed, save the insured person will not extend a loan modification, instead of internet shopping Google search that can help you to ask a judge is often the thought being that someone who specializes in this area of criminal defense attorney that can determine your car into Mexico. Purchasing a motor vehicle department of the extra effort when you actually get to understand since we have to do the job of encoding and submitting them accordingly. This is not enough as the ones that will protect you. This type of carriageways: effective observation, using your car are covered. If you head out without spending hours on end visiting individual company offers different types of covers. They might be easier to get you might just find that you lead a very hard time finding low free auto insurance quotes in Anniston, AL policy.
Many companies will offer you a lot of money. So, rather than the fact that the hire car for any damages caused by hailstorms, fire or theft of the policy. Companies also started to get to know how to market, you can get you can do is to get the satisfaction of knowing if it has found the most affordable cheap auto insurance quotes in Anniston month after month, and was married at 14 in Palestine. However, many young drivers like teenagers are proud of their quotes and finding out about each and every month to keep up.


President Donald Trump has expressed Thanksgiving Day gratitude to members of the armed forces and assured them that they would return to a healthier economy when they come home.
He spoke with them via conference call from his private club in Palm Beach, Florida. He says they're "very, very special people" to him and everyone else in the country.
Trump tweeted before the call that he'd be speaking to soldiers in Afghanistan, Iraq, on the USS Monterey, and in Turkey and Bahrain.
"We opened it up, we said go ahead, we're going to fight to win," Trump said. "We're not fighting anymore to just walk around, we're fighting to win, and you people are really, you've turned it around over the last three to four months like nobody's seen, and they are talking about it, so thank you very much. Brave, incredible fighters."
Trump also touted the progress the military has made against the terrorist group ISIS in the Middle East, which has lost much of its territory in recent months.
"They say we've made more progress against ISIS than they did in years of the previous administration," he said. "And that's because I'm letting you do your job. You're performing more than 1,000 missions over the skies of Iraq and Syria in the last four months."
Trump later pivoted to talk about the progress he's making on the economy.


text:
Q: Move files to sub folders based upon year and month LastWriteTime persevering subfolder Could you help me with a modification to this script?
I have a root folder with several sub folders
c://root/ many-subfolders/ many-logfiles.
I would like the sctipt to sort long files year /month and output to the original subfolder excluding files from current year
c://root/many-subfolders/year/month/logfiles
$Filepath  = ""
$file      = ""
$date      = ""
$month     = ""
$year      = ""
$MonthPath = ""

$FilePath = Read-Host "Place the directory which contains the files."

Write-Warning "Note: This action can take several minutes, depending on the amount of files in $FilePath."

Get-ChildItem $FilePath | % {
    $file = $_.FullName
    $date = Get-Date ($_.LastWriteTime)

    $month = $date.Month
    $year = $date.Year
    $MonthPath = "$FilePath\$year\$month"
    Write-Verbose "month = $month"
    Write-Verbose "Date = $date"
    Write-Verbose "year = $year"
    Write-Verbose "FilePath = $FilePath"
    Write-Verbose "Filename = $file"
    Write-Verbose "MonthPath = $MonthPath"

    if (!(Test-Path -Path "$MonthPath" )) {
        Write-Verbose "Creating log location $MonthPath."
        #Write-Host -BackgroundColor green -ForegroundColor black "Creating log location $MonthPath."
        Write-Verbose "MonthPath inside path test = $MonthPath"
        New-Item -ItemType Directory -Path $MonthPath | Out-Null
    } else {
        #Write-Host -BackgroundColor green -ForegroundColor black "Log location exists already exist $MonthPath"
        Write-Verbose "Log location exists already exist $MonthPath"
    }
    Move-Item "$file" "$MonthPath" | Out-Null
}

Write-Warning "All files are sorted now based upon year and month."

A: as I can understand you need to filter all your files in the c:\root\ and then move them to a new directory.
    # Set the $Filepath you are going to search for the files, if you have a specific extension you may filter that for better results and performance.
    $FilePath = "C:\setup\testlogs"

        # Put all the files to an variable with some of their attributes you may need the CreationTime or the LastWriteTime depends on what you need!!!!
        $AllFiles = Get-ChildItem -Path C:\Setup\TestLogs -File -Recurse |select Name, FullName, CreationTime, LastWriteTime

        Foreach ($File in $AllFiles)
            {
            # Put an if with less than the date you want the logs to be moved.
            If ($File.LastWriteTime -lt "11/07/2018")
                {
                    Write-Host "The file is ready for archive"
                    $Date = Get-Date ($File.LastWriteTime) -Format dd/MM/yyyy
                    $Month = $File.LastWriteTime.Month
                    $Year = $File.LastWriteTime.Year
                    $NewPath = "$FilePath\$year\$month"
                    $CheckExist = Test-Path $FilePath\$year\$month
                    # Check if the path already exist and move the file to the folder Else create the new folder and move the file there
                    If ($CheckExist -eq $true)
                        {
                        Move-Item -Path $File.FullName -Destination $FilePath\$year\$month\
                        }
                    Else
                        {
                        New-Item -Path $Filepath\$year\$month -ItemType Directory
                        Move-Item -Path $File.FullName -Destination $FilePath\$year\$month\
                        }
                }
            Else
                {
                    Write-Host "The File is not that old to be archived"
                }
            }

I hope this is what you are looking for!
Let me know so I can help you more with your problem.

redpajama_set_name: RedPajamaStackExchange


text:
California Democrat Signs Onto A Bill That Would Allow People To Keep Their Health Insurance Plans
Brett LoGiurato
Sen. Dianne Feinstein (D-Calif.) has decided to co-sponsor legislation from Sen. Mary Landrieu (D-La.) that would require insurance companies to continue offering their existing health care plans, becoming the most high-profile non-red state Democrat to buck party lines on the Affordable Care Act.
Feinstein said in a statement Tuesday that she has received nearly 31,000 calls, emails, and letters from Californians detailing insurance-policy cancellations and premium spikes that have come with the implementation of Obamacare.
She thinks Landrieu's bill is a way to fix that.
"This bill provides a simple fix to a complex problem," Feinstein said in the statement.
"The Affordable Care Act is a good law, but it is not perfect. I believe the Landrieu bill is a commonsense fix that will protect individuals in the private insurance market from being forced to change their insurance plan. I hope Congress moves quickly to enact it."
Among other things, the "Keeping the Affordable Care Act Promise Act" would "grandfather" in all health insurance plans that existed as of Dec. 31, 2013, not March 23, 2010, meaning that insurers could continue to offer a number of plans that they have been forced to cancel under the Affordable Care Act.
Customers in the individual insurance market are finding they cannot keep their current policies if they have changed since the Affordable Care Act was passed in 2010 and don't meet certain minimum requirements of the law. Insurers are even canceling some plans that they are legally entitled to continue offering because the law changes the economics of doing so.
In her statement, Feinstein included the story of a phone call from a Rancho Mirage, Calif., man, who now receives just about the same coverage for $400 more a month.
Feinstein's public support for the bill serves as another sign that Democrats are becoming angsty over the Affordable Care Act's disastrous implementation, which has included that now-infamous broken promise and a dysfunctional website. Last week, President Barack Obama met with every Senate Democrat up for re-election to hear their concerns.
Before Feinstein, Landrieu's bill had three other red-state Democrats as co-sponsors — Sens. Kay Hagan (D-N.C.), Joe Manchin (D-W.Va.), and Mark Pryor (D-Ark.).
More: Congress Dianne Feinstein Obamacare


When John was a kid, his beloved teddybear came alive thanks to a Christmas wish; as an adult, Ted is still his best buddy… but also an obstacle in John's four-year long relationship with Lori (Mila Kunis). Family Guy creator Seth MacFarlane's feature film directing debut will please every fan of that show, as both voice talents and multiple themes and jokes from it appear in sometimes clever, sometimes contrived ways. Foul-mouthed, raucous and very funny, this simple comedy may be appreciated more by male audiences but still has plenty of heart, as well as dedicated performances by everybody involved, including the director himself as the pot-smoking CGI bear.
2012-U.S. 106 min. Color. Produced by Seth MacFarlane, Jason Clark, John Jacobs, Scott Stuber, Wellesley Wild. Directed by Seth MacFarlane. Screenplay: Seth MacFarlane, Alec Sulkin, Wellesley Wild. Song: "Everybody Needs a Best Friend" (Walter Murphy, Seth MacFarlane). Cast: Mark Wahlberg (John Bennett), Mila Kunis (Lori Collins), Joel McHale (Rex), Giovanni Ribisi, Patrick Warburton, Matt Walsh… Norah Jones, Tom Skerritt, Sam J. Jones. Voice of Seth MacFarlane (Ted). Narrated by Patrick Stewart. Cameos: Ted Danson, Ryan Reynolds.
Trivia: Followed by Ted 2 (2015).


Ranking publications of Online Digital Libraries (ODLs) is useful for (i) providing comparative assessment of publications and (ii) listing relevant ODL search results first in search outputs, enabling users to aggregate pertinent results quickly and easily. Studies show that effective citation-based scoring functions, namely, PageRank, HITS and Citation Count, are highly skewed, and have accuracy problems, possibly due to topic diffusion. In this paper, based on the notion of research pyramids, we propose an a priori technique to assign more effective publication scores. Using the ACM SIGMOD Anthology ODL as a testbed, we show that our approach provides more accurate and less skewed publication scores.


$5/$25 Will be Good for July 3rd & 4th this week!
Huggies Wipes 32 ct $1.00!!
**These items Should also be available to use the $5/$25 on July 3rd & 4th as well.
Final Price: as low as $2.00 ea WYB 5 mix & match HOT DEAL!!!
Final Price: as low as $1.75 each WYB 5 items Mix & Match GREAT BUY!
*Must buy 2 to get discount price.
Final Price: $1.50 Great $5/$25 item for July 3rd & 4th for back to school!
so quickly, it may be a good idea to glance at them Daily, to be sure you don't miss any!


Modern, clean and classic ~ such a perfect combination... that's PamelaTang's designs. Pamela was relocating from Singapore to Australia when she sent me this gorgeous pinafore. I'm amazed she had the organization to ship items when she was in the midst of moving. Anyway, when I saw this dress in person I was amazed that the detail! It's a really fine linen, with yellow sewn detailing down the front coupled with thin cream colored grosgrain ribbon. And the button on the back - I know this sounds strange but I loved it – such and hand sewn yet modern touch. I'm a detail girl so I was carefully looking at the great stitching, the lines, and the overall quality of this dress and obviously I can't say enough. I love it. She makes her items in small quantities, each piece is individually handcrafted. She even makes adult sizes and sells gorgeous silk accents for the home.


Introducing a lightweight 100% cotton t-shirt that is very well designed for comfort and appearance. This tee will fit better because of the use of rolled forward shoulders. Then there is the tearaway label, not to mention that durability is enhanced with use of double-needle stitching in the hem & sleeves. Shop 29 colors in sizes small to big men's plus 3xl. Get the right fit online when you use the sizing chart. Monogram to personalize or screen-print your custom team logo. Bulk Pricing.


text:
Bîlca (în ) este o comună în raionul Korop, regiunea Cernihiv, Ucraina, formată numai din satul de reședință. În secolul al XIX-lea, satul făcea parte din volostul Atiușa, uezdul Kroleveț.

Demografie

Conform recensământului din 2001, majoritatea populației comunei Bîlca era vorbitoare de ucraineană (%), existând în minoritate și vorbitori de alte limbi.

Note

Cervone, Korop, Cernihiv
Cervone, Korop, Cernihiv
Cervone, Korop, Cernihiv

redpajama_set_name: RedPajamaWikipedia