text:
Wimbledon-mesterskabet i damedouble 2023 er den 100. turnering om Wimbledon-mesterskabet i damedouble. Turneringen er en del af Wimbledon-mesterskaberne 2023, og kampene med deltagelse af 64 par bliver spillet i perioden 28. juni - 8. juli 2023 i All England Lawn Tennis and Croquet Club i London, Storbritannien.

Pengepræmier og ranglistepoint

Den samlede præmiesum til spillerne i damedouble andrager £ ?.???.??? (ekskl. per diem), hvilket var en stigning på ??? % i forhold til året før.

Turnering

Deltagere

Turneringen havde deltagelse af 64 par, der var fordelt på:
 57 direkte kvalificerede par i form af deres ranglisteplacering i double.
 7 par, der har modtaget et wildcard (markeret med WC).

Seedede spillere

De 16 bedst placerede af deltagerne på WTA's verdensrangliste pr. 20. juni 2023 blev seedet:

Wildcards

Syv par modtog et wildcard til turneringen.

Resultater

Kvartfinaler, semifinaler og finale

Første, anden og tredje runde

Se også
 Wimbledon-mesterskabet i herresingle 2023
 Wimbledon-mesterskabet i damesingle 2023
 Wimbledon-mesterskabet i herredouble 2023
 Wimbledon-mesterskabet i mixed double 2023

Eksterne henvisninger
 Wimbledon

Noter

Wimbledon-mesterskaberne 2023
2023
WTA Tour 2023


text:
Sasha Waltz and Guests, Kreatur
November 2 – 5, 2018
It is a brisk late-August day in Berlin and I am at the Radialsystem V, the former water purification plant flanking the banks of the river Spree, which the choreographer Sasha Waltz and her longtime collaborator and partner, the dramaturg Jochen Sandig, converted into a multipurpose art venue a decade or so ago. Though I have visited the space on numerous occasions in the past, the spacious lobby, as well as the expansive performance hall of Radialsystem, seems almost unrecognizable, having been stripped of the usual vestiges of a performance venue. I am here to see EXODOS, a new immersive dance-theater work by Waltz, and to speak with her about her company's upcoming US premiere of Kreatur, which lands at the Brooklyn Academy of Music in early November as part of the Next Wave Festival. Waltz's company is currently touring stateside; preceding the BAM engagement, they performed their iconic production, Körper, in late October at Cal Performances in Berkeley, California
Sasha Waltz's Kreatur. Photo: Sebastian Bolesch.
In staging EXODOS, Waltz took advantage of Radialsystem in all its raw beauty, harnessing nearly every corner of the space to create a site-specific experience for the viewers. The audience roamed around freely, sometimes in close proximity to the performers. Throughout the evening, action unfolded simultaneously in different areas of the venue. "I'm interested in opening up the borders between the performance and the public," says Waltz in speaking about her new production. "We cross different fields in this work: sometimes the performers are exhibited as if in a museum; then, later on, there is quite a big exchange, creating an intimacy with the public. They see each other up close, there's even some interaction, and it builds until the dancers and the public become one and participate physically." Indeed, during the three-hour spectacle of EXODOS, the audience passes through a wide array of modalities: from observing the performers moving at a glacial pace inside claustrophobic glass display boxes, to being gently invited to join a meandering waltz with one of them.
The work kept taking unexpected turns, with the performers' bodies at times coalescing into a kind of a collective body. Halfway in, all the cast members lay across the floor, and turned into an undulating mass that split the audience in half, pushing spectators against either side of the performance hall. Soon after, the space flooded with thumping music, and the performers encouraged the visitors to dance, escalating to a massive rave of sorts. Some of the performers danced wildly inside a large transparent box that had been rolled into the space; moments later, the box became a glass cage in which a performer was forcibly detained. Images came in waves, vacillating between elation and violence, imbued at times with a reassuring sense of community and, elsewhere, with a dread of isolation.
My conversation with Waltz reveals that all of these dynamics are very much connected with the core themes of involuntary migrations and collective mindsets, which she set out to explore in this new work. In Greek, the word exodos means "a way out;" an exit. It can be used in a metro station, for example, but also in the leisurely sense of "going out." In her performance, Waltz indeed explores the multiplicity of meanings: transcendence, flight, escape from oneself, even death. The EXODOS ensemble is large and extremely diverse, with twenty-six performers coming from many corners of the world. Waltz's creative process for this work involved many conversations around migrations and the ongoing refugee crisis. "In our everyday language, we use terms such as the 'refugee wave,' but then there are also waves in fashion, and in Greek, which is the parallel line I am exploring, you also have night clubs that are referred to as 'EXODOS'," explains Waltz. "In the context of night life, you go out of your reality to enter a different one. It's also a flight in the sense that we go out of our bodies, and become a part of a collective body. On the other side, you have the existential flight of people who are forced to leave their homes that also become a kind of a collective body; they are individuals, but we conflate them into a single entity by referring to them as 'refugees' or the 'wave.' As we worked, these notions became deeply intertwined." For Waltz and her dancers based in Berlin, a city that harbors many refugees, these issues hit close to home. "On one occasion, on our way to perform at BAM, one of our Chinese dancers was not allowed to travel," the choreographer continues. "We also have an Albanian dancer in the ensemble who escaped over the mountains. So, in working as an ensemble, all of these issues, experiences and questions build up. Who are we? What are we afraid of? What are the darkest corners of our hearts? From there, we went into the collective mindset, and we also had long conversations about utopia, which is on the opposite end of the spectrum."
For Waltz, delving into this subject matter represents a continued exploration that began while making Kreatur—the work her company is presenting at the Brooklyn Academy of Music this month—albeit in a much more open-ended, abstract manner. Unlike the roving, immersive EXODOS, Kreatur is more of a chamber piece, created for a proscenium stage. One of the elements that sets this work apart from others in her recent choreographic oeuvre is the extraordinary first-time collaboration with the avant-garde fashion designer Iris van Herpen, the international music trio, the Soundwalk Collective, and lighting designer Urs Schönebaum. Waltz had initially approached van Herpen about a project that did not end up materializing, but felt that the visionary fashion designer's sculptural aesthetic was a fitting match for Kreatur. Sandig had brought the work of Soundwalk Collective to Waltz's attention and both had subsequently experienced the trio's music first-hand at the Park Avenue Armory in New York; Schönebaum's designs are widely seen in his collaborations with acclaimed directors such as Robert Wilson and William Kentridge. "I love collaboration, and also love to collaborate multiple times to develop those relationships and to dig deeper," says Waltz. "But with this work, I felt like I needed to open it up—I had been working on several opera productions, so I wanted to challenge my language and explore. And it turned out to be a great group of people."
As is the case with many new relationships, new artistic collaborations have their learning curves. Iris van Herpen is known for experimenting not only with the form and construction of clothes, but also for working with unconventional, man-made materials. At some point in the process, an entire set of costume pieces was built out of stainless steel webbing that is normally used in car manufacturing process. On first use, those costumes held up, but then, as Waltz points out: "wearing a piece on a fashion runway for five minutes is different than sweating in it on stage for over an hour." As the metallic thread began to oxidize in contact with the skin, the dancers started developing rashes, and the entire batch of costumes had to be re-conceived. "You really have to find the ways of working together," Waltz continues. "The collaboration between our ateliers—mine and van Herpen's—the communication was great and everyone learned from each other: theater people learned from haute couture, and haute couture learned from theater. It was very constructive."
Ultimately, Kreatur offered a welcomed challenge for Waltz in that, after working on several opera projects, with firmly set musical scores and action dictated by libretti, she faced an open field of creative possibilities and took the opportunity to explore the zeitgeist. "I was really casting a wide net with my research," concludes Waltz. "Referring to the creature in the work's title—we were, again, looking at the collective mindset, what are we as humans, how dark we get, how tribal. We start from where we were at the point of origin, and arrive to something almost artificial. We observe gender issues, and power structures within the group, and amongst individuals. It was really about creating a new vocabulary, and investigating the questions we discussed that I actually continued in EXODOS, but more broadly and more abstractly. I really listened to how we feel, where our society is now, what is the language that we need to dig up."
Ivan Talijancic
Ivan Talijancic is a time-based artist, educator, and journalist and co-founder of WaxFactory. He is the Artistic Director of Contemporary Performance Practices program in Croatia, and a recipient of a 2020 Performance Award from the Café Royal Cultural Foundation. His first feature-length film, 416 Minutes, is currently in post-production.

redpajama_set_name: RedPajamaCommonCrawl


Nollywood actress Tonto Dikeh savagely replied a social media bully who called her a 'witch' to show that she's not one to be disrespected.
The actress had taken to her IG page to share stunning images of herself prompting many to like and compliment her.
However, a troll felt the need to slam her calling her a witch.
When i'm broke too i look for people to throw my frustration at/on!!!!
I totally understand, it's aiit son, you go dey okay las las.


What's an ALT? | Borderlink, Inc.
ALTs are Assistant Language Teachers that work in public elementary, junior high, and senior high schools across Japan. ALTs come from a wide variety of backgrounds, some with teaching experience, and others just looking to make a difference in the lives of students. While some Japanese language skill is recommended, it is not required.
Japanese elementary schools have grades 1 to 6, and the students are aged 6 to 12 years old. ALTs are placed in elementary schools to allow students to become comfortable working with foreigners, and ALTs are placed in schools to encourage students to communicate as much as possible in English. Games, songs, and collaborative activities become the platform for the use of English. ALTs play with the students on the school grounds, interact with them in their clubs, and at lunch. If you enjoy working with young children, this is the place for you!
Some ALTs prefer to work with older students. Junior and senior high school ALTs teach students aged 12 to 18. As the students are tested on their English skills, there is a greater emphasis on reading and writing, in addition to speaking and listening. Therefore the role of the ALT is to foster communication between students by creating interactive and fun skits and other activities. In many schools there are English elective classes or after-school English clubs for students who want to take their English skills to the next level. Also, in junior and senior high schools, after-school clubs and sports are high priority for the students. ALTs are encouraged to join in, and so many find themsel ves playing such sports as soccer, softball, or basketball with the students. If you are not good at sports, don't worry. There are also non- athletic clubs including the archery club, the brass band club and even the art club.
The large majority of ALTs teach at both junior high school and elementary school. This combination allows them to draw connections between elementary and junior high English instruction, as well as provide the ALT with a broad teaching experience. Please find a general outline of what an ALT's day is like at a junior high school.
When you get to school, you change your shoes at the front entrance and make your way to the staff room. The staff room will be your home base, as it is for all of the teachers. Students in Japanese junior high schools stay in the same classroom the entire day, and you will go to their classroom when you are scheduled to teach English there. When you arrive at the school in the morning,you will be touched by the enthusiasm of the students as they greet you with a shy smile, a wave, or calls of good morning and hello.
Everyone's schedule is different, but you will teach up to 6 periods a day, working alongside the Japanese teachers. The students eat lunch in their classroom, and afterwards clean the rooms and the hallways. After the students are finished with their classes, they have club activities. You can join in on a game of basketball, or watch the kendo students practice. The dedication and the comradery of the students will amaze you.
At the end of the day, you speak with the Japanese teachers of English about the the next English lessons you will have at that school and prepare teaching materials such as flash cards or work sheets. With a smile and a wave, you bid farewell to the staff and those students still practicing with their clubs.
Everyday as an ALT holds surprises and memorable experiences. It is a job that will change your view of the world, a job that you will carry with you forever.


text:
Nakamura, Round 7 Corus Chess , Press Conference
[Event "Corus"]
[Site "1:03:33-0:04:33"]
[White "Nakamura"]
[Black "Shirov"]
1. e4 c5 2. Nf3 Nc6 3. d4 cxd4 4. Nxd4 Nf6 5. Nc3 e5 6. Ndb5 d6 7. Bg5 a6 8.
Bxf6 gxf6 9. Na3 f5 10. Nc4 Nd4 11. exf5 Bxf5 12. Ne3 Bg6 13. Ncd5 Bh6 14. c3
Ne6 15. Bd3 Bxe3 16. Nxe3 Qb6 17. O-O Nf4 18. Be2 Rg8 19. Bf3 Nh3+ 20. Kh1
Nxf2+ 21. Rxf2 Qxe3 22. Bxb7 Rb8 23. Re2 Qb6 24. Bd5 Rg7 25. Qd2 f5 26. Rf1
Kd7 27. b4 f4 28. a4 a5 29. b5 Rd8 30. g3 fxg3 31. hxg3 Kc8 32. c4 Kb8 33.
Rf6 Re7 34. Kh2 e4 35. Qc3 Rc8 36. Re3 Ka7 37. Bc6 Rd8 38. c5 dxc5 39. Bxe4
Rd6 40. Rxd6 Qxd6 41. Qxa5+ 1-0
Alexei Shirov lost his first game in Wijk aan Zee today. He was beaten by Hikaru Nakamura, who is now just half a point behind the tournament leader. So is Magnus Carlsen, who right after the opening won a piece against Vassily Ivanchuk.
The Corus Chess Tournament takes place January 16-31 in Wijk aan Zee, The Netherlands. Next to hundreds of amateurs, three Grandmaster Groups (A, B and C) with 14 players each play a closed round-robin. The rate of play is 100 minutes for 40 moves, then 50 minutes for 20 moves and then 15 minutes for the rest of the game, and 30 seconds increment
shirov_nakamura_2010.pgn
Unofficial Hamilton Chess Club Web Page Powered By...
Queen's Gambit Thematic Tourny At Hamilton Chess C...
Some Analysis Of My Round Two Game At Hamilton Qua...
Corus Round Eight : Kramnik Beats Nakamura
Trashed At Hamilton Quads In Round Two By The Kid
Hamilton Quads January 23, 2010 Help Mate In Round...
GM Alexander Shabalov talks about his first tourna...
Part Two, Suprise Weapon Against The French, The R...
The Reti Gambit, Surpise Weapon Against The French


text:
package org.onosproject.openstacknetworkingui.cli;

import org.apache.karaf.shell.commands.Argument;
import org.apache.karaf.shell.commands.Command;
import org.onosproject.cli.AbstractShellCommand;
import org.onosproject.openstacknetworkingui.OpenstackNetworkingUiService;

/**
 * Sets the REST server authorization information.
 */
@Command(scope = "onos", name = "openstacknetworking-ui-set-restserver-auth",
        description = "Sets the REST server authorization information")
public class SetRestServerAuthInfoCommand extends AbstractShellCommand {

    @Argument(index = 0, name = "restServerAuthId", description = "REST server authorization id",
            required = true, multiValued = false)
    private String restServerAuthId = null;

    @Argument(index = 1, name = "restServerAuthPass", description = "REST server authorization password",
            required = true, multiValued = false)
    private String restServerAuthPass = null;

    @Override
    protected void execute() {
        OpenstackNetworkingUiService service = AbstractShellCommand.get(OpenstackNetworkingUiService.class);
        service.setRestServerAuthInfo(restServerAuthId, restServerAuthPass);
        print("Id and password for the REST server authorization are %s and %s.", restServerAuthId, restServerAuthPass);
        print("Encoded result as based 64 format: %s", service.restServerAuthInfo());
    }
}

redpajama_set_name: RedPajamaGithub


VANCOUVER, BC: Integra Gold Corp. (TSX-V: ICG; OTCQX: ICGQF), ("Integra" or the "Company") is pleased to announce the results from an updated Preliminary Economic Assessment ("PEA") which includes resources from the Company's Fall 2016 Resource Estimate (see news release dated November 16, 2016) for the Lamaque South Gold Project ("Lamaque") in Val-d'Or, Québec. The PEA has been prepared in accordance with National Instrument 43-101 of the Canadian Securities Administrators ("NI 43-101"). The 2017 PEA incorporates many resource base, extraction design and mine plan improvements over the 2015 PEA and the updated financial projections indicate that Lamaque is a robust project at current gold prices. An underground exploration ramp to support a bulk-sampling program in Q3 2017 is currently underway at Lamaque with 658 meters ("m") (1,049 m total) of development completed on the main ramp as of February 16, 2017.
The 2017 PEA was prepared by InnovExplo Inc. ("InnovExplo"). The study was conducted under the direction of Mr. Langis St-Pierre, P. Eng., Integra's Chief Operating Officer, and Mr. Francois Chabot, P. Eng., Operations Manager, along with the Company's entire operations team based in Val-d'Or, Québec. The study also included contributions from the geological and engineering teams at Geologica, GéoPointCom, Amec Foster Wheeler, and WSP Canada Inc.
A NI 43-101 Technical Report that summarizes the results of the PEA will be filed on Integra's SEDAR profile at www.sedar.com within 45 days.
The PEA is considered preliminary in nature. It includes inferred mineral resources that are considered too speculative to have the economic considerations applied that would enable classification as mineral reserves. There is no certainty that the conclusions within the PEA will be realized. Mineral resources that are not mineral reserves do not have demonstrated economic viability.
Pre-production period is 1.5 years and mine life has more than doubled from 4.5 years to 10.5 years as a result of substantial resource growth since 2015.
Average annual gold production of 123,000 ounces, including 135,000 ounces for the first full 8 years, and peak production of 155,000 ounces reached in year 7.
As a result of significant infill drilling and the 2015 identification of the "C structures" at the Triangle Deposit ("Triangle") following the previous PEA, long-hole mining will now account for 71% of mined material at Triangle (90% when not including material mined through development), reducing total mining costs to C$86/tonne which includes the reduction of direct stope mining costs (stope mining, mucking, hauling, supervision, equipment maintenance) from C$78.50/tonne (PEA 2015) to C$39.80/tonne.
At its peak, the Lamaque Project will employ up to 425 people, and will thus be a significant driver of the local economy in Val-d'Or, Québec.
Assuming a gold price of US$1,250 per ounce, an exchange rate of C$1.30 to US$1.00, and a discount rate of 5% adopted by the Qualified Persons ("QPs"), Lamaque's estimated pre-tax NPV is C$601.9 M and pre-tax IRR is 55%. The after-tax NPV is C$362.5M and after-tax IRR is 43%. Payback from the start of construction on Lamaque is 3.8 years pre-tax and 4.2 years after tax. Project economics are sensitive to metal prices and exchange rate assumptions as seen in the sensitivity analysis below.
Note: payback calculated from start of construction in Year ("Yr") 1.
Note: payback calculated from start of construction in Yr 1.
Note: Yr 3 represents the first full year of production.
The projected mining method, potential production profile and mine plan are conceptual in nature and additional technical studies will need to be completed in order to fully assess their viability. There is no certainty that a potential mine will be realized or that a production decision will be made. A mine production decision that is made without a feasibility study carries additional potential risks which include, but are not limited to, the inclusion of inferred mineral resources that are considered too speculative geologically to have the economic considerations applied to them that would enable them to be categorized as mineral reserves. Mine design and mining schedules, metallurgical flow sheets and process plant designs may require additional detailed work and economic analysis and internal studies to ensure satisfactory operational conditions and decisions regarding future targeted production.
Updated resource estimate for Triangle now underway (expected in Q1 2017) which will include an additional 105,000 m of drilling completed in 2016 which was not included in the resource estimate used for the base of the PEA.
Other deposits, including the historic Sigma Deposit, are under review and may be included in future economic studies.
Potential to utilize contract mining in order to reduce pre-production capital requirements.
Postpone Parallel Deposit ("Parallel") development thereby deferring associated pre-production requirements.
Integrate updated Triangle resource estimate into a revised mining plan to reduce capital requirements and improve pre-production scenario with a view to optimize capital requirements and to control/minimize dilution and optimize mineral recoveries, including the evaluation of alternative mining methods to lower the proportion of room-and-pillar stope mining.
Potential for further improvement in gold recoveries based on new metallurgical test work.
Leach tests with pre-aeration conducted on Triangle resulted in a considerable reduction in cyanide consumption. Pre-aeration has the potential to reduce reagent consumptions for Parallel and the No. 4 Plug Deposit ("No. 4 Plug") as well, for which no tests with pre-aeration have been conducted yet.
Updated Triangle resource estimate for Triangle incorporating 105,000 m of new drilling completed in 2016 nearing completion (note: none of the 2017 drilling completed at Triangle or other targets will be included in the updated resource estimate. See 2017 Press Releases for information on those results).
Development work completed as part of the underground exploration program will provide critical information on Triangle.
Upon completion both the capital requirements and the length of the 18 month pre-production period will be materially reduced.
The production profile for Lamaque has increased 156% from 511,600 ounces total in the 2015 PEA to 1,311,264 ounces total. Average annual LOM gold production is 123,000 ounces, including 135,000 ounces for the first full 8 years, and peak production of 155,000 ounces reached in year 7.
Pre-production capital expenditures are expected to amount to C$175.0 M, not including pre-production revenue of C$64.0 M. The PEA anticipates toll milling for the entire 18 month pre-production period (see quarterly cash flow model in the presentation at the URL above for additional details).
Note: Initial Capital includes a 20% contingency (10% contingency for mobile equipment).
Development costs, which represents ~27% of the pre-production capital, have been estimated based on actual development costs from Promec Mining ("Promec"), who is currently conducting work on the Triangle exploration ramp. For the first year of development on Triangle and Parallel, development unit cost estimates from Promec were used which included supervision. For subsequent years, unit costs for variable size development scenarios (ramping, sub-level development) were used, based on planned performance rates, expected wages and bonuses to be paid to Integra's development team. Development costs also include maintenance costs for equipment based on estimates provided by suppliers for similar mining operations.
Mobile equipment cost estimates are based on actual Integra rented equipment charges and quotes obtained directly from major equipment suppliers.
The majority of the Sigma mill refurbishment work will commence in the first quarter of year two and will be completed at the end of the second quarter in year two. WSP Canada Inc. ("WSP") has completed a detailed capital cost evaluation of the required work for mill refurbishment taking into account its current state and requirements prior to being fully operational. Pre-production is estimated to be C$12.7M.
Current surface electrical installation will be enlarged to add transformers to supply underground equipment at 13,800V. Initial and sustaining capital for underground electrical installation has been evaluated in line with requirements for ventilation, pumping, development and production mobile equipment.
Ventilation equipment and an air heating system will be installed progressively. The maximum requirement for ventilation at Triangle/No. 4 Plug is 600,000 cfm and 245,000 cfm for Parallel. Total ventilation initial and sustaining capital are C$10.9M.
At Triangle, enlargement of existing surface garage is planned in year 1 and construction of a building to host a 300 person dry and office for supervision, technical and administration personnel is planned in year 3. A surface mixing plant is planned for cemented rockfill at Triangle and Parallel. Total initial and sustaining capital are C$16.8M for the buildings.
LOM cash cost is expected to average C$595 per ounce and the AISC is expected to average C$824 per ounce.
Mining costs include: definition drilling, stope development, stope mining costs, Integra manpower and expenses, maintenance costs and energy costs.
Processing costs include: milling (manpower, consumables, maintenance, energy, tailings management) and transport.
G&A cost include: Integra manpower for administration and environment and associated expenses.
Underground mining at Lamaque will consist of long-hole and room-and-pillar mining methods. The incorporation of steeply dipping C structures at Triangle in this PEA has resulted in greater utilization of the long-hole mining method, a more cost effective, efficient and safer mining method. For production of mineralised material coming from stopes, long-hole mining represents 90% of the tonnage and room-and-pillar 10%. Globally (including development), long-hole mining accounts for 71% of the tonnage produced at Triangle and 69% at Lamaque. The increased use of long-hole mining has reduced the stope mining cost per tonne, increasing the mining rate at both Triangle and the No. 4 Plug and improving overall economics and scale of the project.
Stope development includes various horizontal access to mineralised material and development directly in mineralized material. Mine planning and scheduling was done to give numerous access to major zones (C2 and C4 at Triangle) and generate as many as 10 production centers of long-hole stopes at Triangle and the No. 4 Plug. Development in mineralised material generates about 23% of all the tonnage produced.
Rock mass characterization was done by Golder Associates in 2014 and was revised for Triangle using diamond drill core from 2015 and 2016. The rock mass classification was used to define long-hole stope size, cable bolting required and dilution. Simulations were completed for the long-hole stopes to define the best mining sequence. The rock mass classification was also used to design basic rock support for various development. Crown pillar sizing was done by Golder Associates in 2014.
An average dilution of 35% (at 0.0 g/t Au) has been applied for stope true thickness of 2 m. The dilution is adjusted progressively to a minimum of 20% when stope true thickness is equal or greater than 4 m. For Triangle, the long-hole stope thickness prior to dilution ranges between 2 m and 10 m for an average thickness of approximately 4 m. At No. 4 Plug, long-hole stope thickness prior to dilution ranges between 2 m and 3.2 m and for Parallel, long-hole stope thickness prior to dilution ranges between 2 m and 4 m.
Mucking will be done longitudinally using remote controlled LHD equipment with mining recovery estimated to be 85% (pillars and material left in stope).
For mineralized zones dipping less than 40 degrees, the room-and-pillar mining method will be utilized. Mechanized sub-level development in mineralized zones will be completed at 60 m intervals along the veins. Rooms will be approximately 6 m in width and a performance rate of 18 tonnes/shift was used in the mine plan. Typical stopes will have a height of 2 m and external dilution of 5% (at 0.0 g/t Au). Mining recovery is estimated at 85% (pillars and material left in stope).
The Sigma Mill is 100% owned by the Company and was fully operational as recently as 2012. The mill is located approximately 3.0 km from Triangle and 1.0 km from Parallel. Since 2014, the Company has had four full time mill employees who continue to conduct ongoing refurbishment and maintenance work in order to prepare for future operations.
During the pre-production period, offsite toll milling is planned as tonnage is insufficient to justify starting the Sigma Mill. Transportation (C$4.15/tonne) and milling (C$41-C$43/tonne) quotes from the specific mills identified were used in the cash flow model as well as the expected gold recoveries (89% Triangle and 94.7% Parallel). Transition from toll milling to processing at the Sigma Mill is expected to take place in Q3 of year 2 in the proposed mine plan, at the end of the 18 month pre-production period.
During the production phase, average mill throughput rate is expected to be approximately 1,675 tonnes per day based on 350 operation days/year. This includes resource extraction from both Triangle and Parallel from year 2 to 5, Triangle only for years 6 and 7, and both Triangle and the No. 4 Plug in years 8 to 11. The No. 4 Plug is the sole source of mineralised material in year 12.
During the production period, average milling cost of C$23 per tonne ($25 including transportation) was estimated by WSP. The milling cost includes a work force of 33 employees or 23% of the cost, reagents and consumables for 39%, maintenance for 20% and energy for 12%.
Amec Foster Wheeler ("Amec") developed a long term strategy, including construction and deposition plan, to manage tailings and water based on the proposed 10.5 year production period.
The Sigma tailings impoundment area is made up of four separate cells. A recirculation pond and a polishing pond are located to the east of those four cells. Currently, two cells out of four cells are full. To lower water levels in tailings pond during deposition, 2 new water ponds will be built east of the tailing ponds. These new ponds will facilitate water management during tailings disposal and for strong precipitation. The existing polishing pond will serve to manage dewatering water from underground operation.
Using actual quotes, an evaluation prepared by Amec estimates initial capital requirements associated with the tailings to be C$2.5 M and sustaining capital at C$10.2 M. The estimation costs include a 30% contingency.
To date, the tailings facilities have been maintained with a full time environmental technician providing monitoring. Amec is also conducting an annual geotechnical inspection of the tailings and water pond. The tailings facilities are deemed to be in good standing with the Ministry of Energy and Natural Resources ("MENR") and the tailings in place are not acid generating.
Phase 4 metallurgical test work was completed in 2016 on material from Triangle. WSP supervised detailed metallurgical testing to improve gold recoveries on representative core samples from the various mineralized zones. Acid base accounting ("ABA") testing done shows that material was not acid generating. Grindability testing was completed and Bond rod mill index ("RWI") results are in a range of 16.7 to 17.3 kWh/tonne and Bond ball index ("BWI") are from 15.5 to 16.4 kWh/tonne. The rock samples tested can be categorized as moderately hard.
Note 1: Excluding toll milling.
WSP estimates an increase of approximately 1% on average across the various mineralized zones when compared to the previous PEA due primarily to finer grinding.
No provincial environmental impact study is required at Lamaque as the provincial daily production threshold is 2,000 tonnes, higher than the proposed mine plan.
The Company currently has the provincial Certificates of Authorizations ("CA") for the underground bulk sampling program underway at Triangle. Documentation for a CA which will cover initial production at Triangle is now being prepared along with a review of the approved closure plan for the Triangle site. Documentation for these two items will be submitted in Q2 2017 for approval.
The Company currently has a permit for a 5,000 tonne bulk sample and concurrent with the other CA applications underway, is preparing an application for an extension permit for up to 50,000 tonnes. In addition to this, the Company is preparing the required documentation for its application to convert the remaining Triangle exploration claims to mining leases as required by Québec Mining Law.
The existing CAs which cover the Sigma mine and associated mining leases allow underground production up to 2,500 tons per day at Parallel and No. 4 Plug to a depth of 400 m. When required, modifications to these CAs will be prepared to cover production from the lower portion of the No. 4 Plug. A review of the closure plan for the Sigma site is being prepared and will be submitted in Q2 2017.
Reclamation costs for the Sigma site, including the mill and tailings facilities, have been evaluated at C$7.8M. Reclamation costs for the Triangle ramp were estimated to be C$1.3M. It should be noted that the financial guarantee in place for the project is currently C$3.2M and that amount will be updated following acceptance of the new reclamation plans which will be submitted to the Québec Natural Resources Department in 2017.
Since September 2013, the Company has initiated a proactive information and consultation strategy with its stakeholders. With the help of consulting firms such as Amec, Transfert Environnement and TMR Communication, the Company has conducted four phases of information and public consultation with approximately 40 stakeholders reaching more than 600 persons.
From June 2014 to January 2015, a consultation committee was organized to discuss the community impact of the project with an independent moderator chairing each meeting. Site visits to Lamaque and Sigma site and other similar operations in Québec were organized to present accurate and relevant information about the project and the mining industry to the committee's 20 members. For each potential impact identified, a specialist retained by the Company presented basic information on the topic, applicable regulations and outlined the impact generated by the project and the mitigating measures that are applicable. Integra has also taken various commitments to be fulfilled during project development. The consultation committee has evaluated that the impacts generated by Lamaque are acceptable.
In May 2015, a follow-up committee was formed to keep the Company's stakeholders informed about Lamaque. Quarterly meetings are organized where committee members receive updates on the status of the project and all proceedings are on the Company's website. From April to May 2016, three meetings were organized to present to the committee the revised impact of the project as the resource has grown substantially leading to various impacts on the Company's plans. The follow-up committee members were pleased with the information received and agreed that the project remains socially acceptable.
A comprehensive complaint process has been in place since March 2016 which allows for citizen or organizations to register complaints in regards to Integra's activities. No complaints have been received from the local population since this process was implemented.
The Company's November 2016 resource estimate was used as the resource base for the PEA. An updated resource estimate is planned for Lamaque in Q1 2017 which will include approximately 105,000 m of new drilling from Triangle. Note, none of the drilling completed in 2017 will be used in this updated resource. The resource estimate used in the PEA is outlined in the table below at a 5 g/t Au cut-off. The cut-off grade used for the mine plan in the PEA varies depending on mining method and other factors.
Triangle: Effective date is March 15, 2016; Specific gravity of 2.8 g/cm3; geologically constrained model with hard boundary; capping of 20 g/t Au on composites when estimated cells are more than 15 m from drill hole otherwise uncapped; composited to 1 m downhole length before geostatistical analysis; 2 m minimum true thickness, if required diluted with in situ grade when assay results are available otherwise diluted with "zero" grade; ordinary kriging; 3 g/t cut-off calculated for official resource numbers.
Integra Gold is a junior gold exploration company advancing projects in Val-d'Or, Québec, one of the top mining jurisdictions in the world. The Company's primary focus is its high-grade Lamaque South project. In the fall of 2014, Integra completed the accretive acquisition of the Sigma Mill and Mine Complex, a fully permitted 2,200 ton per day mill and tailings facility. With major federal and provincial permits in place, existing infrastructure and significant exploration potential, this acquisition removed major costs and shortened timelines typically associated with mine projects. Integra has raised over $125 million since 2013, at successively higher share prices, despite depressed gold prices. In August 2015, Eldorado Gold Corporation completed a strategic investment in Integra, acquiring 15% of the outstanding common shares. Integra was named to the TSX Venture top 50 performers in 2015 and the OTCQX Best 50 award for 2015.
The Lamaque project is under the direct supervision of Hervé Thiboutot, Eng., Senior Vice-President of the Company, Jacques Simoneau, P. Geo., Exploration Manager of the Company, François Chabot, Eng., Operations Manager, Jessy Thelland, P. Geo., underground Chief Geologist at Integra. The technical content of this press release has been reviewed and approved by Mr. Chabot and Mr. Thiboutot, Qualified Persons ("QPs") as defined by the National Instrument 43-101.
In addition, each of the individuals listed below are independent QP for the purposes of NI 43-101. All scientific and technical information in this press release in respect of the Lamaque Project or the PEA is based upon information prepared by or under the supervision of those individuals. For InnovExplo Inc., François Girard, Eng. (Mining); for Geologica, Daniel Gaudreault, Eng. (Geology); for GeoPointcom, Christian D'Amours, P. Geo. (Resources); for Amec Foster Wheeler Environment and Infrastructure, Stéphan Bergeron, Geo., M.Eng. (Environment) and for WSP Canada Inc., Marianne Utiger, Eng. (Metallurgy).


This stuff is deceptive. You put it on, it feels like nothing & your skin is glowing. I work indoors and 4 hours after application, the product looks cakey. Give it a few more hours & the product oxidizes to a bright orange that is extremely visible in sunlight. For me that was underneath my eyes were it must have pooled up. It also felt greasy on my face, like it never dried. I had some break out with it - no change in normal routine except foundation. Will not repurchase.
I really love this foundation! I have dry skin and it's very nourishing and moisturizing but does not set shiny or greasy. I like to apply two layers of this foundation and I get a solid medium coverage. If you have any noticeable blemishes, you will probably still need to use a concealer over top but the coverage is good. Also, considering that the foundation feels so lightweight and natural on your skin, the amount of coverage was surprising. It goes on like a bb cream or tinted moisturizer, but covers a lot more and sets semi-matte, still with a bit of a dewy finish. I would highly recommend this foundation for normal to dry skin. It makes your skin look very bright and glowing!
Definitely not a foundation for oily skins. Freshly applied, this foundation definitely gives a lovely 'lit from within' glow. However, due to my oily skin, this translates to 'dewy' to 'oil slick' within 2-3 hours. It feels quite heavy, and is probably due to the oil build-up after wearing it for awhile. I find that it transfers terribly easily as well. To make it work for myself I would definitely have to try a good primer and setting powder/setting spray. What I like is that it blends beautifully (I use a beauty blender, or something similar, for the best result) and really looks quite natural on the skin. I would say the most it can go is medium coverage. I don't recommend building it any higher because it will definitely look a bit cakey and unnatural. It can cling onto flakes as well. I love the colour range of this foundation, due to the different undertones they acknowledge. As such, I use this at the end of my foundation routine (after applying my actual foundation), just dabbing a very thin layer of this with a beauty blender, to match my actual foundation to my skin colour better (and gives a nice, but limited glow!).
I'm actually quite surprised by the negative reviews here, most of the complaints about this product, in my opinion, are not substantiated at all!
I'm a touch lighter than NC-15, have very dry skin with acne scars. I really need a foundation to be medium-build-able coverage and also brighten my complexion and not settle into the fine lines I do have (from dryness, not from age, ironically...).
- The 'feel' of the foundation onto the skin, it feels way better than many of the 'stock' foundations like Colorstay, it's lightweight and it doesn't feel like you have a full face of makeup on with this.
- The coverage, I was expecting a light coverage based on what reviewers have said and also by the title of the product, as I find anything that claims to be illuminating is pretty much a euphemism for sheer. However the coverage is definitely medium to full, a very pleasant surprise! Although I do apply with the eco-tools stippling brush, which is really dense and utilizes the full potential of liquid foundations like no-ones business.
- The color selection is really nicely divided into cool tones, neutral tones and warm tones, which is a really nice way of giving the consumer more options and getting as close a match as possible. (I use N1, which is just the tiniest touch too dark, but even still, it's a pretty close match).
- The lasting power is phenomenal, so many MUA's here described it as lackluster, but honestly this was on par with something like Colorstay or Pro Longwear in my opinion. Part of that could be attributed to my primer, but even still, it's a good 7 - 10 hours without touchups.
- The illuminating effect is really nice, I think it actually does have some shimmer in it, but it's so fine that you really can't tell, it's no Photoready, that's for sure.
- The packaging is great, sleek and practical with a pump, something that I'm always wishing for in a foundation!
- The coverage. I did list this in the the Pro's section, but it's not quite a full coverage foundation. I really do need some hefty concealing on my worse blemishes.
- The price is a little steep for a drugstore foundation, I was lucky enough to find it at 40% off, but I'd never pay full price for it.
Overall, I think this is an amazing foundation, but I have to say it would be way better for dry skin than oily, which is too bad but it's just the nature of the product.
In winter I'm dead pale and have dry skin. I want something to brighten up my complexion so I don't look quite so flat and dead, which is why I bought this; to get that dewy finish/glow other reviewers have mentioned. I don't notice dew or a glow lol It's not even that moisturizing. It's just a lightweight foundation that isn't bad but also isn't anything special, esp. for the price. I'll use it up because in this economy I can't throw money away, but I won't be repurchasing.
I was using L'Oreal Infallible foundation for years, and noticed that my skin was getting quite oily during the day and that the foundation was really accentuating any dry spots on my face. I wanted to try something new, but I knew I liked L'Oreal (I've tried MAC and hated it, despite other people saying how great it was), so I thought I'd try Lumi Magique. I am very impressed with it. It has great coverage and as long as I exfoliate properly (just scrubbing my face with a wet washer) and put a little bit of powder over the top it is perfect.
It makes me look oily and wears off after 3 hours.
couldn�t find the right color.. I am NC-20-25, but rather on the neutral side. The lightest color I can find in my country is N3. I can use it in the summer, but it was too dark for the winter. I suppose my winter color would be N2.
I searched all over for my shade and finally found it at RiteAid. I wanted so badly to like this foundation but after trying it for a week it's just not for me. I loved the finish at first, but after a few hours my dry skin looked like a shiny grease ball! I tried different application techniques and various brushes, sponges and setting powders but I always got the same result...super shiny face as the day wore on. I'm so disappointed because the color match was perfect! I don't get it...my skin is not oily to begin with and I've never had a problem like this with other foundations. I'm sticking to my CG tone rehab. That one surprised the heck out of me and I love everything about it!


Let's face it, Jesus himself was no fan of regulation, continually clashing with the Pharisees over their legalism and replacing their red tape with the simple principle of love. And what got Luther cross, leading to the Protestant Reformation? His feeling that the brisk trade in Indulgences – religious securitisation – was evidence of the Church slipping back into something like this Pharisaic tradition: 'justification by works' when simple faith should suffice. What is terrifying about Luther, and about faith, is how risky it is.
When I'm having a go at believing something, and I'm not very sure about it, I try to reassure myself. I do lots of behaving 'as if' so that nobody finds out about my doubting, least of all myself. I hope that, when it comes down to it, like Pascal's Wager I'll have made the right call. If my belief is about a person or situation, I will indulge in confirmatory bias, collecting evidence in support of my meagre belief, largely ignoring contrary evidence unless and until it achieves critical mass. Religions know this pattern, so they try to help in a variety of ways.
First, they make belief a good thing in and of itself (see Luther). Next, they use liturgy to feed confirmatory bias, rehearsing faith narratives week by week as a perpetual reminder. Additionally, they encourage believers to enact their faith in their everyday lives (the 'fake it til you feel it' strategy). Inherently, the trump card in most religions is a reward/punishment strategy that kicks in after death which, being itself an article of faith, reinforces the entire mindset. Religions themselves are as cyclical as markets, building up towards excessive red tape then reforming away from it. For example, the clever devices used over the years by the monotheistic religions to get around the usury issue are as impressive as any Wall Street credit contortion. So what can the market learn from religion about faith? The first lesson is about honouring faith, acknowledging those institutions that train customers in it as externalities, or complementors, whose success is critical to their own. Perhaps more corporations should partner with the Church of England in its Academy projects? Or join The Christian Association of Business Executives and equivalents? Faith is hard, and it needs practice.
The second lesson is about liturgy. The religions repeat their stories week after week so that their history is not forgotten. Modern economic memory seems short, with a host of clients coming to Ashridge worrying that few of their staff can recall how the organisation managed in the last soft market, let alone what to do when markets are oscillating to the extent they have been doing of late. Economic historians are the market's theologians; and corporations need to document their organisational lives now that they cannot rely on a phalanx of long-serving staff to act as their unofficial storytellers. Third, the fake it til you feel it strategy. Religious people encourage each other through prayer and fellowship to stick at faith even when it feels difficult or fruitless. Religions have devised rites, rituals and institutions to bolster these efforts, with beauty, music and other transportation devices used to give the soul a glimpse of its heritage and destination. What does the market do to encourage faithful behaviour? The banks have assumed default to such an extent that they have insured themselves into illiquid knots. Amazing Prudence. Amazing Grace would suggest there is something holy about staring risk in the face and accepting it. This is what the Jesus and Luther were talking about. If you assume Original Sin, you are doomed to legalism. If you risk an assumption of redemption – a very hopeful belief – you might just charm people into behaving well. Securitize that!


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All DaysProgramme
FriSep 24
SatSep 25
SunSep 26
10:00 PM to 10:15 PM IST | 5:30 PM - 5:45 PM BST, September 24, 2021 Knowledge Theatre (Virtual)
01. Inaugural Address: India@75
Namita Gokhale, Sanjoy K. Roy, William Dalrymple and Jamie Andrews, Head of Culture and Learning, British Library, introduced by Mukulika Banerjee
02. Keynote Session: Afghanistan. The Unravelling.
Rory Stewart, Saad Mohseni, Shazia Haya Ahmadzai and Gautam Mukhopadhaya in conversation with William Dalrymple
As the international community copes with startling new realities following the stunning collapse of Kabul, a panel explores different aspects of the unravelling. They search for signals as they examine fault lines, socio-political and historical context, and the way forward to provide relief to the ordinary men and women stuck in the crossfire.
03:00 PM to 03:30 PM IST | 10:30 AM - 11:00 AM BST, September 25, 2021 Knowledge Theatre (Virtual)
Morning Music
03:30 PM to 4:15 PM IST | 11:00 AM -11:45 AM BST, September 25, 2021 Knowledge Theatre (Virtual)
04. Alexandria: The Quest for the Lost City
Edmund Richardson in conversation with Taran N. Khan
Classicist and author Edmund Richardson's latest book, Alexandria: The Quest for the Lost City, takes us on a riveting journey through 19th century India and Afghanistan to unravel the extraordinary exploits of Charles Masson and his discovery of the lost city of Alexandria Beneath the Mountains at Bagram near Kabul. For centuries, Alexandria Beneath the Mountains was a meeting point of East and West. The narrative unfurls the story behind the brilliant East India Company deserter, traveller, archaeologist and spy who rediscovered the city and his path to becoming one of Asia's most remarkable scholars. In conversation with Taran N. Khan, Richardson explores this tale of espionage, opportunity and discovery.
04:30 PM to 5:15 PM IST | 12:00 PM-12:45 PM BST, September 25, 2021 Knowledge Theatre (Virtual)
05. The Mystery of the Parsee Lawyer
Shrabani Basu in conversation with Georgina Godwin
Writer and historian Shrabani Basu's latest book, The Mystery of the Parsee Lawyer, explores Arthur Conan Doyle's attempts at proving the innocence of a young lawyer's wrongful conviction. Son of the first Parsee Vicar in Britain in the early 1900s, George Edalji, and his family, were often subject to racism and discrimination. Following this unexpected friendship, Basu masterfully depicts an eye-opening account of racial injustice in the pre-war era. In conversation with broadcaster and journalist Georgina Godwin, Basu unravels this bizarre tale of Conan Doyle as a champion of justice and the perils of being 'foreign' in a nation built on empire.
05:00 pm to 6:00pm BST I 9:30pm TO 10:30pm IST, September 25, 2021 KNOWLEDGE THEATRE (VIRTUAL)
Cwen: A Matriarchal Paradise
Alice Albinia in conversation with Alexandra Pringle
Tourism Partner: Rajasthan Tourism
A riveting tribute to feminine might and their powerful connection with Mother Earth. Alice Albinia's latest work, Cwen, presents us with a matriarchal Eve's paradise offering a universe where women run all institutions and businesses. As the matriarch of this island mysteriously disappears, the narrative unfolds a telling portrait of a world at the cusp of revolutionary change. In conversation with former Editor-in-Chief of Bloomsbury Alexandra Pringle, Albinia dives into a tale of female power, potential and reclamation.
05:30 PM to 6:15 PM IST | 1:00 PM - 1:45 PM BST, September 25, 2021 Knowledge Theatre (Virtual)
06. The Evolving History of Indian Cuisine
Tanya Abraham, Sameer Taneja, Pushpesh Pant and Colleen Taylor Sen in conversation with Sanjoy K Roy Sponsored
Session Partner: TRS
A session with noted chefs and historians as they talk about the roots of Indian spices, evolving cuisine and the future of our cooking habits in a post pandemic world. Weaving together the memory, history and unifying power of food, they evaluate the Indian palate and its rich tapestry of flavours, spices and cultural heritage.
06:30 PM to 7:15 PM IST | 2:00 PM TO 2:45 PM BST, September 25, 2021 Knowledge Theatre (Virtual)
07. The Great Hindu Civilisation
Pavan K. Varma in conversation with Makarand R. Paranjape
Voices of Faith Series
08. The Deep Wild: My Octopus Teacher
Swati Thiyagarajan in conversation with Gargi Rawat
A deep dive into the fascinating world of conservation, nature and oceanography with Swati Thiyagarajan as she takes us on a vivid and transformative journey. An Indian conservationist and documentary filmmaker, Thiyagarajan is the author of Born Wild: Journeys Into the Wild Hearts of India and Africa. Her documentary series, Born Wild, ran for over a decade on a prime time television network. Most recently, she has worked as Associate Producer and Production Manager of the Oscar-winning documentary My Octopus Teacher, featuring her husband Craig Foster and tracing the tender, almost mentor-like relationship between a sea diver and a female octopus, his teacher in the deep. Shot underwater in South Africa, the film is a visual feast that has struck a chord with audiences worldwide. In conversation with Gargi Rawat, Thiyagarajan explores the fragility of life and humanity's connection with nature along with the driving force behind her relentless efforts through the years.
08:30 PM to 09:15 PM IST | 04:00 PM - 04:45 PM BST, September 25, 2021 Knowledge Theatre (Virtual)
09. Sanskrit, Astronomy and Mathematics
Kim Plofker in conversation with William Dalrymple
Mathematician Kim Plofker is a leading scholar of the history of maths and astronomy in Sanskrit and other Indian languages. In conversation with William Dalrymple, Plofker chronicles the development of mathematical techniques and texts in South Asia from antiquity to the early modern period, re-examining the few facts about Indian mathematics that have become common knowledge, such as the Indian origin of Arabic numerals, and sets them in a larger textual and cultural framework. Her work details aspects of the subject that have been largely passed over in the past, including the relationships between Indian mathematics and astronomy, and their cross-fertilisations with Islamic scientific traditions.
10:45 PM to 11:45 PM IST | 06:15 PM TO 07:15 PM BST, September 25, 2021 Knowledge Theatre (Virtual)
11. The Soul of Sufi Art
Moin Mir in conversation with Christopher Wilton-Steer
Author Moin Mir began writing under the influence of his grandfather, a scholar of Sufism, Omar Khayyam and Mirza Ghalib. He speaks of the varied aspects of Sufi art, its philosophical geometrical symmetry and its mystic musical traditions. Steeped in Sufism, he communicates its spiritual love and understanding and its layered contributions to art, mathematics, mysticism and science. In his latest novel The Lost Fragrance of Infinity, Mir takes us on a journey from Delhi to Andalusia, capturing the Soul of Sufi art in all its variations through the life story of a tile maker and restorer.
03:30 PM to 04:45 PM IST | 11:00 AM TO 11:45 AM BST, September 26, 2021 Knowledge Theatre (Virtual)
12. River Kings: A New History of Vikings from Scandinavia to the Silk Roads
Cat Jarman in conversation with William Dalrymple
Archaeologist Cat Jarman's recent book, River Kings: A New History of Vikings from Scandinavia to the Silk Roads, adds new dimensions to our understanding of the famed Nordic raiders and settlers and their journeys to both East and West At the heart of Jarman's story is a small Carnelian bead from Gujarat found in a Viking mass grave in Derbyshire. This discovery opens up a whole new world of exploration, trade and raids between the east and the west. In conversation with author and Festival Co-Director William Dalrymple, Jarman explores a new way of looking at the Vikings, their eastward travels and its impact on early medieval history.
13. Damascus and Names of the Women
Jeet Thayil and Christos Tsiolkas in conversation with Supriya Nair
Two powerful writers come together to take us on a journey through the New Testament and the Gospel. Jeet Thayil's latest book, Names of the Women, reclaims the stories of women from the Bible. Going beyond Mary of Magdala, the intricate narrative unfurls the lives of the women who stood by Jesus Christ. Christos Tsiolkas' stunning new novel, Damascus, follows the events surrounding the birth and establishment of the Christian church. The vivid narrative intricately dissects doubt, faith, tyranny and sacrifice, and remains a powerful testament to spiritual yearning and the human desire to transcend the physical world. In conversation with Supriya Nair, they talk about creating a wholly fresh fictional world out of some of the most familiar scriptures in world history.
14. Namita Gokhale: Jaipur and Beyond
Namita Gokhale in conversation with Sanjoy K. Roy
Writer, publisher and Festival Director Namita Gokhale speaks of a life in books.
In a freewheeling conversation with Sanjoy K. Roy, she takes us on a journey from her 1984 debut novel, Paro: Dreams of Passion, to The Himalayan trilogy, to Jaipur Journals, and The Blind Matriarch which is her 20th book. Gokhale's work covers multiple genres including fiction, mythology, drama, Himalayan studies and books for young readers.
15. A Rude Life
Vir Sanghvi in conversation with Namita Bhandare
Session Partner: ICICI Bank United Kingdom
A delicious mix of politics, glamour, food and all things rude. Columnist, writer and journalist Vir Sanghvi's memoir, A Rude Life, takes us on a compelling journey through his formative years, his time in Oxford, movie and political journalism, television and magazines – and the unforgettable characters he met along the way. Turning his dispassionate gaze upon himself, Sanghvi evaluates the experiences and challenges that have formed one of the most eventful careers in Indian journalism. In conversation with award-winning journalist Namita Bhandare, Sanghvi looks into the personal and the political as well as the world of film and glamour while providing a glimpse into some of his biggest stories.
16. Luster
Raven Leilani in conversation with Catharine Morris
In partnership with the Swansea University Dylan Thomas Prize and British Council Wales
Raven Leilani's award winning debut, Luster, has been described as a millenial novel. Written in the first person, it carries the ache of youth and has a brutal and incisive eye for racism and racist violence. The intergenerational narrative follows a young girl's attempts at understanding life while navigating relationships, anger and her own hidden potential. In conversation with Catharine Morris, Associate Editor of the Times Literary Supplement, Leilani introduces us to the world of Edie in all her unabashed individuality, sexuality, humour and rage.
17. Empireland: How Imperialism Has Shaped Modern Britain
Sathnam Sanghera, William Dalrymple and Swapan Dasgupta in conversation with Mukulika Banerjee
A session which explores the reality and legacy of the British empire. Sathnam Sanghera's latest book, Empireland: How Imperialism Has Shaped Modern Britain, is a brilliant commentary on the often painful shared history that impacted large parts of the world. Sanghera's acclaimed narrative focuses on the importance of accepting Britain's imperial past in order to understand its present and future. William Dalrymple's recent release is the Company Quartet, a four-book collection chronicling the extraordinary story of the rise and fall of the East India Company which spans over 200 years of tumultuous colonial history, covert political machinations and bloody resistance. Author and politician Swapan Dasgupta's latest book is Awakening Bharat Mata: The Political Beliefs of the Indian Right. Together, they speak to academic and author Mukulika Banerjee to understand why the existence of the British Empire is often forgotten in Britain and the importance of coming to terms with a troubled past.
18. The Taste - Post the Pandemic
Asma Khan and Ravinder Bhogal in conversation with Shrabani Basu
Session Partner: East End
The Covid-19 pandemic has been the largest health and socio-economic crisis of the past century. In a session of conversations and food demos, two extraordinary chefs discuss the impact of the pandemic on their business and cooking style along with the changing eating patterns of the masses. Award-winning food writer and restaurateur Ravinder Bhogal's cookbook Jikoni: Proudly Inauthentic Recipes from an Immigrant Kitchen blends myriad cuisines and a heritage that crosses continents. Celebrated Indian-born British chef and restaurateur Asma Khan of Netflix's Chef's Table is the author of Darjeeling Express. In conversation with Shrabani Basu, they delve into the transforming arena of food and what forms the roots of their kitchen.
19. The Essential Elif Shafak
Elif Shafak and Tahmima Anam in conversation with Bee Rowlatt
Navigating through their writing journey and experiences, two extraordinary authors give us a glimpse into their inspirations and process. Booker Prize-shortlisted author Elif Shafak explores the dichotomy and nuances she brings alive with her words. A women's rights activist, an inspirational public intellectual and speaker, her latest book is The Island of Missing Trees. Celebrated author Tahimam Anam's books include The Bones of Grace and The Start Up Wife. Deftly weaving the personal and the political, Anam's writing is known to illuminate, challenge and question. Her first novel, A Golden Age, was the Best First Book winner of the 2008 Commonwealth Writers' Prize. Her follow-up novel, The Good Muslim, was nominated for the 2011 Man Asian Literary Prize. Shafak and Anam speak to Bee Rowlatt about their enthralling books, their origins and the powerful symbolism behind each character they have brought to life.
10:00 PM to 10:15 PM IST | 5:30 PM - 5:45 PM BST Knowledge Theatre (Virtual)
03:00 PM to 03:30 PM IST | 10:30 AM - 11:00 AM BST Knowledge Theatre (Virtual)
03:30 PM to 4:15 PM IST | 11:00 AM -11:45 AM BST Knowledge Theatre (Virtual)
04:30 PM to 5:15 PM IST | 12:00 PM-12:45 PM BST Knowledge Theatre (Virtual)
05:00 pm to 6:00pm BST I 9:30pm TO 10:30pm IST KNOWLEDGE THEATRE (VIRTUAL)
05:30 PM to 6:15 PM IST | 1:00 PM - 1:45 PM BST Knowledge Theatre (Virtual)
06:30 PM to 7:15 PM IST | 2:00 PM TO 2:45 PM BST Knowledge Theatre (Virtual)
08:30 PM to 09:15 PM IST | 04:00 PM - 04:45 PM BST Knowledge Theatre (Virtual)
10:45 PM to 11:45 PM IST | 06:15 PM TO 07:15 PM BST Knowledge Theatre (Virtual)
03:30 PM to 04:45 PM IST | 11:00 AM TO 11:45 AM BST Knowledge Theatre (Virtual)


Note: This project has now ended. Please find below some useful links to its outputs. If you would like further information please click on the 'Outputs' tab on your left hand side.
The CLUES Project critically assessed the development of decentralised energy systems in urban areas in the light of national decarbonisation and urban sustainability goals. Based upon national and international reviews, it examined the range and types of urban energy systems that have been and might have been installed.
It further considered the issues raised by the need for such initiatives to integrate with energy systems at urban level in the UK, regional and national scales in order to deliver energy and carbon reductions to 2050 effectively.
CLUES is funded by the UK's Engineering and Physical Sciences Research Council (EPSRC), as part of the Sustainable Urban Environment (SUE) Programme (Project number: EP/10021 70/1).


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FlexIt, Easy-Access Gym and Online Personal Training Platform, Announces Partnership with Performance Sports Apparel Brand, 2XU
1 FlexIt and 2XU team up
1.1 FlexIt and 2XU team up to bring fitness and performance apparel together.
Virtual training and pay-as-you-go fitness platform partners with leading sports performance apparel brand to further promote the active lifestyle of its users
FlexIt and 2XU team up
FlexIt and 2XU team up to bring fitness and performance apparel together.
NEW YORK, Oct. 12, 2020 (GLOBE NEWSWIRE) — FlexIt, the platform that enables users to seamlessly access live, 1-on-1 virtual training with personal trainers and access fitness facilities all over the country, announces its partnership with 2XU, a proven leader in performance sports apparel. This collaboration will allow users to take full advantage of both products, providing both FlexIt users and 2XU customers with a well-rounded fitness experience.
Both 2XU customers and FlexIt users will benefit directly from this partnership. 2XU customers will receive custom access to FlexIt's virtual training platform and its network of close to 3,000 partner fitness facilities across the United States. FlexIt users will be rewarded for completing specific fitness challenges (such as working out for consecutive days) with exclusive 2XU offers across the brand's key product categories, which are all designed to help users prepare, perform and recover to improve their overall performance. Together, the two companies are giving their networks the opportunity to continue their fitness journeys through various initiatives, experiences and activations over the next year.
"FlexIt and 2XU are two like-minded companies in that both our missions focus on providing everyone with the tools they need to work out successfully, in a way that makes them feel comfortable, no matter where they are," said Austin Cohen, CEO and founder of FlexIt. "We're partnering to further these goals and make sure people can work out their way with premier fitness access and performance apparel."
2XU is a global leader in sports compression and high-performance sports apparel. The company helps athletes of all levels train, perform, and recover back to their peak across sports like running, high-intensity interval training, basketball, football, and triathlon. "We at 2XU are driven by a mission to create a fitter and healthier world, and hope to inspire athletes of all abilities to chase and achieve their finish lines, whatever they may be. We are passionate about creating technical sportswear that can inspire you to get moving and help you beat your best," said Rebecca van Raay, Global Digital Marketing Manager at 2XU.
"We're excited to partner with FlexIt to provide further value to our 2XU community and to help them reach their health and fitness goals. We look forward to providing our customers with FlexIt's multi-channel fitness offering, knowing they can work out safely, no matter where they are, and still reach their finish lines," said Alex Mallen, Director of Brand Partnerships at 2XU.
To learn more about FlexIt, visit www.flexit.fit.
To discover the latest 2XU range, visit www.2xu.com/us.
About FlexIt:
FlexIt Inc. is the mobile app that connects users (virtually) with certified personal trainers from well-known national and local fitness brands. Users can search for trainers, book them, and take sessions all from within the FlexIt app or website. In addition, FlexIt allows users to quickly and seamlessly access a wide network of fitness clubs across the U.S., while paying only for the time that they are in the facility. With nearly 3,000 fitness clubs across the country in its network, FlexIt offers consumers the flexibility that they expect, while generating leads and enhancing profitability for fitness clubs. FlexIt is available for download on iOS and Android in their respective app stores. For more information, please visit https://www.flexit.fit/
About 2XU:
Founded in Australia in 2005, 2XU is a technical sports apparel company and a platform to help people chase their finish lines. The global leader in sports compression, 2XU compression is designed and tested in consultation with sports scientists and industry experts, and is backed by independent, scientific research by the Australian Institute of Sport and other leading research teams. Sold globally, 2XU is the performance apparel brand of choice across endurance sports including triathlon, run, cycle and row, as well as the compression brand of choice for some of the world's best athletes and teams, at all levels, including basketball, football, soccer and baseball. 2XU helps athletes of all abilities prepare, perform, recover and repeat as they work toward their finish lines. With a heritage in endurance sports, 2XU is on a mission to help create a fitter and healthier world. For more information, visit www.2XU.com or follow 2XU on Facebook or Instagram.
For Media Inquiries:
Thomas Menzefricke
PR for FlexIt
A photo accompanying this announcement is available at https://www.globenewswire.com/NewsRoom/AttachmentNg/39a5f8d0-619a-43f7-bfbf-fbb4cc657df3
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