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Nvidia Will No Longer Just Sell Chips, But License Graphics Technology as Well
Nvidia Chief Executive Jen-Hsun Huang at Global Technology Summit in San Francisco on Tuesday told the group Nvidia would start licensing graphics cores and visual patents so his firm could take more advantage of the booming market for smartphones and tablets and tap markets it could not reach through selling its own chips.
"The bottom line is the world has changed and we're expanding our business model to serve markets that we historically could not serve," Huang said. "This opportunity simply didn't exist several years ago because there was really just one computing device – the PC. But the swirling universe of new computing devices provides new opportunities to license our GPU core or visual computing portfolio."
Nvidia in recent years has established itself in the fast-growing mobile market, creating processors for tablets that take advantage of its graphics expertise.
But Nvidia has faced tough competition from the much larger Qualcomm and Samsung, limiting its success.
The move will put Nvidia into direct competition with UK-based Imagination Technologies, whose graphics technology is used in Apple's iPhone, Samsung's Galaxy S4 smartphone and other devices. Apple and Intel own stakes in Imagination.
Nvidia will also be competing against UK-based ARM, which licenses processor technology to chipmakers including Nvidia and is increasingly targeting graphics as well.
Nvidia is integrating Long Term Evolution (LTE) features on upcoming versions of its Tegra chips to aid in the battle to be used in smartphones and tablet than losing out to Qualcomm.
But this not fully new business model for Nvidia. Nvidia licened earlier GPU core to Sony for the Playstation 3. Plus it has received more than $250 million a year from Intel as a license fee for the use of visual computing patents.

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Turn a basic pipe cleaner into a charming cocktail ring using this simple process from Wendy Baner.
Group six pipe cleaners with ends even, and twist in the middle about 5 times to create something that looks like whiskers.
Put the twist under the intended ring finger and cross the "whiskers" over the top of the finger to measure the ring size. Remove pipe cleaners from finger and twist to size.
Open and spread out the "legs." Make a very tiny bend on the end of each leg, pressing back onto itself. Start rolling each leg from the bend into the center, pulling back as you roll to make the roll as tight as possible.
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It is with great sadness that I must report to you that Jim Dunlop Sr., founder of the iconic Dunlop Manufacturing company has passed away. Dunlop Manufacturing has been a staple in the guitar pick and accessories industry since it was founded in 1965. Alice In Chains, Dave Mathews, Zakk Wylde and John Petrucci are just a few of the artists who have and still do rely on the quality that Dunlop and his company have strived to provide guitarists for so long.
While the cause of death is still unclear, I will be sure to update you as I learn more.
This story was originally reported by Loudwire. You can read the Loudwire article here.
This post will also be expanded upon over the next several days to include more information on Jim Dunlop Sr.'s legacy, the impact he has had on the music industry and more.
Rest In Peace, Jim Dunlop Sr. You will be deeply missed.


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Maui is a significant Polynesian demigod, tradition hero, and trickster. He is called Maaui-tikitiki by the Maori people of New Zealand.
When he was born, Maui was deserted by his mom, Hina. She was sure that he was going to die, so she wrapped him in her hair and forged him into the ocean. But Maui survived the ordeal and returned to his mom, proving to her that he would develop up to be an ideal hero.
One of Maui's many necessary adventures was that of snaring the Sun. In the early days, it sped across the sky. Hina complained to her son that there was barely sufficient time for her to dry her clothes, and the people had no time to fish. Maui went to his blind grandmother for assist. She lived on the slopes of what's now Mount Haleakala, or House of the Sun, the place she cooked the bananas that the Sun ate each day.
Maui's grandmother suggested Maui to weave sixteen sturdy ropes and nooses out of his sister's lengthy hair. She mentioned he ought to use these to lasso the Sun and persuade it to transfer extra slowly across the sky.
Maui wove the ropes and hid. As every ray of the Sun reached Haleakala, Maui lassoed it till he had taken the Sun prisoner. Maui agreed to free the Sun if it promised to sluggish its tempo. The Sun agreed, and from that day on, daylight lasted lengthy sufficient for everyone to finish their work.
But the Sun nonetheless hung too low, in order that people had been unable to stand upright. A younger girl requested Maui for assist. He used his nice energy to elevate the sky and set the Sun in place.
Maui additionally created new land. In the Hawaiian model of this story, he descended into the land of the useless and acquired a hook created from the jawbone of an ancestor. This magical hook was known as manai ikalanai. Maui then returned to the land of the dwelling and caught a sacred fowl, the alae.
Maui then advised his brothers to paddle him out to sea. He lowered manai ikalanai, which was baited with the sacred fowl, into the water. His sister, Hina of the Sea, helped him by inserting the hook into the mouth of Old One Tooth, the nice creature that held the land quick to the underside of the ocean.
Maui then advised his brothers to row. Hewarned them to not look again. As they strained, an ideal mass of land slowly rose behind them. Unfortunately, one brother was overcome by curiosity and turned to see what was occurring. The nice mass of land shattered and have become the islands of Polynesia. The Hawaiian island known as Maui bears the hero's title.
The model of this story advised by the Maori is barely completely different. Maui used the jawbone hook however with blood from his personal nostril as bait. He caught the porch of a home that was on the backside of the ocean. He pulled up the entire north island of New Zealand, which the Maori name Te Ika-a-Maui, or the Fish of Maui.Many different tales of Maui and his deeds—each as hero and as trickster—are advised all through Polynesia.


Welcome to Lynne Blackwell to my blog.
Lynne writes crime fiction/domestic noir. After a stint in the Special Constabulary, Lynne began her nurse training, working mainly in acute general and psychiatric hospitals before co-ordinating day-care for people with dementia. Lynne has a BA (Hons) in Social Policy from Sheffield Hallam University, where she studied Psychology, Sociology, Politics and Criminology. She is a winner of the 2015 Northern Crime competition, contributor to the Northern Crime One anthology and writes regular blogs about the road to publication, which aims to encourage new writers to learn from her mistakes and heed all warnings.
I'm writing a novel that began as a pitch to my ex agent, Lizzy Kremer, six years ago. It is about a girl who runs away from home after she's made a serious accusation against another family member; an accusation that was based on nothing more than a series of vague memories from her childhood.
An interest in infantile amnesia.
All fiction intertwines with real life – minus the lengthy conversations, long drawn out pauses and anything else that can slow down the pace. Whatever the genre, fiction has to be rooted in reality.
CHARACTERISATION: I tend to write in first person, so I spend a lot of time working on the prologue and the first three chapters until I've created the perfect protagonist's voice for that particular project.
DIALOGUE: Always read dialogue out loud and in the manner of each character to authenticate the voice.
PLOTTING: Delete everything that is superfluous to denouement and slows down the pace.
DESCRIPTIONS: My novels are contemporary, brutally realistic and usually written in first person, so I have to rein in the temptation to write reams of descriptive passages. I do, however, find ways to get around this. For example: I adapted my story in 'Northern Crime One' from my second novel (Ghost Towns, 2013) by changing the female narrator from the mother of the victim into a psychic who is haunted by the visions of a drowned girl. This enabled me to examine the dead victim's Point Of View in a surreal way. My first novel (Into the Snicket, 2009) is about a woman who is an alcoholic and suffers domestic abuse. She is far too stressed to describe anything in great detail, and usually too drunk to notice much at all. However, the fact that she keeps drifting off into drunken stupors gave me an opportunity to describe what she may (or may not) have witnessed in a series of flashbacks as more memories were retrieved.
PLOTTING: A crime editor once advised me to never submit a crime novel without a prologue. Before I start writing a new project, I go in search of an atmospheric 'crime scene' for the next prologue.
I don't meticulously plan my crime novels/stories unless I'm writing a police procedural. Once I've got a crime scene in my mind, I'll have a think about the murder, murderer, victim/s and protagonist before writing a prologue and the first three chapters. I'll go over this work many times until I'm happy with the Point Of View. Then I'll jot down a stem outline to use as a guide. I write the basic draft chronologically, often working into the night to keep up momentum. I don't write fastidiously at this stage; some chapters might be nothing more than a series of notes and diagrams. Once I've produced a 40-60,000 word basic draft, I assess what research needs to be done: sociological, psychology, forensic etc. I'll write several more drafts until I know the characters inside and out, then I'll work on the dialogue. I wrote ten drafts for my first novel.
I can only write in a quiet environment – at home and preferably alone. When I'm on a roll I'll work through the night until the dawn chorus.
What kind of research do you do and how do you go about it?
My Google history is varied, gruesome and rather fascinating! I have made many contacts over the years, so if something is too complex to use a search engine or I can't rely on information in a book, I'll ask a professional for their expert advice.
Could you say something of your publishing journey and your experience?
I continued to write blogs about the trials of being an unpublished author and entered a couple of competitions: the second being a short story competition in association with New Writing North and Moth Publishing. As a winner, my story was published in the anthology, 'Northern Crime One', which gave me the opportunity to work with an editor and read at book events. It was reassuring to attend these events with the support of NWN/Moth Publishing, and in the company of the other contributors.
What keeps you motivated? – I love to give myself a challenge at the start of every project. Three out of my four crime novels are written in first person, but the protagonists are not the murderer, murder victim or investigator. For this reason, it has been a challenge coming up with different ways to maintain the pace that is required for crime without ending up with a contrived plot.
This entry was posted in Author Interviews and tagged Creative writing, creativity, crime fiction, inspiration, novel writing, publishing, rejection, story writing, writer, writing on 14 May 2017 by Kate Evans.
I have completed the re-writes for my third crime novel based in Scarborough, The Art of Breathing. It has gone through various drafts each time commented on by writing friends Lesley, Kate and Felix, then Felix did a final go through to make sure the plot held together as a whole. I am very grateful for this support, as an indie, I certainly could not keep moving forward without it. I also had comments back from a small press I submitted the manuscript to. Along with their rejection, they included a couple of pages of my work annotated by their 'reader', which is very decent of them. My confidence in the observations did wane somewhat, however, when a question was raised over whether a university would have a bar? Hello?!
So now I spin hats, the writer has to make way for the indie publisher.
The Art of Breathing is booked in with a copywriter in June and then a proofreader in July. Hopefully the final version should be ready by the end of August. I have decided to re-package my three books – The Art of the Imperfect (https://goo.gl/JrGat2); The Art of Survival (https://goo.gl/6RPzk5) and The Art of Breathing – as a trilogy which I will launch in the Autumn. The three are stand-alone in the sense that there is a different discrete crime story in both, but they are tied into a trilogy because of the on-going narrative of one of the characters, Hannah. There is a lot to think about and get right, for example: covers; formatting (different formats for the three methods of publication I will use); print runs; mobilising reviews/reviewers; perhaps a new website… I make lists, endless lists.
The Art of… trilogy is part of an on-going crime series and already novel four is beginning to ferment in my imagination. It will take the characters' stories several years forward and will be based around the fishing community and themes of environmentalism. I am wondering about breaking away from The Art of… title. I've come up with The Photograph or The Girl in the Photograph – though maybe I am too late to jump on the Gone Girl bandwagon?
How do you come up with the titles of your novels, stories or poems?
This entry was posted in A Writer's Life and tagged Book marketing, Creative writing, creativity, crime fiction, indie publishing, inspiration, novel writing, rejection, story writing, writer, writing on 30 May 2016 by Kate Evans.
This week, I am very happy to welcome writer Louise Mangos to my blog. Louise initially studied business communications in the UK, and later studied journalism at CU in Boulder Colorado in her mid-twenties. She took creative writing as an elective during that time, and eventually dropped journalism to continue satisfying her literary passion. Following a series of creative writing retreats and novel-writing workshops during the years since she's had a family, the idea to pen a novel was born. STRANGERS ON A BRIDGE is Louise's first novel, a psychological thriller, which was a finalist in the Exeter Novel Prize, and made the shortlist of the Flash 500 Opening Chapter Competition in 2015. She is currently editing her second novel, also a psychological thriller, entitled PALETTE OF LIES. Both novels are based in Switzerland. Her short story SUMMER OF '76 was read out on BBC Three Counties Radio last autumn and went on to win second prize in the Erewash Writers Group Short Story Competition. She has twice won the weekly Ad Hoc Fiction competition, and her flash fiction has been published on various flash web platforms.
Having amassed a burden of journals and letters sent home from my overseas travels many years ago, I've been encouraged by friends and family to write a memoir, recounting one of my more riveting adventures: A solo three-month mountain bike trip along the backbone of the Continental Divide in the US. After completing that journey over twenty years ago, I was invited to return to Switzerland to participate in one of the most challenging mountain competitions in the alpine world: The Patrouille des Glaciers. The memoir addresses the challenges faced as part of a close-knit team of three in the aforementioned race, on the back of the solo bike adventure the previous year.
I'm also plotting a third novel, a psychological thriller about a man who stalks a backpacking traveller around the world.
What has inspired your most recent writing?
I recently read Cheryl Strayed's memoir "Wild" for a book group discussion. It's a book I wouldn't ordinarily have picked up, but Cheryl's journey along the Pacific Coast Trail re-awakened memories of my own adventures in the Rocky Mountains. I was amazed how much interest has been generated by Cheryl's book, making me realise there's a greater audience for this kind of narrative non-fiction than I had initially thought.
And as for my fiction, the psychological thriller is a genre I love to read, so it's easy for me to write. I have recently been dwelling on my wayward twenties, and am drawing my narrative from my sport and travel adventures.
The answer to the last question pretty much answers this. Many published authors tell their budding protégés they should write about unfamiliar subjects, that they should address the challenge of researching and creating literature from a bed of zero knowledge to earn the ultimate accolade of their critiques. For a novelist starting out, I cannot imagine having written any of my narrative without drawing on some of my life experiences, down to characterisation, dialogues between friends and family, or simply basing the story where I live (which I must say is incredibly inspirational.) As someone who has yet to enjoy the advantages of being a published author, writing about what one knows is also the safest way to keep research costs to a minimum.
Could you give five tips on how to tackle a writing technique of your choice?
2. If only two people are having a conversation, use as few dialogue tags as possible (he said, she said.) If there are multiple characters speaking, or you need to draw the reader's attention back to who is speaking after several exchanges, one of the characters could address the other by name from time to time. 'But Tommy, you promised you would fill the dishwasher.' If you must use dialogue tags, keep words such as exclaimed, shouted, and screeched to a minimum, and avoid using adverbs with those tags (he pondered drily, she whispered hoarsely.
3. Avoid exclamations or greetings. Show reactions such as shock/sadness/surprise conservatively between sections of dialogue, without interrupting the flow.
4. Avoid dumping information in a long chunk of dialogue. It's tempting to do this if you need to convey backstory at a certain moment, but this method should be kept to a minimum, ideally one piece of information at a time, if at all.
5. Try to keep conflict in every dialogue. If a conversation takes place where everyone agrees, then the conversation probably didn't need to happen in the first place.
Sleep, domestic chores and social media all get in the way of my writing. I need complete silence, and often wake at 4 am so I can have the blissful calm of a dark house in which to write. Even the white noise of the fridge in the kitchen sometimes causes my concentration to slip. And the Internet… it's a double-edged sword. I should simply turn off the Wi-fi for huge sections of the day, but I love having my Thesaurus open on my split screen, and researching the minutiae is so much easier with the aid of search engines. The call for friendly banter with my Facebook and Twitter friends, however, dominates when I'm lacking a moment of inspiration.
As I mentioned earlier, if you write about what you know, most of your research is inside your head. But there are certain things a writer should make sure they get right in their narrative, and not everything on the Internet can be quoted verbatim. For a crime novelist, the most important research is probably police protocol and procedures in the country or region in which the story is based. I'm amazed at how open people are when I tell them I am researching for a book. A police chief, lawyer, or accountant who might ordinarily charge a small fortune for an hour of his/her time, is often more than happy to offer information for no more than the price of a coffee in the local café. For my second novel I visited the women's prison where the story is based, and when I required follow-up clarification on some of the information I was given, the head warden was more than happy to answer questions. Of course, they all need to be assured that they will receive a signed copy of your book once it is published!
Can you talk about your chosen publishing route?
I've given myself until the end of the year to secure interest in from a traditional publishing house. However, the time frame is interminable. Once a book is finished and the manuscript has been assessed, most self-published authors can have their novel out in the market in as little as a couple of months. A first-time author choosing the traditional publishing route can expect to wait a couple of years before his or her book is seen on the shelves of the local bookstore. Patience is a must.
The question you wished I'd asked you: What compels me to write?
I've always had to write – childhood stories, poems, teenage diaries, journals of my adventures as a young adult, and latterly, novel-length fiction. It's an underlying compulsion, almost an instinct. When I started writing longer works of fiction, I was hesitant, unsure whether people would like what I write. For the most part, I have received only useful critique for my first works, and have been able to adapt and learn from the feedback. Now I'm more confident, especially after the affirmation of being on a couple of shortlists. Once I immerse myself in a project, I sometimes forsake all other functions such as sleep and food, in order to get the words out. It helps that I'm a fast typist, but sometimes not fast enough for the ideas spilling out of my head.
This entry was posted in Author Interviews and tagged Creative writing, creativity, inspiration, novel writing, publishing, rejection, writer, writing on 11 April 2016 by Kate Evans.
When I was doing more teaching at the university than I do now, I would give two pieces of advice to my students. Firstly, separate your essential you from your writing, a critique of your writing is not a criticism of you as a person. Secondly, just because it's true, doesn't make it a good story. As with any bestower of 'good' advice, I, of course, often forget my own.
Last week, I received another rejection from a publisher. This one was slightly kindlier, and, indeed, left the door open for further submission. They also sent me their reader's general comments on my novel and her more particular comments on my first chapter. She made some helpful points, ones I can use to develop and improve my writing, so that's a bonus. On the other hand, she brought up the contentious issue of the likeableness of one of my main characters, Hannah.
I find it hard to separate myself from Hannah, hers and my own experience of depression are very similar and, I can tell you, it wasn't sunshine, rainbows and unicorns. However, just because it's a true representation of one person's experience (supplemented by my counselling training/knowledge) of depression, doesn't make it a good story does it?
There is a psychological theory which says we most fear the 'other' which is closest to the parts of ourselves which we wish not to acknowledge. Hannah maybe a hard character to empathise with, but it that, at least partly, because she represents the part of us which is hard to empathise with?
So I am not to be traditionally published this time and I continue on my merry 'indie' way. The Art of Survival will be available on Amazon in paperback & on Kindle on the 21st of November, with pre-ordering on Kindle from the 11th of November. The Art of the Imperfect is available in both formats now: http://goo.gl/z7HFgz.
Being accepted by a traditional publisher still remains an aim for me, even though I know it has its own down-sides. I comfort myself with two thoughts. One, Virginia Woolf self-published; OK her husband bought a printing press and installed it in their basement, but if she were alive today she'd be uploading onto Createspace & Kindle.
Two, the words of Tristan McManus, a pro on Strictly Come Dancing – yes, really. He was asked for his thoughts on winning. He said (I paraphrase): it's hard when you're doing something you love and there can only be one winner, you have to focus on your own dancing and improving that as much as you can, as the ultimate accolade (of winning) may never be yours. There maybe more than one winner in the publishing world, but, even so, the winner's paddock is not huge, and I may not get in. However, I can enjoy my writing and engaging with the readers who are there and for whom I am very grateful for.
The Art of Survival asks: What will fear push ordinary people to do? What happens when little girls get lost? DS Theo Akande is investigating the disappearance of eight year old Victoria Everidge. Her mother, Yvonne, is a desperate woman. What is she capable of? Eminent journalist and newspaperman, Stan Poole, dies leaving a filing cabinet full of secrets. As these leak out, his daughter, Hannah, begins to question her own girlhood. She is losing her way. Her best friend, Lawrence, newly an item with Theo, finds it hard to remain supportive. Instead Hannah clings to her work as a trainee counsellor and to her client Julia. Julia is apparently no little girl lost, but appearances can be deceptive. Then a body is found. The Art of… crime series by Kate Evans tackles issues of mental health and marginalisation. This isn't gritty crime, this isn't cosy crime, this isn't police procedural. This is poetic storytelling which peels back the psychological layers to reveal the raw centre.
This entry was posted in Uncategorized and tagged Book marketing, Creative writing, creativity, crime fiction, indie publishing, novel writing, publishing, rejection, writer, writing on 2 November 2015 by Kate Evans.
I was watching the BAFTAs on TV the other evening and noticing those who did not win, hiding their disappointment with a smile and with whole-hearted applause for the victor. I want to be equally gracious in defeat, as I have not gone from the long-list to the short-list for the Crime Writers Association first novel award (http://thecwa.co.uk/news/cwa-dagger-awards-shortlist/).
I do keep reminding myself that it is already an achievement to be on the long-list, there were only twelve of us chosen out of 400 entrants. Even so, I do feel disappointed not to have gone further.
On the other hand, this could be an opportunity to hunt down an agent and I am preparing to do that. Plus I am working on 'The Art of Survival' the second book in my crime series which I hope to publish this Autumn (agent or no agent). I am into writing the final draft as well as planning the publishing schedule, talking to printers, copy-editors, proof-readers and so on. No time to dwell too long on the if onlys….
This entry was posted in Uncategorized and tagged Creative writing, indie publishing, novel writing, rejection, self-publishing, writer, writing on 18 May 2015 by Kate Evans.


About one in five youths nationwide will have a diagnosable mental health disorder by the age of 14. More than 300,000 California children between the ages 4 and 11 need mental health care, but only one in four is treated. The Child and Family Guidance Center provides services to low income families, primarily living in at-risk neighborhoods, with children that have significant emotional problems requiring comprehensive mental health interventions. Families often come to the Center feeling alone, and overwhelmed with the day-to-day challenges of raising a special needs child. The Center positively impacts the lives of more than 10,000 children and families yearly, through the provision of mental health therapy services (4,000 annually) and outreach services (6,000).
To boost its reach and impact, The Center turned to HelpGood to develop a first of its kind digital marketing outreach campaign. The project is currently underway and in the strategy development phase.


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REVIEW ~ Adman: Warhol before pop at AGNSW
May 13, 2017 by vanessalow
Category: Art, Reviews, Sydney
Young, playful, dapper Warhol. Worldly, fashionable, commercial adman.
In the 1950s, Andy Warhol's formative years as a commercial illustrator resulted in a plethora of chic, witty and elegant illustrations, advertisements, fragrance displays and magazine covers. Adman: Warhol before pop at the Art Gallery of NSW (AGNSW) explores the surprisingly robust and successful career that Warhol developed in the advertising industry before he went on to critique, obscure and augment commercialism at large.
Philip Pearlstein Andy Warhol in New York City c1949, Philip Pearlstein papers, Archives of American Art, Smithsonian Institution. Source: AGNSW
In contrast to the AGNSW's previous exhibition held in the small gallery space on its upper level – Frida Kahlo and Diego Rivera – which left most people desiring more, this 2D-based exhibition filled the space completely and offered more breadth and variety. Over 300 items are on display in Adman, including bodies of work ('A is an Alphabet' (1953) is a highlight with its 27 frames of humorous rhymes and effortless line drawings) and framed illustrations featuring Warhol's iconic ink-blotted lines.
In addition to this, the exhibition is notably punctuated with a generous array of paraphernalia from Warhol's early life – plane tickets and travel itineraries, awards written for "Andrew Warhol" and photographs by friends at a Memorial Day Picnic, Andy with his tongue sticking out. This is a very different angle from the silver-haired, aloof and abstract 1960s Prince of Pop we know so well, that is plastered on mugs and in art history text books, and is a required obsession for all burgeoning art buffs.
Exhibition photo by Laura Derkenne
I have come to grow lethargic of Warhol's name emblazoned on exhibitions, always with the championing of the same themes of experimentalism and shock! and groundbreaking-ness. In recent memory, I can recall Warhol's name in blockbuster titles such as ANDY WARHOL (GOMA, Brisbane, 2007-2008), Andy Warhol: 15 Minutes Eternal (ArtScience Museum, Singapore, 2012), Andy Warhol – Ai Wei Wei (NGV, Melbourne, 2015-16). I can think of no other artist with this consistent blockbuster track record. But the truth is: Warhol's era passed long ago, almost 40 years ago. Much of his theories have been exhausted and reviewed over and over and over.
The real joy of Adman is discovering a hidden side of something you thought you already knew. I believed that my high school obsession with all things Warhol had made me a verified fan, with the knowledge that Andy's mum would sign the book she wrote "Andy's mum" rather than with her own name, Julia, and that Maria Callas was a favourite soundtrack in the foil-lined factory, and my insistence that POPism by Warhol and Pat Hackett was one of my all-time favourite books. But it seems that I had barely scratched the surface.
I adored the Adman exhibition because it surprised me in its angle, submerged me in an excellent narrative of works and context, and reignited my interest for something that I thought had been over-exhausted.
Until 28 May 2017
Tickets: $18 adult, $16 concession, $8 child


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January 10, 2017 May 28, 2017 Laurie Macfarlane Ownership
We need a rail system that puts passengers – not shareholders – first
Rail commuters in Britain faced daily misery long before this week's strike action – a combination of poor services, spiralling ticket costs and overcrowding.
It's little wonder privatisation of the railways remains a recurring and contentious feature in UK politics.
Between 1994 and 1997 the publicly owned British Rail was broken up and privatised amid promises of a better, cheaper service for passengers and reduced taxpayer subsidies. The idea was that private rail companies would bring in capital and business expertise which would transform the sector's performance.
Supporters of rail privatisation insist the break-up resulted in new investment and a better deal for taxpayers. But since privatisation the average price of a train journey has increasedby 24% after adjusting for inflation – far outpacing sluggish growth in wages.
It's the result of a highly fragmented system and the need to reward private shareholders with dividends, even as taxpayers prop up the market with generous grants. Calls for a return to public ownership are louder now than they have been for twenty years.
The system clearly isn't working, for passengers or staff. How did we get here, and how do we build a public transport infrastructure that meets the needs of our 21st century economy?
THE STRUCTURE OF THE UK RAIL SECTOR
The 1993 Railways Act replaced British Rail with a disintegrated, tripartite structure. The national rail network and its assets – such as track, bridges and signalling – were initially owned and operated by a newly created private company called Railtrack.
But after serious management shortcomings led to financial difficulties and the disastrous 2000 Hatfield train crash, the company was wound up and ownership of the rail network transferred to a new a quasi-public corporation called Network Rail.
In 2014 Network Rail was reclassified as a fully public sector entity by the Office for National Statistics, meaning that the UK's physical rail network and assets are under currently public ownership – for the time being at least.
The debate around bringing the railways back into public ownership therefore revolves around the private train operating companies (sometimes referred to as 'TOCs'). These companies – such as Southern Railways and Virgin East Coast – bid for a time-limited franchise to operate train services on the tracks owned by Network rail. The train operators do not own and maintain rolling stock (the industry term for the train engines and carriages), but instead lease it from dedicated rolling stock operating companies.
HEADS THEY WIN, TAILS WE LOSE
At the point of privatisation there was not enough revenue in the rail system to meet operating costs, capital investment and the claims of shareholders. Like most countries, Britain's rail system was and still is loss-making. To make up the revenue shortfall, the government introduced a system of public subsidies.
Initially this took the form of direct payments between government and train operators as part of their franchise agreement. In general, regional operators received a government subsidy, while those in the long distance and London and South East sectors paid a premium back to government. In recent years, however, successive governments have gradually reduced the amount of direct subsidies to the train operators, and since 2010-11 the premiums received have exceeded the public subsidy paid. This has led some commentators to declare that privatisation has successfully weaned the rail network off taxpayer subsidies.
"FAR FROM PRODUCING A BETTER DEAL FOR THE TAXPAYER, PRIVATISATION HAS SEEN THE AMOUNT OF TAXPAYER SUPPORT MORE THAN DOUBLE"
However, this overlooks the dramatic shift that has taken place in the form government support to the rail sector over the past fifteen years. While direct subsidies to train operators have been falling, government grants paid to Network Rail (referred to as the Network Grant) have increased dramatically. This money is used to maintain, renew and improve the network.
Far from producing a better deal for the taxpayer, privatisation has seen the amount of taxpayer support more than double – from £2 billion in 1990-91 to nearly £5 billion in 2015-16.
Importantly, although the Network Grant (shown in red in the chart above) is initially paid to Network Rail, it is ultimately passed on to the private train operators in the form of an indirect subsidy. As part of the franchise agreement, train operators are required to pay Network Rail a fee to access the rail network. These charges have consistently been kept below the level required to cover Network Rail's costs, and so a larger Network Grant has been needed to plug the shortfall resulting from these artificially low rail access charges.
"WITHOUT THEIR GENEROUS PUBLIC SUBSIDY, TRAIN OPERATORS WOULD NOT BE GENERATING PROFIT."
In economic terms, this is equivalent to a subsidy for the train operators, albeit an indirect one. As the Office of Rail Regulation states:
"The network grant is paid directly by government to Network Rail in lieu of fixed access charges that would otherwise have to be recouped from infrastructure users (i.e. TOCs). In the absence of the network grant, Network Rail would have to charge TOCs much higher access charges and, in turn, the level of TOC subsidy would also need to be much higher. As such, it is important to bear in mind, when considering the fall in direct subsidy paid to TOCs, that it does not capture the implicit government subsidy they receive via the network grant's effects on access charges."
In 2013-14, train operators paid out nearly £200 million in dividends to private shareholders. These profits had little to do with investment and innovation. Instead, train operator profits are sustained thanks to a complex subsidy system which obfuscates the economic reality and creates an illusion of financial self-sufficiency. Without their generous public subsidy, train operators would not be generating profit.
Train operators are actually engaging in a form of 'rent-seeking' – profiting not by creating new wealth or adding any real value, but by exploiting a position of monopoly privilege to extract existing wealth from others.
They don't provide new capital investment, because rail infrastructure is provided by the publicly owned Network Rail. They don't maintain the stock of existing assets, because the rolling stock is rented from a leasing company. They don't have to worry about losing customers, because customers can't switch to another provider if the service is poor. They are also sheltered from downside risk in a way that normal companies aren't: they can walk away from the arrangement if things go wrong, leaving the state to deal with the mess.
We, as passengers and taxpayers, are the ones who lose out.
TAKING CONTROL OF THE RAILWAYS
Rail passengers have been failed by privatisation. It's clear we need a new system that puts their interests over private shareholders.
"THE GOVERNMENT DOESN'T HAVE A PROBLEM WITH PUBLICLY OWNED COMPANIES RUNNING THE RAILWAYS – SO LONG AS THEY ARE NOT OWNED BY THE UK PUBLIC"
Ironically, many of the UK's train operators are already "publicly owned" – albeit as subsidiaries of other European states' national rail companies such as the German national rail company Deutsche Bahn, the French national rail operator SNCF and the Dutch state operator Nederlandse Spoorwegen.
The profits made by these companies – which are sustained only because of British taxpayer subsidies – are then used to improve public rail services in Germany, France and the Netherlands. Clearly the UK government doesn't have a problem with publicly owned companies running the railways – so long as they are not owned by the UK public.
The success of the European railways demonstrates that public ownership could deliver better results for customers and taxpayers in the UK. And there are other examples from closer to home too.
In 2009 the East Coast line was taken into public ownership after National Express walked out on the contract. The service had a 91% customer satisfaction rate, required much less public subsidy, paid back £1 billion to the Treasury and was the most efficient franchise in the UK.
A modern and efficient public rail service is entirely possible – and affordable. Importantly, taking control of our railways would not cost a penny, as each line could be brought into public ownership when the franchise with the train company ends.
Doing so would cut fares, removing dividends and other administrative costs associated with rail franchising from the system. Recent research by the TUC found that these savings over the next five years would be enough to fund a 10 per cent cut on regulated fares.
Public support for taking control of the railways is strong – according to a recent YouGov poll just 21% of the public are opposed to the idea.
It's time to build a railway system that puts passengers – not shareholders – first.
Tagged Privatisation, Public ownership, Railways, Utilities
What next for the Euro?
4 reasons a tax haven Brexit is bad news for Britain


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O Condado de Crowley é um dos 64 condados do Estado americano do Colorado. A sede do condado é Ordway, e sua maior cidade é Ordway. O condado possui uma área de 2 073 km² (dos quais 29 km² estão cobertos por água), uma população de 5 518 habitantes, e uma densidade populacional de 3 hab/km² (segundo o censo nacional de 2000). O condado foi fundado em 29 de maio de 1911.

Crowley

redpajama_set_name: RedPajamaWikipedia


The Adder CATX-PS2A is a Computer Access Module (CAM) with audio support which connects to the keyboard, video and mouse ports of the computer and converts these signals to be sent over UTP cable and onto the AdderLink CATx switch. Increasingly important is the support of DDC (Display Data Channel) which allows the communication of a computers video card and the screen. Unless this communication is actively supported, as all Adder CAMs do, then the desired resolution may not be displayed and in some cases nothing will be displayed at all.


Pronunciation teaching exercises and ideas for English language learners.
Learning and understanding English language pronunciation is essential for ESL students.
Pronunciation exercises need to be repeated and recycled.
It can become pretty boring.
Often, when students are studying English in their own countries, they don't see the point of it.
So it's good to have an arsenal of teaching materials to keep students engaged and help them progressively improve their speaking clarity and fluency.
Pronunciation of final "s" and "th"
Pronunciation of final "ed" and "ch"


Just before NAMM13, Yamaha launched the Disklavier Network and now, just before NAMM14 the company has announced its Disklavier Education Network First Audition Programme.
The Disklavier concept is now 25 years old, and is used in many music schools and other educational establishments in order to allow students to practice and the instrument reproduce accurate, note-for-note performances.
Read more via Digital Journal.


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Submit as Talent
The Arab Actors Agency is an initiative started by casting director Yazid Al-Sa'di to represent and promote a top collective of actors from the Arab world and to offer their services to worldwide film, theatre, & television.
The intention of the agency is to represent both experienced artists, many of whom were nominees and winners of top international prizes, and to also promote emerging young talent.
Copyright © Arabactorsagency
Powered By averotech


text:
package org.zalando.logbook;

import org.apiguardian.api.API;
import org.slf4j.Logger;
import org.slf4j.LoggerFactory;

import static org.apiguardian.api.API.Status.STABLE;

@API(status = STABLE)
public final class DefaultHttpLogWriter implements HttpLogWriter {

    private final Logger log = LoggerFactory.getLogger(Logbook.class);

    @Override
    public boolean isActive() {
        return log.isTraceEnabled();
    }

    @Override
    public void write(final Precorrelation precorrelation, final String request) {
        log.trace(request);
    }

    @Override
    public void write(final Correlation correlation, final String response) {
        log.trace(response);
    }

}

redpajama_set_name: RedPajamaGithub


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54 million women and youth face staggering humanitarian challenges
"The rights and needs of women and adolescent girls in emergencies are often overlooked, and COVID-19 has made matters worse, with rising intimate partner violence, sexual violence and child marriage", said Natalia Kanem, Executive Director of the UN Population Fund (UNFPA).
'A right to peace' at home
At @UNFPA we believe in rights, safety and dignity for all.
For 2021, $818 million would enable us to provide life-saving services and protection to 54 million women, girls and young ppl – an investment in peace and development for all: https://t.co/0CS9mpQZjW#InvestInHumanity pic.twitter.com/uceGuK0mEV
— Dr. Natalia Kanem /she/her/ella/ (@Atayeshe) December 7, 2020
Through its humanitarian appeal, UNFPA emphasized the need to adapt and integrate services for sexual and reproductive health, gender-based violence (GBV), mental health, and psychosocial support during the pandemic.
"Whether she lives in a house or a tent in a refugee camp, every woman and girl has a right to peace in the home. Whether in a warzone, displaced or affected by natural disaster, she has a right to good health and wellbeing, and to live with dignity", the UN agency chief upheld.
The appeal also calls for more investment in local women-led and youth organizations that work as frontline responders and agents of change.
Moreover, it outlines how humanitarian assistance, sustainable development and peacebuilding are key pathways for recovery from COVID-19.
Funding matters
"Investments in women and girls and in their leadership improve prospects for sustainable peace, prosperity and development", underscored the UNFPA chief.
This year, the agency has helped more than seven million women in 53 countries with sexual and reproductive health services; 4.4 million people in 49 countries with family planning supplies and services; and 2.8 million with services to address gender-based violence.
"Funding can spell the difference between life and death in a crisis", she flagged.
Snapshot breakdown
Highlighting the world's biggest crises for women and girls, UNFPA's Humanitarian Action 2021 Overview presented an overview of countries in dire need of support.
In the Middle East, rising GBV and diminishing healthcare facilities in Yemen have prompted the need for $100 million, including to support more than a million pregnant and acutely malnourished women.
To assist more than 11 million people inside Syria and close to 5.7 million others who have fled, UNFPA is asking for $81 million for sexual and reproductive health and GBV services, as well as to provide essential supplies.
Funding can spell the difference between life and death in a crisis — UNFPA chief
Turning to Africa, the Democratic Republic of the Congo (DRC) requires $67 million for UNFPA and UN partners to address structural causes of intercommunal conflict and promote peaceful coexistence, with an emphasis on women and young people, while scaling up hotlines for lifesaving GBV assistance during the pandemic.
In Sudan, $40 million is required to address the extensive humanitarian challenges faced by some 12.7 million people, including nearly 300,000 pregnant women living in a country in which fewer than one-third of health facilities offer emergency obstetric care as well as limited GBV services.
Meanwhile, UNFPA is appealing for $27 million to ensure continuity of sexual and reproductive health services and reduce the risk of GBV among Venezuelan girls, women and host communities.
And in Bangladesh, which hosts one of the world's largest refugee populations, $19 million is needed to continue to provide life-saving sexual and reproductive health and protection services and support 38 women-friendly spaces across the country, 23 of which are in Cox's Bazar.


GIFFIN. Mary (Clark) Giffin, 83, of Windsor, beloved wife of the late Warren E. Giffin died Monday, (January 5, 2009) at Hartford Hospital. Born September 29, 1925 in Hartford daughter of the late Arthur A. & Laura (Thrall) Clark, she lived in Windsor most of her life. Mary graduated as valedictorian from John Fitch High class of 1943 and from Simmons College class of 1947. Before retiring in 1990 she taught at Bloomfield High School for 23 years specializing in Business Education. Mary was named Business Educator of the Year for the State of CT in 1983 and was a member of the B.E.A. She was a long time member of The First Church in Windsor, Congregational and past president of the Women's Club. Mary was the past president of the Windsor Tobacco Museum and a charter member of the Bloomfield Town & Country Garden Club and the Windsor Historical Society. She was a member of DAR, Abigail Ellsworth Wolcott Chapter, the Windsor Brush and Pallet Club and the Windsor Jesters. Mary was a devoted & loving wife, mother, sister, daughter and friend. Mary is survived by two sons, Gregory G. Giffin and is wife, Barbara of Glastonbury, Christopher A. Giffin and his wife, Karen of Shrewsbury, MA; two daughters, Martha O'Donnell and her husband Mark of Windsor, Lisa Hasko and her husband, Greg of Southington; ten grandchildren, Nick, Katie, Julianne, Samantha, Dana and Matthew Giffin, Liam O'Donnell, Rebecca, Nicholas and Jason Hasko; a dear niece, Judith Pfunder other nieces, nephews and dear friends who gave her much joy in her life. A memorial service will be held Saturday, January 10, 11 a.m., at First Church in Windsor, Congregational, 107 Palisado Ave., Windsor. Burial will be private in Palisado Cemetery, Windsor. There are no calling hours. In lieu of flowers donations may be made to, First Church in Windsor, Congregational, 107 Palisado Ave., Windsor, CT 06095. Carmon Windsor Funeral Home has care of arrangements. To leave on-line condolences please visit www.carmonfuneralhome.com.


"Even thought I am an engineer and an analytical person at heart, the most important decisions I have made have nothing to do with any of that. They were always based on intuition."
"I remember forming my list of pluses and minuses and I could not get the chart to work out the way I wanted it to."
"The gut [instinct] matures and gets better over time. The struggle most people have is learning to listen to it"
When approaching the hive it's good to also make space for the gut instinct.


text:
Q: How do I tell wget to download text files (in this case) which contain a specific string in the middle of the text files I am in the middle of a software development class and am trying to practice "DRY" principles in all things software dev, so for practice, I want to get wget to download all the files in this (http://fusionplant.com/archive/textfiles/) directory which contain the word "offensive".
Here's an example of one of them: http://fusionplant.com/archive/textfiles/gnu_fortune/gnu_fortune_offensive_astrology
Are there any methods to accomplish this? I imagine they would use regular expressions, but I can't find any sufficiently comparable examples online to get it done.
here's a command I tried to use, it's wrong. Not even close, but here it is:
    wget -A '*offensive*.txt' http://fusionplant.com/archive/textfiles/gnu_fortune

It didn't return an error message, but just downloaded the index file
wget -A '*offensive*.txt' http://fusionplant.com/archive/textfiles/gnu_fortune
--2012-06-15 11:15:07--  http://fusionplant.com/archive/textfiles/gnu_fortune
Resolving fusionplant.com... 216.254.119.231
Connecting to fusionplant.com|216.254.119.231|:80... connected.
HTTP request sent, awaiting response... 301 Moved Permanently
Location: http://fusionplant.com/archive/textfiles/gnu_fortune/ [following]
--2012-06-15 11:15:07--  http://fusionplant.com/archive/textfiles/gnu_fortune/
Reusing existing connection to fusionplant.com:80.
HTTP request sent, awaiting response... 200 OK
Length: unspecified [text/html]
Saving to: "gnu_fortune"

[  <=>                                  ] 14,576      50.4K/s   in 0.3s

2012-06-15 11:15:08 (50.4 KB/s) - "gnu_fortune" saved [14576]

A: You can't do it like this. You will have to download the files and then check whether the files contain the string. You can't send a request to the server for it to do this for you.

redpajama_set_name: RedPajamaStackExchange


The GrowHaus is running a Neighborhood Catalyst funding campaign to grow its new Mercado De Al Lado within the Elyria-Swansea neighborhood of Denver. The market, which started this year, is currently distributing about 30 boxes of local, organic produce per week, at Wal-Mart beating prices. Help this program to grow! The GrowHaus would like to hire on more community members from Elyria-Swansea, invest in sorting and storage equipment, and improve their marketing materials to increase awareness of the market in the community.
The GrowHaus is looking to raise $6,500 by November 13, 2013. They are offering a variety of thank you gifts in return for a donation. Help to support this program and the availability of farm fresh produce to residents of Elyria-Swansea!
The Living Arts School of Erie, CO, is offering two workshops this fall with local permaculture designers Amanda Scott and Jared Urchek. Both classes will take place at 63rd St. Farm on Saturday, November 23, 2013.
Amanda Scott, of 63rd St. Farm, is a graduate of the Permaculture through the Seasons! permaculture design course. She will guide this hands on workshop, teaching how to catch the birds, humanely harvest them, what equipment is needed, and how to maintain sanitation during the process. In addition to farming at 63rd St. Farm, Amanda instructs students from a local culinary school on farm to table concepts and building chef/farm relationships. Prior to the farm, Amanda worked in the restaurant industry, including as General Manager at Boulder Dushanbe Teahouse. More information and registration for Harvesting Turkeys: A Humane Approach can be found at The Living Arts School website.
Jared Urchek, of Boulder High Country Mushrooms, is also a graduate of the Permaculture through the Seasons! permaculture design course. He furthered his studies through Paul Stamets' Mushroom Cultivation and Mycoremediation courses. Jared will be offering a workshop on Basic Mycology, exploring the mushroom life cycle, types of mushrooms, basic cultivation skills and concerns, and three easy methods of cultivation. He will also cover use of myco-agriculture and myco-remediation (using mushrooms in agriculture and in cleaning up toxic waste). More information and registration for Basic Mycology: Mushroom Cultivation can be found at The Living Arts School website.
The 63rd St. Farm in Boulder, CO is a permaculture site that provides CSA shares to 150 families each season. Read more about 63rd St. Farm at their website, 63rdstfarm.com.
The eighth annual Permaculture through the Seasons! Design Course in Boulder, CO, will take place on the second weekend of each month between March and October, 2014. Class is held on Saturday and Sunday, typically from 9am to 5pm. This course is 108 hours, including the 72-hour standard permaculture design course curriculum (plus more!) and hands-on work at design sites. Instructors will include Lynne duGuay, Sandy Cruz, and Jason Gerhardt, among others. Payment plans will be available, as well as several work study half-trades, based on skills and need.
Introduction to Permaculture sessions will be held around Boulder County to introduce potential participants to permaculture and course facilitators. Check back at The Boulder Beet and be on the lookout for flyers around town for a session near you!
Learn more about the 2013 course, which is just wrapping up, at boulderpermaculture.com. You can find more about previous years at hialtpc.org.
The documentary GMO OMG had its Colorado premiere at Boulder Theater on Tuesday night. Filmmakers Jeremy Seifert and Joshua Kunau held a Q&A session, moderated by Kelly Shea of WhiteWave Foods, following the film. GMO OMG explores director and father Jeremy Seifert's journey to learn the science behind Genetically Modified Organism (GMO) crops, and the influence of corporate giants like Monsanto, Syngenta, Dow, Bayer and others over the commercial farming industry in the U.S.
Perhaps the most poignant quote of the night was displayed on screen, "GMOs are a 'new form of slavery'", quoting a Vatican official in January, 2012. The film gives the facts: commercial farmers who plant GMO seeds do not have the liberty to save seeds to use for the following season, because the genetic modifications to the seed are patented. In fact, farmers who did not plant GMO seeds were also affected by drift of pollen from GMO crops, which caused their crops to incorporate genetically modified DNA. Monsanto and friends subsequently threatened these farmers with lawsuits, unless they signed an agreement to purchase and plant GMO seeds in their fields.
GMO seeds come at a higher cost than traditional seeds, requiring farmers spend more to plant their fields. The seeds are then accompanied by a cocktail of herbicides (sold by the same companies) that suppress growth of anything other than the GMO seeds. The result has been the killing off of one of our most important resources, topsoil. Biological diversity sustains life, soils, and healthy ecosystems. Monocropping with GMO seeds is an unsustainable, short-term food supply solution that will be far more detrimental than beneficial to humans and the planet in the long term.
Seifert traveled to Haiti, where farmers were offered a $4 million donation of Monsanto seeds from USAID following the earthquake of 2010. Farmers organized to protest the donation, likening the donation to "death", as it would end the sacred cycle of seed saving. Protesters carried signs with slogans such as, "Long live local seeds!" They chose to burn the Monsanto seeds as a sign of protest to the gift that could threaten their traditional agricultural systems. It was interesting to see the contrast between Haitian farmers and conventional commercial farmers in the U.S., who Seifert also interviewed.
In addition to the question of the safety of genetic modifications to the plants, such as GMO corn, which has not been adequately tested (our government trusted a 3 month study from Monsanto that has not been peer-reviewed?), genetic modifications allow for spraying of herbicides such as glyphosate (RoundUp), with no harm to the crop itself. GMO corn, sold by Monsanto, is genetically engineered to express toxins from Bacillus thuringiensis (Bt), a commonly used biological insecticide. The difference is: this is not a treatment that is sprayed on the corn, and then washes away. It is expressed in the cells of the corn plant. The result is a concentration of pesticide that is 1000 times higher than what would normally be present with a spray treatment. While the genetic modifcations may produce short-term increased yields, these practices are not sustainable. Plants and insects that are resistant to both RoundUp and Bt are increasing yearly. Furthermore, a Canadian study has shown Bt toxin and the metabolite of glyphosate circulating in the bloodstream of pregnant women, their fetuses, and non-pregnant women. Read the study for yourself, published in the journal Reproductive Toxicology. The study authors conclude that these toxins may not be effectively cleared in humans, and there may be a high risk of exposure from meat from "factory farmed" animals fed GMO corn.
Hey, USDA! I thought you were supposed to be protecting our food supply? This does not sound safe for any of us.
Oh, wait; that's right; many top USDA officials are former Monsanto employees.
Perhaps the most touching part of the film is Seifert's son, Fen, and his obsession with seed saving. His interest started at the tender age of 3 years old. He was fascinated by the Seed Savers Exchange catalog, and regularly saves seeds from the family garden. Upon visiting the SSE site in Iowa, Fen jumps out of the car in delight, as one of his childhood dreams comes true.
I did not know what to expect going to this film. Honestly, the title GMO OMG seemed a bit gimmicky; but, both my skeptical friend and I left feeling this was a great film.
This documentary is well-balanced, honest, and necessary. The filmmakers hope it will be something that enlightens both consumers who do care, and more importantly, those who don't care. As Kunau pointed out in the Q&A, it is hard for people to take a long term view. But for every person who has a child they care about in their lives, this film is sending an important message. Our spending power carries weight, and may be our best form of protest. Opting to support local organic produce puts our food dollars in the hands of people who care to protect the health of people and the planet in the long term, ensuring a safe and healthy food supply for future generations. We can invoke change with "awareness, choice, and power in numbers", succinctly put by Kunau.


text:
21st Manufacturing Technology World Sets the Stage for Country's Biggest Industrial Expo
Global-Link MP Events International, Inc. (GLMP), the country's premiere trade event organizers, is proud to present the 21st year of Manufacturing Technology World, an event that continues to showcase the latest in breakthrough advancements on industrial technologies and machineries from across the globe. This event will be held on October 9 – 11, 2014 at the SMX Convention Center, Mall of Asia Complex.
Patrick Lawrence Tan, GLMP Chief Executive Officer, stated, "This 21st Manufacturing Technology World will aims to help companies become globally competitive by giving them a platform to showcase their best offerings to an audience of decision makers from government organizations, business owners, upper management, local and foreign investors."
He also pointed out that the Philippine economy and the manufacturing industry is incessantly growing, therefore companies must step up their game to catch up with this development and be competitive in the international arena. Foreign companies and manufacturers have increased their investments primarily in the manufacturing sector which has revealed strong performance since the year 2013. This year, over 500 exhibiting companies will be at the show where more than 25,000 trade visitors are expected.
The Society of Manufacturing Engineers (SME), one of the fervent all time supporter of MTW, will be presenting The 4th Philippine Lean to Green Manufacturing Engineering Conference which will talk about the newest practices for lean & green manufacturing and how to incorporate these principles into implementation. All these headed towards preparing the industry of trade and commerce to global competitiveness.
With the continuous partnership with different reputable organizations in the industry, GLMP believes that the event will continue to contribute in the manufacturing and economic growth of the country. Peter Quintana, Immediate Past President of the Philippine Plastics Industries Association (PPIA), shared, "We have been supporting MANUFACTURING TECHNOLOGY WORLD for the longest time because we believe in its purpose and that is to showcase the globally competitive industry of manufacturing in the country. Different visitors all over the industry are highly anticipating this event since it offers not just business opportunities for companies but also new learning in the manufacturing industry."
The 21st Manufacturing Technology World will encompass several sectors which will all be showcased in various segments of the event: Automechanic Philippines (aftermarket parts & accessories); Metal, Wood, & Hardware Philippines (industrial automation); PHILTRONICS (electronics & semiconductors); and Transport & Logistics (supply chain management). The show will be open from 10:00 am to 6:30 pm on October 9 and 10 and 10:00 am to 5:30 pm on October 11. Interested visitors may log on to www.globallinkmp.com to pre-register. For more details on the event, you may contact the organizers at tel no. (632) 750-8588 or get updates through Manufacturing Technology World Facebook Page.
Visit the 21st Manufacturing Technology World and see the most up-to-date machineries, products and emerging technologies presented by well-known companies such as:
Phil-Best Welder
Nihon Denkei Philippines Inc.
Top-Rigid Industrial Safety Supply Inc.
Center Industrial Supply Corp.
Eastern Integrated System Automation
Flexair Phils Inc.
Toolec
Henry Import & Export Corp.
DAC Industrial Electronics Inc.
Hi-Steel, Golden Bell Marketiing Corp.
Canon I.T Solutions
and foreign exhibitors such as:
Dayok Electrical Co. Ltd.
Shinwa Rules Co. Ltd.
Menam Stainless Wire Public Co. Ltd.
Saint Gobain Abrasives Pte Ltd.
Huu Toan Corp.
Knuth Werkzeugmaschinen Ambt
Autonics Korea.
Over 900 booth displays by suppliers and manufacturers across the globe will be there at the 21st Manufacturing Technology World.
Top businessmen, economic leaders and local elected officials will be participating the welcome ceremony of the 21st Manufacturing Technology World.
Business decision makers, Engineers and Key Industry Players are expected to be part of this huge business and learning exhibition. Admission is free. Trade buyers and interested visitors can pre-register online at www.globallinkmp.com.
Keep yourself updated on the latest trends in the transport and logistics industry. The challenges and opportunities for the sector of transport, logistics and supply chain in the implementation of the ASEAN Economic Integration in 2015 will be discussed on a one-day conference.
Discover learn and green manufacturing practices and its benefits. Attend the Green Manufacturing Conference organized by the Society of Manufacturing Engineers (SME). For more information; contact Global-Link MP Events International Inc. at 750-8588.
Get updates via our social media accounts!
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Messier 52 (M52) is a bright open cluster located in the northern constellation Cassiopeia.
The cluster has an apparent magnitude of 5.0 and lies at an approximate distance of 5,000 light years from Earth. It has the designation NGC 7654 in the New General Catalogue.
Messier 52 can easily be seen with binoculars. In 10×50 binoculars, it appears as a hazy, nebulous patch of light. 4-inch telescopes reveal a dense, compressed star cluster populated by many faint stars, with a shape resembling that of the letter V.
More stars are visible in 6-inch and larger instruments. The cluster occupies an area just less than half of the size of the full Moon.
Messier 52 is very easy to find as it lies near Cassiopeia's prominent W asterism, formed by the constellation's brightest stars.
The cluster can be located by extending the line from Schedar, Alpha Cassiopeiae, to Caph, Beta Cassiopeiae to the northwest about the same distance as that between the two stars. The cluster lies only a degree south of the star 4 Cassiopeiae. The best time of year to observe it is during the autumn.
Messier 52. Atlas Image mosaic obtained as part of the Two Micron All Sky Survey (2MASS), a joint project of the University of Massachusetts and the Infrared Processing and Analysis Center/California Institute of Technology, funded by the National Aeronautics and Space Administration and the National Science Foundation.
The cluster has a Trumpler classification of I,2,r, which means that it is detached from the surrounding star field and has strong central concentration (I), it has a moderate range in brightness (2), and is richly populated (r), with 100 or more confirmed members. The cluster's density in the central region is about three stars per cubic parsec.
The distance to M52 has not been established with any degree of certainty because of a high interstellar absorption of the cluster's light. Estimates are generally in the range from 3,000 to 7,000 light years.
Messier 52 contains 193 probable members within a region 9 arc minutes in radius. These were discovered by the Swedish astronomer Åke Wallenquist.
The brightest main sequence star in the cluster is magnitude 11 and belongs to the spectral class B7. The brightest of all stars in M52 has the spectral classification F9 and a visual magnitude of 7.77. The cluster has an estimated age of 35 million years.
Messier 52 lies near another prominent deep sky object, the Bubble Nebula (NGC 7635). The emission nebula can be seen about 35 arc minutes southwest of the cluster. It was discovered by William Herschel in 1787. The Bubble Nebula lies at a much greater distance from us than the cluster – 11,000 light years – and the two are not physically related.
Cluster of very small stars, mingled with nebulosity, which can be seen only with an achromatic telescope. It was when he observed the Comet which appeared in this year that M. Messier saw this cluster, which was close to the comet on the 7th of September 1774; it is below the star d Cassiopeiae: that star was used to determine [the position of] both the cluster of stars & the comet.
This is a cluster of pretty condensed stars of different sizes [magnitudes]. It is situated in a very rich part of the heavens and can hardly be called insulated, it may only be a very condensed part of the Milky Way which is here much divided and scattered. It is however so far drawn together with some accumulation that it may be called a cluster of the third order.
An irregular cluster of stars between the head of Cepheus and his daughter's throne; it lies north-west-by-west of Beta Cassiopeiae, and one third of the way towards Alpha Cephei. This object assumes somewhat of a triangular form, with an orange-tinted 8th-mag star at its vertex, giving it the resemblance of a bird with outspread wings. It is preceded by two stars of 7th and 8th magnitudes, and followed by another of similar brightness; and the field is one of singular beauty under a moderate magnifying power.While these were under examination, one of those bodies called falling stars passed through the outliers. This phenomenon was so unexpected and sudden as to preclude attention to it; but it appeared to be followed by a train of glittering and very minute spangles.


Save the Children seeks a Chief of Party (COP) for an upcoming USAID-funded basic education opportunity in Laos. The COP will be expected to provide strategic and operational leadership to implement a successful education program that contributes to the Government of Lao's Education Sector Development Plan, builds from Save the Children's education accomplishments within Laos and links to Save the Children's strategic priorities within country.
The Chief of Party will be responsible for the technical leadership, strategic oversight, and overall coordination and technical quality of this basic education project. S/he will serve as principle institutional liaison with USAID, partners, and key stakeholders. S/he will manage staff and ensure the program meets stated goals and reporting requirements, as well as ensure the quality, timeliness, and efficiency of all products and activities throughout the life of the project. S/he will ensure sound grant implementation and management by sub-grantees and project staff and the timely submission of all technical and financial deliverables to USAID. The Chief of Party will lead the program's annual work planning process, detailing resource deployment estimates (personnel, equipment, and budget) necessary to achieve proposed milestones and targets. S/he will supervise the project office and key personnel. S/he will oversee the hiring process of local personnel and the identification and selection of appropriate short- and long-term technical assistance.
The Chief of Party will ensure that efficient systems to support all aspects of the program are in place and support the effective use of program resources in compliance with USAID regulations and Save the Children policies. S/he will represent the project for Save the Children in formal and informal relationships with USAID, the Laos government, other donors and partners. S/he will fully inform Save the Children's home and field office on all matters relating to the program, and maintain appropriate links with partner organizations.
Excellent written and oral communication skills in English are required.
We provide equal employment opportunities (EEO) to all employees and qualified applicants for employment without regard to race, color, religion, gender, gender identity, ancestry, sexual orientation, national origin, age, handicap, disability, marital status, or status as a veteran. Save the Children complies with all applicable laws.


text:
describe('Legend Visualization', function () {
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    });

    function createinstance(options) {
        $el = $('<div>');
        el = $el.get(0);
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        instance = new Contour(options).cartesian();
        return instance;
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        var data = [
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            { name: 'name-2', data: [] }
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        expect(entries.length).toBe(2);
        expect(entries.eq(0).text()).toBe('name-1');
        expect(entries.eq(1).text()).toBe('name-2');
    });

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Once again we'll be back on the Marathon route in support of all the runners and spectators at this fabulous event. Our location has changed this year and we're nearer to the end of the course, so hopefully we'll be able to provide encouragement and cheer at a time when those last few miles might feel like a stretch. We're supporting Popchoir members and their families who are running too!


The Bible often compares life to a walk, because life is a journey. We're not sitting still.
"And now, just as you accepted Christ Jesus as your Lord, you must continue to follow him" (Colossians 2:6 NLT).
It's safer. Have you ever walked alone at night through a dark alley or down a lonely country road? It's a little scary. But if you have another person with you, you feel safer.
It's supportive. Life is not a 50-yard dash. It's a marathon! Walking with other people gives you the energy to keep on going until the end.
It's smarter. You learn more by walking with others than by walking alone. If you're walking alone in the wrong direction, you may never realize it. But if you have a friend beside you, one of you is likely to recognize that you've veered off the path and need to find the right direction.
We learn some important lessons when we walk alongside other people. We learn how to get along and cooperate with others.
We also learn how to love. Genesis 2:18 tells us, "It is not good for the man to be alone" (NIV). God hates loneliness, and community is God's answer to loneliness. When we walk alongside other people, we find a community where we learn how to love.
And walking alongside other people also teaches us hospitality. The Bible says in 1 Peter 4:9, "Offer hospitality to one another without grumbling" (NIV). What's your grumble? What's your excuse for not opening your home to friends?
Can you put three people in it? Jesus says, "Where two or three gather in my name, there am I with them" (Matthew 18:20 NIV).
Everybody has a longing for belonging, because God made us for relationships. When we walk alongside other Christians in community, we find that longing satisfied.
How has your life been enriched by the people who faithfully have walked or are walking alongside you?
What excuses have you used to avoid practicing hospitality? How can you change your perspective and attitude?
What people can you walk with through life? With whom can you learn to walk like Jesus?


Flamboyant hues portray the landscape metamorphosis as the sky lights up in a display of cool colors.
A lucky piece empowered with wisdom and protection. The sinuous contours of this 18-carat snake ring with oval rose cut blue sapphires are delicately set on blue sapphire pavé contrasted with black rhodium finish.


Indian Fry Bread is not something that existed where I grew up in Michigan. In the Southwest, it has a complicated and sad history, but it is remarkably similar to Elephant Ears. And this fry bread was flakey and not overly oily. That is, of course, until I topped it with garlic, mozzarella and bacon (because they were out of the maple required for maple bacon fry bread). It has an intense oregano hit to it as well, and despite the call to eat it like a taco, I found the pizza route to be a whole lot easier.
I don't know if it's just the beautiful fluorescent red color or the actual flavor, but Flaming Hot Cheetos have become a remarkable new coating trend. These fries, which are also covered in nacho cheese, may not be the best use of Flaming Hot Cheetos, but I'd be lying if I didn't say they delivered on their promise. Plus, unlike some other Flaming Hot Cheetos dishes I've seen, they at least had the composure to crush them up first.
Fried Oreos and Twinkies are in the rear view mirror. A newcomer to the fried dessert world (at least to me) is the fried cheesecake. The batter was pretty typical, the powdered sugar entirely unnecessary and the stick a failure (the cheesecake came right off). And while the first few bites were delicious and gooey, the thickest part was actual still kind of cold. Being cheesecake, this meant it was still delicious, but it meant that there was still much to do to ensure that Fried Cheesecake becomes a fair staple.


text:
We Are Detective
"We Are Detective"
Single by Thompson Twins
from the album Quick Step & Side Kick
"Lucky Day"
7" & 12" vinyl single
Alannah Currie
Joe Leeway
Alex Sadkin
Thompson Twins singles chronology
"Love On Your Side"
(1983) "We Are Detective"
(1983) "Watching"
"We Are Detective" is a 1983 song by the British pop group the Thompson Twins. It was the third single from the band's third studio album, Quick Step & Side Kick.
It was the group's second single to reach the UK Top Ten, peaking at no. 7. It also reached no. 48 in Alannah Currie's native New Zealand[1] A limited number of copies of the 12" single came with a free 12" of the tracks "Love Lies Fierce" and "Frozen In Time", both remixes of the songs "Love Lies Bleeding" and "Kamikaze" from the album.
2 Official versions
3 Sales chart performance
3.1 Weekly charts
12" Single (ARIST 12 526, ARIST 12526)
"We Are Detective (More Clues)" - 6:00
"Lucky Day (Space Mix)" - 6:58
7" Single (ARIST 526)
"We Are Detective" - 3:05
"Lucky Day" - 3:52
Official versions[edit]
Album Version – 3:05
Extended Version – 6:00
Sales chart performance[edit]
Weekly charts[edit]
Chart (1983)
UK Singles Chart[2] 7
New Zealand Singles Chart[3] 48
1983 in British music
Thompson Twins discography
^ "We Are Detective - songfacts". songfacts.com. Retrieved 7 April 2015.
^ "Thompson Twins – UK chart history". The Official Charts Company. Retrieved 30 Sep 2012.
^ "Thompson Twins – We Are Detective". charts.nz. Retrieved 30 Sep 2012.
Lyrics of this song at MetroLyrics
Andrew Edge
Matthew Seligman
A Product Of... (Participation) (1981)
Set (1982)
In the Name of Love (1982)
Quick Step & Side Kick (1983)
Into the Gap (1984)
Here's to Future Days (1985)
Close to the Bone (1987)
Big Trash (1989)
Queer (1991)
The Best of Thompson Twins: Greatest Mixes (1988)
Love on Your Side – The Best of Thompson Twins (2007)
"Squares and Triangles"
"She's in Love with Mystery"
"Perfect Game"
"In the Name of Love"
"Lies"
"Watching"
"Hold Me Now"
"Doctor! Doctor!"
"You Take Me Up"
"Sister of Mercy"
"The Gap"
"Lay Your Hands on Me" (1984)
"Roll Over"
"Don't Mess with Doctor Dream"
"King for a Day"
"Revolution"
"Nothing in Common"
"Get That Love"
"Long Goodbye"
"In the Name of Love '88"
"Sugar Daddy"
"Bombers in the Sky"
"Come Inside"
The Thompson Twins Adventure
This 1980s song-related article is a stub. You can help Wikipedia by expanding it.
Retrieved from "https://en.wikipedia.org/w/index.php?title=We_Are_Detective&oldid=923188589"
Thompson Twins songs
Songs written by Tom Bailey (musician)
Songs written by Alannah Currie
Songs written by Joe Leeway
Arista Records singles
1980s song stubs


With the change over from CFC R-12 to HFC 134A there are a lot of choices to make when it comes to the type of lubricant to use. It is recommended that systems using R-12 continue to use mineral oil as a lubricant. When retrofitting to R-134A either PAGs or POEs may be used.
All products are available in 8.5 ounce, 32 ounce,1 U.S. gallon, 5 U.S. gallon, 55 gallon, 330 gallon disposable tote, 550 gallon returnable tote and bulk truck and rail-car.


text:
Q: Problem in installing Ubuntu 12.04 64 bit I have downloaded the link provided in home page of Ubuntu i.e., 12.04 for desktop ubuntu. I got downloaded a file which of size 733 MB in ISO format and then I extract files from the ISO image and then I click on the Wubi and it re-directed me into a link and took me an 30 mins or so.
After completing the download, installation came to halt throwing some log error. It happened 2 times for me. Is there anything problem with my process with my installation process or is there any other process for installing? Currently I'm using Windows 8 and I'm trying to install Ubuntu from Windows 8. Help me with this problem. Thanks in advance.

A: (Everything I have read about Wubi indicates you should not use it!)
I recently installed Ubuntu 12.04 LTS, downloaded the file and burned to a DVD.
You can run Ubuntu from the DVD so you can try it out without installing it.
If you choose to install it is pretty easy, try dual-boot (mine is with XP).
There is a partition manager in the install program, I set my partitions about half & half between Ubuntu and XP. After installation a new bootup screen will appear which will allow you to boot either operating system. My XP still works fine, no problems.
My total installation time was around 2 hours including downloading Ubuntu and burning the DVD.
After that I spent HOURS checking out Ubuntu! There are a lot of programs included.
It recognized my network immediately and I was online doing email in minutes.
Also downloaded pics from my phone right away.
Good luck, you can do it!

A: The general instruction you should follow: How do I install Ubuntu?
Instruction for Windows 8 64-bit UEFI: Installing Ubuntu Alongside a Pre-Installed Windows with UEFI
Also, there is a special tag for dual-boot. Just read those instructions.
Do not use Wubi. It's not designed for Windows 8 and it's support discontinued after 13.04 Release


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