text:
Why the End of Life Choice Bill will increase our appalling suicide rate
Right to Life believes that New Zealanders have a right to be fully informed of the potentially disastrous effect on our appalling suicide rate if we vote yes at the referendum for the introduction of the End of Life Choice Act. It is imperative that the government urgently provide accurate information to the people of New Zealand on the detrimental effect that legalised assisted suicide will have on our appalling suicide rate, currently 685 for 2018/19.
The Minister of Health, the Hon Dr David Clark advised Right to Life in response to our Official Information Act request that, "I can confirm that the Ministry of Health does not have any evidence that the EOLCB will have, or will not have, a causal effect on New Zealand's suicide rate."
Right to Life wrote to the Minister of Health on 6 December requesting that the Minister give urgent consideration to directing the Ministry of Health to conduct research into the effect that the EOLCB would have on New Zealand's appalling suicide rate. The Minister replied on 8 December stating, "thank you for your correspondence. Thank you for taking the time to write." That was it.
This response contradicts the advice given to the Justice Select Committee considering the EOLCB, in a Departmental Report by the Ministry of Health and Justice. The advice was that, "There is no evidence that assisted dying impacts suicide rates." This advice to the Select Committee and to Parliament who voted to pass this dangerous life-threatening bill was misleading.
The misleading claim was countered in a respected and comprehensive study conducted in 2015 by David Jones and David Paton of states in the United States that had legalised assisted suicide. Their study found that legalizing Physician assisted suicide [PAS] was associated with a significant increase in total suicides, (including PAS) and no reduction in rates of non -assisted suicide.
It is a serious crime to falsify a death certificate. Death certificates for assisted suicides and death by lethal injection are falsified to disguise the true cause of death. Assisted suicides would not be added to the suicide statistics. Why has government and Parliament colluded to cover up the killing of the vulnerable by allowing the falsifying of death certificates and refusing to acknowledge assisted suicide as suicide?
Right to Life has written to the Minister of Health requesting that the Ministry of Health and the Ministry of Justice be asked to undertake detailed research that investigates the possibility of a causal link between suicide rates and the practice of assisted dying. This should include an examination of the change in suicide rates in Belgium and The Netherlands in relation to the recent marked increase in the proportion of deaths from euthanasia in those countries. It should also include an examination of emerging trends in Canada and the Australian State of Victoria.
Ken Orr,
Filed Under: Assisted Suicide, David Seymour, Decriminalisation, End of Life Choice Bill, Euthanasia, Media Releases Tagged With: Andrew Little, David Clark, Decriminalisation of Euthanasia, End of Life Choice Bill, euthanasia, euthanasia referendum, Minister of Health, Minister of Justice
Is the Government Serious about Suicide Prevention?
Media Release 3 June 2019
Right to Life asks how can the government be serious about supporting its Suicide Prevention Strategy while at the same time the Prime Minister, the Deputy Prime Minister and an overwhelming number of government MPs support government sanctioned and funded doctor assisted suicide?
A total of 668 people died by suicide in New Zealand in the 2018 year to June. Our statistics are appalling, we have the highest youth suicide rate in the 41 member OECD.
In December 2018 a total of 37 Labour MPs and nine NZ First MPs voted to support the End of Life Choice bill at its first reading. This Private Member's bill of David Seymour seeks to legalise assisted suicide for those who have a serious terminal illness or irremediable disability. How can the Prime Minister say that she was weary of sending any message, "that there was a tolerance for suicide in New Zealand."
Right to Life does commend the government for including in the budget for 2019 funding for suicide prevention; specifically $40m for Maori and Pasifika suicide prevention, more suicide prevention services in district health boards, bereavement counselling and a review of the Coroner's data-sharing service. Free counselling for up to 2,500 people is to be provided (four sessions per person) for those who have lost a loved one to suicide. The Ministry of Health is finalising a draft national suicide prevention strategy under urgency.
The government's Suicide Prevention Strategy 2017 defines suicide as, "a death where evidence shows that the person deliberately brought about their own death". In New Zealand a coronial ruling decides whether a death is classified as suicide. The strategy does not seek to define suicide as rational or irrational. All suicide is irrational.
The He Aranga report recommended that the government set a target for the Governments Suicide Prevention Strategy to reduce the suicide rate by 20 per cent by 2030. The Minister of Health, the Hon Dr David Clark stated, "We're not prepared to sign up to a suicide target because every life matters, and one death by suicide is one too many … this Government is committed to tackling our terrible record on suicide."
The Prime Minister is commended for stating ,"We were very wary of sending any message, particularly to bereaved families, that there was a tolerance for suicide in New Zealand. Every single life matters and it's important for us to send that message," The government is going to set up an office of suicide prevention.
How though can the government on one hand say that they are going to invest $40 million on a Suicide Prevention Strategy to reduce suicide in New Zealand, while on the other hand invest in providing doctor assisted suicide. This would be the eventuality should the EOLCB, that will empower doctors to kill their patients or assist in their suicide, be passed?
Filed Under: Assisted Suicide, David Seymour, Decriminalisation, End of Life Choice Bill, Euthanasia, Jacinda Ardern, Labour, Media Releases, New Zealand, RTL Activities Tagged With: David Seymour, End of Life Choice Bill, Jacinda Ardern, Minister of Health, right to life, suicide, Suicide prevention, Suicide Prevention Strategy, youth suicide
Abortion Supervisory Committee,
Private Bag 32001,
Dear Ms Williams
Thank you for your letter of 17 February 2014. Right to Life is disappointed that your Committee refuses to accept the finding of the recent meta-analysis of 36 studies that have been published.
In China in 2012. The studies had revealed that there was a 44 per cent increased risk of a woman developing breast cancer after one abortion. This risk increased with the number of abortions that a woman had. There is an epidemic of breast cancer in China following the introduction of China's one child policy.
We are aware that studies that reveal a link between abortion and breast cancer are dismissed by organisations that promote the abortion industry. In the United States there are seven States that have passed legislation making it mandatory that women seeking an abortion are informed of the link between abortion and breast cancer. Planned Parenthood has gone to court in an endeavour to prevent this information being given to women.
Filed Under: Abortion, ASC, Breast Cancer Link, Letters Tagged With: abortion breast cancer link, ASC, Minister of Health
Questions asked of Minister of Health Regarding Medical Abortions at Tauranga Clinic
Hon Tony Ryall,
Dear Mr Ryall,
Official Information Act – Request
The Bay of Plenty District Health Board has a contract with the New Zealand Family Planning Association to fund the performance of medical abortions at the Association's Tauranga clinic. It is not the Association's intention to perform surgical abortions.
I wish to request under the Official Information Act, the following information:
What is the fee paid by the District Health Board to the FPA for each medical abortion performed on a resident woman at the Tauranga Clinic and what other services are included?
Is there a separate payment made if counselling is provided before or after an abortion?
Is there a separate payment made for the time spent by a certifying consultant interviewing a woman considering an abortion at the Tauranga Clinic?
Is there a payment made in the event that a woman considering an abortion declines to proceed with the abortion or is declined by certifying consultants?
Do you require the Family Planning Association to comply with the Contraception Sterilisation and Abortion Act 1977, section21 [2] [b] which requires, "That there are in the institution, adequate surgical and other facilities, and adequate and competent staff, for the safe performance of abortions."
Filed Under: Abortion, Letters Tagged With: Medical Abortion, Minister of Health, New Zealand Family Planning, Tauranga, Tony Ryall
Suicide reverberates for seven generations
— Old Chinese Proverb


text:
Directory of Musicians
Remembering Keely Smith
Keely Smith (1928 – 2017)
Paying tribute to the ballad singer
Keely Smith (Mar. 9, 1928 – Dec. 16, 2017), while best known for her association with her former husband Louis Prima, had a strong solo career as a ballad-oriented singer.
Born in Norfolk, Virginia, Smith began singing professionally when she was 15 with the Earl Bennett band.
When she was 21 in 1949, she met and began performing with trumpeter-singer Louis Prima, four years before they were married.
After Prima began using tenor-saxophonist Sam Butera and his rollicking band in the mid-1950s, the Prima-Smith combination hit pay dirt, becoming the hottest act in Las Vegas with their high-powered show.
While Prima and the musicians were hyper and humorous, Keely Smith wore a deadpan expression as if she were not impressed by it all, only showing feeling when she emerged from the hilarity to sing a warm ballad.
Smith, who had a solo hit in 1957 with "I Wish You Love," divorced Prima in 1961 and had a busy solo career in the 1960s with a new hit in "You're Breaking My Heart."
After years off the scene, the Retro Swing movement helped bring her back to singing in 1985 and she continued performing until about a decade before her death at age 89 from heart failure.
This version of "When Day Is Done" features Keely Smith on a 1958 Frank Sinatra television special, joking a bit with Louis Prima and Sinatra before displaying the beauty of her voice on the 1920s ballad.
-Scott Yanow
PreviousRemembering John Abercrombie
NextRemembering Kevin Mahogany
Ella Fitzgerald & Sinatra
Remembering Howard Johnson
Cedar Walton and Bobby Hutcherson Quartet
Remembering Bob Cunningham
Subscribe to Jazz on the Tube
Jimmy Cobb Day
Remembers Sammy Nestico
Obituary, Sammy Nestico
Remembering Junior Mance
Junior Mance, Obituary
Horace Parlan Day
Ed Thigpen, Horace Parlan, Jesper Lundgaard
Steve Grossman Day
Obituary, Steve Grossman

redpajama_set_name: RedPajamaCommonCrawl


As Harvey lashed southeastern Texas over the weekend, celebrities rallied for the relief effort.
Comedian Kevin Hart led the charge Sunday night, donating $25,000 and challenging his celebrity friends to donate to the Red Cross amid catastrophic flooding in the Lone Star State.
"I think we've participated in a lot of challenges on the Internet, some meaningful, some meaningless, but we've all done them. I've been a person that's partaken in several of them," Hart said in an Instagram video.


As rugged as razorback ridges, this is a bag designed for those who don't need to carry a whole lot of junk with them. The unique design is crafted from Australian oilskin, making it tough, stylish and water repellent.
The padded, comfortable shoulder band and stabilisation strap makes it ideal for physical activity like trail running or jogging.
As rugged as razorback ridges, this is a bag designed for those who don't need to carry a whole lot of junk with them.
And for those who want to stand out. This bag's unique design is crafted from Australian oilskin, making it tough, stylish and water repellent. The padded, comfortable shoulder band and stabilisation strap makes it ideal for physical activity like trail running or jogging.
It's got adequate room in its two zippered pockets for the essentials, and the main compartment has two internal pockets to keep everything neat and contained. There's also an eyelet through which a headphone cable can be passed though, and a phone pocket on the strap's front.
Additionally, the two leather straps on the back can be used to attach a drink bottle or stow a jumper if you get too warm.
Waterproof, rugged oilskin keeps your stuff dry and looks good doing it.
Two zippered pockets and two internal pockets to keep important things secure.
Comfortable, padded strap can be swung it around and it can be accessed while wearing it.
Stabilising strap holds the bag in place while running.
Eyelet to allow earphone cable to pass through bag.


Dom Rafael Tinto has an intriguing expression of black fruits, ripe fruits with spices, and liquorice in the background. Rich and elegant attack, with notes of black berries, mellow tannins, great complexity, and a long spicy finish.
Alentejo wine region covers about a third of Portugal located eastern of Lisbon. This well-known wine region is highly respected in Portugal for its red wines. The region has eight sub-regions but most of the production is sold under Alentejo DOC title. These wines are often made from Aragonez (Tempranillo), Castelao, or Trincadeira.


THIBAUT COURTOIS has enjoyed a terrific season but the Chelsea star have been knocked off the No.1 spot.
Which goalkeeper has racked up the most clean sheets so far this season?
Premier League goalkeepers have endured a rough season as Romelu Lukaku, Harry Kane and a host of top strikers have hit merciless form since August.
Thibaut Courtois enjoyed some inspirational form, while David de Gea was named in the PFA Team of the Year but neither kept the most clean sheets in the league.
Over 30 different goalkeepers have lined up in the Premier League this season but who will claim the Golden Glove?
CLICK THROUGH THE GALLERY TO REVEAL THE TOP GOALKEEPERS IN THE PREMIER LEAGUE ACCORDING TO THEIR CLEAN SHEET TALLIES.


Stories are an integral part of our experience as human beings. As Roland Barthes put forward, narrative "is present at all times, in all places, in all societies; indeed narrative starts with the very history of mankind; there is not, there has never been anywhere, any people without narratives; all classes, all human groups have their stories…." Narrative theories (in literature, media studies, psychology, or neurology) have explored the impacts of narratives on our ways of being, thinking, dreaming, and remembering. This article will explore the implications of narrative theories for learning in a contemporary art museum context.
The different discourses of the museum, the way narratives are constructed in museum spaces, and how museum spaces can be considered syntactical have been explored by scholars such as Mieke Bal, Bruce W. Ferguson, and Tony Bennett. This article proposes to build on this existing literature as well as other areas of narrative theory to investigate beyond the discursive system of the museum display and its narrative qualities, in order to focus on the impact of these narratives on learning processes. The art museum, and the contemporary art museum in particular, implies a certain frame for the visitor and a certain set of expectations: an openness of interpretation, a type of experience, a kind of authorial voice, etc. As Ferguson argues, in art exhibitions "the idea that meanings are impossibly unstable is embraceable because inevitable. With works of art, meanings are only produced in context and that is a collective, negotiated, debated and shifting consensual process of determination. Representation is always in crisis, which is always a form of freedom." This instability of meaning is precisely what makes art museums a particularly interesting object for studying the impact of diverse narrative forms on learning in museums.
Learning in museums has been defined in many ways, but for the purpose of this article we will define museum learning as learning that is lifelong, free-choice, and multiform. Learning in the museum is a combination of learning cognitive information, learning affective information, and learning psychomotor information. This article focuses on this specific definition of learning, as it is particularly suitable for art museums where bodies and emotions are highly engaged in the learning process. One important aspect of learning in contemporary art exhibitions is the perceived tension between immersive and discursive exhibition designs. While immersive and discursive modes of exhibiting are not opposed to each other, the impacts on visitors and the kinds of learning processes and knowledge these models create are very different. In discursive models, the knowledge created is often in the realm of cognitive information. Discursive exhibition spaces are designed as spaces "that foster negotiation and debate, polarize and politicize space, and invite discussion fraught with contradictory views." Andrea Witcomb describes these kinds of designs as a "polysemic exhibition practice" where multiple voices are curated together into a narrative. On the other hand, immersive exhibition designs aim to create knowledge in the realm of experience and affective information, and they look "to mobilise the visitor's sensations and imagination by integrating them into universes that encourage the reception of the exhibition's messages." Jean Davallon emphasizes that immersive models tend to focus on authenticity and truth rather than polysemic debates. If we look back to Mieke Bal's famous description of the museum discursive act as, "look! – that's how it is!," or more recently, with the implementation of more open forms of museum discourses, "is it how it is?," the contemporary art immersive exhibition takes a different discursive position exhorting the visitor to feel rather than solely look. Indeed, in the immersive model, the art exhibited is not a "mute" or "third person," but a firsthand experience/voice for the visitor. The power of the museum as expository agent is therefore theoretically diminished by the unmediated impact of the artwork on the visitor. This article will focus on learning in these two environments and explore what kind of learning takes place in immersive and discursive exhibitions in art museums. It will do so investigating how narrative theory can contribute to our understanding of learning processes.
If we accept Jerome Bruner's position that narratives define human identities and reality, then immersive experiences in museums change who we are as visitors. The immersive experience of the museum visit enters the visitor's narrative. But this experience will most likely enter the visitor's narrative without giving the visitor an opportunity for critical thinking or analytical engagement with the material the museum presents. What kind of learning takes place, then? Do immersive exhibitions offer the ideal environment for transformative learning, emotional learning, and/or experiential learning? On the other hand, if the approach of the museum exhibition is discursive, the experience of the museum enters the visitor's narrative in parallel to the visitor's own, as a story that can be critically assessed, as a discourse that can be analyzed. The discursive creates a space for reflection but diminishes the emotional engagement. What kind of learning takes place here? Is it still experiential learning? Do discursive exhibitions offer the ideal environment for other types of learning?
We will first explore how narrative theory can help us better understand the museum public and its relationship to immersive and discursive environments. We will then explore the impact this has on learning by looking at a few specific learning theories particularly relevant to contemporary art museums: emotions in learning theories (especially Robert Zajonc and Richard Lazarus), Jack Mezirow's transformative learning, David Kolb's experiential learning, Peter Jarvis's learning from primary experience, and Étienne Wenger's social theory of learning. Through this theoretical exploration, we hope that the implications of some core aspects of narrative theories on learning in a museum context will emerge and give new perspectives that can further be explored in the field.
Museums have long used narratives as a way to communicate with their public. Art exhibitions are, as Ferguson emphasizes, "narratives which use art objects as elements in institutionalized stories that are promoted to an audience." Tiina Roppola further stresses that "story, or narrative, is the vehicle of choice for channeling the content of the museum, with its absence disconcerting to visitors." If we look at the different "acts" of the history of exhibition design described by Roppola, we can see that narratives, while used in a range of ways, are a constant presence in museum mediation strategies. In "Act 1: staging curiosity," the exhibition displays authority of knowledge and creates a miniature representation of the world for the visitor. Here, the museum presents its narrative as an omniscient narrator would: all-knowing, yet with an individual viewpoint. The story is then passed on to the visitor through display and signage. In "Act 2: a new museum order," the intent of the museum is one of universal knowledge and organization: "to arrange objects in developmental, historicized sequences, culminating in the present." Roppola argues that such exhibition designs carry specific ideologies and played a role in nation-making exercises. There again, the narrative of the museum is an authoritative one. The order of the display as well as the accompanying signage creates a sort of biography of objects, artists, nations, and histories by projecting a narrative that appears impartial and detached. In "Act 3: the world transported," Roppola describes the development of period rooms and dioramas that transport the visitor to different times and places, and "exert covert power through a sense of authenticity." These immersive designs, while giving the visitor the illusion of unmediated experience, reinforce the museum's narrative by staging that narrative in space. In "Act 4: a participatory repertoire," Roppola describes the development of hands-on, participatory, and visitor-centered museums. Based on discovery learning, these models are at first sight less narrative-based. However, it is important to note that, while the creation of the narrative through those displays is left open to interpretation, the visitor is still expected to come to the "right" conclusions. In "Act 5: (de) constructing inclusion," Roppola presents the museum's goal as inclusivity. Its role in regards to narratives then shifts: the museum must collect and include new, other, and underrepresented narratives, and use the visitor's prior knowledge and existing individual narrative to communicate it better. The museum is then in the position of a narrative collector, analyst, and presenter. In "Act 6: spurring the experiential," Roppola describes how experience has become an entry point for the visitor. The museum functions then as a theater catalyzing visitors' experiences. This focus on visitor experience shifts the placement of the narrative from signage and space into the visitor's body. These embodied narratives offer a difficult situation for interpretation: are we still after some "right" conclusions, or is the individual visitor's experience really all that matters? In "Act 7: the (networked) world enters stage left," new mobile technology developments, social media, and crowdsourcing are considered. There again, the narrative seems freed from the authoritative authorial voice of the museum and is instead centered on the visitor's narrative, but one must wonder to what degree this is true in practice.
We see in the different "acts" the impact of new museology on the narrative of exhibitions in general, and that of art museums in particular. As Bal highlights, "If there is anything that would differentiate the 'new' museology from the 'old,' or plain museology, it is the serious follow-up on the idea that a museum installation is a discourse, and an exhibition is an utterance within that discourse." While new museology was not particularly focused on art museums, it is precisely the open nature of the meanings constructed in the context of contemporary art exhibitions that allows for a more flexible type of narrative. As we have seen, museums use and have used narratives in many different ways; narratives are a core museum mediation tool.
But why do narratives work as a mediation strategy for museums? Narratives have a special effect on human beings. Narrative theory, a broad and varied field of study, has been exploring these impacts for decades. We will focus here on specific elements that span several fields of study: literature, media studies, psychology, and neurology. Our approach to narrative theory is therefore interdisciplinary and, to some measure, a constructivist approach.
The first overarching element that we find in most theories is that human beings think in narratives and through narratives by using and understanding specific patterns, structures, motifs, etc. Therefore we, as museum visitors, just as readers, expect certain structures. What those structures are depend on the genre or type of narrative we identify, and this impacts the way in which we relate to the narrative. For example, according to Aristotle, a narrative is expected to have a beginning, a middle, and an end. This means that the receptor of the narrative then expects an exposition, a development, a complication, a climax, and a final resolution. We find this type of narrative used in historical exhibitions, for example, that present a specific historical event in a diachronic manner. Similarly, exhibitions adopting specific literary genres (that of the fairy tale, for example) adopt the form and codes of the genre. Vladimir Propp's seminal study of folktales revealed that the form of a tale could remain unchanged but that its content could change. We see this clearly in fairy tale exhibitions that adapt and play with the narrative codes of fairy tales. What we see here is that there is no specific form for the museum narrative structure that visitors can expect, but rather that the museum narrative adopts forms from other genres and sources. It is these patterns and structures of the narrative that help human beings to understand.
The second, overarching element of narrative theory (coming more from neurological science and psychology studies) is that human beings remember in narratives. Kay Young and Jeffrey Saver, based on Roger Schank, demonstrate that the making of memory is reliant on storytelling: telling the story creates the memory structure that allows us to retrieve memories. Furthermore, they state that "each act of recall is a re-creation" of the narrative rather than the retrieval of an existing "original" story. Horace Porter Abbott further argues that "memory itself is dependent on the capacity for narrative," and that "we do not have any mental record of who we are until narrative is present as a kind of armature, giving shape to that record." This means that narratives are key to the process of memorizing and retrieving or retelling knowledge. This has, of course, an impact on the way museums function, and is particularly important for the educative/learning role of the museum. John Falk and Lynn Dierking highlight that "universally, people mentally organize information effectively if it is recounted to them in a story or narrative form." Furthermore, if we agree with Falk that "just as there is no single right way to learn things and there is no single place or even moment in which learning occurs," then the place of narrative in the museum is central. If we consider that knowledge is initiated in the museum, the narrative proposed by the museum or created in the museum must later be easily reconstructed and re-narrated by the visitor at every memory retrieval event. If we consider museum experience as reinforcement rather than challenging existing knowledge, then the museum must evoke and stimulate links with other narratives, thereby creating the narrative "armature" that will anchor the memorization process. In any case, the museum is a key link in the chain of learning through narrative, and in the process of memorization.
The final, overarching element, and a consequence of the two previous elements, is that narratives construct our identity (or identities) as well as our reality. According to Oliver Sacks and other neurologists, narratives define human identities. Paul John Eakin goes a step further, stating that we create our identity through self-narration. Young and Saver reinforce this argument; to them, memory, self, and narratives are intrinsically linked. Bruner argues that "we seem to have no other way of describing 'lived time' save in the form of a narrative." To him, criteria for self-narration exist but they are unstable, which "makes life stories highly susceptible to cultural, interpersonal, and linguistic influences." For Bruner, it is our whole reality that is built on narratives. In "The Narrative Construction of Reality," Bruner reasserts that we understand reality through narratives, but also that we construct reality using narrative. This has particular significance for the way we consider immersive and discursive exhibitions and their impact on visitors.
These three overarching elements—that we think in and through narrative, that we remember in narrative, and that narratives are central to the construction of our reality and identity—have consequences when we look at the impact of exhibitions on museum visitors.
Whether consciously or unconsciously, exhibitions materially express a discursive stance. That is, they express "reality" from a particular perspective and have particular interests at their core.
This puts into question constructivist approaches to exhibition design. Exhibitions where the visitor is invited to circulate freely do not mean that no narrative will be constructed on the part of the visitor between the different parts of the exhibition. Regardless of whether it is there in the first place, visitors always reconstruct some kind of narrative which will impact the meaning-making process. In his work on artificial intelligence, Schank states that "storytelling and understanding are functionally the same thing." This link between narrative, meaning-making, and understanding implies that plot patterns and motifs impact the perception of the exhibition, the process of meaning-making, understanding, and remembering, which are all key steps in the learning process.
Stories can openly declare themselves as stories, or they can be hidden. When we choose to be in the company of a story by reading a novel or seeing a film, the narrative sets itself off as a narrative, not as a part of our lives; we stand in relation to it as audience to its "performance" as an aesthetic work. However, the storytelling we experience as an event in life can lose its appearance as narrative by virtue of its integration in life.
This confirms our assumption, based on Bruner, that an immersive experience in a museum visit enters the visitor's autobiographical narrative. A visit to an immersive installation becomes something that has happened to the visitor as an individual: it has entered the visitor's own self-narrative. This experience will be integrated in the visitor's own history, and this integration in the autobiographical narrative will not give the visitor an opportunity for critical distance or analytical engagement with/of the experience of the immersive display. The impact of the visit is on an affective rather than a cognitive level. We can even go so far as stating that an immersive art exhibition creates a more than a "performance" narrative but a fiction, that Bal defines as "an account of made-up events, asking for the reader's [or in this case visitor's] 'willing suspension of belief,'" while the discursive experience presents a narrative, "an account […], made up or not, presented from a particular perspective and suggesting that the reader [or visitor] endorse [or not] that perspective." In discursive exhibitions, the narratives the museum presents are experienced concurrently with the visitor's own narrative, as a story that can be critically assessed, as a discourse that can be analyzed. The discursive display creates a space for reflection but diminishes the affective engagement of the visitor, as the narratives are not part of his/her autobiographical narrative. The visitor experiences discursive experience as an external narrative on which he/she can have a critical view or look for existing patterns.
Fig 1. Immersive design experienced as part of the visitor's autobiographical narrative and discursive design experienced as a narrative parallel to the visitor's own narrative.
We have established that narratives are a communication strategy extensively used by museums. We have shown that narrative theory tells us that narratives have an impact on the way humans think, remember, and perceive themselves and the world. Based on narrative theory, we concluded that visitors in museums always reconstruct a narrative, and that this narrative is essential in the meaning-making, understanding, and remembering process of the museum material (that is in every step of the learning process). Based on narrative theory, we also concluded that immersive and discursive exhibition models have a very different impact on the visitor's narrative perception and creation. What are the consequences of these findings on learning in museums?
In the second part of this article, we will explore the consequences of our findings on different learning theories. These learning theories have been chosen because of their relevance to the art museum field, and also because they tend to be used by museum professionals in designing exhibitions, as well as interpretation or education programs.
There are two ways of considering emotions in learning. First, as does Robert Zajonc, we can consider emotions and feelings as a direct, unmediated response to the world or the artwork that then has cognitive consequences. One of the strengths of immersive exhibitions, as we have seen, is the strong emotional connection created by the integration of the experience in the visitor's autobiographical narrative. Immersive exhibitions are constructed on "an approach based on emotion as the trigger to the desire to know and on sensations." But, as Florence Belaën also highlights, immersive models only work if the visitor knows (consciously or unconsciously) the codes that are being used, that is, if the narrative remains undisclosed. The immersive exhibition can therefore be an efficient model to trigger emotions that promote and engage the visitor with cognitive learning. In theory, the immersive model, from the viewpoint of Zajonc on emotions in learning, has the potential to achieve both the learning of affective and cognitive information.
The second way to look at emotions in learning follows Richard Lazarus, who argues that emotion requires prior cognitive interference that we need knowledge to feel and relate. In that case, the discursive exhibition model should be ideal to create this kind of emotional engagement. As the narrative parallels the autobiographical narrative of the visitor, the discourse of the exhibition can be examined cognitively and trigger an emotion.
In any case, emotional (re)action is key in the process of meaning-making, and therefore learning. The exhibition, whether it enters the visitor's narrative or is perceived as a parallel narrative, has an emotional impact. Both immersive and discursive models, through emotion, contribute to the building of knowledge, identity, and the reality of visitors.
While transformative learning was devised in the 1970s to help the reintegration of adult women, this theory is gaining new interest from the museum field, as social integration is becoming a more prominent mission of cultural institutions. Indeed, this theory conforms to ideals of a museum promoting lifelong, free-choice, and multiform learning. The essential characteristics of transformative learning are critical reflection (or critical self-reflection) on assumptions and the creation of a critical discourse that allows the learner to confirm a best judgment. If we look at Jack Mezirow's transformative learning sequence considering the changes in narrative position in immersive and discursive exhibitions, unexpected results appear.
Transformative learning, being based on critical reflection and assumptions (frames of mind), seems more suited to the discursive model's narrative impact. The reflective distance present in the parallel narrative created in the discursive exhibition seems ideal for stages such as the critical assessment of assumptions (Phase 3) or the recognition that others have gone through similar challenges (Phase 4). However, when we look closer at the immersive model and its impact on narrative perception of the visitors and identity construction, it actually has the potential to facilitate/enable some phases of transformative learning, such as the creation of a disorienting dilemma (Phase 1), creating space/time for self-examination (Phase 2), allowing for the exploration of options for new roles (Phase 5), providing space/time for the provisional trying of new roles, and the building of competence and self-confidence (Phases 8 and 9). So while instinctively the discursive model would seem to be the best fit for transformative learning to take place, when looking at the narrative impacts of the models on the visitors it becomes clear that immersive exhibitions are as beneficial to the transformative learning process. For transformative learning, immersive and discursive models are, in theory, complementary.
David Kolb's theory has been increasingly popular in museum interpretation and education programs (especially in the Netherlands). His theory takes as a starting point that there are different types of learners that have certain preferences in terms of learning style: accommodators (who prefer doing and feeling), divergers (who prefer feeling and watching), assimilators (who prefer watching and thinking), and convergers (who prefer thinking and doing). However, Kolb argues that, despite those preferences, several stages should be covered for the learning cycle to be complete: active experimentation (doing), concrete experience (feeling), reflective observation (watching), and abstract conceptualization (thinking). If we look at Kolb's cycle of experiential learning and consider the changes in narrative posture from immersive to discursive, we see that the two models cover different parts of the learning cycle.
Fig 2. Kolb's experiential learning cycle applied to immersive (red) and discursive (green) exhibition designs.
The immersive exhibition design, being anchored in the body of the visitor and integrated in the visitor's narrative, allows for a more hands-on experience. The immersive model of exhibition covers active experimentation and concrete experience. The discursive exhibition design, because it offers a narrative distance, will be useful in the reflective observation phase. This narrative distance will also allow for a generalization of the experience, leading to the abstract conceptualization phase. According to Kolb, this cycle needs to be complete for learning to take place. Therefore, in that particular learning system, immersive and discursive are complementary.
For Peter Jarvis, "all human learning begins with disjuncture—with either an overt question or with a sense of unknowing." For him, the social and the interaction are key to learning, as learning is both existential and experiential. In Jarvis's learning from primary experience model, sensation or disjunction are the motor that enables learning.
Fig 3. Jarvis's learning from primary experience model applied to immersive (red) and discursive (green) exhibition designs.
In this model, both sensation and disjunction are given equal status as potential triggers to learning. Sensation will be the trigger in immersive models while disjunction (a challenging idea, for example) will be the trigger in discursive models. However, to Jarvis, visitors cannot make meaning alone: they need a social interaction to be enabled as a learner. Therefore the exhibition, whichever model it relies on, must provide for a social context that encourages interaction. Immersive or discursive models are not inherently more or less able to create that social context, but it does need to be planned for in the exhibition design. It is also interesting to consider here the role of others (listeners/receptors) in the production of narrative. A narrative (and therefore also a visitor's narrative) is often produced for others and exists within a broader social and cultural discourse. There should, therefore, be a willingness among visitors to share stories gathered from the exhibition or autobiographic constructions with some peer group. Recent developments in participatory practices have tried to harness this narrative potential and potential social interaction to improve the quality of learning in museums.
We established that there is a significant difference between immersive and discursive exhibitions in the way the narrative impacts on and is created by visitors. We also established that immersive and discursive modes of exhibition seem rather equivalent or complementary in the way they promote learning, and we can already quite confidently say that a hybrid exhibition environment with some immersive parts and discursive parts seems to be an ideal museum learning environment. This brings us to the challenges of art museums: modern and contemporary artworks are often intrinsically already immersive or discursive before they enter the museum. To achieve an optimum visitor learning experience, it is then the role of the museum to create environments and support material that allow visitors to move between the discursive and the immersive. Paul Ricœur, in "Life in Quest of Narrative," argues that a narrative is the synthesis of heterogeneous elements and the making of a single story out of multiple distinct, and sometimes conflicting components. This describes rather accurately the work art museums must do to weave together different discourses and interpretations, as well as immersive and discursive experiences.
Narrative theory, we believe, is an interesting and underused interdisciplinary tool for looking at museums, and learning in museums in particular. We imagine that using narrative theory as a framework to conduct visitor's research on his/her perception, construction, and retrieval of narratives would be very fruitful, helping museums to gain a better understanding of the kind of learning and learning processes that happen in museum environments, as well as explore new perspectives on learning and meaning-making.
Dr. Emilie Sitzia is Associate Professor in the Department of Literature and Art at Maastricht University. She teaches cultural education, curatorship and interdisciplinary research methods in the Master of Arts and Heritage program, as well as 19th and 20th century art and literature in the BA Arts and Culture program. She recently published a book, Art in Literature, Literature in Art in 19th Century France (2012), and publishes regularly on art, literature and museumstudies topics.
 Roland Barthes, "An Introduction to the Structural Analysis of Narrative," New Literary History 6, no. 2 (1975): 237.
 See, for example, Mieke Bal, Double Exposures: The subject of cultural analysis (New York: Routledge, 1996), or Reesa Greenberg, Bruce W. Ferguson, and Sandy Nairne, eds., Thinking about Exhibitions (London/New York: Routledge, 1996).
 Bal, Double Exposures, 88. Bal identifies diverse acts of expositions, such as "showing and showing off, pointing out and pointing at, praising and trashing and taking for granted, explaining and persuading." All these modes of narration imply a strong authorial and authoritative voice on the part of the curator/institution. This has, I believe, evolved since 1996, and the focus is now generally on participatory practices, open interpretations and co-creation opportunities.
 Ferguson, et al., Thinking About Exhibitions, 186.
 See, for example, George Hein, Learning in the Museum (London/New York: Routledge, 1998), or Eilean Hooper Greenhill, Museum and Education: Purpose, Pedagogy, Performance (London/New York: Routledge, 2007), or Caroline Lang, John Reeve, and Vicky Woollard, The Responsive Museum: Working with Audiences in the twenty-first century (Aldershot, England, and Burlington, VT: Ashgate, 2006).
 We ground the article in Falk and Dierking's theories. See, for example, John Falk, "Director's Cut: Towards an Improved Understanding of Learning in Museums," Science Education 88 (2004): 83–96; see also John Falk, Lynn Dierking, and Marianna Adams, "Living in a Learning Society: Museums and Free-Choice-Learning," in A Companion to Museum Studies, ed. Sharon McDonald (Oxford: Blackwell Publishing, 2008), 323–339.
 John Falk and Lynn Dierking, The Museum Experience (Washington, DC: Whalesback Books, 1992).
 Jana Macalik, John Fraser, and Kelly Mckinley, "Discursive Space," Curator the Museum Journal 58 (2015): 1.
 Andrea Witcom, Re-Imagining the Museum: Beyond the Mausoleum (London: Routledge, 2003), 89–90.
 "Elles cherchent à mobiliser les sensations et des visiteurs en les integrant dans des univers propices à la reception des messages du contenu de l'exposition." Florence Belaën, "Les expositions d'immersion," Lettre de l'OCIM 86 (2003): 27 (all translations in this article are by the author).
 Jean Davallon, L'exposition à l'œuvre: strategies de communication et médiation symbolique (Paris: L'Harmattan, 1999).
Bruner, "The Narrative Construction of Reality," Critical inquiry 18, no. 1 (1991): 1–21.
 This article focuses on learning in the museum. It takes a limited number of educational theories as its starting point to explore the impact of immersive and discursive exhibition environment on learning. It is therefore limited in its scope and potential results, and should be followed by an extended field research to validate any theoretical findings.
 Ferguson, et al., Thinking About Exhibitions, 175.
 Tiina Roppola, Designing for the Museum Visitor Experience (New York: Routledge, 2012), 5.
Peter J. Rabinowitz, Brian Richardson, and Robyn Warhol, Narrative Theory: Core Concepts and Critical Debates (Columbus: Ohio State University Press, 2012).
 Vladimir Propp, Morphology of the Folktale (Austin: University of Texas Press, 1968).
 See Emilie Sitzia, "Beyond the Book in the Glass Coffin. Musealization of Fairy Tales: from Theme Parks to Museums?," Interférences littéraires/Literaire interferenties 16 (2015), 125–138. Other narrative models, such as Lévi-Strauss's binary opposites (narrative is conflict between these opposites), Campbell's archetypes and quest, or Vogler's hero's journey in Hollywood, could be considered as narrative frameworks to analyze exhibition models.
 Kay Young and Jeffrey Saver, "The Neurology of Narrative," SubStance 30 (2001): 72–84.
 Abbott, The Cambridge Introduction to Narrative, 2–3.
 John Falk and Lynn Dierking, Learning from Museums: Visitor Experiences and the Making of Meaning (Lanham, MD: Altamira Press, 2000), 51.
 John Falk, "The Director's Cut: Toward an Improved Understanding of Learning from Museums," Science Education 88 (2004): 89.
 Some, like Tony Bennett, would argue that the reality created by the museum is one of control, power of the institution over the individual, "knowing power and what power knows, and knowing themselves as (ideally) known by power, interiorizing its gaze as a principle of self surveillance and, hence, self-regulation." See Tony Bennett in Greenberg, et al., Thinking about Exhibitions, 84.
 Oliver Sacks, "The Lost Mariner," The Man Who Mistook His Wife for a Hat and Other Clinical Tales (New York: Summit Books, 1985), 22–41.
 Paul John Eakin, Living Autobiographically: How We Create Identity in Narrative (Ithaca: Cornell University Press, 2008).
 Young and Saver, "The Neurology of Narrative," 74. The study further shows that an issue with narrative construction is that it "destabilizes and distorts human personality" (ibid., 77).
 Bruner, "Life as Narrative," 692.
 Ibid., 694. "In the end, we become the autobiographical narratives by which we 'tell about' our lives" (ibid., 692).
 Bruner, "The Narrative Construction of Reality," 3–6. To him, narrative "operates as an instrument of mind in construction of reality" (ibid., 6).
 Roppola, Designing for the Museum Visitor Experience, 5–6.
 Quoted in Young and Saver, "The Neurology of Narrative," 73.
 Robert Zajonc, "Feeling and Thinking: Preferences Need No Interferences," American Psychologist 35 (1980): 151–175; Zajonc, "On the Primacy of Affect," American Psychologist 39 (1984): 117–123; see also Knud Illeris, ed., Contemporary Theories of Learning (New York: Routledge, 2009).
 "Une approche basée sur l'émotion comme élément déclencheur du désir de connaitre et sur les sensations." Belaën, "Les expositions d'immersion," 28.
 Richard Lazarus, "A Cognitivist's Reply to Zajonc on Emotion and Cognition," American Psychologist 36 (1981): 222–223; Lazarus, "Thoughts on the Relations Between Emotion and Cognition," American Psychologist 37 (1982): 1019–1024; Lazarus, "On the Primacy of Cognition," American Psychologist 39 (1984): 124–129.
 "The research base for the concept evolved out of a comprehensive national study of women returning to community colleges in the United States (Mezirow, 1978). The study used grounded theory methodology to conduct intensive field of study of students […] A transformative learning movement subsequently developed in North American adult education […]." Jack Mezirow, "An Overview of Transformative Learning," in Lifelong Learning: Concepts and Contexts, eds. Peter Sutherland and Jim Crowther (New York: Routledge, 2006), 24–25.
 While Mezirow's theories have evolved, we chose to use for this article the initial ten phases theory. About the evolution of Mezirow, see Andrew Kitchenham, "The Evolution of John Mezirow's Transformative Learning Theory," Journal of Transformative Education 6, no. 2 (2008): 104–123.
 Jack Mezirow, Education for Perspective Transformation: Women's Re-Entry Programs in Community Colleges (New York: Teacher's College, Columbia University, 1978).
"Using the 4MAT System to Bring Learning Styles to Schools," Educational Leadership (1990): 31–37; see also Susan Weil and Ian McGill, eds., Making Sense of Experiential Learning: Diversity in Theory and Practice (Buckingham: Open University Press, 1989). Others have challenged Kolb's theory as too simple to capture the entire learning process, for example, Peter Jarvis, "Learning to be a Person in Society," in Illeris, Contemporary Theories of Learning, 23.
 Jarvis, "Learning to be a Person in Society," in Illeris, Contemporary Theories of Learning, 22.
 Étienne Wenger, "A Social Theory of Learning," in Illeris, Contemporary Theories of Learning, 211.
 Wenger, "A Social Theory of Learning," in Illeris, Contemporary Theories of Learning, 211.
 Etienne Wenger-Trayner in Omid Omidvar and Roman Kislov, "The Evolution of the Communities of Practice Approach: Toward Knowledgeability in a Landscape of Practice – An Interview With Etienne Wenger-Trayner," Journal of Management Inquiry 23 (2014): 271. Wenger-Trayner draws an interesting distinction between information and meaning that could be most useful in a museum context.
 Paul Ricœur, "Life in Quest of Narrative," in Narrative and Interpretation, ed. David Wood (London/New York: Routledge, 1991) 21–22.


Learco Guerra (born October 14, 1902), was one of the great riders of the 1930s, a golden age for professional bike riding.
A powerful rider, the Italian press (specifically Emilio Colombo, boss of La Gazzetta dello Sport) gave him a fitting nickname, "Locomotiva Humana", the Human Locomotive.
He turned pro in 1928, and his talent soon became apparent when he became Italian Champion in 1930, the first of four consecutive Italian championships. And then in 1931 he became world road race champion.
Though he has many race wins to his credit, the one that stands out is his 1934 Giro d'Italia win, where he won a staggering ten stages along the way.
In 1934 he had 23 professional wins, his best year. And, I believe that set a record that stood for decades. The current record holder is Freddy Maertens at 54 professional victories in a single year.
After retiring from racing, Guerra became a team manager, running teams that had such incredible riders as Hugo Koblet and Charly Gaul.
Suffering from Parkinson's Disease, Guerra died in Milano in 1963.
Guerra fixing a flat in the early 1930s.
This is from the Tour de France and I think this is 1933. Guerra leads the peloton.
I know this is from the 1933 Tour de France. Here Guerra is climbing the Allos.
Guerra looking dusty after stage in the 1933 Tour de France.
You can't tell in an old black-and-white photo, but here he is in 1934, in the Maglia Rosa, the Giro leader's pink jersey.


Agricultural machinery > Tractors: Agricultural machinery refers to the number of wheel and crawler tractors (excluding garden tractors) in use in agriculture at the end of the calendar year specified or during the first quarter of the following year.
"Samoa Agriculture Stats, NationMaster." 1960-2030. <http://www.nationmaster.com/country-info/profiles/Samoa/Agriculture>.
"Samoa Agriculture Stats", NationMaster [Internet]. 1960-2030. Avaliable from: <http://www.nationmaster.com/country-info/profiles/Samoa/Agriculture>.
"Samoa Agriculture Stats", NationMaster. Avaliable at: nationmaster.com. Assessed 1960-2030.


text:
US Escapes the OECD's Blacklist of 'Non-Cooperative Jurisdictions"
The Organization for Economic Cooperation and Development has asked the G20 governments to approve its proposed three-step formula for deciding which international financial centers are to be blacklisted as non-cooperative.
The formula, presented at the G20 meeting in Chengdu on July 23-24 , is a response to a request from the previous G20 meeting in Washington in April this year. A draft version was circulated to interested parties last month, though not actually published. The final version appears to be little changed from that draft.
The basic criterion to avoid blacklisting is to comply with at least two out of the following three 'objective' criteria:
A 'largely compliant' rating on international exchange of tax information;
A commitment to implement the OECD Common Reporting Standard (CRS) by 2018;
Having signed the OECD multilateral tax assistance convention.
The G20 countries said at their April summit that they will consider 'defensive measures' against non-cooperative jurisdictions if progress as assessed by the OECD's Global Tax Transparency Forum is not made.
However, there is growing concern that the use of this formula will avoid blacklisting the US, despite the country's failure to adopt the OECD's Common Reporting Standard for automatic disclosure of bank account information.
Instead of CRS, the US is using its own reporting system, developed under the Foreign Account Tax Compliance Act.
The OECD's report to the G20 appears to turn a blind eye to the fact that the FATCA system is less stringent than CRS, and relies on US undertakings to converge its reciprocal automatic disclosure regime towards CRS in due course.
Washington's rejection of CRS in favor of FATCA has drawn criticism, notably from the well-known campaigning group Tax Justice Network. It described the OECD proposal as potentially a 'whitewash'. See our post US The New Tax Haven?
'The USA should not be among the jurisdictions named as being committed to implementing the CRS because the USA refuses to implement the CRS', TJN says.
TJN also accuses the OECD Global Forum's peer reviews, which underlie the assessments of each jurisdiction's compliance, of being politically biased.
'For instance, there are US legal entities (single-member limited liability companies without US-sourced income) for which there is no ownership information whatsoever in the USA, yet the Global Forum deems the US to be largely compliant', it says. Similarly, it points out, Germany and Switzerland both allow bearer share companies, but Germany's company ownership regime is rated largely compliant, while Switzerland's bearer shares are rated as non-compliant.
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OECD (Tax report to G20, PDF file)
101 countries now committed to OECD CRS
According to an OECD announcement on May 12, 2016 global tax transparency forum, Panama, Vanuatu, Bahrain, Lebanon and Nauru have now formally committed to share financial account information automatically with other countries using the Common Reporting Standard (CRS).
This raises to 101 the number of jurisdictions committed to implement information sharing in accordance with the OECD's Common Reporting Standard.
In a statement on 9 May, Kosie Louw, Chair of the OECD's Global Forum on Transparency called on all countries to put in place domestic legislation and to sign and ratify the multilateral Convention on Mutual Administrative Assistance in Tax Matters by the end of August 2016.
The OECD has also announced that Canada, Iceland, India, Israel, New Zealand and the China have signed the Multilateral Competent Authority agreement for the automatic exchange of Country-by-Country reports, bringing the total number of signatories to 39 countries.
The table below summarises the intended implementation timelines of the new standard. JURISDICTIONS UNDERTAKING FIRST EXCHANGES BY 2017 (55)
Anguilla, Argentina, Barbados, Belgium, Bermuda, British Virgin Islands, Bulgaria, Cayman Islands, Colombia, Croatia, Curaçao, Cyprus, Czech Republic, Denmark, Dominica, Estonia, Faroe Islands, Finland, France, Germany, Gibraltar, Greece, Greenland, Guernsey, Hungary, Iceland, India, Ireland, Isle of Man, Italy, Jersey, Korea, Latvia, Liechtenstein, Lithuania, Luxembourg, Malta, Mexico, Montserrat, Netherlands, Niue, Norway, Poland, Portugal, Romania, San Marino, Seychelles, Slovak Republic, Slovenia, South Africa, Spain, Sweden, Trinidad and Tobago, Turks and Caicos Islands, United Kingdom
JURISDICTIONS UNDERTAKING FIRST EXCHANGES BY 2018 (46)
Albania, Andorra, Antigua and Barbuda, Aruba, Australia, Austria, The Bahamas, Bahrain, Belize, Brazil, Brunei Darussalam, Canada, Chile, China, Cook Islands, Costa Rica, Ghana, Grenada, Hong Kong (China), Indonesia, Israel, Japan, Kuwait, Lebanon, Marshall Islands, Macao (China), Malaysia, Mauritius, Monaco, Nauru, New Zealand, Panama, Qatar, Russia, Saint Kitts and Nevis, Samoa, Saint Lucia, Saint Vincent and the Grenadines, Saudi Arabia, Singapore, Sint Maarten, Switzerland, Turkey, United Arab Emirates, Uruguay, Vanuatu
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Tax Havens Coming Clean and Becoming Transparent
The Cayman Islands has gazetted the Confidential Information Disclosure Law 2016, thereby repealing the Confidential Relationships (Preservation) Law with immediate effect as of June 2016. The old law was seldom used but was often cited as evidence of Cayman's secrecy. The new law returns liability for breach of confidence to the common law and rules of equity, as in the UK.
The Confidential Relationships (Preservation) Law was originally enacted in the 1970s, when Cayman as a financial centre was in its infancy. In essence, all it did was to overlay criminal penalties on disclosures of confidential information that in most cases would have been actionable by civil proceedings in any event.
Cayman's often misinterpreted Confidential Relationships (Preservation) Law, commonly referred to as the Secrecy Law, has been repealed and replaced with the Confidential Information Disclosure Law.
However, in the 40 years of its existence, no-one was ever prosecuted, and the only provision that was commonly used was section 4, which enabled a person who intended or was being required to disclose confidential information in evidence in proceedings (whether in Cayman or elsewhere) to apply for the approval of the Court to do so.
Nonetheless, its existence was often relied upon, in particular by those pursuing a political agenda hostile to international financial centres, as evidence that Cayman was a 'secrecy' jurisdiction. For this reason and because it was notoriously difficult to interpret with certainty, its repeal is to be welcomed.
Financial Services Minister Wayne Panton, who tabled the bill in the Legislative Assembly on Friday (24 June), pointed out that the government has the "complete support of industry" on the repeal of the Confidential Relationships (Preservation) Law and its replacement with the Confidential Information Disclosure Law.
Premier Hon Alden McLaughlin, in May, announced that as part of Cayman's commitment to tax transparency it would repeal the Confidential Relationships (Preservation) Law.
His statement followed Cayman's commitment to join the UK-led initiative to develop a new global standard for the automatic sharing of beneficial ownership information.
The Premier also said that in September the new Data Protection Law will be introduced "acknowledging privacy as a basic human right."
The new data protection legislation, he said, is one that is "on par with what is in place in the European Union."
Mr Panton, speaking to the new Confidential Information Disclosure Law on Friday, explained that it will further clarify "the local competent authorities to whom information can be disclosed and in what circumstances" and removes the current criminal sanction for breach of disclosure of confidential information while maintaining the common law civil liability.
The new law, he assured, will continue to protect confidential information and "will enhance the profile and record of transparency of the Cayman Islands by clarifying one of the core objectives" of the Confidential Relationships (Preservation) Law.
Under the law disclosures by persons who owes a duty of confidentiality, for example corporate service providers, in cases of compliance with court orders, compliance with an order made by the Cayman Authority pursuant to the Mutual Legal Assistance (United States of America) Law (2015 Revision) order or search warrant made by the Central Authority pursuant to the Criminal Justice (International Cooperation) Law (2015 Revision) "shall not constitute a breach of the duty of confidence and shall not be actionable at the suit of any person."
The law also sets out how the court shall treat with the giving of evidence of confidential information, including documents, in court proceedings and by order.
Panama has informed the Organization for Economic Co-operation and Development (OECD) of its intention to sign the Multilateral Convention on Mutual Administrative Assistance in Tax Matters. It is considered by the OECD to be the most comprehensive multilateral instrument available amongst jurisdictions for all forms of tax cooperation to tackle tax evasion and avoidance, including the exchange of information on a government-to-government basis.
The Multilateral Convention on Mutual Administrative Assistance in Tax Matters was jointly developed by the OECD and the Council of Europe in 1988 and amended by Protocol in 2010.
Since 2009, the G20 has consistently encouraged countries to sign the Multilateral Convention on Mutual Administrative Assistance in Tax Matters. More than 90 countries (including the U.S.) currently participate. The complete list of participating countries may be found here.
Panama intends to sign the Multilateral Convention on Mutual Administrative Assistance in Tax Matters. The Panamanian Ministry of Foreign Affairs announce Panama's intention to sign the Multilateral Convention on Mutual Administrative Assistance in Tax Matters on its website. The OECD also issued a press release indicating as such.
Panama's participation in the Multilateral Convention on Mutual Administrative Assistance in Tax Matters would not require the automatic exchange of information, clarifies the Panamanian Ministry of Foreign Affairs. Instead, it would extend Panama's network to the almost 100 countries who have already signed the agreement. Whether or not Panama automatically exchanges information with any of these countries is in Panama's discretion.
In the name of tax transparency, the country recently committed to implementing the OECD Common Reporting Standard, shortly after the leak of the so-called controversial "Panama Papers" see our post The Saga of the "Panama Papers" Has Only Just Begun!.
The Inland Revenue Authority of Singapore has issued an e-Tax Guide on the territory's general anti-avoidance rule in Section 33 of the Income Tax Act.
The guide, issued on July 11, 2016, explains the three tests to determine whether the GAAR should apply.
It includes examples on actionable avoidance arrangements, namely: the circular flow or round-tripping of funds; the creation of more than one entity for the sole purpose of obtaining a tax advantage; changes to the form of business entity for the sole purpose of obtaining a tax advantage; and the attribution of income that is not aligned with economic reality.
The IRAS clarified that the guidelines and accompanying examples in the guide are not meant to be exhaustive and that arrangements not described in the guide should not be taken as falling outside the ambit of Section 33 of the ITA, or as acceptable to the tax authority.
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State Income Taxes Play a Role in Free Agency
According to Law360, The free agent signing periods in the NBA this month saw players inking huge contracts, but while team names and deal numbers dominated the headlines, experts say the tax implications of those moves often play an unheralded but critical role in determining where the leagues' stars call home.
In one of the biggest free-agent signings of the NBA's offseason free agency, star forward Kevin Durant chose to leave the Oklahoma City Thunder, the franchise that drafted him out of the University of Texas in 2007, to join the Golden State Warriors, a team fresh off breaking the NBA record for most wins in a season.
The blockbuster two-year deal reportedly worth $54 million instantly makes the Warriors again one of the favorites to win the championship next season, putting Durant in a great position to win his first title, but the move also means Durant goes to California, which has the highest state income tax rate in the nation.
The move made sense to him despite going from a team in Oklahoma with a tax rate of up to 5.25 percent to a team in California where the tax rate for the highest income bracket reaches 13.3 percent, the highest in the nation. He also may be able to minimize his tax burden by delaying establishing residency in California, experts said, particularly over the course of his two-year deal. Residency is a subjective determination with factors that vary state to state, and with the limited NBA schedule and a long off season, he may be able to keep permanent residency in another state or at least delay California residency to net a larger portion of the overall contract.
Still, teams in states with no income tax like Florida, Texas, Washington and now potentially Nevada, as the NHL is putting a team in Las Vegas, know that this can make a difference, and they use it to their advantage, according to Sean Packard, a certified public accountant with Octagon Financial Services who specializes in tax planning and preparation for professional athletes.
While many factors go into an athlete's decision to sign with a team as a free agent, one of the factors athletes generally take into consideration is the tax implications, as various tax rates of states could significantly affect the value of their deal.
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February 3, 2020 IRS States No New Guidance On Repatriation Tax
January 28, 2020 J5 Undertake Unprecedented Multi-Country Day of Action To Tackle International Tax Evasion
January 28, 2020 Postmark Rule Did Not Apply to Late-Filed Tax Return Requesting a Refund
January 28, 2020 Former Large Business & International Senior Counsel for the Office of Chief Counsel, IRS, Joins Marini & Associates, PA.
January 15, 2020 IRS Criminal Investigation is Hiring More Agents!
January 15, 2020 How Will The IRS Know? – IRS Whistleblower Office Collected More than $616 Million in 2019!
January 15, 2020 Union Bancaire Privée, UBP SA Forgot To Report Some US Account Holder?
January 15, 2020 151 Offshore Banks & Financial Advisors Are Turning Over Your Names To The IRS – What Are Your Waiting For?
January 7, 2020 IRS Wins Another 50% Willful FBAR Penalty Case!
January 7, 2020 IRS Collection Activity Expected to Increase in 2020!


We are a group of eight friends from different parts of the country who have come together to create a common platform for interaction of likeminded people. We assure in providing our readers entertainment plus a little food or thought. We showcase and support new talents and aims in keeping our audience updated with news in and around America. On the everyday realm, we do discuss and bring you tips and life hacks to make your living easier yet stylish. We welcome and appreciate inputs from our readers however expect it conform it our regulations.


XKchrome iOS Android Smartphone App Bluetooth XKchrome RGB Switchback Halo Upgrade Kit for cars, trucks, retrofits.
XKchrome compatible. Controller not included.
Cannot be used with 5V XKchrome Fiber Optic Kits without adapter.
Does not include XKchrome Bluetooth Controller. Controller is needed to utilize features below.
The best of both worlds; our RGB Switchback halos are color changing but also feature a white and turn signal mode. No compromises here! Multi-color functionality with our industry-leading XKchrome Bluetooth Controller and two input wires for the drivers to control the white and amber turn signal modes. Forget the old and tired 5050 halos with the dotted appearance when on and well….you know how they look when they're off! Our RGB Switchback halos feature advanced micro-SMD technology for a nice even glow when the they're are on and a cleaner, more professional appearance when they're off. The external drivers take all that unnecessary heat away from the leds for unmatched reliability giving you halos that'll shine for the years to come! Available in 50-150mm.
Built with 16 bit gamma correction, XKchrome provides over 16 million vibrant colors, allowing the user to choose any color with a single tap. Each controller has two zones that can simultaneously run different colors and patterns, allowing more room for creativity and uniqueness compared to other LED lights. Up to 6 controllers (12 zones) can be connected at the same time.
Music is the essence of life; and we make it the essence of light. XKchrome's Music Sync feature enables lights to dance with the rhythm of any song in your phone, or with any sound picked up by the microphone. To maximize visual effect, our adaptive algorithm dynamically adjusts the volume sensitivity. No matter if it's a country music or a hard rock, just lay back and enjoy the full spectrum you defined for your favorite song.
Our color designer hand-picked over 15 themes for special occasions throughout the year. It even comes with an "emergency strobe" in case you parked at the side of the road in the dark. In addition, users can fully customize their own themes with various pattern, speed, and up to 10 color combinations.
At XKGLOW, we never stop pushing the boundaries. With the latest app update, XKchrome can seamlessly transit lights from one color to another and tune the light brighter as you move faster, turning your vehicle into a beast that breaths light! All these new features updates are free so you can get the most out of XKchrome.
With XKchrome's realtime "chameleon" feature, you can paint your headlights with any color you see. Whether it's a bright shirt or a stunning paint job, just point your phone's camera to it. XKchrome instantly turns your headlights to the very same eye-catching color in real time! Prepare to be AWED!
Note: Controller MUST NOT exceed a combined total of 72W when paired with other lighting accessories.
XKchrome can do more than lighting. Thanks to its built-in Bluetooth Smart Beacon, XKchrome helps locate your parked vehicle. When you walk away after parking, XKchrome app will automatically pin down your location. So that you can easily look it up in the app when you need to find the way back. Once you get close enough, you can also turn on the lights to single your vehicle out from the endless parking row.


ST. GEORGE — A driver failed to stop for a line of cars waiting for a green light sparking a four-vehicle crash in front of Harmons Neighborhood Grocer on East 700 South in St. George during the chilly morning Friday.
Police and emergency crews responded to the crash near the intersection of South River Road and East 700 South in St. George just before 9 a.m. On arrival they checked all vehicle occupants for injuries before officers began diverting traffic around the large scene.
Officers determined after speaking with witnesses that a white Nissan Rogue was traveling east on East 700 South where traffic was backed up at the intersection of South River Road waiting for the light to turn green, police Sgt. Craig Harding said.
The woman driving the Nissan continued toward the line of stopped vehicles and, for reasons that are still under investigation, was unable to stop in time, Harding said, and struck a blue Toyota Corolla that was then pushed into a white Chevrolet Cruze. The Chevrolet was launched forward into the rear bumper of a gold Toyota Camry that was first in the line of vehicles waiting for the light to change.
The driver indicated to responding officers, Harding said, that as she approached the line of cars she applied her brakes but they failed and she was unable to stop in time to avoid hitting the car directly in front of her.
"We are investigating possible distractions, and we are investigating possible mechanical failure of the vehicle," he said.
Two of the vehicles sustained minor damage and were driven from the scene, while the Toyota and the Nissan suffered extensive damage and were subsequently towed from the intersection.
St. George Police and Fire departments and Gold Cross Ambulance responded to the scene.
Rear-end collisions in St. George comprise approximately 60-70 percent of all crashes. Drivers are looking down only for a second and once they look back up traffic is stopped, Harding said. With little reaction time these drivers are unable to stop and hit the car directly in front of them.
700 S, Bluff St, Sunset . I travel down them all on a daily basis – at the Speed Limit – which means there is always someone 3 inches off my bumper chomping at the bits. It's really laughable how oblivious STG drivers are to their speed. I've seen many crashes on Bluff lately – not surprising when you're traveling at maybe 60 mph and tailgating!
Oh oh. It seems you know something nobody else does. are you going to let us in on your conspiracy theory ?
No conspiracy theory; Bob nailed it. The odds for "spontaneous brake failure" on a late model Nissan are a lot less than yet another St George driver texting and not paying attention to traffic.


text:
from tkinter import *
from tkinter import ttk
from tkinter import filedialog
from tkinter import messagebox

import os.path
import pickle
import hashlib
import time
import shutil
import random
import logging
import copy
import threading

from math import ceil
from enum import Enum

from timeit import default_timer

class TopMenu(Menu):
    def __init__(self, app, master, *args, **kwargs):
        Menu.__init__(self, master, *args, **kwargs)

        self.app = app

        self.make()

    def make(self):
        self.make_file()
        #self.make_import()
        #self.make_export()
        self.make_functions()
        self.make_utilities()
        self.make_preferences()

    def make_file(self):
        m_file = Menu(self, tearoff=0)
        m_file.add_command(label="Open", command= self.app.set_library_location)
        m_file.add_command(label="Save", command= self.app.save_library)
        m_file.add_separator()
        m_file.add_command(label="Import dir(rec)", command= self.app.import_directory)
        m_file.add_command(label="Export to", command= self.app.export_to)
        m_file.add_separator()
        m_file.add_command(label="Quit", command= self.master.quit)
        self.add_cascade(label="Library", menu=m_file)

    #def make_import(self):
        #m_import = Menu(self, tearoff=0)
        #m_import.add_command(label="Directory(recursif)", command= self.app.import_directory)
        #self.add_cascade(label="Import", menu=m_import)

    #def make_export(self):
        #m_export = Menu(self, tearoff=0)
        #m_export.add_command(label="Export to", command= self.app.export_to)
        ##m_export.add_command(label="Export lib to", command= self.app.export_lib_to)
        #self.add_cascade(label="Export", menu=m_export)

    def make_preferences(self):
        m_preferences = Menu(self, tearoff=0)
        m_preferences.add_command(label="Scheduler", command= self.app.easy_configure_pgs)
        m_preferences.add_command(label="Scheduler( expert)", command= self.app.configure_pgs)

        self.add_cascade(label="Preferences", menu=m_preferences)

    def make_utilities(self):
        m_utilities = Menu(self, tearoff=0)
        m_utilities.add_command(label="Restore files", command= self.app.quick_restore_files)
        m_utilities.add_command(label="Reset storage", command= self.app.reset_storage)

        self.add_cascade(label="Uilities", menu=m_utilities)

    def make_functions(self):
        m_func = Menu(self, tearoff=0)
        m_func.add_command(label="Find similarities(recursif)", command= self.app.find_similarities_inside)
        self.add_cascade(label="Functions", menu=m_func)

redpajama_set_name: RedPajamaGithub


text:
By Hakim Mohammad Ilyas
Where do Muslims stand in India!
KASHMIR - The Constitution of India enshrines in article 51A (e) that every citizen is bound by the fundamental duty to promote harmony and the spirit of common brotherhood amongst all the people of India transcending religious diversities. Articles 15 reads as "The State shall not discriminate against any citizen on grounds of religion." Accordingly in Article 16 which reads "No citizen shall, on grounds of religion, be discriminated against in respect of, any employment or office under the State." But in reality, there is a different story for Muslim community. Muslims are dominant minority (18 crores). Incidentally, there are 56 Muslim countries in the world, Plus, 20 countries where Muslims are dominant minority.
From Palestine to Rohingya – talking points at Islamic unity conference
TEHRAN _ During the three-day International Islamic Unity Conference in Tehran this week, many brainstorming discussions were held as part of various commissions on some of the most pressing and significant issues facing the Muslim world today.
No progress in repatriation of Rohingya refugees
TEHRAN - The Bangladesh government officials who were in Myanmar to resolve the crisis related to Rohingya refugees have returned without making any significant progress, according to media reports.
Velayati says Muslims won't tolerate Balfour Declaration II
TEHRAN – Ali Akbar Velayati, a top foreign policy advisor to the Leader, said on Thursday that Muslims will not tolerate "Balfour Declaration II", a reference to the recent decision by U.S. President Donald Trump to relocate Washington's embassy from Tel Aviv to al-Quds (Jerusalem) and recognize the Holy city as the capital of the Zionist regime.
Top adviser calls for unity among Muslims
TEHRAN – A top adviser to the Supreme Leader on Saturday called on the Muslim Ummah to be wary of propaganda moves by the enemy, calling for unity in the Islamic world, IRNA reported.


An axiom is a starting postulate. Its absolute evidence implies that it is neither demonstrable nor that such an approach is necessary as it imposes itself.
Our axiom is the reality of the world around us and its silent beauty that our cameras strive to capture, like witnesses to a spectacle that no one should miss.
Photography is the seizing of the sudden, the jewel of both work and chance, the marriage of a long series of efforts and what is almost a miracle. Still images may seem simple in a time when technology is everywhere, even in the human body, but they fascinate nonetheless.
Video stands as the materialization of photography through temporality, transgressing the frightening immobility of still images to open a world where a series of events suddenly come to life, with the spectator's enchantment following suit.
Sound seems immaterial, a sheer present. Its breath fills the space before disappearing, and caresses the senses of those who hear it without allowing them to seize it. Sound is my very first passion, where it all began. More information on the Conatus Studios website.


Morning sickness ...when does it end!?
Discussion in 'First Trimester' started by michelle82, Jun 25, 2005.
Thanks Kim I spoke to soon have now got a headache and feeling rubbish again, I think I'm in the frame of mind I will not be sick anymore fedup with having my head in the toilet bowl every day!! Maybe the worst is over hooray!
I spoke too soon too I have felt the worst today that I have felt for the last 4 weeks!! Relieved though as I feel it's baby's way of telling me he's still there!
Hey I hope you aren't feeling too awful. I think each pregnancy is different. I know that with my first I was fairly sick up until about 16 weeks. With number 2 I felt absolutely dreadful but it didn't last so long. This time I am at 7 and a bit weeks and just feeling a little queasy, until I smell something which can set me off or, being full of cold, the phlegm I am coughing up in a morning (sorry tmi) has a tendancy to start me off. I'm hoping it won't last too long, but I suppose its all part and parcel of becoming a Mum and will be worth it in the end!
I hope you feel better soon. Good luck with your pregnancy.
i have had it on and off, but nothing bad at all, just feeling a bit queezy now and again, but yesterday it came on full force and this morning was horrible, as soon as i got out of bed i was throwing up!
I spent all day throwing up yesterday, today I'm fine - weird isn't it?!
I found that eating little and often stopped me being sick as I noticed I was only ever actually sick on an empty stomache. My throwing up has pretty much stopped now but I am suffering with indigestion every time I eat so sorry girls but its out of the frying pan into the fire lol (for me anyway) oh and I also bought myself some sea bands from Boots when my sickness was really bad and I wore them so much that they have left marks on my wrists but I am convinced they helped with my nausea.


text:
Bryan Ferry >
Bryan Ferry doesn't download
By Bang Showbiz on 30 November 2012
Follow Bryan Ferry
Bryan Ferry Roxy Music
Singer Bryan Ferry has never downloaded a track, and laments the fact there are very few record shops left in the UK.
Bryan Ferry has never downloaded a song.
The 'Love is the Drug' singer doesn't like the move from physically buying records as a vinyl record or Compact Disc to downloading them as MP3s or similar formats, and is upset there are hardly any record shops left, as they are such an important place for browsing and discovering new music.
He said: ''The music business has obviously changed quite a lot since I started out. The disappearance of record stores being something I find particularly hard to come to terms with.
''Downloading music is something I never do and I miss being able to browse around and perhaps discover something unexpected.''
However, Bryan, 67, does see some positive effects on how the record industry is changing, especially with the way artists have been able to take power back into their own hands.
He added to The Sun newspaper: ''On the creative side, the decline of the major record label has led to a more adventurous approach to making records, rather like a cottage industry approach which is more cavalier and exciting.''
Bryan has recently recorded a number of tracks from across his career in a 1920s jazz style, called 'The Jazz Age', released as The Bryan Ferry Orchestra and available now.
Roxy Music to reunite for Rock and Roll Hall of Fame performance
Bryan Ferry, Michael Bolton and more set for Rewind Festival
Sick Bryan Ferry Cancels London Show
Bryan Ferry's Son Misses Compensation Payment Deadline
Bryan Ferry Thanks Nhs For Son's Recovery
Bryan Ferry's Son Takes First Steps After Car Crash
Bryan Ferry: 'My Son Is Now Stable After Car Crash'
Bryan Ferry's son Merlin 'stable' after crash
Bryan Ferry's son 'critical but stable' after crash
Bryan Ferry's Son Merlin Fighting for Life after Car Crash
Bryan Ferry's son fighting for life after crash
Bryan Ferry's Son Fighting For Life After Car Crash
Bryan Ferry's Son Swaps Band For School
Bryan Ferry teams up with Johnny Marr and Nile Rodgers
Musician Index: 0 A B C D E F G H I J K L M N O P Q R S T U V W X Y Z


It isn't exactly hard to speculate that we women have evolved faster than men. The best example in the defence of this argument is- Look at our clothes! While men's clothing can be ticked off on the fingers of our hands, one could run out of a family of fingers considering the options for women!
In a modern day context one of the most worn attires is the top or blouse over jeans, trousers or any other sort of lowers. If we look at history the closest we come to tops in history is the choli. The choli is a short fitted jacket kind of structure used to cover the torso. It is traditionally worn with sarees, ghaghras, lehengas or half sarees. Designers today have rediscovered the potential of the humble choli and reinvented it to give it a more modern, top-like look. These ethnic wears, embellished in zari, hand embroidery work or encrusted with stones can be teamed with any kind of lowers and gives you a distinct sophisticated appearance. Also contrasting cholis with sarees and lehengas are the latest trend and truly elevate your style quotient. One of the latest trends for monsoon festivities is modern cholis and tops. We, at Craftsvilla, offer a range of cholis and tops perfectly suited for the monsoon weddings, birthdays or any other celebrations.
Tops are a girl's best friend literally. They are versatile and can be teamed up with almost anything, be it casual wear or formal wear and you are good to go! At Craftsvilla find a range of tops varying in lengths, from sleeveless, half sleeved to full sleeved tops. We offer a variety of colours in different sizes from leading designer labels. Be it formal shirts, polos, casual tees or tanks, we have it all. We are the one stop top shop!


Lily Too by Lucyna A M Green - 6.625" x 8.000"
Lily Too canvas print by Lucyna A M Green. Bring your artwork to life with the texture and depth of a stretched canvas print. Your image gets printed onto one of our premium canvases and then stretched on a wooden frame of 1.5" x 1.5" stretcher bars (gallery wrap) or 5/8" x 5/8" stretcher bars (museum wrap). Your canvas print will be delivered to you "ready to hang" with pre-attached hanging wire, mounting hooks, and nails.
There are no comments for Lily Too. Click here to post the first comment.
Simplifying the architectural detail of the original "Lily" print, the bloom and its playful leaves become the prominent theme. Eliminating the background color further places focus on the star of the show and brings the viewer's eye into its center golden stamens.


text:
Odisha calls for investment from Mining & Metals industry
Odisha's minister Minister for Steel & Mines and Works, Mr Prafulla Kumar Mallik has urged the Mining and Metals industry to participate in greater volumes in the state. He also said that Odisha offers immense opportunities for the industry with a flexible and supporting administration.
Addressing the virtual session on FICCI Policy Round Table with the Government of Odisha, Mr Mallik said that the Odisha has attracted one of the highest investments in many sectors during the pandemic.
Odisha has successfully auctioned 31 mineral blocks including, iron ore, manganese, graphite, limestone within the stipulated timeframe. "I urge the industry to explore opportunities in the Odisha. The state has a flexible and supporting administration with skilled man-power and vast reserves of natural resources," he said. The state also has excellent transportation and communication network, along with adequate power supply and investor-friendly environment, he added.
Mr Mallik also urged the existing companies to further expand their investments in the state. The mining and minerals industry can further aim to increase their capacity utilization by setting up the ancillary industries, he added.
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text:
Alyaksandr Dzemidovich (; ; born 26 April 1989) is a Belarusian professional footballer.

His brother Vadzim Dzemidovich is also a professional footballer.

External links

1989 births
Living people
Belarusian footballers
Association football defenders
FC Dynamo Brest players
FC Granit Mikashevichi players
FC Lida players
FC Baranovichi players
FC Smorgon players
FC Neman Grodno players
FC Smolevichi players
FC Rukh Brest players
FC Volna Pinsk players
Sportspeople from Brest, Belarus

redpajama_set_name: RedPajamaWikipedia


New Delhi, Oct 11 (IANS) In a major breakthrough that will benefit poor farmers, the International Crops Research Institute for the Semi-Arid Tropics (ICRISAT) has successfully helped in achieving commercial production of ethanol from juice of the sweet sorghum stalk.
Sweet sorghum being a water-efficient crop grown in the semi-arid tropics, can serve as an excellent source for ethanol while still meeting the food, feed and fodder needs of the small farmers, stated ICRISAT director general William Dar.
He recently commissioned a 40,000-litre per day fuel ethanol and extra-neutral alcohol re-distillation plant at Mohammed Shahpur village in Medak district in Andhra Pradesh to convert the juice from the sweet sorghum stalk into bio-ethanol.
'With the commissioning of the distillery costing $7 million, ICRISAT will become among the first institutes in the world to facilitate a project that links distillery producing ethanol from sweet sorghum to the poor and the marginal farmers of the semi-arid tropics,' Dar said in a statement Wednesday.
The project has utilised the ability of ICRISAT, based near Hyderabad, in breeding varieties of sorghum that have a higher content of sugar in their stalk.
Through the Agri-Business Incubator (ABI), the technology commercialisation arm of ICRISAT, the institute built a successful partnership with Rusni Distillery, a private sector partner, to produce ethanol from sweet sorghum.
With the fuel prices skyrocketing, there is increasing demand for bio-fuels like ethanol, which can be blended with petrol and diesel for use in transportation. India is planning to extend supply of ethanol-blended petrol or gasohol across the country from November.
Ethanol-blended fuel is currently being supplied in nine states including Tamil Nadu and Maharashtra.
'By linking the distillery with the sorghum farmers we have helped empower small farmers to realise an additional end use and thereby increase their income and improve livelihood security,' Dar said.
The pioneering venture is expected to benefit not only the 3,000-odd farmers of Medak district who grow the crop, but also generate employment for many more farm families.
A. R. Palaniswamy, managing director of Rusni Distilleries, holds the patent for the technology for producing ethanol from sweet sorghum stalk.


text:
Творчі завдання
Готові шкільні презентації
Презентація на тему «Sir Joshua Reynolds» (варіант 1)
Виберіть розділУ всіх розділахГДЗПідручникиПрезентаціїАналізи творівШкільні твориСтислі переказиУкраїнська літератураЗарубіжна література
Слайд #1
Presentation :Sir Joshua Reynolds
Oleksandra Pekhno
Form 11-A
School of Chynadiievo
Sir Joshua Reynolds (16 July 1723 – 23 February 1792) was an influential eighteenth-century English painter, specialising in portraits and promoting the "Grand Style" in painting which depended on idealization of the imperfect. He was one of the founders and first president of the Royal Academy, and was knighted by George III in 1769.
Reynolds was born in Plympton, Devon, on 16 July 1723 the third son of the Rev. Samuel Reynolds, master of the Free Grammar School in the town. Samuel Reynolds had been a fellow of Balliol College, Oxford, but did not send any of his sons to the university. One of his sisters was Mary Palmer (1716–1794), seven years his senior, author of Devonshire Dialogue, whose fondness for drawing is said to have had much influence on him when a boy. In 1740 she provided £60, half of the premium paid to Thomas Hudson the portrait-painter, for Joshua's pupilage, and nine years later advanced money for his expenses in Italy.
Reynolds lived in Rome for two years. After that he spent five month in Parma, Florence and Venice. Then he visited other important cities in Italy. He went back to England and became a famous portrait painter.
Reynolds was one of the earliest members of the Royal Society of Arts, helped found the Society of Artists, and, with Gainsborough, established the Royal Academy of Arts, a spin-off organisation. In 1768 he was made the Royal Academy's first president, a position he held until his death.
Sisters Worldgrave
Lady Caroline Hard
Nelly O'Brain
Lady Jane Holiday
Слайд #10
Допомога в навчанні
Авторське право
Буде корисним
© UA-Books.com.ua 2020
Готові домашні завдання, підручники, українська та світова література


Are you sitting on the sofa whilst reading this, thinking about how you should really go out for a training session, but struggling to find the motivation, or formulating a worthy excuse for yourself in your head? We all do it! Running for charity is a good excuse to stop those bad habits and start getting healthy.
Set yourself a training schedule that you know you can fit in around your work and other commitments- and stick to it with no excuses. Once you miss one, its too tempting to miss more.
Train with a friend - that way you can help keep each other motivated.
Don't think about it too much! This just gives you a chance to cop out. Get out there as soon as you get up or as soon as you get in from work, that way you can chill out guilt free afterwards.
Give yourself days off so that your training schedule is not relentless and you have a chance to recover.
Pre-plan a reward for yourself when you get back from your training session. This does not have to be food related- it could be a new magazine to read or watching your favourite TV show.


text:
Sun Protection in a Pill: The Results Are In
Sun protection is perhaps the most important part of any skin-care regimen. Whether you live in a sunny or cloudy climate, sunscreen should be worn at all times. However, the […]
By NewBeauty Editors · Jan 7, 2013
Photo Credits: Thinkstock
Sun protection is perhaps the most important part of any skin-care regimen. Whether you live in a sunny or cloudy climate, sunscreen should be worn at all times. However, the task of applying and reapplying sunscreen can become extremely tedious. But it turns out that our constant cries for something easier have been answered in the form of a little pill.
Scientists have worked for years, if not decades, to develop an oral supplement that could provide adequate sun protection. The most current one, Heliocare ($28), has been given to patients who have had skin cancer and has been popular in Europe for several years. But is it too good to be true?
"I was very skeptical at first, however, after reviewing the white papers where the company took samples of patients' skin and performed biochemical stains for cyclobutane-pyrimidine dimers and 6, 4-photoproducts, which are markers for cancerous changes inside skin cells, there were substantially reduced damaged skin cells from UVA/UVB exposure," says Fort Lauderdale, FL, dermatologist Will Richardson, MD. "Likewise, the study also demonstrated a reduction in immediate sunburn and immediate pigment darkening in patients on Heliocare 40 minutes after administration."
While Dr. Richardson wouldn't recommend this product as a stand-alone way to prevent sun damage, he says that it's a great option for athletes or those who spend a lot of time outdoors. Just be sure to use a topical sunscreen for added protection. "Use a full spectrum sunblock that will provide UVB and UVA protection that is at least SPF 30 and has zinc oxide," says Smithtown, NY, dermatologist Marina Peredo, MD.
34 Foods That Boost Collagen
The $20 Self-Tanner Lily James Wore to the Critics' Choice Awards
The Hair Oil Keeping Aubrey Plaza Frizz-Free at the Critics' Choice Awards
A Dermatologist Says This Serum Is a Must-Have After Laser Treatments