text:
Bringing the Olden to the Modern
Image Credit: Anael Hester
Heather Reynolds investigates whether there is a 'right' way to adapt text for stage, or if factors such as audience and comfort should be catered to when developing a production.
By Heather Reynolds | Oct 20 2021
There is something so unique about seeing a play, something in the experience of live theatre, its communality, its immediacy, that sets it apart from any other medium of art we have today. The experience of theatre, in how everyone in the room, performers and audience alike, are experiencing this art together but separate, communally but individually, that has assured its longevity as a form of artistic production and distribution, going back as far as we can find any details about historical life.
The largest impact of this vast history, and definitely the one that is the most exciting for anyone looking to get a start in theatre, is how many ready made plays there are out there to stage and enjoy. The downside of this massive opportunity that it provides is that it opens up a perpetual question to theatremakers; how are they to adapt this historical piece for a modern audience?
The decision of whether or not to modernise a historic play hinges on two main factors, each given more or less weight depending on the visions and goals of those involved in its making. The first of these factors, and the one which is most often prioritised in more academic circles, is how much of the original production do you want to retain. There are obviously restrictions here that are tied to immovable aspects of the production: for example, if you're looking to adapt something incredibly ancient, such as Sophocles' Antigone, a play originally performed in Ancient Greece, outdoors during Summer, you will have to make some obvious changes for a staging in Dublin in the middle of winter.
Changes like these may make a purist clutch their pearls, but at the end of the day it means that someone who is new to the work won't need three sets of footnotes to understand that you just made a dick joke
The second factor is what changes do you think will elevate the play for a modern audience, like adapting language from an Edwardian play to more recent turns of phrase, to ensure a reference isn't lost in historical translation. Changes like these may make a purist clutch their pearls, but at the end of the day it means that someone who is new to the work won't need three sets of footnotes to understand that you just made a dick joke.
There is, of course, a writer whose works are constantly being examined through this lens, the works in question being that of William Shakespeare, a popular Elizabethan South-Bank entertainer, whose plays have suffered the privilege of surviving in their entirety all the way into the modern day. These plays, having originally been staged during a time where keeping written records of a script past the show's run was incredibly uncommon, hold a unique position between academic resource and entertainment, meaning that the correct way to stage them is constantly being debated, with no clear answer ever coming to the fore. The most notable instance of this occurred in 2016, when the then artistic director of The Globe Theatre in London, Emma Rice, stepped down due to controversy surrounding her decision to modernise the Bard's plays. Not in the text mind you, that, as ever in The Globe, remained whole and largely untouched, but in the set and costuming.
This controversy was partially due to The Globe's reputation as the pinnacle of historically accurate Shakespeare, with the theatre itself being a recreation of the original Globe, which burned down in 1613. The costuming, the staging, the acting, having traditionally been, and since Rice's departure are now again, as true to Elizabethan standards as possible.
It is also my personal least favourite place to see a production of Shakespeare. Having seen many in my life, as an avid fan of theatre, and Shakespeare in general (I own three separate copies of the Sonnets), The Globe is stuffy, often difficult to see and hear, and uncomfortable after thirty minutes, let alone the four hours a Shakespearean play can last. Seriously, the benches are as hard as rocks, and the standing area has you, well, standing. For four hours. The Globe, in my opinion, is a fantastic experience from an academic perspective, and not much else. If you're looking to see the complete text, and don't want to be physically sore at the end, see a Royal Shakespeare Company production, they at least take place in an actual theatre. They have cushioned seats and all.
Staging Shakespeare does run you into another issue, however, that the majority of historical plays have in common. If you retain the original text, or the earliest translated text, your audience will need to have a familiarity with the play to understand it in their first viewing. Again, this is less of an issue for those who are already passionate about the Bard, such as the purists who complained about Rice, or if you're staging a play for a Leaving Certificate class, who have all already read it at least once by the time they get to your theatre, but if you're staging for a more general audience, you might want to think about what version of the script you're using, particularly when it comes to comedies.
Comedy in general is the fastest of the genres to age, and so if you are to stage a historical comedy, script changes should be at the front of your mind. Unlike tragedies, or more "straight" productions, if your play isn't making your audience laugh, it's not doing its job.
Here in UCD, a module on the classical Greek comedian, Aristophanes, uses not the most faithful translation of his plays, but the funniest one, because the humor is such a key aspect to the overall point of the work.
To take a more modern example, and to move away from Shakespeare, in 2019 UCD Dramsoc staged a production of Drag Queens on Trial, a dark comedy originally written and set in 1980's Canada. The play underwent heavy rewrites, with the cast and crew spending a substantial amount of their rehearsal time workshopping how to modernise and localise the jokes so that they would work for a 21st century Dublin audience, while also retaining the original point of the joke in the play. The result was a faithful adaptation, not just in how they were able to retain overall plot, but in how they were able to get the audience laughing themselves to tears with An Tríal jokes and Vine references. I left that production not only having had a wonderful time, but with an urge to find my own copy of the original and see how they compared.
This even goes as far as in academia, where here in UCD, a module on the classical Greek comedian, Aristophanes, uses not the most faithful translation of his plays, but the funniest one, because the humor is such a key aspect to the overall point of the work. To use a more faithful translation, but one where it's less clear where the jokes are and what they are joking about, would be a disservice to the plays themselves.
There is a stage for every variation on modernisation, and for each variation there is also an audience. There are always going to be stages and audiences that prioritise purity to the old way of producing plays, but modernising plays a massive role in keeping this wealth of scripts alive for now, and into the future. You're never going to make everyone happy adapting a classic text, so the first step is figuring out who you're adapting it for, and making sure that you keep creating the plays that you want to see in the world.
More Literature & Drama
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OTwo Reviews: "The 39 Steps" at UCD Dramsoc
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5 Books that Have TikTok in a Frenzy


text:
Home Blogs You Can, If You Wish
You Can, If you wish
Blog by Dr Ajit Varwandkar
All through her childhood she has been a keen sports enthusiast but rarely got an opportunity to utilize & sharpen her skills. Economic constrains and family responsibilities always placed road blocks on her aspiration lane. Her father worked in the fields and managed a livelihood for the family. At the young age of some twelve years, she was a helping hand for her parents in their work. She used to cut wood, make charcoal and also went fishing for food whenever required. Back at home she had the add-on responsibility to look after her two younger sisters and a brother.
Above story looks like the story of millions of boys and girls from India, who have flashy dreams and inborn potentials, but do not get to exploit those. All this because they spend their entire lifespan making both ends meet. The story though is different for Mangte Chungneijang Mary Kom, the bold and boxing-full bronze medal bearer for India in Olympics, 2012. When Mary Kom won the bronze medal for India, the noise decibels generated in India would have blinded the whole of London. Five time boxing world champion, MC Mary Kom, has not just made India proud but also added fuel to many ignited spirits in the country, who are determined to etch a page in the encyclopedia of successful stars.
The tale of Mary Kom struggle from books to boots is unending. For a mother of two, it was not a cake walk to break all kinds of barriers to take up a sport which is predominantly dominated by men world over. Born in a rural family in Manipur, she got to see only obstacles and objections in her quest to be a boxer. The first and the most formidable challenge had been to seek permission from her father who had once ordered her to give up the sport. Her first coach denied teaching lessons in boxing till she pleaded approval sandwiched in tears. She was ridiculed by her colleagues and boys in the school for being unfeminine. The innuendos on her had a large range from aspersions on her personality to her profession. The disgraceful & disappointing remarks were not enough to discourage Mary Kom and she kept her efforts on. Initially she did not even have enough money to afford the basic amenities like sports kits and a proper diet.
Had Mary Kom surrendered to hardships and inconveniences and not attempted to overcome those, would she have been successful in sharing the podium in London? Absolutely not and that's the spirit where the inspiration is showered from. In fact her journey from sacrifice to stardom is like an inspiration waterfall. It's time, all such individuals who have a latent craving for success, get drenched in this downpour of motivation from Mary Kom.
Not that each one who could make it to London ended the sojourn with a medal. Many a failures had to manage themselves with weeping eyes and dumping heartbeat. For many such athletes it was remarkable itself to make it to the game. After all, out of billions and trillions of people on the earth, only a handful thousands could qualify to play in Olympics! Deepika Kumari, the archery challenge from India, is one such story. She also belongs to a poor family from Jharkhand and has gone through a painful struggle to make a mark in the history of Indian sports. In her childhood days Deepika was forced to leave her home because there were more mouths and less food in the family. Though she might not have won a medal in Olympics she still is a hero for the nation.
Success takes birth out of struggles. Time and again many successful people have proved the point. It was a huge decision for Mary Kom to live without her kids and away from family for months together in order to practice for the game. One has to pay the price for success in advance. To be successful is like a pre-paid deal, pay first and reap later. Failure shows only when people surrender to tough situations. Hurdles are the keyholes on the door to success and belief is the key to unlock. When situations in life bring difficulties it is all the more a reason to believe that you are nearer to success.
When you have to cross a mountain on the way you get to see huge rocks and dense trees. It is only when you have trekked to the peak of the forest, the panoramic view from the top is available. One should always climb these mountains of challenges carrying the flag of confidence. Mar Kom, at an age of 30, has an Olympic medal & is on the top of the world but for this success she had to haul a long 12 years journey of never dying efforts!
Be Successful, for you can if you wish.
Ajit Varwandkar
Feedback : ajitvarwandkar@gmail.com
When things go wrong!
You still have your chance even if you're in your 40s, 50s,
Do wait for success, it's there on the way ...
Tips from Kolaveri Di to secure your career
Its vital to be passionate and act purposeful
Even the LION will not kill you
How to face examinations, when not prepared well
Happy are those who live on the Mountain of Hope
Are you a helicopter parent?
Man of the life

redpajama_set_name: RedPajamaCommonCrawl


This video looks at the importance and benefits of working with colour during psychic work. It also explains how best to learn the qualities and meanings associated with different colours, plus using colour in aura readings.
Note that the video is 575 MB in size so may take some time to download.


Google My Business has made changes to how it handles a service area business. Businesses that either deliver to or service local customers within a geographic region are affected.
A business that visits or delivers to customers, but doesn't serve customers at its business address (e.g. a plumber or cleaning service).
A business that serves customers at its business address, but also visits or delivers to customers (e.g. a restaurant that also delivers food).
Previously you could enter a business address (kept hidden if you wished) and set a service area radius around your address. This is no longer the case.
You can no longer set a service area as a set distance from your business address in Google My Business.
If you have previously entered a service area radius, you will need to update your service area. Google now wants you to specify your service area by region, city or postcode.
There are now separate fields for you to enter your business address and your service area. When you update your information (we suggest you do this ASAP), you will have the ability to enter a business address, service area or both.
If you do not serve customers at a business location, leave this field blank and only enter your relevant service area.
If you have both a business address AND also have a service area, make sure you enter both.
A small change that Google hasn't announced as a result of this update. If you enter a business address there is now no option to keep it hidden. Though with the changes to service area function this is, of course, redundant.
Google now wants you to specify your service area by region, city, or postcode.
Via the menu, click info.
Enter the service area information for your business by region, city or postcode.
Google My Business is generally pretty quick to apply changes, however, it does warn it could take up to 3 days.
But what do you do if your business covers a large geographic area, multiple cities, and many postcodes?
If you choose to list your service area by City, it is currently not clear the exact region a city listing may cover. Does Google instead want you to list every single town or postcode that your business services?
So what is the best approach to listing your businesses service area?
Within other areas, Google includes Council regions.
Instead of the cities, you service e.g Newcastle, NSW, you can select a region by council e.g Newcastle City Council, NSW. This allows you to better control the geographic service area you select without having to list every single postcode you service.


Artist Grace Mikell is a painter who works primarily with oils on wood panel or oils on canvas to create narratives that capture a specific human experiences. These works are very mysterious and yet they seem vaguely familiar much like the sensation of deja vu. Some of her paintings bring to mind snapshots of family photos while others capture what appears to be a private ritual taking place. There is little doubt that her subjects share intimate bonds or are in long-lasting relationships. Although the subjects in her paintings are often engaged in puzzling rituals the figures seem to be drifting in a realm somewhere between fantasy and reality. Mikell is from Florida and just a month after getting her M.F.A. May 2012 in painting from Tulane University she was awarded the prestigious Joan Mitchell Foundation MFA Grant.


text:
class FrontPage:
    """
    Page object models allow selectors to be defined in one place and then
    used by all of the test.
    """
    login_button_css = '#user-actions-footer > a'
    logout_button_text = 'Sign out'
    menu_button_data_css = '#main > ul > li:nth-child(1) > a'
    menu_button_data_alt_css = '#main > ul > li:nth-child(1) > button'
    drop_down_search_button_css = '#main > ul > li.dropdown.open > ul > li:nth-child(2) > a'
    covid_survey_banner_button_css = '#walkme-survey-balloon-69379 > div > div.walkme-custom-balloon-inner-div > div.walkme-custom-balloon-top-div > div > div.walkme-click-and-hover.walkme-custom-balloon-close-button.walkme-action-close.walkme-inspect-ignore'

class SignInModal:
    """
    Page object model.
    """
    login_modal_class = 'auth0-lock-header-logo'
    github_button_css = 'a[data-provider="github"]'
    button_tag = 'button'
    github_user_id_input_css = '#login_field'
    github_password_input_css = '#password'
    github_submit_button_css = '#login > div.auth-form-body.mt-3 > form > div > input.btn.btn-primary.btn-block'
    two_step_user_id_input_css = '#username'
    two_step_password_input_css = '#password'
    two_step_submit_css = '#login > input'
    two_step_send_sms_css = '#sms-send > input.submit-button'
    two_step_code_input_css = '#otp'
    two_step_submit_verification_css = '#otp-box > div > input.go-button'

class SearchPageList:
    """
    Page object model.
    """
    facet_box_class = 'facets'
    facet_class = 'facet'
    facet_group_expander = 'facet-group-title'
    facet_expander = 'facet-expander'
    category_title_class = 'facet-term__text'
    number_class = 'facet-term__count'
    category_title_class_radio = 'facet__radio-label'
    number_class_radio = 'facet__radio-count'
    download_metadata_button_xpath = '//*[contains(text(), "Download")]'
    search_result_item = '(//div[@class="result-item__data"])[1]//a'

class SearchPageMatrix:
    """
    Page object model.
    """
    facet_box_class = 'facets.matrix-facets'
    facets_left_class = 'facet'

class SearchPageSummary:
    """
    Page object model.
    """
    facet_box_class = 'facets.summary-facets'
    facets_left_class = 'facet'

class ExperimentPage:
    """
    Page object model.
    """
    done_panel_class = 'done'
    title_tag_name = 'h4'
    graph_close_button_css = 'div > div:nth-child(2) > div.file-gallery-graph-header.collapsing-title > button'
    sort_by_accession_xpath = '//*[@id="tables"]/div/div[2]/div[2]/div/table[2]/thead/tr[2]/th[1]/div'
    all_buttons_tag_name = 'button'
    download_graph_png_button_xpath = '//*[contains(text(), "Download Graph")]'
    file_type_column_xpath = '//div[@class="file-gallery-counts"]//..//table[@class="table table-sortable"]//tr//td[2]'
    accession_column_relative_xpath = '..//td[1]//span//div//span//a'
    information_button_relative_xpath = '..//td[1]//span//button//i'
    file_graph_tab_xpath = '//div[@class="tab-nav"]//li[2]'
    file_table_tab_xpath = '//a[text()="File details"]'
    assembly_selector_xpath = '//*[@id="tables"]/div/div[1]/div[1]/select[@class="form-control--select"]'
    file_graph_id = 'pipeline-graph'
    incl_deprecated_files_button_name = 'filterIncArchive'
    walkme_corner_widget = '#walkme-player'

class FilePage:
    """
    Page object model.
    """
    download_button_xpath = '//*[contains(text(), "Download")]'

class AntibodyPage:
    """
    Page object model.
    """
    expanded_document_panels_xpath = '//div[@class="document__detail active"]//a[@href]'

class ReportPage:
    """
    Page object model.
    """
    download_tsv_report_button_xpath = '//*[contains(text(), "Download TSV")]'

class VisualizeModal:
    """
    Page object model.
    """
    modal_class = 'modal-content'
    UCSC_link_partial_link_text = 'UCSC'

class DownloadModal:
    """
    Page object model.
    """
    download_button_xpath = '/html/body/div[2]/div/div/div[1]/div/div/div[3]/div/a[2]'

class InformationModal:
    """
    Page object model.
    """
    download_icon_xpath = '//div[@class="modal-body"]//i[@class="icon icon-download"]'

class NavBar:
    """
    Page object model.
    """
    testing_warning_banner_button_css = '#navbar > div.test-warning > div > button'

class LoadingSpinner:
    """
    Page object model.
    """
    loading_spinner_class = 'loading-spinner'

class DocumentPreview:
    """
    Page object model.
    """
    document_expand_buttons_class = 'document__file-detail-switch'
    document_files_xpath = '//div[@class="document__file"]//a[@href]'

class UCSCGenomeBrowser:
    """
    Page object model.
    """
    zoom_one_id = 'hgt.in1'

redpajama_set_name: RedPajamaGithub


1 Heat oven to 350°F (or 325°F for dark or non stick pan). Grease or spray bottom of 13x9-inch pan. Bake brownies as directed on box using water, oil and eggs. Spread into pan. Bake for 24 to 26 minutes or until toothpick inserted 2 inches from side of pan comes out almost clean. Cool completely.
2 In medium microwaveable bowl, microwave 3 oz. white baking chocolate and 1/3 cup whipping cream uncovered on High 1 to 2 minutes, stirring once, until chocolate is melted. Refrigerate 30 minutes or until slightly thickened.
3 Stir frosting and maraschino cherries into chocolate mixture until well blended. Spread evenly over cooled brownies.
4 In small microwaveable bowl, microwave chocolate chips and butter uncovered on High 1 to 2 minutes, stirring once until smooth. Carefully spread over mousse. Refrigerate 30 minutes or until set.
5 In small microwaveable bowl, microwave 1 oz. white baking chocolate and oil uncovered on High 30 to 60 seconds, stirring once, until smooth. Drizzle chocolate over brownies. Refrigerate 30 minutes or until chocolate is set.
Bite-sized brownies can make a big spash on a dessert tray. Serve them in mini colored or metallic papers.


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text:
Home » Palmisano Park provides uncommon sanctuary from the busy city streets
Palmisano Park provides uncommon sanctuary from the busy city streets
Mount Bridgeport and the surrounding land offer a needed escape.
by Brianna Wellen May 17, 2017 August 18, 2021
Palmisano Park Credit: Daniel X. O'Neil
When I first heard about "Mount Bridgeport" I imagined a large mountain in some magical part of Chicago I'd never seen before. I readied myself to hike up rough terrain and get a taste of the wilderness within the city limits. But when I arrived at Palmisano Park I saw that the "mount" was really more of a hill. At first, I was disappointed—it looked like I'd put my hiking boots on for nothing. However, I discovered something better: a peaceful respite from the busy city streets filled with lush vegetation, wild animals, a fishing hole, and a view of the lake and skyline, all free of the usual summertime crowds.
Before humans set foot on the land, the Chicago Park District says, Palmisano Park was a prehistoric coral reef—fossils predating the dinosaurs were found on the site, and are now staples of the Field Museum's collection. In the 1830s the property was turned into a stone quarry, then in the 1970s it became a landfill, and finally in 2009 it was transformed into an environmentally sustainable park by architects from the Site Design Group. The waste that had been dumped was reused to create the park's new topography. That giant hill that has since been dubbed Mount Bridgeport? It's built on a literal pile of garbage.
The path to Mount Bridgeport's peak (which is 33 feet above street level, nothing to sneeze at in a city as flat as Chicago) is marked with boulders from the original quarry and stonelike slates created from debris from the city's road construction, according to the Chicago Park District's historian, Julia Bachrach. In fact the hill's structure consists mostly of torn-up sidewalk and other items left over from building sites, which were then covered with grass. The boardwalk that weaves through the park was created from recycled plastic, styled to mimic wooden slabs. And a fountain designed by Ernest Wong that greets guests at the park's entrance is just one part of a self-sustaining water system that collects rainwater, which is then distributed through "wetland terraces" throughout the park before ending up in a pond that a handful of bluegill, smallmouth bass, crappie, and catfish call home—at least until they're fished out. Palmisano Park provides one of the few bodies of water in Chicago that won't cause mutations in the creatures who reside there.
Sure, it doesn't take much to make it to the top of Mount Bridgeport, but once there it's easy to forget that just a block away are cars flying down the highway, or that three miles north there are lines of people clamoring to get a view of Chicago from the top of Willis Tower. On top of Mount Bridgeport it's possible to lay in the grass, listen to water trickle through the Palmisano Park fountain, and get a new perspective on the term "urban jungle," snakes and all. (Watch out for the snakes!)
Culture Vultures: Wilson Yards Skateboard Shop, Lucky Peach, and Mount Bridgeport
Best Man-Made Geographical Wonder
In "Best of Chicago"
Old Black Water
Tagged: Bridgeport, Chicago Park District, environmental, fossils, Fountain, Mount Bridgeport, Palmisano Park, quarry, summer guide 2017, sustainable, Urban Jungle, Vol. 46 No. 32


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Sta pagina a l'è stæta cangiâ l'ùrtima votta o 6 dex 2016 a 15:29.


Brand: Michael Kors Item: Novelty Leather Coin Purse Name: Nouveau Novelty Palm Leaf Coin Purse Color: Jungle Green Approx 4" x 3 1/2"
Perfect For Holiday Parties! Authentic And Gently Loved. Please Inspect Photos Closely Before Purchasing.
Approximate measurement: 9.5 (L) x 6.5 (H) with 6" wristlet drop. Interior: 6 credit cards slots and 1 open pocket.
From Michael Kors, this small clutch features a glittery leather exterior in Admiral Navy. Zippered closure and silver metal logo on front. Lined interior with an open pocket.


The air-conditioned resort is thoughtfully designed in a contemporary oriental style, providing senses of ease, simplicity, relaxation and presence of the 'Third Place' - where one can thoroughly unwind after a long tiring day and experience a sensation of serendipity yet equally enjoy socialising with others, as the entertainment venues of the lively town are only a few steps away. In addition to the 63 guest rooms, this design resort also features a 24-hour check-out service, currency exchange facilities, lift access, a restaurant, conference facilities and Internet access, while guests can also take advantage of both room and laundry services.
The resort is located 200 m away from the centre of Ao Nang Beach, in Krabi province, in southern Thailand. The property is excellently located in the middle of Ao Nang and Nopparat Thara beach. It is a paradise for those who love snorkelling, scuba diving, ocean kayaking or even rock climbing. Krabi Airport is located some 36 km from the resort.
The hotel room categories include superior, superior grande, deluxe pool access and ginger club rooms. The superior rooms come with basic facilities and a private shower - suitable for easy, but nevertheless comfortable living. The superior grande rooms are more spacious, yet provide guests with a true sense of ultimate privacy. The deluxe pool access rooms feature a sun lounge on a personal balcony, which reaches the swimming pool from the door, while the ginger club room offer bedrooms with duplex levels of separate living and bedrooms. All rooms feature en suite bathrooms with a shower and a hairdryer, as well as double or king-size beds. Other in-room amenities include a direct dial telephone, satellite TV, radio, Internet access, a safety deposit box and a minibar. Tea and coffee making facilities and air conditioning also feature as standard.
There is an outdoor swimming pool within the resort grounds, which has a children's swimming area, a poolside snack bar and a sun terrace. There is also a sandy beach some 300 m from the resort.
A buffet is served at breakfast.
There are direct flights from Suvarnabhumi International Airport. Several direct flights operated either by Thai Airways or other low-cost airlines depart daily from Bangkok to Krabi International Airport. The duration of the flight is about 80 minutes. Arriving at the airport guests can take the airport limousine service, a local bus or a taxi to Ao Nang or a transfer service can also be arranged upon request.


From mobile banking to the robo-advisor, countries are positioning themselves in the competitive market of financial technology. Switzerland is one of the hubs of advanced know-how in the financial field. How can the Swiss Confederation become a major fintech platform?
Berlin is attracting increased interest from investors. In 2016, venture capital in Germany increased by 38% over the previous year to $521 million, while it dropped by 34% in Britain, from 1,180 billion to 783 million.
Keep an eye on Asia. In 2016, the fintech of China and Hong Kong drove investment in the entire Asia-Pacific region to $11.2 billion ... passing North America's $9.2 billion, according to CB Insights.
Singapore's ecosystem relies heavily on government initiatives. The authorities have committed about US$160 million over five years to growing the industry. By multiplying private-public partnerships, the city-state has made the blockchain one of its priority projects.
Long home to the most coveted start-ups, New York has seen companies such as TransferWise, Venmo or Bond Street Marketplace becoming important challengers to the traditional finance sector.
As promising start-ups multiply, the Federal Council is finally turning its attention to fintech, especially its regulation. An encouraging first step - but a long way still to go, say entrepreneurs.
First, came the awakening; now, the expansion. Swiss fintech, which really emerged in 2015, counts some 200 start-ups active in participatory financing, mobile payment and robo-advisors. Geneva and Zurich offer the best framework conditions, close behind Singapore and ahead of London, according to the IFZ Institute in Zug. Fund-raising, increasing year after year, rose to 160 million francs in 2016, while dedicated programs and associations are multiplying to boost the financial technology sector.
million francs were invested in fintech start-ups in 2016, according to Swisscom's e-foresight, of which 100 million were in Helvetia's acquistion of MoneyPark.
start-ups in financial technology are active in Switzerland, according to the association Swiss Finance + Technology. That's a bit more than the figure given by Swisscom's think tank, e-foresight.
fintech companies in Switzerland - 28 more than in August 2016.
start-ups, among the 192 identified by Swisscom, are active in "investment and asset management", 44 in "crowdfunding" and 26 in "payments".
If cooperation from the major banks is growing - UBS and Credit Suisse have invested nearly four million Swiss francs to launch the Kickstart accelerator in Zurich and have formed a large alliance in the blockchain; BNP Paribas (Switzerland) will support the Fusion platform in Geneva; and Julius Bär and Six Group are among the founders of the Zurich F10 accelerator - fintech is also increasingly interested in non-bank players such as Helvetia and PwC. The start-up Advanon recently raised 13.5 million Swiss francs from a consortium that includes Swisscom.
million francs were raised in 2016 by Swiss fintech companies, according to Startupticker.ch and SECA. Total amount raised last year by Swiss start-ups: 909 million francs.
Finma is "ready for fintech", as it announced in a statement last September, and recent regulatory initiatives of the Federal Department of Finance and the contracting authority are encouraging, say the entrepreneurs interviewed. Some fintech companies are already benefiting.
For example, in March 2016, Finma authorized video and online identification. "In comparison with Switzerland, US/UK platforms can acquire a customer base much more easily," explains Jean-Marc Sabet, founder of B-Sharpe, an operator of on-line currency transfers. "In Switzerland, to identify themselves, new clients had to present their ID directly or make the identification to the appropriate institutions, often leading to lost time and additional costs. Because of these authentication constraints, users weren't completing the process of opening an account." Now, the process is a lot faster: the customer can register and identify at the same time, even using a mobile device. For B-Sharpe, the customer conversion rate is now "significantly higher".
Mobile app comparing insurance policies.
Cloud-based management solution for SMEs.
Management solutions for personal finance.
Buy a car by mobile phone.
Bitso is emerging as Mexico's first bitcoin exchange platform. The application also performs traditional foreign exchange transactions and financial transfers. With 20,000 customers and transactions worth $2.5 million per week, the company has already raised $4.35 million from investors.
Based in Brazil, QueroQuitar is an online banking application to optimize debt-management. The service answers the needs of a population that makes extensive use of credit to meet expenses. The start-up has been integrated into Wayra, accelerator of the Telefonica group, and backed by InovaBra, the start-up investment fund of Bradesco, Brazil's first bank.
The Argentinean company Ripio has concluded a round of financing at $1.9 million. The Buenos Aires start-up has the ambition to extend its services for online bitcoin and currency transactions throughout South America.
Nigerian start-up Paystack has raised $1.3 million from heavyweight venture capitalists like the Chinese giant Tencent. A community of 1500+ traders use the start-up's online payment platform.
South African start-up Nomanini wants to connect a million micro-merchants by 2020. Its platform functions as a point of sale that distributes, in particular, credit for electricity and mobile communication - services previously non-existent to the population.
Launched in 2015 in South Africa, Mama Money is extending its service to Nigeria, Ghana and Tanzania. The platform's services range from e-wallets to money transfers. In Nigeria, the start-up is connected with the 25 largest banks and Vkash, a widely used mobile payment system.
Founded in Malaysia, MyCash Online provides financial services for that country's 3.3 million foreign migrant workers. A safe, convenient method for handling money, it already deploys products and services of some 300 stores on its website and mobile app.
Headquartered in Manila, Acudeen helps small businesses overcome cash crunches. In collaboration with banks, the start-up pays invoices on behalf of small businesses so that their suppliers need not wait two months before receiving payment. When payment comes in, the money goes to Acudeen, which, in turn, pays back the bank.
Rocked by new technology, finance offers many innovative opportunities for entrepreneurs in Switzerland and in emerging markets.
From over 300 applications, eight were selected. Eight promising fintech start-ups that were able to enter the program of Geneva's Fusion accelerator in October 2016. Immersion.
School of Management Fribourg (HEG-FR) has gained a fine international reputation due to the entrepreneurial orientation of its teaching. The school is also one of the world's first pioneers in bringing fintech to the AOM (Academy of Management) for the first time.
With the emergence of fintech, what are the challenges for Switzerland? How can the country meet the challenge of new digital solutions and make the most of local and foreign talent to stay at the top of financial matters? Jean-Marie Ayer, entrepreneur and lecturer at School of Management Fribourg (HEG-FR), explains the challenges in terms of training and regulation.
Who are fintech players? What sectors do they come from? A mix of entrepreneurs from the banking and financial sector and those who disrupt the field by relying on technological innovation. Nicolas Steiner, entrepreneur and member of the start-up accelerator Level 39, analyses the potential of the new players and the role of incubators and accelerators in guiding them towards success.
Traditionally a stronghold of finance and banking, Switzerland is now in the middle of the fintech revolution. How can this small market best cope? Paul Loeffler, entrepreneur in residence at School of Management Fribourg (HEG-FR), advocates cooperation and complementarity: complementarity with the various cantons offering a multitude of ecosystems and solutions, but also cooperation between traditional players and new, as well as with other fintech hubs and emerging markets.
This course will provide the participants with the latest empowering and practical knowledge on fintech enabling them to understand key concepts and ideas, changes influencing the financial services industry today and trends that will impact the industry in the future.
Understand the historical context that ignited fintech.
Understand its current and future impact on global finance, banking and related industries.
Understand the opportunities that FinTech brings in the financial services industry.
Understand the disruptive potential of FinTech for established players.
Understand the fintech ecosystem: start-ups, corporate and ventures.
Acquire knowledge and skills to spark their entrepreneurial.
The course is offered on a yearly basis.
In Asia, Africa or Latin America, entrepreneurs propose innovative models, in particular, in financial transactions.
Robo-advisors cuts costs for investors - but not for banks, as they must continue to counsel clients.
Since its arrival on the Swiss market about 5 years ago, the robo-advisor, that autopilot of portfolio management, has aroused much enthusiasm and made many promises. The possibilities of the robo-advisor are enormous: programmed to make decisions according to a given number of parameters, it values securities, sectors and markets and sends buy/sell recommendations to the user. In short, the robo-advisor calculates faster than the human brain to find the best assets at the least risk. But what it lacks is intuition, that ability to judge geopolitical risks or other factors outside the given parameters, those "gut feelings" that tell a human to sell before a crash. Quantitative systems par excellence, current prototypes are in a transitional phase of development and will continue to gain in sophistication with time.
Based on their first trials, traditional asset management companies see these solutions as a way of capturing customers of future generations, rather than as a miracle tool to beat the market or cut costs.
For the past year, EMC Wealth Management, based in Geneva, has been using Swissquote's robo-advisor for investments over 30,000 francs. "The system makes it possible to carry out an algorithmic allocation of a portfolio on the Swiss stock market," explains EMC partner François Siegwart. Its main interest is that "it offers a methodology for diversifying a portfolio, including for rookies whose risks often focus on a few securities." Although it is too early to reach a verdict at EMC, the comparison of performance over one year indicates that the robot's performance is similar to EMC's active portfolio management within the same securities universe. "We are giving ourselves two years to conclusively analyze the results," says François Siegwart. His partner, Michel Augsburger, who founded EMC in 1982, notes that the Swiss equity fund managed by Swissquote's robo-advisor has posted a 5-year performance above the benchmark.
Be your own wealth manager!
Fintech start-up Strip your Banker develops a tool that enables the user to create a portfolio adapted to his wealth situation. Test it!
Investment is about risk and return. But how much risk can you afford to take, and for which return? Our asset and liability management tool helps you answer this question with a simple assumption: you can afford to lose the money you are not going to need in the future. Input your current and expected future wealth, match it with your planned expenses or just a reserve in capital, add some annuities for your retirement and see if you can afford your lifestyle.
If not, try to reduce or postpone expenses, or review your income growth forecast. The more leeway you have, the more risk you can take in order to increase your capital. Then go one step further and screen the funds universe to select those funds that match your own criteria. We take care of the rest (cheapest available share class, minimum execution fees...).
The tool enables the user to create a portfolio of funds adapted to his personal preferences and wealth situation.
The user enters his personal data (current assets, income, recurring expenses, expected growth, years until retirement) to see his wealth projection (with and without investing the accumulated cash). He then adds foreseeable exceptional expenses (buying a car, a house, paying for tuition...) by clicking on +.
He may also opt for converting part of the capital into annuities at the time of retirement. He adjusts those parameters until the situation is affordable, then clicks on "SELECT FUNDS" to create an actual portfolio by screening our universe of funds with his personal preferences.


text:
use std::fs::File;
use std::io::ErrorKind::InvalidInput;
use std::io::prelude::*;
use std::io;
use std::net::TcpStream;
use std::ops::Sub; // Sub for Timespec
use std::path::Path;

use packet::{PacketRead, PacketWrite, Protocol};

use rustc_serialize::base64::{ToBase64, STANDARD};
use rustc_serialize::json;
use time;

#[derive(Debug, RustcDecodable, RustcEncodable)]
pub struct Description {
    pub text: String,
}

#[derive(Debug, RustcDecodable, RustcEncodable)]
pub struct Players {
    pub max: i32,
    pub online: i32,
    pub sample: Option<Vec<Sample>>,
}

#[derive(Debug, RustcDecodable, RustcEncodable)]
pub struct Sample {
    pub name: String,
    pub id: String,
}

#[derive(Debug, RustcDecodable, RustcEncodable)]
pub struct Version {
    pub name: String,
    pub protocol: i32,
}

/// Response sent to clients as JSON.
#[derive(Debug, RustcDecodable, RustcEncodable)]
pub struct Response {
    // FIXME(toqueteos): This is ChatJson
    pub description: String,
    pub favicon: Option<String>,
    pub players: Players,
    pub version: Version,
}

impl Protocol for Response {
    type Clean = Response;

    fn proto_len(value: &Response) -> usize {
        <String as Protocol>::proto_len(&json::encode(&value).unwrap())
    }
    fn proto_encode(value: &Response, dst: &mut Write) -> io::Result<()> {
        try!(<String as Protocol>::proto_encode(&json::encode(&value).unwrap(), dst));
        Ok(())
    }
    fn proto_decode(src: &mut Read) -> io::Result<Response> {
        let s = try!(<String as Protocol>::proto_decode(src));
        println!("Response proto_decode {}", s);
        json::decode(&s).map_err(|_| io::Error::new(InvalidInput, "found invalid JSON"))
    }
}

// FIXME(toqueteos): This is yelling to be a method of a Server struct or
// something more useful. We need the Handshake's `next_state` field in order
// to perform login for a player.
/// Server-side Server List response
pub fn response(mut stream: &mut TcpStream) -> io::Result<()> {
    use packet::status::serverbound::Packet::{self, StatusRequest};
    use packet::status::clientbound::StatusResponse;

    // C->S: Status Request packet
    match try!(Packet::read(stream)) {
        StatusRequest(_) => {
            // S->C: Status Response packet
            let mut file = try!(File::open(&Path::new("assets/favicon.png")));
            let mut contents = Vec::new();
            try!(file.read_to_end(&mut contents));
            let favicon = contents.to_base64(STANDARD);
            // FIXME(toqueteos): Micro-optimization? We could totally drop JSON
            // encoding and just replace player values (online & max) with format! all
            // other values are static.
            let resp = Response{
                version: Version{
                    name: "1.8.3".to_string(),
                    protocol: 47,
                },
                players: Players{
                    // FIXME(toqueteos): This is value should be a internal counter of server
                    online: 0,
                    // FIXME(toqueteos): This is value read from server.properties file
                    max: 20,
                    sample: None
                },
                description: "With custom favicons! Woot :D".to_string(),
                favicon: Some(format!("data:image/png;base64,{:}", favicon)),
            };
            try!(StatusResponse { response: resp }.write(stream));
            Ok(())
        }
        wrong_packet => Err(io::Error::new(InvalidInput, &format!("Invalid packet read, expecting C->S StatusRequest packet, got {:?}", wrong_packet)[..]))
    }
}

/// Server-side pong response, optional
pub fn pong(mut stream: &mut TcpStream) -> io::Result<()> {
    use packet::status::clientbound::Pong;
    use packet::status::serverbound::Packet::{self, Ping};

    // C->S: Ping packet
    match try!(Packet::read(stream)) {
        Ping(ping) => {
            // S->C: Pong packet
            try!(Pong { time: ping.time }.write(stream));
            Ok(())
        }
        wrong_packet => Err(io::Error::new(InvalidInput, &format!("Invalid packet read, expecting C->S Ping packet, got {:?}", wrong_packet)[..]))
    }
}

/// Client-side Server List request
pub fn request(mut stream: &mut TcpStream) -> io::Result<Response> {
    use packet::status::serverbound::StatusRequest;
    use packet::status::clientbound::Packet::{self, StatusResponse};

    // C->S: Status Request packet
    try!(StatusRequest.write(stream));

    // S->C: Status Response packet
    match try!(Packet::read(stream)) {
        StatusResponse(resp) => Ok(resp.response),
        wrong_packet => Err(io::Error::new(InvalidInput, &format!("Invalid packet read, expecting S->C StatusResponse packet, got {:?}", wrong_packet)[..]))
    }
}

/// Client-side ping request, optional
pub fn ping(mut stream: &mut TcpStream) -> io::Result<i64> {
    use packet::status::clientbound::Packet::{self, Pong};
    use packet::status::serverbound::Ping;

    // C->S: Ping packet
    let start = time::get_time();
    try!(Ping { time: start.sec }.write(stream));

    // S->C: Pong packet
    match try!(Packet::read(stream)) {
        Pong(_) => {
            let end = time::get_time();
            let elapsed = end.sub(start).num_milliseconds();
            Ok(elapsed)
        }
        wrong_packet => Err(io::Error::new(InvalidInput, &format!("Invalid packet read, expecting S->C Pong packet, got {:?}", wrong_packet)[..]))
    }
}

#[allow(unused_imports)]
#[cfg(test)]
mod tests {
    // This module is special, compiler sees imports as they were unused
    // because there's no `vanilla_server_required` cfg set.
    //
    // Unless we tell Travis to run a vanilla server, these tests will
    // only get run if the cfg attr is removed manually.

    use super::*;

    use std::io::prelude::*;
    use std::net::TcpStream;

    use packet::handshake::Handshake;
    use packet::{PacketWrite, NextState};

    #[test]
    #[cfg(vanilla_server_required)]
    fn client_server_list_ping() {
        let mut stream = TcpStream::connect("127.0.0.1:25565").unwrap();
        Handshake {
            proto_version: 47,
            server_address: "127.0.0.1".to_string(),
            server_port: 25565,
            next_state: NextState::Status
        }.write(&mut stream).unwrap();
        let response = request(&mut stream).unwrap();
        println!("request {:?}", response);
        let elapsed = ping(&mut stream).unwrap();
        println!("ping {}", elapsed);
    }

    #[test]
    #[should_panic]
    #[cfg(vanilla_server_required)]
    fn client_slp_reversed() {
        let mut stream = TcpStream::connect("127.0.0.1:25565").unwrap();
        let elapsed = ping(&mut stream).unwrap();
        println!("ping {}", elapsed);
        Handshake {
            proto_version: 47,
            server_address: "127.0.0.1".to_string(),
            server_port: 25565,
            next_state: NextState::Status
        }.write(&mut stream).unwrap();
        let response = request(&mut stream).unwrap();
        println!("request {:?}", response);
    }
}


In the world of orthotics for shoes you get tons of different companies who make both off the shelf insoles or custom made orthotic insoles for your shoes.
I started with the generic orthotics for shoes ones made by German company Birkenstock, then I used custom made TOG orthotics and now I'm using a pair of Foot Levelers spinal pelvic stabilisers. So first my beginning with Birkenstock.
Now I still love the Birkenstock insole and Birkenstock shoes. When I have a patient looking for a generally reliable off the shelf orthotic insole I do still recommend the Birkenstock insole. What I found to be the nice thing about the Birkenstock insole is that it is a 3/4 length, easily inserted orthotic insole that gave a comfortable arch support in all my shoes. The Birkenstock shoe comes with a generic orthotic insole built in and they too are comfortable. I also found that the Birkenstock insole didn't push my foot up too high causing discomfort where the shoe laces are. After a few years only using Birkenstock insoles, I wanted to move on and up into the custom made orthotic insoles category. That is when I was introduced first to TOG orthotics.
TOG stands for "The Orthotic Group" and whilst I was still a Chiropractic student at the Anglo-European College of Chiropractic I had a foot arch scan done on the TOG GaitScan™ system. The difference here from Birkenstock was with Birkenstock all I needed to say to a sales assistant in the shop was what was my shoe size. Now with TOG I got to see in real time on a laptop what my feet looked like when I walked over the pressure sensitive matt on the floor. It was amazing to see where I put different amounts of pressure through the arches in my feet. So I thought great let me get a pair of TOG orthotics and test what it's like to wear a pair of custom made insoles for my shoes. I decided to go with the full length version so there was no slide effect in my shoes at al,l which could happen with the Birkenstock insole.
When I first got my TOG orthotics I noticed how the heel area had been shaped to compensate for my abnormal heel movement I was doing whilst walking. I also saw the the inside arch or pronation arch area seemed a bit higher than the Birkenstock pair. The material used too was different with TOG using a semi-flexible plastic type material compared to the fibrous material of Birkenstock. I wore my TOG orthotics for 4-5 years with occasional times reverting to the Birkenstock insole mainly for shoes that were a bit tighter like smart evening shoes. I must admit that I was still experiencing the 1 or 2 yearly episode of severe locked lower back pain, which was better than previous years of the 4-5 episodes in a year. So I knew something positive was happening and my lower back was enjoying having better foot arch control. Then whilst on a Chiropractic conference in the USA I came across Foot Levelers. That then moves me onto the current orthotic insoles I personally use everyday of my life.
I will let you know now that I am a big fan of the Foot Levelers insoles range. So far in my use of orthotic insoles for my shoes personal story, I had been using Birkenstock insoles and TOG orthotics. The biggest difference between these and my Foot Levelers pair is the hard vs soft orthotic insole debate. Foot Levelers insoles are much softer than Birkenstock and TOG. For me that helps provide more comfort and improvement in my lower back. The other big difference that I had never had before was a lateral arch support (outer foot arch support). Birkenstock and TOG both had inner (medial) arch support and heel support with either a heel wedge or heel cup.
Now with my pair of Foot Levelers orthotic insoles I have 3 points of support for my foot's arches. So now for the first time in my orthotic insoles journey all 3 arches of each foot are being supported by custom made shoe inserts. Foot Levelers like to term their orthotic insoles as 'spinal pelvic stabilisers' and in the begging I thought ok, but what's the difference. Well after seeing how different a pair from Foot Levelers look compared to Birkenstock and TOG, and how I feel after wearing them everyday for over 2 years now. I also see them as spinal pelvic stabilisers rather than orthotic insoles.
So having been a chronic lower back pain sufferer since my teenage years I have now not had a single debilitating lower back pain episode in well over 4 years. I would say that when it comes to managing my lower back I need a combination of chiropractic spinal manipulation, rehab exercises to strengthen and balance my core posture, good sleep support and definitely my orthotic insoles. I hope this helps you in understanding orthotic insoles a bit more.


text:
Louvre Museum, Abu Dhabi: A Taste of Paris, France in the UAE
Inside the Louvre Museum in Abu Dhabi
With this huge painting of Napoleon Bonaparte by Jacques Louis David.
The Louvre Abu Dhabi is the fruit of the collaboration between the Emirate of Abu Dhabi and the French government to bridge the gap between Eastern and Western art.
Situated on the Saadiyat Island Cultural District, the Louvre Abu Dhabi Museum opened its doors on November 8, 2017 and has since showcased historical, contemporary and noted paintings, sculptures and artwork from famed and budding artists worldwide.
From classical sculptures to modernist paintings, Louvre Abu Dhabi boasts a vast collection of artwork from the famous and the lesser known, the celebrated and the notorious, the revered and the aspiring talents from across the globe.
The glass walls of the Louvre Abu Dhabi Museum features quotes and poems from famous artists and writers.
Quick Facts about the Louvre Museum in Abu Dhabi
According to the website of Louvre Museum in Paris, "the Louvre Abu Dhabi is the first universal museum in the Arab world."
The museum was designed by French architect Jean Nouvel, who was awarded the Pritzker Architect Prize in 2008 for his numerous contributions to architecture. Pritzker Prize is the highest honor in architecture, and only one of the many prestigious awards Nouvel has received.
The Emirate of Abu Dhabi paid US$ 520 million (€454 million) for rights to use the Louvre name.
Abu Dhabi paid an additional US$ 747 million (€653 million) for art loans, special exhibitions and management advice throughout their 30-year agreement with France.
The construction of Louvre Abu Dhabi reportedly cost a total of US$ 108 million (€94 million)
Disclaimer: The Euro conversions were calculated based on current exchange rates as of this blog's writing. The actual amount may differ from the time the transactions were made.
What paintings and artwork are featured in Louvre Abu Dhabi?
The art collections exhibited at Louvre Abu Dhabi come from all over the world. But what I particularly like is that they have famous paintings loaned from the Louvre Museum in Paris.
I never imagined I would be able to see the works of Leonardo da Vinci, Picasso, Vincent van Gogh, Paul Gaugin, Claude Monet, and Jackson Pollock without leaving the UAE.
See Rembrandt's Paintings Here
Leonardo da Vinci is one of my most favorite artists of all time. Even before I had art classes in college, I was already acquainted with his name, thanks to the Mona Lisa, his most celebrated and well-known work. He is my favorite Renaissance artist, next to Michelangelo (David, Pieta, The Creation of Adam and the Sistine Chapel ceiling) and Botticelli (The Birth of Venus).
La Belle Ferroniere, 1495-1499
The name Picasso is very easy to remember, just like his distinctive Cubist paintings. I'm not particularly a fan of Cubist art as I prefer traditional paintings, but I do appreciate his talent and I'm overjoyed to have seen one of his works!
Portrait of a Woman, Picasso, 1910
Like da Vinci, Vincent Willem van Gogh is a familiar name to me. I especially remember him because of a story arc from the anime Get Backers, haha! So, I know he has this Sunflower painting series, one of which I happened to see at a museum in Munich. And I saw another one of his artwork at Louvre Abu Dhabi.
The left one is displayed at Louvre Abu Dhabi, and the right one is in Munich.
The Ballroom at Arles, France, 1888
Sunflowers, 1888
Vincent van Gogh has always intrigued me because of his troubled life and mental instability (he cut off his own ear!), and I think I read or watched a feature about him saying his talent was recognized only after his death (suicide). He was considered crazy and a failure as an artist.
He slowly gained post-humous recognition and fame when his sister-in-law, Johanna Gezina "Jo" van Gogh-Bonger, sold van Gogh's works, loaned them for exhibitions and published his letters to his brother and Jo's husband, Theo.
I won't pretend. I don't really know much about Paul Gauguin except that he was a dear friend of van Gogh, which I only recently learned through an audio-guided tour in Munich. Maybe that's why Gaugin and van Gogh share similar artistic styles in paintings. Their friendship reportedly ended after an altercation.
Children Wrestling, 1888
Oscar-Claude Monet is another artist I can easily recall because 1) his name is memorable for me, as I like the way Monet (mou'nei) is pronounced; 2) he helped create this distinct Impressionist style that appeals to me because I think it's perfect for painting dreamy and surreal landscapes; and 3) he was just as exceptional in traditional painting.
Madam Louis Joachim Gaudibert, France, 1868
The Seine at Vétheuil, the Effect of Sunshine after the Rain, France, 1879
I can't remember why I knew Jackson Pollock but when I read his name on the label of an abstract painting at Louvre Abu Dhabi, I knew I've read about him somewhere, somehow. Not really a fan of abstract paintings but I must admit this one is captivating in a way.
Number 26 A, Black and White, United States, 1948
Other famous paintings & artwork exhibited at the Louvre Abu Dhabi
Napoleon Bonaparte by Jacques Louis David
One of the famous paintings displayed at the Louvre Abu Dhabi Museum.
Napoleon Bonaparte by Jacques-Louis David, France, 1803
George Washington by Gilbert Stuart, United States, 1822
Statue of King Rameses II
King Rameses II 1279 – 1213 B.C.E.
Bust of Voltaire, a noted French Enlightenment writer, philosopher and historian.
Voltaire by Jean-Antoine Houdon, 1778
Bronze statue of Apollo
The Belvedere Apollo by Leochares, AD 120-140
The Horses of the Sun crafted by sculptor Gilles Guérin, 1670
The Horses of the Sun by Gilles Guérin, 1670
It is a 350-year-old monumental sculpture, commissioned by France's King Louis XIV in the late 1660s. Before being displayed at the Louvre Abu Dhabi, it was exhibited at the Palace of Versailles.
Funeral set of Egyptian Princess Henuttawy, 10th century B.C.
A sculpture of Shiva dancing
Fountain of Light by Chinese artist Ai Weiwei
Mehmed Said Pasha, Ottoman Ambassador to Versailles by Jacques Andre Joseph Aved, 1742
Some more artwork exhibited at the museum:
From Greece and Japan, to China and India, the Louvre Museum is a cornucopia of paintings, sculptures, and works of art from various places and rich cultures around the world.
African art collection:
More from the museum's Egyptian art collection:
Some things you might want to know before visiting Louvre Abu Dhabi
The museum is ideal for people of all ages! For children, they have an interactive Children's Museum where adults like me also had a great time trying out the fun and colorful displays.
For fans of Japanese comics (also me!), you'll love the Manga Lab, where you can color comic panels on the walls. There are also free manga, arcade games and virtual reality pods.
How long does a Louvre Abu Dhabi tour take?
I've read articles saying it's possible to tour the museum in 1.5 hours. I don't know how they did that but it took us 3-4 hours! And we even rushed it a bit because we were pressed for time.
I plan to go back and try to savor the experience as much as I can, and it'll probably take me 5-6 hours. That's because I try to take many photos of art pieces that I like, and I try to read the descriptions as much as possible.
What is the dress code at Louvre Abu Dhabi?
Dressing conservatively is always my motto here in the UAE. Avoid plunging necklines, see-through blouses or dresses, short shorts and miniskirts, and any other skimpy outfit.
Casual or smart casual is okay. My suggestion is to dress as comfortably as you can because you'll be walking for hours. Wear comfy shoes!
Is photography allowed inside Louvre Abu Dhabi?
Yes, you are free to take photos inside the museum, whether it's selfies, groupies or photos of the artwork. However, flash photography is strictly NOT allowed.
Selfie sticks are also not allowed, so it's safe to assume camera tripods are not allowed as well.
To be on the safe side, just use your camera or mobile phone.
How much are the tickets to the Louvre Museum in Abu Dhabi?
Regular admission tickets are 60.00 Dirhams each, plus 3.00 Dirhams tax (total of 63.00 Dirhams per ticket).
The following individuals may avail discounted ticket prices at 30.00 Dirhams each, plus 1.50 Dirhams tax (total of 31.50 Dirhams per ticket):
Individuals between ages 13 and 22
UAE school teachers, college teachers and university faculty members.
UAE military
Auditorium/workshop ticket holders
Complimentary tickets are given to:
Children aged below 13
Louvre Abu Dhabi Art Club members
Persons with disability and one companion
ICOM/ICOMOS/ICCROM valid members
The ticket prices indicated here are correct at the time of the blog's writing. I'll try to update these, but just to be sure, you can check directly with Louvre Abu Dhabi's website.
I strongly suggest to buy your tickets online for your convenience. 😊
What are the timings of Louvre Abu Dhabi?
The museum is closed on Mondays.
Saturdays, Sundays, Tuesdays and Wednesdays: 10:00 AM to 8:00 PM
Thursdays and Fridays: 10:00 AM to 10:00 PM
The timings might differ on holidays, so double check with their website for announcements.
Do they offer guided tours?
The museum offers a variety of group tours and guided tours daily, except Mondays. You can check them here. Louvre Abu Dhabi also offers audio-guided tours in various languages.
Directions – How to go to Louvre Abu Dhabi from Dubai?
From their website:
If you're traveling on E11 road, take the Saadiyat Island/Yas Island exit, then continue on to Sheikh Khalifa Highway E12. Then drive through Yas Highway to the Cultural District on Saadiyat Island.
Follow road signs to the museum.
The museum offers free parking, while valet parking services are available at 42 Dirhams.
Get on a Route 94 public bus. It will stop at Louvre Abu Dhabi. Fare is 2 Dirhams per person.
Take note! The Route 94 bus offers transportation from Abu Dhabi City to the museum. If you're coming all the way from Dubai, you must get to the Abu Dhabi Central Bus Station first then get on the Route 94 bus:
Take the E100 bus at Al Ghubaiba Bus Station and get off at Abu Dhabi Central Bus Station.
Take the E101 bus at Ibn Battuta Metro Station and get off at Abu Dhabi Central Bus Station
E100/E101 bus fare is 25 Dirhams per person.
By Taxi:
A drop-off / pick-up point is located in front of the museum's main entrance.
If you're coming by bus from Dubai, you can get a taxi at the Abu Dhabi bus stop.
Let's get connected!
Show some love! Thank you. 🙂
Posted in TravelTagged Abu Dhabi Museums, artworks in Louvre Abu Dhabi, Dubai Museums, famous paintings in Louvre Abu Dhabi, Jackson Pollock, Leonardo Da Vinci, Louvre Abu Dhabi Museum, Louvre Museum, Louvre Museum in Abu Dhabi, Louvre Paris, Monet, Paul Gaugin, Picasso, Vincent van GoghBy honeybeaubie2 Comments
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COURTS was started as a retail store for furniture in the United Kingdom. Now, it is one of the leading IT, electrical and furniture retailers in Southeast Asia. In October 2012, COURTS Asia was listed on the Mainboard of the Singapore Exchange. COURTS Singapore approached WS to develop a coupon and deal-based app which would let users purchase products and pay with PayPal and credit cards.
WS developed m-commerce app with the iOS platform for COURTS Singapore, to help users browse deals and purchase products of their choice by paying through Paypal or credit cards. Users would also receive geo-fencing alerts based on their proximity to outlets.
Inbuilt shopping cart to let users purchase products of their choice through the app.
Payment gateway to let customers pay via PayPal or credit cards.
Push notifications for events & deals.
Gamification to encourage users to browse and purchase products.
Catalogue viewer to let users browse products.
Increased user engagement for shopping via app.
Quick access to deals for users via geo-fencing alerts and push notifications.
Increased user engagement via gamification.


Psst! Remember to Register Your Organization to Participate by March 6, and Complete Your Giving Day Profile by April 10th!
Register for Palmetto Giving Day by March 6.
Attest that your organization is compliant with applicable state fundraising laws by April 10th.
How do I register for Palmetto Giving Day?
Graphics: Download Palmetto Giving Day promotional materials including logos, social share images, print materials, and more!


Back in October I headed to Richmond Park. There I took some photos of the Red deer stags.
The calves in this one seem unimpressed by the stags bellowing.
A couple of youngsters were practising rutting.
I also photographed the hinds.
This one had some jackdaws feeding on it!


text:
package com.llf.basemodel.recycleview;

import android.animation.ValueAnimator;
import android.content.Context;
import android.graphics.Canvas;
import android.graphics.Color;
import android.graphics.Paint;
import android.graphics.Path;
import android.graphics.PathMeasure;
import android.util.AttributeSet;
import android.util.DisplayMetrics;
import android.util.TypedValue;
import android.view.View;
import android.view.animation.LinearInterpolator;

/**
 * Created by llf on 2017/1/5.
 * 底部加载转圈的view
 */

public class LoadingView extends View {
    private static final String TAG = LoadingView.class.getSimpleName();

    private int width, height;
    private float radius;
    private Paint mPaint;
    private Path mPath, dst;
    private int circleWidth;
    private PathMeasure mPathMeasure;
    private float mAnimatorValue = 0;
    private ValueAnimator mValueAnimator;//属性动画

    public LoadingView(Context context) {
        this(context, null);
    }

    public LoadingView(Context context, AttributeSet attrs) {
        this(context, attrs, 0);
    }

    public LoadingView(Context context, AttributeSet attrs, int defStyleAttr) {
        super(context, attrs, defStyleAttr);

        circleWidth = dpTpPx(4);
        mPaint = new Paint(Paint.ANTI_ALIAS_FLAG);
        mPaint.setStrokeWidth(circleWidth);
        mPaint.setStyle(Paint.Style.STROKE);
        mPaint.setColor(Color.parseColor("#ffff4444"));
        mPaint.setStrokeCap(Paint.Cap.ROUND);

        mPath = new Path();
        dst = new Path();
        mPathMeasure = new PathMeasure();

        mValueAnimator = ValueAnimator.ofFloat(0, 1);
        mValueAnimator.setDuration(1200);
        mValueAnimator.setInterpolator(new LinearInterpolator());
        mValueAnimator.setRepeatMode(ValueAnimator.RESTART);
        mValueAnimator.setRepeatCount(ValueAnimator.INFINITE);
        mValueAnimator.addUpdateListener(new ValueAnimator.AnimatorUpdateListener() {
            @Override
            public void onAnimationUpdate(ValueAnimator animation) {
                mAnimatorValue = (float) animation.getAnimatedValue();
                invalidate();
            }
        });
        mValueAnimator.start();
    }

    @Override
    protected void onMeasure(int widthMeasureSpec, int heightMeasureSpec) {
        int widthMode = MeasureSpec.getMode(widthMeasureSpec);
        int widthSize = MeasureSpec.getSize(widthMeasureSpec);
        int heightMode = MeasureSpec.getMode(heightMeasureSpec);
        int heightSize = MeasureSpec.getSize(heightMeasureSpec);

        int resultWidth = 500;
        int resultHeight = 500;
        if (widthMode == MeasureSpec.EXACTLY) {
            resultWidth = widthSize;
        } else {
            resultWidth = Math.min(resultWidth, widthSize);
        }

        if (heightMode == MeasureSpec.EXACTLY) {
            resultHeight = heightSize;
        } else {
            resultHeight = Math.min(resultHeight, heightSize);
        }

        setMeasuredDimension(resultWidth, resultHeight);
    }

    @Override
    protected void onSizeChanged(int w, int h, int oldw, int oldh) {
        width = w;
        height = h;
        radius = Math.min(w, h) / 2;
        mPath.addCircle(width / 2, height / 2, radius - circleWidth, Path.Direction.CCW);
        super.onSizeChanged(w, h, oldw, oldh);
    }

    @Override
    protected void onDraw(Canvas canvas) {
        dst.reset();
        mPathMeasure.setPath(mPath, false);
        float stop = mPathMeasure.getLength() * mAnimatorValue;
        float start = (float) (stop - ((0.5 - Math.abs(mAnimatorValue - 0.5)) * 200f));
        mPathMeasure.getSegment(start, stop, dst, true);
        canvas.drawPath(dst, mPaint);
    }

    private int dpTpPx(float value) {
        DisplayMetrics dm = getResources().getDisplayMetrics();
        return (int) (TypedValue.applyDimension(TypedValue.COMPLEX_UNIT_DIP, value, dm) + 0.5);
    }
}


does anyone have pictures of sissy shemales? or cuckolds?
There are tons of hot sissies on Xhamster.
Onjulic is a pretty little sissy She's so cute I just want to pull her pig tails!
"ImageFap" is also a good source.
Last edited by a9127; 04-11-2018 at 08:03 PM.
Some pretty sissies I'd like to play with!


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At Homes by Rolwes our custom home and remodeling projects are the result of a collaborative team effort of 3rd and 4th generation family members, that are part of a family which has a rich history and tradition of building homes in the St. Louis area. For more than 65 years the Rolwes name has been synonymous with vision, attention to detail and creativity in the design and construction of new homes.
Larry Rolwes has more than 45 years of experience in the home-building industry. Together with his two brothers they built many innovative and award-winning communities. Homes by Rolwes is dedicated to excellence in every phase of the building process. It shows in our architecturally distinctive and innovative designs, and in our desire to create homes that improve the quality of living for our homeowners. We work with you one on one to design and build the home of your dreams. We approach remodeling with the same commitment that we take toward building a new home. Our exceptional team effort, combined with a high level of professionalism, pride in workmanship and expert site management, has earned us a reputation for delivering a quality home-building or remodeling experience that meets your highest expectations for exceptional design, quality craftsmanship and affordable modern living.
"My husband and I found Larry Rolwes and our home lot to be pure serendipity!"
"We had had only ever dreamed of building and met Larry with the help of our realtor and our plan was born! The exterior design and details, and the inner layout of our home were met with experienced, yet flexible options that met our needs and wants. Larry had a wealth of experience building homes and a list of professional resources that assisted with building, electrical, plumbing and lighting, etc. He was willing to meet our particular need and truly helped our dreams become a reality and my husband and I are truly grateful to Larry and his team!"
"It is with our great pleasure to reflect on our amazing experience working with Larry Rolwes. We have just celebrated three years of living in a beautiful home Larry built. A few highlights that made our buying experience so memorable include the fact he kept his word and completed a significant amount of upgrades within a twenty-one day scheduled closing."
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Our home, from design to structure and quality has been a model of professionalism, a measurable piece of craftsmanship, a source of excitement for the vibrancy of our community and a reflection of the integrity in those involved in the build as employees of or vendors for Homes by Rolwes.
As a retired Pharmacist who previously owned a Pharmacy in Florissant I have had many business contacts and professional interactions with patients and business people all over North County. I can tell any prospective client of Larry Rolwes, without hesitancy, that they will be dealing with a man of character, honesty, truthfulness, and passion in all aspects of his business and family.
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On 12 June 2018 and following the United States withdrawal from the Joint Comprehensive Plan of Action (Iran Nuclear Deal) on 8 May 2018, the UN Secretary General released his fifth report on the implementation of Security Council Resolution 2231 (2015). The UN Secretary General is required to report to the Security Council on the implementation of the resolution every six months. Therefore, this 5th report provides an assessment on the implementation of the resolution since the issuance of the 4th report on 8 December 2017.
There were 13 proposals submitted through the Procurement Channel to participate in or permit activities with Iran for nuclear or non-nuclear civilian end uses. This figure is up from 8 proposals submitted in the previous reporting period and brings the total number of proposals submitted since Implementation Day (16 January 2016) to 37. Of these 37, 24 proposals have been approved by the Council, 3 have been disapproved, 7 have been withdrawn by the proposing state, and 3 are currently under review.
While more frequently used than in the first year, the number of submissions demonstrates that activity in the procurement channel remains quite low in comparison to expectations, and this is partly due to a lack of awareness by sellers, and in some cases national authorities of its existence.
Information was submitted from 2 member states (the United Arab Emirates (UAE) and the United States of America about attempts by Iran to procure apparently-controlled dual-use items outside of the authorised channels Notably four shipments were seized by the UAE while in transit to Iran. The items involved 40 cylindrical segments of tungsten, 1 inductively coupled plasma mass spectrometer, 10 capacitors, and 1 titanium rod. As these materials are control list items governed by the Nuclear Supplier Group Guidelines of Nuclear Related Dual-Use Equipment, they would have required advanced approval by the Security Council in line with the provisions of paragraph 2 of Annex B of resolution 2231 (2015).
U.S. authorities informed the Secretariat that two commodities – carbon fibre and aluminium alloys again governed by the Nuclear Supplier Group Guidelines of Nuclear Related Dual-Use Equipment had been transferred to Iran over the last year without prior approval of the Security Council as would have been required for such items.
Iran responded to the accusation by stating that it was the responsibility of the exporting state to seek approval through the procurement channel. While this is true, the response negates the fact that Iran is required to issue end user certificates for all such items before they are imported to the country so that the Iranian government cannot claim that it was not aware of the imports. As such, the statements in the UNSGs report assert that Iran has violated UNSCR2231 and the JCPOA, albeit in a relatively narrow and technical way.
In examining 5 of 11 ballistic missile launches (22 July and 4 November 2017, and 19 December 2017 and 5 and 30 January 2018) by Yemen's Houthi rebels at Saudi territory, the Secretariat found that some component parts in the debris of launches had been manufactured in Iran. Specifically, the Secretariat found that the features of the 5 missiles examined are consistent with those of the Iranian Qiam-1 short-range ballistic missile.
This latter finding supports that of the UN Panel of Experts on Yemen in January 2018, which reported that the Borkan-2H short-range ballistic missile fired at King Khaled International Airport in Riyadh, Saudi Arabia, in November 2017 "was a derived lighter version, designed specifically by the manufacturers of the Qiam-1" missile.
The Secretariat further assessed that the logo on the jet vane actuators matches that of the Iranian entity Shahid Bagheri Industries (S.B.I.), an Iranian entity linked to composite rocket fuel and missile technology. The Secretariat also observed that a printed circuit board was marked with SHIG 6081, where SHIG is an abbreviation for the Shahid Hemmat Industrial Group, reportedly responsible for Iran's liquid fuelled ballistic missiles.
To read the full report, please click here. The next report of the Secretary General will be issued in December 2018.
On 12 June 2017, the VCDNP, with support from King's College London, organised an event entitled "JCPOA Procurement Channel: Status and Lessons Learned." The event was chaired by Laura Rockwood, VCDNP Executive Director, with opening remarks by the Ambassador of the European Union (EU) to the International Organisations in Vienna Didier Lenoir. The speakers included officials actively engaged in the Procurement Channel from the UN Secretariat, the EU External Action Service (EEAS) and the Islamic Republic of Iran. The event was organised under the auspices of the VCDNP's newly launched European Non-Proliferation and Security Initiative (ENSI); Ian Stewart, who directs the ENSI, also participated.
The event focused attention on an underutilised mechanism of the Joint Comprehensive Plan of Action (JCPOA) intended to ensure that trade in nuclear-related items is consistent with the principles and requirements of the agreement: the JCPOA Procurement Channel.
In her welcoming remarks, Laura Rockwood noted that, a year and a half into the implementation of the JCPOA, it was timely to consider whether the Procurement Channel was living up to its expectations. It was with this in mind that the VCDNP had organised the event.
The JCPOA Procurement Channel includes measures intended to ensure that while Iran is able to benefit from regular trade in the field of single and dual‑use items of nuclear relevance, such items cannot be diverted to support a nuclear programme in Iran inconsistent with the JCPOA. The Procurement Channel is run by the Procurement Channel Working Group (PWG) which is coordinated by the EEAS, and has seven participating States: United Kingdom; the United States of America; France; Germany; Russia; China; and Iran. The channel is designed to receive proposals from States interested in exporting goods to Iran. The PWG has 20 working days (extendable to 30 days) to consider the proposals on any one export good. The PWG operates by consensus and once their decision has been made it is sent to the Security Council for its final decision. The Security Council has five days to make its decision, which is then communicated to the proposing State in the form of a written letter.
In his remarks, Erik Marzolf, Senior Political Affairs Officer in the Security Council Affairs Division of the UN Secretariat, outlined that the JCPOA, was endorsed by the Security Council through resolution 2231 (2015), just six days after the agreement was reached by the E3/EU+3 and Iran. This resolution terminated the provisions of all previous Security Council resolutions on the Iranian nuclear issue and replaced prohibitions with certain restrictions, including on nuclear-related transfers to Iran.
He noted that resolution 2231 generated a distinct working mechanism which differs from that which existed during the sanctions period. In particular, there was no longer a dedicated committee of the Security Council charged with overseeing implementation. Instead, all tasks are directly undertaken by the Security Council and one of its members (on a rotating basis) acts as the facilitator. This year it is Italy, last year it was Spain. The specific role of the Secretariat is to support the facilitator and to report every six months to the Security Council on the implementation of resolution 2231. The Procurement Channel is a system derived and endorsed by the resolution and administratively supported by the UN Secretariat.
Mr. Marzolf noted that the Secretariat acts as the point of contact for States in submitting proposals to the Procurement Channel. He emphasized that the Secretariat is not involved in the substantive review of the proposals. States are encouraged to submit proposals through UN Missions in New York, using the templates available on the UN website in all six official languages. Once proposals have been received, the UN Secretariat is tasked with translating them into English before providing the proposals to the PWG for its consideration. Translations are usually completed within a 24 to 48 hour time period. The proposals are handled in the participating States capitals and the EEAS in Vienna serves as the coordinator. The duration of the review process ranges from 42 and 58 calendar days and to date averages 47 days. Once the outcome of the review is determined, the Secretariat informs the Member State of the decision of the Council. Mr. Marzolf indicated that all proposals submitted thus far had been processed in due time with consideration given to confidentiality.
Klemen Polak of the EU External Action Service and coordinator of the PWG noted that trade with Iran had entered a new era as a result of the JCPOA. The Procurement Channel, he said, had been quickly set up, with the necessary administrative items, such as templates, available as of Implementation Day. The Procurement Working Group has met every third week in Vienna since then and is the only working group under the JCPOA that has regular scheduled meetings.
Mr. Polak also mentioned the need to balance transparency with confidentiality, given that the information provided through the Procurement Channel could involve potential commercial sensitivities. In the spirit of transparency he highlighted that the PWG reports every six months to the Security Council on its review of the proposals. Mr. Polak concluded that to date a positive trend could be seen and it appeared that the Procurement Channel was working properly and that the PWG had provided sufficient information and guidelines for States to submit proposals. He also noted that of the proposals received to date, most included items on the dual-use list, which includes manufacturing equipment such as for the automobile industry. Though the Procurement Channel is working he recognized that it is still a new mechanism and more work needs to be done, especially on a national basis within each participating State.
Dr. Behzad Saberi, Counselor, Permanent Mission of the Islamic Republic of Iran to the International Organisations in Vienna who represents his country in the Procurement Working Group, reflected on the functioning of the Procurement Channel from an Iranian perspective. He noted that the Procurement Channel was one of the last measures to be agreed on in the JCPOA negotiations, due to mutually exclusive principled positions of different parties which were only brought to agreement through creative solutions and flexibility shown by all sides. He clarified that it had taken some time for Iran to set up the internal mechanisms necessary for the issuance of the end user certificates required under the Procurement Channel, and further explained that Iran had now established the Atomic Energy Organisation of Iran as the certifying authority for nuclear items and the Ministry of Industry, Trade and Mine as the certifying authority for non-nuclear civilian end users.
Dr. Saberi noted that the working mechanisms of the Procurement Channel were indeed set up effectively, and with a positive working spirit, but that, to date, too few cases had been referred through the Channel than expected. He elaborated on a number of reasons why he thought the use of the Channel had not yet yielded a greater output. These included, inter alia: (a) the considerable time that inevitably had been needed for setting up the arrangements and working methods related to the Procurement Channel in (and among) the Working Group, the UN, Iran and other participants of the Working Group. He mentioned that before the JCPOA Implementation Day there existed other more pressing priorities, and that therefore serious work on the necessary preparations for the Procurement Channel began only afterwards; (b) the novelty of the mechanism, meaning that States, industries (both in Iran and in the exporting countries), banks and financial institutions would require some time to become aware of the new possibilities and learn how to use it; (c) the fact that cases resulting from commercial transactions could naturally take some time to negotiate; (d) uncertainties among the private sector about re-engaging with Iran, as a result of the "shenanigans, sabotages and actions" by certain governments and interest groups who have retained their mind-set of sanctions and pressure; and (e) the fact that the appetite on the demand side seems to be less than expected. In this regard he highlighted that, for a country that had been under sanctions for a number of years, industries had had to learn either to indigenize the needed technology and become independent from foreign supply, or to modify their production lines to obviate the need for sanctioned items. Therefore, it will take time for such industries to gain trust in the efficiency and sustainability of this new network and to re-structure their planning to include items that may not have been available from abroad before the JCPOA. In his final remarks, he stressed the need for the Procurement Channel to be seen as available to all and as a reliable mechanism. In building this trust, more proposals could filter in through the channel in the future.
The overall sense from the three speakers was that the mechanisms were well‑established but underutilised. Ambassador Lenoir Didier of the EU Delegation in Vienna described the JCPOA as a bright force in an uncertain era and commented that the improving Iranian economy was a positive sign for the JCPOA's viability. Nonetheless, the JCPOA's challenges were noted. Ambassador Lenoir highlighted that the JCPOA – and the Procurement Channel in particular – was a technically complex and politically sensitive agreement, which required daily engagement among officials. All speakers noted the positive trend of the channel but also were not blind to the current shortfalls. However, the common belief that the JCPOA and the Procurement Channel are a success and in the best interest of all prevailed, and the speakers highlighted their own entities serious commitment to achieving the results defined in the agreement.
During the discussion period, the question of whether the Procurement Channel was necessary was raised. It was suggested that the Procurement Channel provides a useful additional mechanism for all parties to maintain confidence that Iran, and the other members of the E3/EU+3, are maintaining their commitments to the JCPOA. Further, it was suggested that, given broader geopolitical uncertainties, such additional confidence building measures would be useful in maintaining the JCPOA in the years ahead.
Another participant emphasized the technical nature of the Procurement Channel process, highlighting that the Channel only looks at the technical aspects of the mechanisms and proposals. As long as proposals are consistent with the JCPOA and resolution 2231, there is no reason why such proposals should not be approved. Referring to the 10 year timeframe for the Channel, the participant noted that little outreach could be done in such a short period. Thus, in encouraging States to submit proposals, it is important to recognize that no one State will be "black listed" or shunned should a proposal be denied, but rather the State would be encouraged to re-submit a proposal that is within the technical guidelines defined in both the JCPOA and resolution 2231 so that it could be accepted by the Procurement Working Group and the Security Council.
In concluding, Ian Stewart observed that mechanisms like the Procurement Channel would help to sustain the JCPOA over the next decade, but that it was incumbent on the E3/EU+3, Iran and other parties to secure a longer-term resolution of the issues that the JCPOA sought to address. He noted that, with the newly launched ENSI at the VCDNP, the Center hoped to play a useful role in this context through the organisation of further follow-on events and activities.
More information on the Procurement Channel can be found here.
This event was also featured on the EEAS website here.