The Alert-it Care Systems are, in general, Class 1 Medical Devices and are intended to assist in the care monitoring of patients at risk from a range of conditions. The total system, hardware and radio link concept have all been designed to minimise the risk of a system or component failure leaving a patient at risk without the knowledge of the carer. Using the system should reduce the possibility of an alarm condition being undetected and will therefore enhance personal vigilance. They do not replace the need for active care staff. We are always available to give advice on the correct installation and operation of the alarm systems to optimise the protection.
However, no guarantee can be given that an alarm condition could not be missed, and no liability can be accepted in the event of such a situation.
Should any communication component fail within 3 years from the date of purchase, repair will be free of charge if the unit is returned to the repair centre. In order to use this service please contact us on 01530 239 900 and we will be happy to issue you with a Return Authorisation. Repairs after that date may be free of charge at the discretion of iTs Designs Ltd, and this will be influenced by the availability of parts or restrictive legislation. The same warranty will apply to sensors wherever possible. However, some have a limited life (e.g. Bed Occupancy Pads and Floor Mats), while others cannot be accepted for return for hygienic reasons (e.g. Urination Sheets). Please consult the supplier at the time of purchase for full details.
The above warranty is offered as an extra benefit and is in addition to your statutory rights.
All repairs will be completed in the timeliest manner possible to ensure continued user protection.
All repairs beyond those attributed to warranty conditions will be charged for at the cost of materials and labour. For the more usual failures, (e.g. broken leads & connectors) a price list is available on request.
The Alert-it Systems have been designed to offer improved monitoring of distressful conditions as a supplement to personal vigilance. The detection method is generally simple to use but also adjustable to cater for a variety of needs. Such adjustment may, however, need some trial period, during which we will be pleased to give any technical support needed, by phone or E-mail, as appropriate.
However, there will be situations that elude reliable detection. In which case we guarantee to refund the full purchase price on any system returned undamaged within the first 30 days. You will only be liable for the postage. After 30 days and up to 60days (2 months) from purchase, you may still return the system for a 75% refund. Again, you will need to pay the postage back to us. The cost of repair of any damage will be deducted from any refund due, and for the normal wear & tear repairs a full price list is available. The only exception to this policy is sensors that would pose an infection risk if returned (e.g. sensors from our Comf-iT range and bed mats).
IMPORTANT: ITs Designs Ltd is a company involved in the sale to Private Individuals, Care Homes, Hospitals and Care Professionals (the Carer) of alarms systems and components to aid in the vigilant care of vulnerable children and adults (the User). Please read the wording of this Agreement carefully as it contains the terms and conditions ("the Conditions") upon which iTs Designs Ltd (Company number 04628666) at Atherstone House, Merry Lees Industrial Estate, Desford, LE9 9FE ("us"/"we"/"our") contracts with you ("You"/"Your"/"Yourself") for the sale of the Goods. In this Agreement, "Goods" means the goods described for sale in Our catalogue or other promotional literature or on Our website which We supply to You in accordance with the Conditions.
1.1. All orders for the Goods shall be placed by telephone, post or email.
The acknowledgement acts as confirmation that the order has been reviewed and the Goods supplied are as per the order requirements. The acknowledgement also provides a 24-hr window after which Goods Supplied will be as per the order.
Should any amendment be initiated by the customer within the above window – this shall be subject to a new Purchase Order being received.
Where specifically requested by the customer, electronic acknowledgement will not be sent -however in this instance a hard copy will be despatched with the Goods.
1.3. All orders for the Goods shall be subject to these Conditions, which shall take precedence over any other terms and conditions mentioned on any purchase order issued by You.
1.4. If any of item ordered is out of stock, you will be advised within 48 working hours of receiving Your order. In such circumstances, you will be offered an alternative product (at its currently advertised price) if one is available, or You may cancel Your order.
2.1. Payment is due at the time of submitting Your order for the Goods. Customer with an agreed credit account, will be invoiced for the Goods on or soon after dispatch. In this case, payment is due 30 days after the date stated on the invoice.
2.2. Invoice payment are managed in accordance with Document Q1117.
2.3. If You fail to make pay for the Goods by the Due Date, we have the right to charge interest on the outstanding balance calculated on a daily basis at the rate of 8% per annum above the then current base lending rate of the Bank of England.
2.4. Prices quoted for the Goods are exclusive of VAT and current at the time of publishing. While every endeavour will be made to maintain them at their present low level, we reserve the right to effect changes, at any time prior to Your order being accepted, without prior notice (including, in particular, in the event of exchange rate variations).
2.5. If any sum of money is due from You, the same may be deducted from any sum then due or which at any time becomes due to You under this or any other Agreement between Us and You.
3.1. Ownership of the Goods delivered or to be delivered by Us will only be transferred to You when We have received cash or cleared funds in full payment of all sums owing to Us in respect of the Goods.
3.2. Until payment is made as afore said You must store the Goods in such a way that they are clearly Our property.
3.3. Until ownership has passed to You, we retain full legal and beneficial title to the Goods and reserve the right at any time to require You to deliver up the Goods to Us and, if You fail to do so, forthwith upon Our request, to enter upon any of Your premises or of any third party where the Goods are stored and repossess the Goods.
3.4. Where ownership in the Goods has not yet passed to You. You may be entitled (but only with our prior written approval) to sell the Goods either in their original state or incorporated into other products acting as Our agents. In these circumstances the title to the Goods shall remain with Us, and You shall remain fully accountable to Us for the proceeds of the sale thereof.
4.1. We shall despatch Goods by first class post or carrier to UK based customers (see 4.3 below in relation to export costs).
4.2. Orders under the value of £35 will incur a delivery and admin charge. The admin charge is fixed at £5, delivery options as per 4.1 will be offered.
4.3. Time for delivery shall not be of the essence of this Agreement. We shall use reasonable endeavours to deliver by the date specified but We shall be under no liability whatsoever for delay in delivery or the consequence thereof however caused, and You hereby waive irrevocably all Your rights and remedies (if any) in respect of any loss or damage suffered or incurred directly or indirectly because of any late delivery of the Goods.
4.4. Export Orders – Freight and insurance is charged extra at cost and will be shown clearly on any quotation and invoices. Please contact Our Export Department for a quotation. If the Goods are subject to import duties and/or taxes for overseas orders, you will solely bear these costs.
For items that are to be returned for reasons not covered in our buy back policy.
5.1. You may cancel and return Your order within 30 days of purchase. You must notify Us by email to sales@alert-it.co.uk, We will send you a returns number, which need clearly labelling on the outside package.
5.2. You must return the products in the same condition that they were in when they were dispatched.
5.4. The cost of the test and restocking will be deducted from the refund due.
5.5. For goods to be retuned in accordance to 5.2 but from 31 to 60 days you will be subject to 25% charge for the goods returned.
5.6. For goods to be retuned in accordance to 5.2 but from 61 to 90 days you will be subject to 50% charge for the goods returned.
5.7. We will not accept the return of good after 91 day of date of invoice.
** 5.3 will be waivered if agreed under a separate contract. The customer will still be liable for the cost of returning the items.
6.1. Goods and material contained in Our website and Our catalogue may be the subject of patents, copyright, design, trade mark or other intellectual property rights and all such rights are reserved by Us. We make no representation or warranty as to whether Your use of or dealing with the Goods (or any part or component thereof) either will or will not infringe such rights. Without limiting the generality of this statement, we do not grant nor purport to grant to You any licence, permission or authority in respect of such rights and You acknowledge and agree to satisfy Yourself in respect of such matters. We accept no liability for infringement of any such rights.
6.2. Reproduction in part or whole of Our catalogue or Our Website without Our prior written consent is strictly prohibited.
7.1. Subject to the remaining provisions of this Clause 7, all Goods except those whose return could pose a health hazard (eg enuresis sheets) are guaranteed free from defect caused by faulty materials or workmanship for a period of the publicized life of the product or three years (whichever is the shorter) from the date of despatch by Us (the "Guarantee").
examination by Us of the Goods in question confirms that the alleged defect has not been caused by misuse, neglect, method of storage, faulty installation, handling, testing or repair, by alteration or accident or by any other cause listed in clause 7.3(b)(i) to (iv) below.
any failure to service or maintains the Goods in accordance with the manufacturer's instructions.
7.4. The Guarantee shall not be affected by and no obligation or liability shall result from providing technical advice or service in connection with Your order for the Goods.
7.5. Software programs are supplied by Us on Your strict understanding that the licensor/supplier of the software has made best endeavours, without guarantee, that the contents of the software is free from errors, viruses, or omissions.
7.6. Our liability under the Guarantee shall be limited to replacing, repairing or issuing credits at Our option for any Goods returned within the Guarantee Period.
8.1. Subject to clauses 8.3 and 8.4 below and save as otherwise expressly provided in this Agreement, all warranties, conditions, or other terms, whether express or implied by statute or common law or otherwise, are excluded or limited fully permitted by law. We make no representation or warranty that the Goods are either of satisfactory or merchantable quality or fit for any purpose or that they conform to any description. You acknowledge and agree that You have relied upon Your own skill and judgement in selecting the Goods.
8.2. Subject to clauses 8.3 and 8.4 and to the Guarantee given in accordance with clause 7, and to the full extent permitted by law We exclude all liability for any loss, damage or expense howsoever suffered or incurred by You as the direct, indirect or consequential result of the Goods either not being of satisfactory or merchantable quality, or fit for any purpose, or conforming to any description and You hereby irrevocably waive all rights and/or remedies (if any) which You may have or have had in respect of such loss, damage or expense and/or in respect of any breach or default of any warranty implied by statute, equity or common law concerning the quality, fitness or description of the Goods.
8.3. Clauses 8.1 and 8.2 do not apply where You deal as a Consumer to the extent that such exclusions or limitations are not permitted by law.
8.4. Nothing in these Conditions shall limit Our full liability in respect of death or personal injury caused by Our own negligence.
8.5. We shall not be liable for incidental or consequential damages for any breach hereof, including but not limited to costs of removal and re-installation of Goods, loss of goodwill, loss of profits or loss of use.
8.6. In placing any order, you expressly confirm that you have understood our published liability as regards death or injury of the User which could arise from a failure to perform. All our alarm products are offered to provide a method for Carers to improve their vigilance to the onset of potentially dangerous health conditions, on a statistical basis. There is no guarantee that every such condition will be detected or communicated.
Dimensions and other physical characteristics of the Goods are subject to normal commercial tolerances. Unless otherwise stated. Electrical ratings represent safe working limits.
10.1. We reserve the right to discontinue any product, or make design changes to product specifications, or use different suppliers or manufacturers to those stated in Our catalogue or other promotional material or on Our website, without prior notice, as part of Our continuous process of product and service improvement, or to improve product availability. The information contained in Our catalogue or other promotional material or on Our website is correct to the best of Our knowledge at the time of going to press. All images are used for illustration purposes only.
10.2. iTs Designs Ltd operates a quality control procedure in line with the requirements of offering Medical Devices Class 1 to 93/42/EEC. A Certificate of Conformance can be supplied when required for products conforming to that standard.
10.3. If any provision of this Agreement is held by any competent authority to be invalid or unenforceable in whole or part the validity of the other provisions of this Agreement and the remainder of the provision in question shall not be affected.
10.4. We shall not be liable to You for any delay or failure to perform any of Our obligations hereunder which is due to causes or circumstances beyond Our reasonable control, including (without limitation) acts of civil or military authority, national emergencies, fire or flood, acts of God, war or riots, actions or omissions of third parties.
10.5. This Agreement including the order is the complete and exclusive statement of the contractual relationship between the parties, which supersedes all prior proposals, understandings, agreements, or representations between the parties relating to this Agreement except in respect of any fraudulent misrepresentation made by either party.
10.6. We reserve the right to randomly monitor and record inbound and outbound calls.
10.7. No delay, neglect or forbearance on Our part in enforcing Our rights against You shall be construed as a waiver or in any way prejudice any of Our rights hereunder.
10.8. Where appropriate, health and safety data will be supplied with the Goods. Further information is available upon request.
10.9. This Agreement shall be governed by and construed in accordance with the laws of England and Wales whose courts shall have non-exclusive authority in connection with any dispute arising out of or in connection with it.


Earn a $100 statement credit after you spend $500 on purchases in the first 3 months from account opening.
This new cardmember bonus offer is not available to either (i) current cardmembers of this consumer credit card, or (ii) previous cardmembers of this consumer credit card who received a new cardmember bonus for this consumer credit card within the last 24 months. You must use the phone number, website, or application (if provided) contained herein to be eligible for this offer. To qualify and receive your $100 statement credit, you must make Purchases totaling $500 or more during the first 3 months from account opening. ("Purchases" do not include balance transfers, cash advances, cash-like charges such as travelers checks, foreign currency, and money orders, any checks that access your account, overdraft advances, interest, unauthorized or fraudulent charges, or fees of any kind, including an annual fee, if applicable.) To be eligible for this bonus offer, account must be open and not in default at the time of fulfillment. After qualifying, please allow 6 to 8 weeks for statement credit to post to your account.


Fifteen of South Africa's top sustainable architectural projects are in the running for the third bi-annual AfriSam-SAIA Award for Sustainable Architecture which takes place in October.
The AfriSam-SAIA Award recognises buildings that are the result of an integrated approach to architecture, natural systems and technology. They show that design and sustainability can and should be mutually reinforcing.
The nominated projects make a positive contribution to their communities and reduce environmental impacts through strategies such as the reuse of existing structures, connection to transit systems, low-impact and regenerative site development, energy and water conservation and the use of sustainable or renewable construction materials.
There are two AfriSam-SAIA Award categories – one for built work that has been occupied for one year and the other for works of social importance, including research.
One of the nominated projects is already making history in architectural and building terms. Lakeside 3 is the first existing building in South Africa that has been redeveloped with the intention to obtain a Green Building Council of South Africa (GBCSA) 4-star green rating.
Three cutting-edge sustainable commercial buildings are among this year's qualifying projects. They are 44 on Grand Central, Midrand; Alexander Forbes Head Office in Sandton and Lakeside 3 in Centurion, all of which are in close proximity to the Gautrain rail link.
A residential property, House Jones – dubbed the country's "greenest green house" – has been designed by Era Architects as a completely self-sustainable "island" house in the heart of Johannesburg.
The Eastern Cape has two nominated projects – the Helenvale multi-purpose community centre and the South African Police Service 10111 radio control centre, both designed by The Matrix.
The AfriSam-SAIA Award for Sustainable Architecture was first introduced in 2009 to recognise and promote projects in the South African architectural arena that have effectively shifted paradigms with place making buildings that are ecologically sustainable and which also uplift the community. The awards reflect SAIA and AfriSam's commitment to promoting architecture that meets the social, cultural, economic and environmental needs of the people it serves.
The adjudication panel is chaired by SAIA's president Sindile Ngonyama and comprises sustainability thinker Gita Goven; Llewellyn van Wyk, principal researcher in the built environment at the Council for Scientific and Industrial Research; Daniel K. Irurah, senior lecturer at Wits University; Philippa Tumubweinee, senior lecturer at the Department of Architecture at the University of the Free State and AfriSam's Vincent Blackbeard and Mike McDonald.
A 'whole-systems approach' was adopted at the state-of-the-art "green" office development at 44 on Grand Central, opposite the Gautrain Midrand station. It was important to the developers that at the outset all facets of the project were integrated and connected – from the site itself to energy, buildings, transport, ecosystems, people, water and waste. Recyclable steel as well as a fly ash concrete mix was used in construction. The building makes use of daylight harvesting, with daylight sensors as well as energy-efficient lighting both inside and out. It also deploys energy-efficient motors, pumps and fans. Temperature is regulated with external shading, roof insulation and air conditioning zoning. It also features drought-resistant landscaping with rainwater harvesting for irrigation, low volatile organic compound (VOC) paint and carpets as well as a waste management plan. The building is designed to GBCSA 4-star Green Star rating specifications.
With 2 400 employees using this building every day, it has been designed for transparency and a healthy, stimulating working environment. The office component consists of eight large floor plates, a central core and two enclosed atriums connected by link bridges spanning across the atrium. Skylights draw natural light into the office areas. Work stations generally have a view of the outdoor environment and the internal atrium, encouraging staff productivity and wellbeing. The design of the building utilises the site to its full extent and incorporates lush xeriscaped landscaping and indigenous low water consumption plants. The building provides a wide variety of staff amenities. It makes use of rain and grey water recycling, passive heating and cooling and an engineered façade design. It was awarded the Best Overall Development at the SAPOA (South African Property Owners Association) Innovative Excellence in Property Development Awards for 2013. It has also achieved a 4-star Green Star rating from the GBCSA.
The initial brief called for renovations to the existing community centre. However, it soon became apparent that the full potential of the site could only be achieved through demolition and a new-build. One of the chief challenges was finding a balance between providing the best quality building materials and meeting the tight budget provided by the Nelson Mandela Bay Municipality. Key to the design of this new complex is the creation of a community plaza designed to complement a proposed adjacent urban park. From this plaza the public are ferried into an enclosed community street which houses community offices, a multi-use sports hall and sub divisable community hall. The inclusion of environmentally-friendly characteristics such as automatic electric light management, heat pumps, rainwater harvesting and wall and roof super-insulation added to the sustainability of this project and play an integral role in the design. It received an award for outstanding design from the Eastern Cape Institute of Architects (ECIA).
An old Hurlingham house has been transformed into an "autonomous" home which is completely self-sufficient when it comes to water and electricity and even deals with its own sewerage. It has a cleverly crafted symbiotic relationship with its environment. The structure creates a comprehensive thermal envelope with insulated cavity walls and floor and large double-glazed windows providing daylight to all internal spaces. Solar thermal systems generate hot water for domestic purposes and also serve as a heat source for the underfloor heating during winter. A photovoltaic (PV) system generates power that is fed into the Eskom grid, effectively lowering the energy consumption of the house. Low-energy LED light fittings and appliances are used throughout the house. Roof-level rainwater is collected for non-potable use in the house. Paving run-off and subsoil drainage is collected directly in the storage dam and used for irrigation. Even construction waste was soft-stripped and all reusable materials were reclaimed and donated to charity.
The upgrade of an old diamond mine in Sierra Leone posed both a dilemma and a challenge for Collis and Associates. Often little thought is given to the environment or the communities who will be affected by the building of supporting infrastructure at mining sites. Collis and Associates decided to keep as much as possible to their principles of sustainability when they undertook the project, which included designing houses for mine employees, a clinic, a police station, other community infrastructure and workshops. Solar thermal control was achieved by correct site placement of the various buildings. Collis & Associates minimised the importation of materials while maximising the use of local materials and labour, and recycling mine waste materials wherever possible. Kimberlite rock from the mine was used in the making of concrete, bricks, blocks, tiles and as base material for roads and building platforms. Sourcing of local labour and materials redistributed resources back into Sierra Leone's economy.
Lakeside 3 is the first existing building in South Africa that has been redeveloped with the intention to obtain a GBCSA 4-star green rating. Directly opposite the Centurion Gautrain Station, the refurbished building intelligently reuses original building structures, transforming it into innovative A-grade office space that embodies the principles of environmental preservation and liveability. It has given new life to a tired building while creating a healthy, inspiring working environment. The renovated building encloses its core space through a glazed atrium from which there are views over Centurion Lake. The façade was extensively replaced in order to lighten the face brick façades of the original building and a light-weight walling structure has become the new envelope. This has enhanced thermal efficiencies while the redesign of the windows has enhanced the internal light quality. It incorporates numerous sustainable features such as energy efficient air-conditioning, heat pumps and lighting, water saving fixtures, a waste recycling facility, low VOC paints and adhesives, recycled and locally-sourced building materials and cyclist facilities. It won the overall green award at the 2013 SAPOA (South African Property Owners Association) Innovative Excellence Awards for Green Development.
Monaghan Farm is a low-density environmentally and socially conscious development near Lanseria Airport. A major difference between Monaghan Farm and most upmarket developments is that it's a working farm with a strong emphasis on organic agriculture. Its ethos is based on incorporating the environment into a model of partial self-sustainability. It reverses the emphasis on huge mansions dominating the landscape to homes designed to quietly merge with the environment, without losing any of the elegance and comfort of modern living. Single storey, staggered buildings offer uninterrupted views. Green energy technologies used include solar, PV panels, geothermal and heat pumps. Alternative low carbon building techniques include light steel frame construction and bricks made on site.
This is the Tshwane University of Technology's first green building. The new architectural department consists of three sections: a sculptural auditorium situated on the western side, a southern wing with offices and studio spaces and a northern wing with a material lab, model building facilities and studio space. The wings run in thin, multi-levelled halls from east to west, allowing for maximum exposure to the northern sun. Windows make up the walls along the northern side, which is enclosed by removable louvres. The louvres also act as light shells that reflect light into the building without using power. The south and western sides of the building are fitted with a mist system to cool the air, creating a microclimate. The sprayers are fuelled by rainwater collected in reservoirs from the roof of the building and pumped by a motor that runs off of solar panels. The exterior northern side of the building encloses a paved courtyard; an area designed to collect heat from the sun. The true gem in the building's crown is its auditorium, the only one in the country that has no HVAC system installed.
The SAPS Radio Control Centre is designed to be efficient and self-sufficient. The building's face brick edges and galvanised steel frame exude resilience, while expansive glass windows offer SAPS personnel 360-degree views. Behind the pavilion, a 50-metre tall white and red communications tower connects the centre to other SAPS units around the country. The pioneering building is made to house 187 people at full capacity. At its core is a 10111 call centre. From the outset, project architect Neil Fisher pushed to include sustainability elements in the design. A central building management system (BMS) controls and monitors electricity and water consumption along with the air conditioning. The west side of the building features a double-glazed façade fitted with low-emissivity glass to reduce solar heat gain and glare. It was engineered to be self-sustaining and continue its functionality in the event of municipal power or water outages. Additionally, the roof hosts a syphonic rainwater collection system for irrigation purposes. It received an award for outstanding design from the ECIA.
This Seed (Supplementary Extended Education Device) is a semi-permanent building in the courtyard of a school in Alexandra which re-thinks the traditional library model. The design uses two shipping containers stacked perpendicularly to form a cross-shaped plan. The ground floor houses the books while the upper floor makes accommodation for reading and study rooms as well as outdoor reading spaces via a deck, which is also used as a stage for school assemblies. The bright, bold colours and visual construction methods make for an aesthetic that is exciting. The shipping containers were chosen for their ease of transportation as well as for their sustainable green benefits. Retrofitted insulation, cross ventilation and passive cooling extend the architecture's success to a level of technical, functional and aesthetic resolution. This modular construction method meant that the library could be put up in four months, which also means that the SEED can be planted in other locations with ease.
The project followed a responsible, environmentally-aware design approach. Conservation of natural resources, material selection, natural lighting and ventilation informed the design from inception to completion. Designed with expansive double-glazing, classrooms maximise natural daylight and reduce lighting energy consumption. Rainwater is harvested in storage tanks which provide water for the flushing of toilets. Landscaped rainwater retention ponds slowly filter water down into the subterranean aquifer, minimising wastage to the municipal drainage. The building has significantly improved the appearance and social spaces of the campus and creates a harmonious learning environment for students.
The GCIS Façade Solar Research Project – a partnership between the University of Johannesburg and the University of Edith Cowan in Australia – looked at solutions to technical challenges faced when trying to reduce energy costs and the findings could become a strategic model for the future implementation of cost-effective PV panels in Southern Africa. A six-storey office building, which houses Government Communication and Information Systems (GCIS )and is located in the historic precinct of Hatfield in Pretoria, is the first building in Africa to use a solar façade to generate electricity thanks to solar photo voltaic cells within the building's laminated glass facades. The external skin is a combination of high performance glazing with PV panels incorporated on the east, north and west facades. Although the technology has been used in Asia, Europe and the US, this particular type of PV is a first for a building.
Wood is one of the most environmentally sustainable building materials in the world. Building with renewable timber is an effective way for the construction industry to play a positive part in the reduction of atmospheric carbon, resource depletion and environmental degradation. South Africa is currently a concrete, steel and brick building culture but a shift to product from well-managed timber plantations would be better for the environment. Vernon Collis's research promotes best practice and aims to help develop a timber culture in the construction industry, ranging from investigations of how and why timber structures and elements fail, to transferable timber technologies for economic housing, while at the same time challenging government on its impending forest reduction programme.
Recycling reduces environmental damage, landfill pressure, resource depletion, damage to roads and CO2 emissions, while also creating employment. However, less than half of Cape Town's construction waste is recycled. This is due in part to the fact that there's no inclusive best practice on how to evaluate, deconstruct, test and specify construction waste. Without this, architects and engineers are limited when informing clients or projects where recycling is possible. For the past 20 years Collis & Associates has sought solutions to this problem, investigating a 'cradle to cradle' process using construction waste and maximising on labour. The research provides a sustainable approach to conserving concrete aggregates through the use of excavated sand, recycled bricks and concrete.
The Vukuzakhe research aims to develop systems for the delivery of an alternative building typology in the eThekwini Municipality. It is hoped that this will accelerate the delivery of public buildings – including community halls, libraries and resource centres, as well as sports, educational and health facilities – with an environmentally responsible design, while stimulating local economic development. The system can be replicated and installed with ease in remote and varied locations and integrates architecture, site, foundations, structure and services.


text:
use strict;
use Getopt::Long::Descriptive;
use Data::Dumper;
use Bio::KBase::GenomeAnnotation::CmdHelper qw(:all);
=head1 NAME

rast-call-features-selenoprotein

=head1 SYNOPSIS

rast-call-features-selenoprotein [--input genome-file] [--output genome-file] [< genome-file] [> genome-file]

=head1 DESCRIPTION

Call selenoproteins in the given genome file.

=head1 COMMAND-LINE OPTIONS

rast-call-features-selenoprotein [-hio] [long options...] < input > output
	-i --input      file from which the input is to be read
	-o --output     file to which the output is to be written
	-h --help       print usage message and exit
	--url           URL for the genome annotation service

=cut

my @options = (options_common());

my($opt, $usage) = describe_options("%c %o < input > output",
				    @options);

print($usage->text), exit if $opt->help;

my $genome_in = load_input($opt);

my $client = get_annotation_client($opt);

my $genome_out = $client->call_features_selenoprotein($genome_in);

write_output($genome_out, $opt);

redpajama_set_name: RedPajamaGithub


text:
HomeAfricaMorocco Shifts Its Policy Focus From Arab Ties To 'pan-africanism', Writes ECOWAS Chair
Morocco Shifts Its Policy Focus From Arab Ties To 'pan-africanism', Writes ECOWAS Chair
February 27, 2017 Cholo Brooks Africa 0
This handout picture released on July 30, 2016 shows Moroccan King Mohammed VI. (AFP/File)
Morocco has informed Liberia, the current chair of the Economic Community of West African States, of its desire to join the economic alliance as a full member.
A statement from the Moroccan foreign ministry announced the country's intention to seek full membership and plans to meet all the required criteria.
This effort crowns "the strong political, human, historical, religious and economic ties at all levels with ECOWAS member countries", said the statement.
The Moroccan King Mohammed VI has made 23 visits to 11 countries in the 15 country union over the last few years, highlighting a clear intention to realign Moroccan interests with Africa.
The Maghreb country rejoined the African Union in January, signalling a move away from North African diplomacy and close ties with Arab states. Last year Morocco refused to host the Arab League summit.
The move also comes in the same week that King Mohammed made public statements to UN head Antonio Guterres, attempting to persuade the UN that the Algeria-backed Polisario Front is undermining a ceasefire in Western Sahara.
Were Morocco to join ECOWAS as a full member it is likely that closer relations with West African neighbours would be used as a strong bargaining chip over the ultimate fate of the Western Sahara.
Morocco insists that the former Spanish colony is part of its kingdom, but the Polisario front demands UN mandated referendum on self-determination, which was agreed in 1991.
In December 2016 Morocco and Nigeria signed a major gas pipeline deal. The project, which has no set start date, would connect the two countries with each other and Europe.
Source: News Now/Al Bawaba News/AFP

redpajama_set_name: RedPajamaCommonCrawl


text:
Title: Colleen Atwood
Subject: Academy Award for Best Costume Design, Saturn Award for Best Costume, John Mollo, Satellite Award for Best Costume Design, Costume Designers Guild
Collection: 1948 Births, American Costume Designers, Bafta Winners (People), Best Costume Design Academy Award Winners, Cornish College of the Arts Alumni, Living People, People from Yakima, Washington
Yakima, Washington, U.S.
2 (Tracy-born 1987) and (Charlotte-born 1989)
Colleen Atwood (born September 25, 1948)[1] is an American costume designer.
Atwood has been nominated for the Academy Award for Best Costume Design eleven times, winning three times; for the films Chicago in 2002, Memoirs of a Geisha in 2005, and Alice in Wonderland in 2010. Atwood has collaborated several times with directors Tim Burton, Rob Marshall and Jonathan Demme.[2]
Early life and education 1
Career 2
Filmography 3
Born in Yakima, Washington, she studied painting at Cornish College of the Arts in Seattle, Washington in the early 1970s, and later worked in retail at various places, including the Yves St. Laurent boutique at Frederick & Nelson department store in the city.[3]
Atwood began her career as a fashion advisor in Washington in the early 1970. She moved to New York in 1980, where she studied art at New York University.[4] Her movie career started after a chance encounter with someone whose mother was designing the sets for the film Ragtime, and she got the job of a PA (production assistant) in the film.[3][5] She worked as an assistant to a costume designer and eventually earned her first film credit for A Little Sex, directed by Bruce Paltrow.[4]
Eventually Atwood ventured into the world of costume design for theater and film, initially coming to fame through her work on Sting's Bring on the Night World Tour, also made into a documentary by the same name.[6] An important turning point in her career came when, through the production designer (Bo Welch) with whom she had worked in Joe Versus the Volcano, she met director Tim Burton. Atwood and Burton worked together on over seven films in the next two decades, starting with Edward Scissorhands and including Sleepy Hollow, Ed Wood, Big Fish, Planet of the Apes, and Sweeney Todd.[3][5] She moved to Los Angeles in 1990.[4]
Atwood has been partially involved in developing or has been the lead designer for producing the costumes on over 50 films to date. She was the lead costume designer for all the new costumes created for Ringling Bros. and Barnum & Bailey Circus in 2005-2006. She also designed The Black Parade band uniforms for the band My Chemical Romance, as well as costumes for the following album, Danger Days: The True Lives of the Fabulous Killjoys. She also designs for television, including the upcoming Supergirl series.
Atwood's favorite fashion designers include Azzedine Alaia.,[4] Yohji Yamamoto[4] and Alexander McQueen.[4][7]
Firstborn (1983)
Bring on the Night (1985)
Manhunter (1986)
Critical Condition (1987)
The Pick-up Artist (1987)
Someone to Watch Over Me (1987)
For Keeps (1988)
Married to the Mob (1988)
Fresh Horses (1988)
Torch Song Trilogy (1988)
Hider in the House (1989)
The Handmaid's Tale (1990)
Joe Versus the Volcano (1990)
Edward Scissorhands (1990)
Lorenzo's Oil (1992)
Philadelphia (1993)
Cabin Boy (1994)
Wyatt Earp (1994)
Little Women (1994)
The Grotesque (1995)
The Juror (1996)
Head Above Water (1996)
Mars Attacks! (1996)
Buddy (1997)
Gattaca (1997)
Beloved (1998)
Mumford (1998)
Golden Dreams (2001)
The Mexican (2001)
CinéMagique (2002)
Big Fish (2003)
Lemony Snicket's A Series of Unfortunate Events (2004)
Mission: Impossible III (2006)
Public Enemies (2009)
The Tourist (2010)
The Rum Diary (2011)
Nominated: Best Costume Design, Little Women (1994)
Nominated: Best Costume Design, Beloved (1998)
Nominated: Best Costume Design, Sleepy Hollow (1999)
Won: Best Costume Design, Chicago (2002)
Nominated: Best Costume Design, Lemony Snicket's A Series of Unfortunate Events (2004)
Won: Best Costume Design, Memoirs of a Geisha (2005)
Nominated: Best Costume Design, Sweeney Todd: The Demon Barber of Fleet Street (2007)
Nominated: Best Costume Design, Nine (2009)
Won: Best Costume Design, Alice in Wonderland (2010)
Nominated: Best Costume Design, Snow White and the Huntsman (2012)
Nominated: Best Costume Design, Into the Woods (2014)
Nominated: Best Costume Design, Edward Scissorhands (1990)
Won: Best Costume Design, Sleepy Hollow (1999)
Nominated: Best Costume Design, Planet of the Apes (2001)
Nominated: Best Costume Design, Chicago (2002)
^ "Atwood, Colleen". Current Biography Yearbook 2010. Ipswich, MA: H.W. Wilson. 2010. pp. 19–22.
^ costume design"Alice in Wonderland"Oscars: Colleen Atwood wins for . LA Times. February 27, 2011.
^ a b c "Who dresses Johnny Depp? Costumer Colleen Atwood, a Northwest native".
^ a b c d e f Jamie Diamond (February 24, 2005). "A Costume Drama in Modern Dress". New York Times.
^ a b "Behind the Scenes; A Dozen Bright Talents Who Are Helping To Shape the Season Ahead:COLLEEN ATWOOD: Clothes Conscientious". New York Times. September 9, 1990.
^ Janet Maslin (November 8, 1985). "SCREEN: STING IN 'BRING ON THE NIGHT'". New York Times.
^ Leung, Mariana (1 June 2012). "Exclusive Interview: Oscar-Winning Costume Designer Colleen Atwood". Ms Fabulous. Retrieved 8 June 2013.
Colleen Atwood Biography (1950-) filmreference
"From Sketch to Still, a Visual History of Alice in Wonderland's Costumes". Vanity Fair. January 28, 2011.
Colleen Atwood at the Internet Movie Database
Palm Springs Life, January 2004
Council of Fashion Designers of America
Academy Award for Costume Design
1948 (Black & white): Roger K. Furse / (Color): Dorothy Jeakins and Barbara Karinska
1949 (bw): Edith Head and Gile Steele / (c): Marjorie Best, Leah Rhodes and William Travilla
1950 (bw): Edith Head, Charles LeMaire / (c): Edith Head, Dorothy Jeakins, Elois Jenssen, Gile Steele, Gwen Wakeling
1951 (bw): Edith Head /(c): Orry-Kelly, Walter Plunkett, Irene Sharaff
1952 (bw): Helen Rose / (c): Marcel Vertès
1953 (bw): Edith Head / (c): Charles LeMaire, Emile Santiago
1954 (bw): Edith Head / (c): Sanzo Wada
1955 (bw): Helen Rose / (c): Charles LeMaire
1956 (bw): Jean Louis / (c): Irene Sharaff
1957: Orry-Kelly
1958: Cecil Beaton
1959 (bw): Orry-Kelly / (c): Elizabeth Haffenden
1960 (bw): Edith Head and Edward Stevenson / (c): Bill Thomas and Arlington Valles
1961 (bw): Piero Gherardi / (c): Irene Sharaff
1962 (bw): Norma Koch / (c): Mary Wills
1963 (bw): Piero Gherardi / (c): Renié, Vittorio Nino Novarese and Irene Sharaff
1964 (bw): Dorothy Jeakins / (c): Cecil Beaton
1965 (bw): Julie Harris / (c): Phyllis Dalton
1966 (bw): Irene Sharaff / (c): Joan Bridge and Elizabeth Haffenden
1967: John Truscott
1968: Danilo Donati
1969: Margaret Furse
1970: Vittorio Nino Novarese
1971: Yvonne Blake and Antonio Castillo
1972: Anthony Powell
1973: Edith Head
1974: Theoni V. Aldredge
1975: Milena Canonero and Ulla-Britt Söderlund
1977: John Mollo
1979: Albert Wolsky
1981: Milena Canonero
1982: Bhanu Athaiya and John Mollo
1983: Marik Vos-Lundh
1984: Theodor Pištěk
1985: Emi Wada
1986: Jenny Beavan and John Bright
1987: James Acheson
1989: Phyllis Dalton
1990: Franca Squarciapino
1992: Eiko Ishioka
1993: Gabriella Pescucci
1994: Tim Chappel and Lizzy Gardiner
1996: Ann Roth
1997: Deborah Lynn Scott
1998: Sandy Powell
1999: Lindy Hemming
2000: Janty Yates
2001: Catherine Martin and Angus Strathie
2002: Colleen Atwood
2003: Ngila Dickson and Richard Taylor
2007: Alexandra Byrne
2008: Michael O'Connor
2011: Mark Bridges
2012: Jacqueline Durran
2013: Catherine Martin
Black & White / Color separate (1948–1956, 1959–1966)
Saturn Award for Best Costume
Bill Thomas (1976)
John Mollo (1977)
Theoni V. Aldredge (1978)
Jean-Pierre Dorleac (1979)
Bob Ringwood (1981)
Elois Jenssen & Rosanna Norton (1982)
Aggie Guerard Rodgers & Nilo Rodis-Jamero (1983)
Nanà Cecchi (1985)
Robert Fletcher (1986)
Phyllis Dalton (1987)
Barbara Lane (1988)
Erica Edell Phillips (1989/90)
Marilyn Vance (1991)
Eiko Ishioka (1992)
Mary E. Vogt (1993)
Sandy Powell (1994)
Julie Weiss (1995)
Deborah Everton (1996)
Ellen Mirojnick (1997)
Jenny Beavan (1998)
Trisha Biggar (1999)
Louise Mingenbach (2000)
Judianna Makovsky (2001)
Ngila Dickson & Richard Taylor / Trisha Biggar (2002)
Penny Rose (2003)
Kevin Conran (2004)
Isis Mussenden (2005)
Yee Chung-Man (2006)
Colleen Atwood (2007)
Mary Zophres (2008)
Michael Wilkinson (2009)
Alexandra Byrne (2011)
Paco Delgado (2012)
Trish Summerville (2013)
Ngila Dickson (2014)
Note: The years are listed as per convention, usually the year of film release; the ceremonies are usually held the next year.
Critics' Choice Movie Award for Best Costume Design
Mark Bridges (2011)
Jacqueline Durran (2012)
Catherine Martin (2013)
Milena Canonero (2014)
American costume designers
BAFTA winners (people)
Best Costume Design Academy Award winners
Cornish College of the Arts alumni
People from Yakima, Washington
Charles LeMaire
Academy Awards, Chicago, Edith Head, United States, Irene Sharaff
Milena Canonero
Italy, Edith Head, Turin, Charles LeMaire, Irene Sharaff
Colleen Atwood, Bob Ringwood, Kym Barrett, Saturn Award, Robert Fletcher (costume designer)
John Mollo
Edith Head, Charles LeMaire, Irene Sharaff, Academy Awards, Milena Canonero
Satellite Award for Best Costume Design
Colleen Atwood, Sandy Powell (costume designer), Jenny Beavan, Satellite Awards, Alexandra Byrne
Costume Designers Guild
Sex and the City, Ugly Betty, Television, Colleen Atwood, Glee (TV series)


Field Farm Cross Country "Hire Rules Summary".
You are using these facilities on the understanding that all droppings are to be picked up whilst also endeavouring to minimize the amount of wax surface picked up with the droppings.
When hiring course of show jumps any jump moved or altered is to be returned to its original position with all poles level, fillers left tidily under the jumps (NOT left out to the sides) all at approx 90cms.
On no account should any litter or rubbish be left lying around.
Failure to do any of the above could result in either a fine or being asked not to return to use the facilities in the future.
Field Farm Cross Country. Please get in touch with our friendly team for more advise or information.


Singapore is rejuvenating and transforming her building stock constantly and in comparatively short cycles. The book analyses these transformations of the global city and shows documents, plans and sources dating from the past two centuries.
This publication discusses the consequences of the rapid changes in Singapore's built fabric, also with regards to cultural values and to the capacity of ecological structures. Three spatial scales are presented: the territory, the district, and the building.


Student Council (STUCO) is an organization within the high school that represents students' ideas, interests, and concerns. STUCO also supports Mazapan school by contributing to social, community service projects, and school-wide activities in order to help people in need and contribute to the school's continuous improvement.
December 12, 2018: Toy drive "Juntos por una navidad feliz"
February 5, 2018: Coordinated donation of School Supplies "Campaña Seamos Utiles"


Have you had online purchase experience when you were required to fill in long forms and go through a registration procedure (receive confirmation e-mail – confirm account – follow the purchase procedure once again, etc.)?
Have you changed your mind and closed the shop's window being bored and frustrated with this process?
We in Getsocio have faced such situations and at some point decided to design a solution to eliminate these inconveniences for customers.
Payments at online shops are done with electronic money - directly from customer's card to your bank account.
Though, not all customers have a possibility to make an online payment for the product or service they want to purchase. It depends on the location you operate in, on the preferences of your audience, on its age category, etc.
That is why Getsocio has integrated a way to pay for the deals offline – cash on delivery method.
This is the third article from the set of posts based on our views and recommendations for online business runners.
The post is devoted to the experienced business owners.
This is the second article from the set of posts based on our views and recommendations for online business runners.
The post is devoted to the growing startups.


text:
Pirate Jam
Ye Olde Toy Shoppe
Dear Insane Children,
I forgot to post THE LINK to last week's Twitch Livestream (which is recorded and uploaded to YouTube)… so, if you missed the Halloween Special (and me dressed as Joe Exotic), hit that link and go enjoy the madness.
Pro Tip: Dressing as Joe Exotic improves Madness Returns play skills by 93%.
As we hit mid-week here in Shanghai, there's tons going on…
Joey sent in the updated/final version of the nightmare scene where Young Alice finds her family sitting around the dinner table while the house burns down around them. "It's You Fault" by Bon Fire Jovi will be playing loudly in the background.
Jen is working with Yan on a relaunch of the Original Distressed White Rabbit. And Jen sent over the Shoppe Logo (main image, above) for a fictitious toy shop called called "The Gryphon and The Jabberwock Toy Shoppe." This is meant to be the Ye Olde place where Alice's parents would have originally purchased her White Rabbit Plush Toy in or around 1852~53 (near Alice's birth or first birthday). This image will be used on a newly designed Tote Bag – as we'll be retiring the Rutledge Asylum bag that shipped with the first batch of these rabbits.
Crowd Design Questions: What do you think of this logo design? And should it be "Jabberwocky" or "Jabberwock" in reference to the slithy creature from the book?
My thought is to have this logo on both sides of the new tote bag… keep it clean and simple. As it would have been if this were the tote bag from that shop. What do you think?
Speaking of Rabbits, Yan is working on a Hoodie inspired by the Rabbit Plushes…
If you're interested in participating in the Crowd Design on this, check out the post over on my Instagram or the Mysterious Facebook Page. Yan is collecting info on color, size, materials, and other elements of design so she can make informed decisions about how to best launch this product. Your feedback would be greatly appreciated!
This seems like a perfect bit of clothing for Insane Children. Perhaps we should offer a Discount Code for Patrons? Is that something our Insane Children would be interested in?
Back in Wonderland
We now have SEVEN artists working on Alice: Asylum… Joey, Jen, Alex, Omri, Norm, Dario, and we've just added Adam. You would have seen Adam's work in the materials we produced for Oz: Adventures. Expect to see great things from him as we continue to build content for the Alice: Asylum design bible.
Dario and Omri are currently working to nail down the look and feel of the Circus Realm. Not quite there yet.
Of these attempts I wrote:
Yeah, what @Alex Crowley said about "Just my opinion, but I think adding some more rickety, uneven wooden, platforms, planks and trapeze sections would enhance this." is correct. I did not imagine that we'd be running around IN the clouds.
There needs to be a clear and obvious series of "roads" connecting everything together … wooden paths and bridges and stuff. Larger "ground" areas in some places would be OK too.
But the vision is getting closer to the goal.
Another image we struggled with a bit last week came from Omri…
There was a lot of back-and-forth on Monday with regards to this image… with the content/goal of the image being pulled in several different directions. Of the last Work In Progress image Omri sent in I said,
The skull thing simply does not work. It violates the rule of "Don't Show The Monster" – showing the monster in clear detail within the first moments of the story. We cannot do that. The Terror, the thing stalking Alice, the monster… it must remain faceless, formless, and presented in a way such that the viewers mind fills in the blanks with horror and dread. Slapping a Skull on it… breaks that.
Let's not get bogged down on this. WIP is great. Sharing and involving our audience is good. Crowd Design is good. You're doing great. Let just move on to the next thing on the list. Thanks!
It's tough when you have to "kill your darlings" (An excellent quote from Steven King: "Kill your darlings, kill your darlings, even when it breaks your egocentric little scribbler's heart, kill your darlings."), but that is what had to be done here.
But fret not… there are SO MANY amazing images scheduled for creation based on the Asylum story outline that I am currently working on. Alex has produced several PAGES of direction notes for the team. That means there will be plenty more Darlings in our future.
And that reminds me to say THANK YOU, everyone. Our Insane Children make possible the existence of this team of 7 artists. Without your support, this effort would be impossible. It's a wonderful thing that we're able to create art, story, and design that we love without the sorts of limitations and pressures that would come from traditional finance and publishing sources.
OH, and speaking of traditional finance and publishing… our presentation to [REDACTED] has gone out. And they have seen it and given a quick reply along the line of "Thanks for putting this together. Looks like a lot of hard work went into this. Give us some time to review as there's a lot to consume here. And we'll get back to you ASAP." So that's great!
Everyone cross your fingers and toes!
That's it for this morning. I'm looking forward to your feedback in the comments below.
From Shanghai with Darlings,
-American
American McGee's Blog


text:
Reading the Enemies
Programme
Reading the Enemies is a research project and a series of workshops that will be held in the UK and in Finland during 2018. In the workshops invited artists and theoreticians from the broad range of humanities present readings of their 'enemies' – that is, texts or discourses that they assess to be manifestly in opposition to their own theoretical or political premises. How to understand the idea of enemy is left at the discretion of the speakers. An enemy can be an author who represents a political stance to which the participant is opposed, a theoretical opponent in the same discipline, or perhaps both at the same time. It can also be problematised whether it is useful to talk about enemies in this sense at all.
The project looks into different ways in which political positions take form in theoretical and artistic practices. The project pays specific attention to oppositional modes of these positional formations. The speakers are asked to explicate and analyse the positions that form the background of their readings, and reflect on the intellectually and politically legitimating principles at work in them. In this way, their readings help analyse the political stakes of the respective fields of the participants and map out the dividing lines of their theoretical practice. The problematic of the workshops asks how theoretical practice gives rise to the principles that guide and qualify it, and how this kind of work relates to its material, historical and institutional conditions.
Early career+Format of the workshops
On the spring of 2018, four workshops will take place in the premises of Middlesex University, London. The workshops continue in the autumn, from August to November. There will be eight autumn workshops, and their schedule will be published during the summer. In Finland, the workshops will take place in the traditional summer school of Tutkijaliitto. The summer school
Reading the Enemies is made in collaboration with a Finnish association of researchers Tutkijaliitto, Middlesex University, and Kone Foundation. The project is run by Jaakko Karhunen and Jussi Palmusaari.
Theoretical context and research
The notion of enmity constitutes one of central problems of the project: How do theoretical and artistic practices constitute their positions in relation to enemies? What are the modes of reading that such constitutions implicate or put to work? The contradiction that exists between the notions of reading and enemy is the starting point of the research project. The notion of enemy serves to mark a fundamental difference, the most extreme oppositional quality, a pure exclusion, or an impossibility of a shared meaning. The notion of reading, in contrast, implies a possibility for a meaningful articulation of a relation to that which one is speaking of. How, then, to subject the enemy to a reading practice without rendering it into a partner in a dialogue? How to read an enemy while retaining it as a fundamental point of opposition and not intending to compromise one's own position?
25th of April, 6– 8 p.m., Peter Ely: Reading Margaret Thatcher: Neoliberalism and Community
Middlesex University, Barn 2
The first workshop will be given by Peter Ely, who recently completed his PhD at Kingston University. He will give a reading of a selection of Margaret Thatcher key speeches. By returning to this founding figure of neoliberalism, Ely proposes that the state of current left-wing politics can be better understood. The decline of the notion of community comes to be seen as one of the main feats of neoliberalism, and Ely suggests its re-appropriation as one possibility for the renewal of the left.
9th of May, 6 – 8 p.m., Maija Timonen: Why Love Hurts - the non-dialectics of sex
23rd of May, 6 – 8 p.m., Robert Kiely: Killing/Kindness
6th of June, 6 – 8 p.m., Maria Chehonadskih, Reading the Enemies: Racism and Nationalism
Middlesex University, College Building C110
In the last workshop of this spring, Maria Chehonadskih will focus on the common and deceptively innocent question: where are you from? By a close reading of Étienne Balibar's classic essays 'Is There a 'Neo-Racism?' and 'Racism and Nationalism' (1988), Chehonadskih attempts to reveal the racism inherent in the state policy that ranks people according their nativity. Nationalism and racism appear to be interlinked through the dual practices of state taxonomisation and the mundane discourse on belonging and identity.


WHERE IS OUR FREEDOM ?
Technically, INDIA IS NOT A FREE NATION today, even though the Crown handed-over the reigns to us on 15 Aug 1947.
2 Pakistan tried to capture J & K in Oct 1947. We were committed to defend and we fought for 15 months. Then the Indian Govt (against the advise of the Armed Forces), unilaterally declared "cease-fire, and approached the UNO for restoration of normalcy".
iii) to hold a plebiscite , but the RESOLUTION was NEVER IMPLEMENTED.
4 Consequently, Pakistan has remained in illegal occupation of Our Sovereign Territory since Oct 1947 and apparently, the Indian Govt ( then lead by Indian National Congress Party) has since been Remote-Controlled .
5 Resultantly, over six decades of Wilful Mis-Governance and Maladministration has caused our Nation to be effectively reduced to the current chaotic conditions with a "Vitiating atmosphere as also Totally avoidable sufferings by the Aam Aadmi".
6 IF OUR U P A Govt is setting-up an INDEPENDENT SIT, IT MUST FIRST PROBE INTO THE REASONS FOR THE SERIOUS DERELICTION OF DUTY TO OUR NATION OF BARTERING-AWAY-OF-OUR-HARD-FOUGHT-FREEDOM BY OUR GOVT (under the stewardship of Pt Jawaharlal Nehru) & MUST CLEARLY FIX RESPONSIBILITY.
7 We definitely need the Blessings of Our Creator.


text:
Ember - Issues
**************

.. highlight:: javascript

Blocked by CORS policy
======================

This seems to affect Google Chrome, but not FireFox.  It looks like Google
Chrome likes to enforce CORS:

.. code-block:: bash

  XMLHttpRequest cannot load http://localhost:8000/api/contacts.
  Redirect from 'http://localhost:8000/api/contacts'
  to 'http://localhost:8000/api/contacts/'
  has been blocked by CORS policy:
  No 'Access-Control-Allow-Origin' header is present on the requested resource.
  Origin 'http://localhost:4200' is therefore not allowed access.

To solve the issue, use FireFox or start an instance of Chrome using this
command line:

.. code-block:: bash

  google-chrome --user-data-dir=~/repo/temp/disable-web-security --disable-web-security

Django REST - JSON API - ``ResourceRelatedField``
=================================================

:doc:`../../django/apps/rest-framework/issues`

Resource Type
=============

This issue is somehow linked to the model name in Ember and the model name in
Django.  It would be nice if they were the same, or mapped automatically.

My router has the following code:

.. code-block:: python

  router.register(r'contacts', ContactViewSet)

I am sure I will work it out soon!

Here is the error:

.. code-block:: bash

  The resource object's type (contacts) is not the type that
  constitute the collection represented by the endpoint (Contact).

To solve the issue, I added the ``resource_name`` to the ``ModelViewSet``:

.. code-block:: python

  class ContactViewSet(ModelViewSet):
      resource_name = 'contacts'
      queryset = Contact.objects.all()
      serializer_class = ContactSerializer

.. note:: I tried adding ``JSON_API_PLURALIZE_RELATION_TYPE = True`` to
          ``settings/base.py``, but this didn't help.

RSVP.hash
=========

If you return more than one model::

  return RSVP.hash({
      contact: contact,
      detail: detail
  })

Then you will need to set models for the controller::

  setupController(controller, models) {
      controller.setProperties(models);
  }

Uncaught TypeError: Cannot call a class as a function
=====================================================

I need to learn this...  This code::

  let address = get(this, 'address');

Was throwing::

  Uncaught TypeError: Cannot call a class as a function

To solve the issue, I replaced::

  import get from '@ember/object';

with::

  import { computed, get } from '@ember/object';


The Dinosaur Discovery Site museum in St. George has a new exhibit that showcases dinosaur myths and mistakes, including mistakes made by early paleontologists. The museum is one of several popular dinosaur sites in Utah. It was built over a spot where numerous dinosaur tracks were found.
The Salt Lake Tribune has this article about the exhibit. Below are excerpts.
A new exhibit at the Discovery Site museum in St. George explores some myths and mistakes in the context of the history of paleontology. "Dino Right, Dino Wrong," open through March 1, was the brainchild of Rusty Salmon, director of the dinosaur track site discovered in 2000.
The new exhibit includes several examples of how conclusions drawn by early paleontologists were later proven wrong as identification techniques improved and knowledge increased.
In one case, a dinosaur's thumb claw was thought to be a horn. In another, the fossilized skull of a dinosaur was mistakenly placed at the tip of its tail.
Besides misidentifying the thumb claw, scientists wrongly believed the tail of the spine of elasmosaurus was the top of its neck and worthy of a fossilized skull. They stood by their claim until it was proved that the other end of the long spine was where the head really belonged.
Also on display are early geology textbooks along with toy dinosaurs and novels featuring the giant creatures, including The Lost World and Jurassic Park, which were later made into popular films.


text:
Once again, Argentine diplomacy major blunder, this time in Nicaragua
Evo wants a new political revolution in Bolivia while his party wants his aides gone
Buenos Aires road safety boss dies in highway car crash
UN Rapporteur insists in criticizing Argentine 'politicization' of the Judiciary
Friday, May 3rd 2013 - 07:01 UTC
"We receive reports from around the world when some actions of a state jeopardize the independence of judges or lawyers", said Knaul
United Nations expert on magistrates and solicitors independence again expressed concern on Thursday about the laws contained in the Argentine government-promoted judicial reform which might lead to the "politicization" of the judiciary branch.
Brazil's Gabriela Knaul, UN's Special Rapporteur told Argentine reporters her role is to monitor the independence of judges around the world. "We receive reports from around the world when some actions of a state jeopardize the independence of the judiciary or the judges. We then organize visits to those nations and carry out a thorough monitoring" explained the expert.
"We react when we have different sources, complaints are flied and after we receive a report of a specific country, like the case of Argentina and its judicial reform part of which still in Congress" Knaul explained.
"My mandate, my responsibility forces me to call on governments when there is a risk of seeing the independence of the Judiciary broken", and in this case "I was very much concerned and transmitted my concern to the government and to the whole (Argentine) community through a release".
Before the release from last Tuesday which made the government of President Cristina Fernandez livid of fury, Knaul had called the Argentine government to reconsider the most controversial bills of the reform which establish the extension of the Council of Magistrates and the regulation of injunctions against the state.
"We haven't received an official response from the government yet," Knaul stressed. "Usually before going to the press we send letters to the governments involved".
Categories: Politics, Argentina, Latin America.
Tags: Argentina, Council of Magistrates bill, Gabriela Knaul, Magistrates Council reform, UN Special Rapporteur.
willi1
"...which made the government of President Cristina Fernandez livid of fury, ..."
Yes, always when ck and her gang look into a mirror like an independent newspaper or reports like the UN one they become LIVID. when people tell them the truth and explain them what "idiotic" in the rest of the world means, they become FURIOUS. a court would say: "They are not of sound mind."
poor argentines who are forced to live under this regime!
May 03rd, 2013 - 07:28 am 0
toxictaxitrader2
The U.N. is a two edged sword !
C.F.K. is a hydra!
Much slashing to come
HansNiesund
Surely Ms Knaul doesn't expect Argentina to adhere to the International Covenant on Civil and Political Rights which it signed on o9 Feb 1968 and ratified on 8 Aug 1986? Hasn't she ever heard of Peronism?


text:
Real Weddings: Alexandre and Riwa
By Jean Grant | Photography by Inna Shnayder | August 10, 2018
Riwa Harfoush met Alexandre Terrien during a summer solstice street festival in Paris five years ago. It was the night before her sister's wedding, and she had romance on her mind. "It was like magic," says Riwa. "And I was quite drunk on rosé." They strolled around the city until the wee hours of the morning, but didn't expect to see each other again. Then, by chance, they discovered they were both moving to London in the fall for work (Alex is a French entrepreneur and investor and Riwa is a Toronto-raised partner at a tech-focused venture capitalist fund). They kept in touch over the next few months, visited each other's home cities and, later that year, made things official.
The two had always joked about who would pop the question first. Riwa beat Alex to it, proposing during a Sunday morning ukulele jam. A few months later, while on vacation in Morocco, Alex proposed again. They had their first wedding—an impromptu ceremony with 100 friends—at Burning Man that August, then spent a year and a half planning a splashier affair that would include their families.
They wanted the celebration to capture the free-spirited Burning Man vibe, so they kept the itinerary as laid-back as possible. "We organized the big bits, but let friends do what they wanted," says Riwa. Alex's grandparents, who live 40 minutes outside Paris, hosted the festivities, and friends contributed to the weekend with thoughtful gifts ranging from a "space love capsule" to a surprise choir performance.
Photography: Inna Shnayder
Bride's dress: Chloé
Groom's attire: Saudade Paris
Flowers: Wildflowers from the property
Hair and makeup: Peggy Friends
Venue: Chateau St. Nom La Bretèche
Caterer: Laurent Lapierre
Flower crowns: Wolf Crown & Alchemy
Music: CRSTO
Invitations: Squarespace
The day before the party, the couple met everyone outside the Panthéon before making things official at city hall. They had a talkative officiant. "The short version was at least 40 minutes," says Riwa:
After the ceremony, they strolled along the Seine to a bar on a docked boat before heading back to Alex's grandparents for Syrian food and a dance party:
The next morning, one of their friends led a yoga class on the lawn:
One friend built a "space love capsule": a tent filled with Polaroid cameras, paper and stickers. Guests were encouraged to enter and write notes to the couple, which she plans to give them on their 10th wedding anniversary:
Another friend spent the day collecting wildflowers for Riwa's wedding bouquet:
Riwa's dress was—you guessed it—a gift from a friend who works for the Parisian label Chloé. "It's actually a dream. I had to get it altered a little bit but it ended up being perfect," she says:
Alex found a custom label in Paris to make his suit from scratch:
Guests marched to a forest near the edge of the property for the ceremony:
Their friend Steve Tam officiated the ceremony (he also did the Burning Man version):
Another friend organized an impromptu choir to sing Cat Power's "Sea of Love" as the couple walked down the aisle :
The couple told guests to dress as the best version of themselves. "We have a lot of friends who like expressing themselves in fun clothing," says Riwa:
A group of Riwa's friends call themselves the "Queens of the Fruit Tree," and each one wore a crown made of fruit. "It started as a Halloween costume, but eventually evolved into this special friendship group," she says:
After the ceremony, the couple made a toast:
And then they took family portraits:
Guests milled about before dinner:
There were also a few speeches. "Alex got roasted by his two best friends," says Riwa. "They really went for it. But everybody got to have some deep laughs."
Dinner was al fresco. The couple asked the caterer to cook the type of communal food they make at home. There was whole roasted cauliflower, lamb, a green bean salad, pine nuts and a late-night cheese buffet. "It was very healthy," says Riwa. "We wanted people to feel like they could dance afterwards."
Instead of a first dance, the couple sang their thank yous to the crowd by re-mixing a Bob Marley song. After, the DJ played "La Vie en Rose" to coerce them into a more intimate dance:
Another friend surprised the couple with an electric keyboard performance later in the evening. "Everyone sat down on the dance floor," says Riwa. "I really wasn't expecting any of it."
A glossy Mississauga basement reno featuring a home office and a playroom
"We're seeing triple the number of Covid patients as we did in previous waves": A Toronto General emergency doctor on what it's like in the ER right now
"This rink builds relationships": Five volunteers on the impact natural ice rinks have on communities
"If I am awake, I am working": A bakery owner on the unrelenting stress of running a small business and parenting in a never-ending pandemic
"Staff are calling in sick every day": How this ER nurse is coping with the Omicron surge
She lived in Toronto for 15 years. But when the pandemic hit, she decided to buy a $415,000 detached in Regina


As thousands of risk managers converged on San Antonio for RIMS 2018, companies came up with some particularly creative ways to attract attendees to their booths. Argo Group was no exception.
Visitors to Argo Group's booth lined up for coffees with their selfies printed directly on the foam. Argo whipped up hundreds of the cappuccino portraits on the first day of RIMS alone – much to the delight of those charmed by the chance to sip their mugs while learning about the future of insurance.
Some shared their foamy photos on social media.
"So @argo_group just put my face on my latte! #argolife just won #rims2018," tweeted @mattzzman.
Argo's presence at RIMS extended well beyond its brew. Argo Group CEO Mark E. Watson III introduced keynote speaker Alex Sheen, founder of the nonprofit "because I said I would." Watson also shared his vision in "The Speed of Today," an Innovation Hub talk on how the insurance industry can best respond in today's rapidly changing world.
At Argo's booth, President of Argo Insurance – U.S. Grocery and Retail Rooney Gleason offered demonstrations of Argo Risk Tech, an app designed to reduce employee and customer accidents for restaurants and supermarkets with real-time inspection logging, issue reporting and first notice of loss functionality.
Rich Edsall, commercial senior vice president of underwriting at Argo Pro, who discussed steps directors and officers should take to mitigate data breaches.
Bob Marinelli, risk control manager at Trident Public Risk Solutions, who gave a presentation on liability issues facing public entities that send tactical medical responders on SWAT operations.


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**WARNING:** This project is not manteined anymore.

Pinastic is a Chrome extension that allows you to pin images from the Chrome UI (contextual menu and browser action).


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LG G Pad 2 Gets Unveiled In Korea, Sports Mid-Range Specs
By Kristijan Lucic August 14, 2015, 3:19am
Tablets sales aren't exactly as good as they used to be, it seems like bigger screens on smartphones (phablets) are interfering with tablet sales significantly. That's only a guess on my part, but having a 5.5-6'' device has become pretty common, and many consumers really don't see a need to have a 7-8'' tablet as well. That being said, we haven't exactly seen many tablets being launched to the market lately. We do see one from time to time, but that's nothing compared to previous years.
That being said, LG has just announced a successor to the G Pad tablet which was launched almost two years ago. Keep in mind that the company has launched three additional G Pad's in 2014 though, the 7, 8 and 10.1-inch models. The LG G Pad 2 was quietly launched by the company, and it doesn't seem overly impressive, but this is supposed to be a mid-range tablet, not a high-end one. The LG G Pad 2 sports an 8-inch 1280 x 800 IPS display along with 1.5GB of RAM and 32GB of storage (expandable up to 128GB via microSD card). The device is powered by the Snapdragon 400 quad-core SoC running at 1.2GHz, and will ship with a 4,200mAh battery on the inside. Android 5.0 Lollipop comes pre-installed here, and the device also features a 5-megapixel rear-facing camera. The 2-megapixel snapper is available up front, and will do just fine for selfies and video calls, should you choose to use it.
Now, compared to the original LG G Pad (8.3-inch one), this is certainly a less impressive device. The original LG G Pad sported 2GB of RAM, and a 1080p display. But we're not going to do that, this is an 8-inch device and if you compare it to the 8-inch LG G Pad, you'll see that LG improved this tablet's specs. The 8-inch LG G Pad (2014) shipped with 16GB of internal storage, and 1GB of RAM, while it sported the same SoC this new variant includes. LG Has also slightly redesigned the new model, but it's still made out of plastic it seems. That being said, this device was introduced in Korea, and we have no idea if LG plans to release it outside of their homeland. Either way, stay tuned for additional info.
Source: LG Via: G4Games
Android NewsLGAndroid Tablets
Kristijan Lucic
Kristijan has been writing for Android Headlines since 2014 and is an editor for the site. He has worked as a writer for several outlets before joining Android Headlines, and has a background in writing about Android and technology in general. He is a smartphone enthusiast that specializes in Android applications, and that platform in general. Contact him at Kristijan. [email protected]
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