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One often hears the term "setbacks" used for wind turbines, but the concept is not always well understood or explained. These rough notes are intended to help readers understand the term "setbacks". They are a first draft, and will be revised as time permits.
There are safety setbacks, and there are noise setbacks. They are not the same.
Noise setbacks should be based on the noise where a person is trying to rest, including contributions from all turbines within 3 to 5 km, not just a single turbine. Thus, single turbine setbacks are really not relevant to sound measurements. To understand noise setbacks you need to have a rough idea of what dBA sound measurement means. The dBA scale is based on maximizing contribution of those sound frequencies that are used in speech communication, and minimizing the contribution of frequencies not in normal speech.
Sound is calculated in dBA by looking at 8 octave bands – where the frequency doubles from band to band. The contributions are added together logarithmically.
Sounds below the 63 Hz band are ignored.
Sound above the 8000 Hz band are ignored. (Thus high frequency whistles, are ignored).
This does not say that you cannot hear the lowest or highest frequencies, it says that they are not normally part of communication, and in fact our hearing is most sensitive in the middle range. Different people have different response, some hear further into the low and high range. Particularly as we age, or if exposed to excessive industrial noise, (or even play our iPods too loud) most start to loose the highest frequency response, and gradually our hearing diminishes. We hear lower pitch rumbles, but cannot determine what is being said. Thus, a person with typical age degenerated hearing will still hear low frequency sound, but will have difficulty understanding conversation, particularly conversation of children or women who have higher pitched voices. Wind turbines covers a wise frequency spectrum, but emit sound that is higher in intensity in the lower frequency ranges. The cruelty of this, is that wind turbines produce a sound that is more pronounced at a low frequency end, so a person who has difficulty hearing others can still be bothered by wind turbines!
When one calculates a dBA sound measurement for a wind turbine it tends to diminish the contribution from the low frequency end. An alternate "scale" used to measure sound is the dBC scale. It tends to be more level, and not diminish the low frequency contribution as does the dBA scale. For example sounds in the 63 Hz band are reduced by only 0.8 dB on the dBC scale, not 26.2 dB as on the dBA scale. Thus measurement of sound from wind turbines on the dBC scale shows a larger contribution from the lower frequency.
A way to understand the implications the use of different scales has when calculating the sound from different sources is to compare the sounds measured on the dBA or dBC scale for a number of common appliances, and to compare them to the sound from a wind turbine.
We often hear claims that a wind turbine makes no more sound than is issued by a refrigerator in a home. I used a professional sound level meter with dBA and dBC scales, and sensitive from about 30 dB to 120 dB to measure some common appliances and to compare them to a wind turbine.
at about 1 metre, our refrigerator (a newer machine with several fans) measures 45 dBA and 50 dBC, showing that the sound is emitted mostly in the middle ranges of the octave scales, as the dBC measurement is only somewhat greater than the dBA reading.
our upright vacuum cleaner measures about 70 dBA and 74 dBC at the user's ears. Considerably louder than the refrigerator, but still mostly in the middle ranges.
However, when I made measurements using the same sound level meter at night about 400 metres from a turbine of the Huron Wind array of 5 Vestas V80 1.8 MW turbines (plus 1 smaller Tacke 600 kw turbine in the distance), with the others within 1000 metres, the measured sound was from 40 to 45 dBA, and 55 to 75 dBC (varying up and down in intensity as the blades rotated). Not only was the sound intensity variation very noticeable (significantly more on the dBC scale than the dBA scale), the difference between the dBA and dBC readings was significantly higher than for the home appliances.
2) the sound from the wind turbine, particularly the low frequency component, had an apparent cyclical pattern up and down in intensity in step with the blade rotation.
Another way to think about this, is that while the dBA measurement for the wind turbines is comparable to the refrigerator, the dBC readings are closer to the vacuum cleaner. It puts some clarity onto the issue of why the low frequency component of the sound from wind turbines impacts a person.
The Ontario MOE publication NPC-232 "Sound Level Limits for Stationary Sources in Class 3 Areas (Rural)" allows sound levels of 40 dBA overnight between 7 PM and 7 AM. However, MOE Publication NPC-104 "Sound Level Adjustments" requires that for cyclic variations, "If a sound has an audible cyclic variation in sound level such as beating or other amplitude modulation then the observed value shall be increased by 5." In other words, for a sound level measured from wind turbines which show a cyclic measurement, going up and down in intensity, as noted above, then a sound measured as 45 dBA should be increased by 5 to 50 dBA. Clearly this would be above the MOE night time limit of 40 dBA in the case measured.
However, the MOE October 2008 publication "Noise Guidelines for Wind Farms" specifically states, "It should be noted that the adjustments for special quality of sound described in Publication NPC-104, were not designed to apply to sounds exhibiting such temporal characteristic." This means they are not applying the penalty called for by NPC-104 to wind turbines. We have raised this as an incorrect interpretation consistently with the MOE, and even one of the original authors of the NPC-104 documents has stated that the cyclical sound from wind turbines is the sort of sound variation that the original authors had in mind (but did not mention as large wind turbines did not exist in Ontario at the time the publication was written), but the MOE have refused to respond to any of the criticism. If this cyclical penalty of 5 dB was applied, then wind turbines would need to be nearly twice as far from homes to meet the regulations, as doubling the distance from a sound source to a listener lowers the sound by roughly 6 dB.
Dr. John Harrison has raised an additional concern that he believes the 40 dBA permitted sound level in rural communities is inappropriate as it is a significant intrusion on the typical sound levels in rural communities at night of 25 dBA or so. It makes the wind turbine not just a contributor t the overall sound, it becomes the dominant sound and thus is more annoying.
the rural background is low, and a 40 dBA limit is a significant intrusion.
Even still, if we consider the sound output of a GE 1.5 sle turbine, then a single turbine would need to be 680 metres from a home to achieve 35 dBA limit and an array of 5 turbines would have to each be 1315 metres from a home for the array of 5 to achieve 35 dBA at a home.
An array of Siemens 2.3 turbine with 93 metre or 101 blades, produce more sound than the GE turbines, and the sound produced would require a further setback, while a single Vestas V82 turbine would require a setback of 1250 metres to achieve 35 dBA, and an array of 5 Vestas V82 turbines would require a setback of over 2200 metres each to achieve a sound level of 35 dBA at homes.
You can see why a single value of setback from turbines is really of little value in determining an acoustical setback, as the effect of all turbines in the array must be considered. As a general rule, if there are any turbines within 2000 metres of a home, they will produce a large enough effect that turbines at distances over 3000 metres likely do not need to be considered.
The acoustical impact of turbines on the interior of a house, depends on the house construction. Generally, Canadian wood frame constructed homes provide less attenuation to lower frequencies than to high frequencies. Again, the low frequency component of wind turbine sound is important. Often standards are written considering that a house provides an attenuation of 15 dB or so, but this is considering the speech sensitive middle frequencies. The attenuation of the lower frequency component of wind turbine sound may well be less. The attenuation also depends upon the house construction (amount of insulation) and to a significant degree upon the construction and opening of windows. A closed – double paned, sealed window provides a much better attenuation, than older double hung windows with single glazed windows and a removable storm window. These may be more prone to rattle, and to pass sound through. However, even newer double insulated casement windows can present their own problems, as if opened, depending on the direction of the sound source, the opened casement window acts rather like "ears" and captures sound coming from the direction the window is opened towards to direct it into the house.
I hope this discussion has not been too complex, but gives an idea of some of the conditions that need to be considered in calculating a sound setback.
ice falling from the blades (relatively the issue with the highest frequency). It is not a trivial issue as pieces of ice up to 12 inches x 12 inches x 2 inches thick have been found at distances of up to 100 metres from the 50 metre hub height Tacke wind turbine at the Bruce Nuclear Information Centre. Ice of a similar size falling from a turbine with an 80 metre hub height can hit the ground with the same impact as a concrete block dropped from a 6 storey window. Simply scaling up the smaller turbine would suggest this ice might impact up to 175 metres from the tower, and GE, a turbine manufacturer recommends an ice safety setback of 1.5 times the sum of the turbine hub height plus the rotor diameter. (For a 95 metre hub with 90 metre rotor diameter, this is a setback of 277 metres.
tower collapse occurs relatively infrequently, often associated with blade impact with the tower. While a tower collapse puts a lot of equipment on the ground, the distance is relatively limited.
probably the accident of the highest significance is the loss of a turbine blade or part of blade. Actual experience has seen turbine blade pieces travel up to 500 metres from turbine towers. For this reason, Hydro One Systems have said they are putting in place a guideline to require wind turbines to be 500 metres from Hydro One critical assets, the 500 kV transmission corridors. To have an idea of the magnitude of the impact that even 10% of a turbine blade would have falling, a calculation shows that this would hit the ground with the same impact as dropping a Ford Crown Victoria (chosen only because it is the largest domestic automobile produced) from the top of the Bluewater bridge in Sarnia onto the water below.
Applying what is called "deterministic safety analysis" one would put in place a barrier effective to protect the member of the public who is not prevented from being within the restricted area. This means putting in place a 500 metre setback to protect the public. Often wind turbine proponents will do calculations suggesting that the risk of actually killing someone in a wind turbine accident is low, as it is unlikely that a person would be in the area around the turbine. However, this is an inappropriate use of probabilistic risk assessment as it does not show that the risk to the person who is within the exclusion area is significant. How high the risk is can be determined by considering the actual blade failure frequency.
Without going into detail here, simply put the effective deterministic safety setback for today's wind turbines is about 500 metres, not the setback of turbine blade length plus 10 metres that is quoted in the Ontario regulations.
Over time, I hope to develop a more comprehensive writeup of the whole issue of setbacks, but this may help to explain the differences between noise setbacks and safety setbacks.
causes confusion. Some smaller turbines may in the past have been installed with 360 metre setbacks, but that is far from adequate for today's turbines. Claims that Ontario has a restrictive 550 metre setback are similarly flawed. I hope this helps some on an interim basis.
This entry was posted in Noise, Safety, Setbacks and tagged due diligence by wind resist. Bookmark the permalink.
Thank you Bill, very well written!


text:
describe('checkbox', function() {

  var compile, rootScope;

  beforeEach(module('corespring.input.checkbox'));

  beforeEach(inject(function($compile, $rootScope) {
    compile = $compile;
    rootScope = $rootScope
  }));

  describe('initial rendering', function() {

    it('replaces <checkbox/> with <div class="checkbox-input"/>', function() {
      var element = compile("<checkbox></checkbox>")(rootScope.$new());
      expect(element.prop('tagName').toLowerCase()).toEqual('div');
      expect(element.hasClass('checkbox-input')).toBe(true);
    });

  });

  describe('checked attribute', function() {

    it('adds checked="checked" to .checkbox-input when clicked', function() {
      var element = compile("<checkbox></checkbox>")(rootScope.$new());
      element.click();
      expect(element.attr('checked')).toBeDefined();
      expect(element.attr('checked')).toEqual('checked');
    });

    it('removes checked="checked" from .checkbox-input when clicked twice', function() {
      var element = compile("<checkbox></checkbox>")(rootScope.$new());
      element.click();
      element.click();
      expect(element.attr('checked')).toBeUndefined();
    });

    it('adds "checked" class to .checkbox-toggle when it has been checked', function() {
      var element = compile("<checkbox></checkbox>")(rootScope.$new());
      element.click();
      expect($('.checkbox-toggle', element).hasClass('checked')).toBe(true);
    });

    it('removes "checked" class from .checkbox-toggle when it has been unchecked', function() {
      var element = compile("<checkbox></checkbox>")(rootScope.$new());
      element.click();
      element.click();
      expect($('.checkbox-toggle', element).hasClass('checked')).toBe(false);
    });

    it('adds "checked" class to .label-text when it has been checked', function() {
      var element = compile("<checkbox></checkbox>")(rootScope.$new());
      element.click();
      expect($('.label-text', element).hasClass('checked')).toBe(true);
    });

    it('removes "checked" class from .label-text when it has been unchecked', function() {
      var element = compile("<checkbox></checkbox>")(rootScope.$new());
      element.click();
      element.click();
      expect($('.label-text', element).hasClass('checked')).toBe(false);
    });

  });

  describe('disabled attribute', function() {

    var element;

    beforeEach(function() {
      element = compile("<checkbox></checkbox>")(rootScope.$new());
    });

    it('does not add checked="checked" to .checkbox-input when disabled', function() {
      element.attr('disabled', 'disabled');
      element.click();
      expect(element.attr('checked')).toBeUndefined();
    });

    it('does not add "checked" class to .checkbox-toggle when disabled', function() {
      element.attr('disabled', 'disabled');
      element.click();
      expect($('.checkbox-toggle', element).hasClass('checked')).toBe(false);
    });

    it('does not remove checked="checked" from .checkbox-input when disabled', function() {
      element.attr('checked', 'checked');
      element.attr('disabled', 'disabled');
      element.click();
      expect(element.attr('checked')).toBeDefined();
      expect(element.attr('checked')).toBe('checked');
    });

    it('does not remove "checked" class from .checkbox-toggle when disabled', function() {
      element.attr('checked', 'checked');
      element.attr('disabled', 'disabled');
      element.click();
      expect($('.checkbox-toggle', element).hasClass('checked')).toBe(true);
    });

    it('adds "disabled" class to .label-text when it has been disabled', function() {
      var scope = rootScope.$new();
      scope.isDisabled = true;
      var element = compile("<checkbox ng-disabled='isDisabled'></checkbox>")(scope);
      scope.$digest();
      expect($('.label-text', element).hasClass('disabled')).toBe(true);
    });

    it('adds "disabled" class to .checkbox-toggle when it has been disabled', function() {
      var scope = rootScope.$new();
      scope.isDisabled = true;
      var element = compile("<checkbox ng-disabled='isDisabled'></checkbox>")(scope);
      scope.$digest();
      expect($('.checkbox-toggle', element).hasClass('disabled')).toBe(true);
    });

  });

  describe('ngModel', function() {

    it('should initialize boolean false to unchecked', function() {
      var scope = rootScope.$new();
      scope.value = false;
      var element = compile("<checkbox ng-model='value'></checkbox>")(scope);
      expect(element.attr('checked')).toBeUndefined();
      expect($('.checkbox-toggle', element).hasClass('checked')).toBe(false);
    });

    it('should initialize boolean true to checked', function() {
      var scope = rootScope.$new();
      scope.value = true;
      var element = compile("<checkbox ng-model='value'></checkbox>")(scope);
      scope.$digest();
      expect(element.attr('checked')).toBeDefined();
      expect(element.attr('checked')).toBe('checked');
      expect($('.checkbox-toggle', element).hasClass('checked')).toBe(true);
    });

    it('should change model to true when checked', function() {
      var scope = rootScope.$new();
      scope.value = false;
      var element = compile("<checkbox ng-model='value'></checkbox>")(scope);
      element.click();
      expect(scope.value).toBe(true);
    });

    it('should change model to false when unchecked', function() {
      var scope = rootScope.$new();
      scope.value = false;
      var element = compile("<checkbox ng-model='value'></checkbox>")(scope);
      element.click();
      element.click();
      expect(scope.value).toBe(false);
    });

    it('should update when model changes to true', function() {
      var scope = rootScope.$new();
      scope.some = {value: false};
      scope.$digest();
      var element = compile("<checkbox ng-model='some.value'></checkbox>")(scope);
      scope.some.value = true;
      scope.$digest();
      console.log($(element).html());
      expect($('.checkbox-toggle', element).hasClass('checked')).toBe(true);
    });

  });

  describe('ngDisabled', function() {

    it('should initialize the checkbox to be disabled when true', function() {
      var scope = rootScope.$new();
      scope.isDisabled = true;
      var element = compile("<checkbox ng-disabled='isDisabled'></checkbox>")(scope);
      scope.$digest();
      expect(element.attr('disabled')).toBeDefined();
      expect(element.attr('disabled')).toBe('disabled');
    });

    it('should initialize the checkbox to be enabled when false', function() {
      var scope = rootScope.$new();
      scope.disabled = false;
      var element = compile("<checkbox ng-disabled='disabled'></checkbox>")(scope);
      expect(element.attr('disabled')).toBeUndefined();
    });

  });

});

redpajama_set_name: RedPajamaGithub


G A L L E R Y 106 is delighted to announce solo exhibition of ZANI - Zaneta Gelevska Veljanoska, titled CLOSE UP: The World of Relaxed Spontaneity.
ZANI is always experimenting and her paintings are a unique blend achieved by combining acrylic and mixed media with a range of unusual materials. These materials have become a distinguishing feature of Zani's work and in many cases; the materials dictate the form, as well as give the paintings their distinctive quality. Her paintings have a powerful strength and refreshing spontaneity with rich variations of colour and tone. Most of her inspiration is drawn from ordinary people and everyday experiences and events. The work is often based on the relationship between public and private space, memories of the past and visions of the future.
ZANI is based in London and exhibits regularly. Many of her works are in possession of private collectors, galleries in Paris and New York.
After her resent exhibition in New York, ZANI will be showing her most recent works to the UK public in Gallery 106 in London. This exhibition will consist of 28 artworks, made using acrylic on canvas and multimedia technique.


Learn how to utilize the evidence to support the proper conclusion in cases involving the death of a child.
Discuss possible causes of death and gain best practices and tips including various investigative steps for first responders to evidence collection, witness and suspect interviews, and medical examination, and legal issues for prosecution.
Registration Deadline: March 15, 2019.


text:
Global CBD Statistics 2021
CBD oil is most popular in the United Kingdom, as more searches are made for 'CBD oil' in the UK than any other country.
People in the Republic of Ireland, Canada, Australia and the USA also search online for CBD oil more frequently than other countries around the world.
In countries such as the United Arab Emirates, Singapore and Saudi Arabia you could face up to 12 years in prison for using CBD oil.
The global CBD oil market is one that's ever-expanding, and in recent years has proven to be a very lucrative market, with a current predicted growth rate of 31.9% between 2020 and 2027. In this article, we reveal just how fast the global CBD market is growing, the countries where CBD is most popular and the latest information on CBD laws around the world.
We also discuss the impact the Coronavirus pandemic has had on the global CBD industry, as we reveal all of the latest CBD statistics for 2021.
CBD Global Trends 2021
With an estimated worth of approximately $9.3 billion, predicted to rise to $23.6 billion by 2025, the CBD market is one of the world's fastest growing niche industries to date.
The hashtag #CBD has now been used on Instagram over 12 million times, with CBD oil (#cbdoil) being used more than 2 million times, whether that's by brands advertising their products, consumers sharing their favourite types of CBD or medical patients providing insights into how CBD based products have helped them.
#cbd: 12,306,558 posts
#cbdoil: 3,175,483 posts
Google searches for CBD are also on the rise, with search volumes accelerating rapidly over the last 5 years. As you can see on the graph below, interest in CBD began to gradually increase from 2004 to around 2017 when searches rose dramatically until their peak in 2019.
Global 'CBD' search interest between 2004-2020. Source: Google Trends
How has COVID impacted the global CBD market?
As you can see on the graph, searches for CBD took a nosedive in March 2020 at the beginning of the Coronavirus pandemic lockdown. However, soon after, searches began to increase once more, as the world began to adapt to the new changes, challenges and restrictions brought about by the pandemic.
A surge in demand for CBD oil has even been observed over the last year, with an apparent rise in the number of consumers seeking CBD products for relaxation purposes. What's more, numerous studies have been conducted over the last 12 months which have suggested a link between CBD consumption and improved oxygen levels in COVID patients.
These findings, alongside Biden's presidential win and recent advances in CBD laws in countries such as Mexico suggest that the CBD industry has been relatively successful in light of the recent COVID pandemic.
Where is CBD oil legal around the world?
With the World Health Organisation having confirmed its safety, benefits and low risk, it would be easy to assume that most countries around the world would have legalised the use of CBD oil. However, as you can see from the map below, only 58 countries have legalised the use of CBD oil and various restrictions apply.
Which countries around the world have legalised CBD oil? And what's the legal THC level in each country?
As you can see, in countries such as Lithuania, Albania and Slovakia, use of CBD oil is illegal. Punishments vary from country to country, however amongst the most strict are the United Arab Emirates, Indonesia, Singapore and Saudi Arabia, where possession of CBD oil can land you in prison for up to 12 years.
Different states in the US also have varying laws when it comes to CBD oil use. As shown on the above map, most US states have legalised CBD oil, as long as it does not contain more than the permissible amount of THC (Tetrahydrocannabinol – the psychoactive constituent of cannabis). This amount differs from state to state, and some states have rather strict regulations surrounding its use.
For instance in Kansas, CBD products containing any amount of THC are forbidden. This makes it extremely difficult to legally purchase and use CBD oil as most oils contain at least trace amounts of THC.
All details from our investigation into which countries have legalised CBD oil can be found here.
Where in the world is CBD most popular?
So now we know which countries allow the use of CBD oil. But which countries use CBD the most? And where in the world is CBD oil most sought after? To find out, we used the search tool Keyword Finder, which enabled us to discover the average search volume by country for the term 'CBD Oil'. Our analysis found that:
People in the UK search online for 'CBD oil' more than any other country, with around 30 in every 1,000 people searching for the term in the past year*.
The Republic of Ireland, Canada and Australia follow next, with the USA following closely behind Australia, as 16 in every 1,000 Americans searched for 'CBD oil' in the last year.
Also amongst the top 10 countries for CBD oil interest are New Zealand, Malta, Cyprus, Hong Kong and Greece.
Average number of searches for 'CBD Oil' Per 1,000 people in the last 12 months.
Methodology: To discover where in the world CBD oil is most popular, we analysed search volumes from the online search tool Keyword Finder. This allowed us to find the average monthly search volumes per country for the term 'CBD oil' in the last 12 months (January 2020 to January 2021).
We then multiplied these figures by 12 which gave us global annual search volumes for each country, before dividing each figure by the country's population which gave us the average number of yearly searches per person. To find out the number of searches conducted per 1,000 people, we then multiplied this figure by 1,000 which gave us the data presented in the graph above.
Our raw data can be found here.
*It's important to note that each search does not necessarily represent an individual, as multiple searches may have been made by the same individual. What's more, our search volume analysis only included countries where CBD oil was legal (as of January 19th 2020).
We hope this article has been useful in giving you all of the latest global CBD statistics for 2021. If you'd like to find out more country-specific statistics, check out our recent article on US Marijuana statistics.
Brand New Manufacturing Facility
Twister T4 Trimmer Spotlight and Giveaway
What to Consider when Drying and Curing Cannabis
Behind The Harvest – Ep 01 w/ Justin Cooper of Growing Exposed
Keirton Named One of Canada's Top Small and Medium Employers for 2021
Harvest Hub

redpajama_set_name: RedPajamaCommonCrawl


text:
Google Waze vs. Google Maps: Which Navigation App Is Better
People may be tempted to think every navigation application is the same because their primary function is to get you from point A to point B. However, Google owns both Waze and Maps with features that are make them distinctly different from each other.
Waze allows drivers to share information with application users on road traffic accidents, road closures and police officers asking to drivers to pull vehicles over.
Google Maps has more features, transportation options and includes an array of information such as important locations like businesses, hotels, monuments, etc.
What Are The Differences?
Google Maps offers voice navigation options, regardless of whether you're in a car, bike or walking. It offers live traffic conditions as well as alternative routes when there are closed roads. It also offers navigation options for driving, walking, biking and public transportation. It includes Google Street View and has an offline mode supporting navigation for turn-by-turn. It lets you know if you're going to be late for your destination, recommends the lane for which you should drive in and track and save the location information.
Waze has social network integration, allowing users to report live traffic. It also provides celebrity voice navigation possibilities. It learns the desired destinations and routes, and looks for the cheapest gas stations along your route. By default, it avoids highways. It lets users to give up-to-date information regarding their ETA to people they want to give it to…and so much more!
How Easy Are Waze and Google Maps To Use
Think of Google Maps as being digital version for a paper map, which recommends major roads… not the side ones. Users can type in a certain address but if unable to remember the street, they can type the business name or kind of business in. Street View will allow users to know how the location looks and how they can get there. Google Maps will let users choose between the transportation options. When choosing between the options, users get route recommendations with the various ETAs. If going the highway, the program informs users to know what lane they need to be for the exit ramp. It also offer turn-by-turn navigation.
Waze puts attention on driving, showing all roads on the map. Within its search menu, users can type in a company's name or the address, and the app informs them what route to take. Waze also shows sponsored destination – this can be a bit infuriating and disrupting. It's got a turn-by-turn feature that's similar to a traditional GPS device.
Google MapsWaze
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text:
Help:The perfect edition
From ChoralWiki
This page is still under development.
If you wish to add any content, feel free, but please discuss any changes of the existing material on this talk page.
Thank you for wanting to contribute to CPDL by submitting an edition of a public domain work or one of your own compositions. Below are guidelines for creating an edition of a choral or vocal work for submission to CPDL, followed by some general tips about layout and design considerations, in the hopes that they help improve the readability of scores on CPDL.
What to include in your editions
The full title (including opus or other catalogue number if applicable), subtitle and composer's dedication at the top of the first page of music in the order: dedication, title, subtitle (from top to bottom)
The full name of the composer, with his/her years of birth and death in parentheses, aligned right, below the subtitle.
The name of the editor of the work preceded by the phrase "Edited by", below the name of the composer, aligned right.
The full name of the lyricist or source of lyrics, with his/her years of birth and death in parentheses, aligned left, below the subtitle.
The name of the translator or editor of the text preceded by the phrase "Edited by" or "Translated by", below the name of the lyricist, aligned left.
Text and translation(s)
Title page if work is long
General tips about layout and design considerations
Please keep in mind that scores might be used under a variety of circumstances, including poor lighting, or possibly sight-singing a piece on no or little rehearsal. For example, this is not uncommon in weekly Sunday church situations where a choir might rehearse new music once on the Thursday before Sunday, or even just read through it once on the Sunday morning before performing it. Similarly, a substitute may be called in to cover a sick singer's voice part and may have to perform on little or no rehearsal. Anything that helps tell the singer's eyes where to go after they've just turned a page, or helps make the notes and words clearer, is a huge help.
Font size or notes that are too small may be difficult to use. This can often be done even without taking up any greater width.
Many singers punch holes in their music to use 3-ring or similar binders, so leaving adequate room in the margins prevents holes from interfering with viewing notes.
Leaving more space between systems than there is between staves provides an important visual cue to help singers find their own line on the page.
Using brackets or braces to visually associate similar voiceparts helps singers find their own part (e.g. in SSATTB music, using braces to visually associate the two soprano and two tenor parts).
Labeling staves on the left side of the page with the associated voice part also helps singers find their own line on the page. This is especially useful when there is a change in the voice parts (e.g. a new page starts a new section with 3 voices, when previously the work had 8 voices).
Avoid tragic page turns. Most editing software will let you select where to put the page break, so singers do not have an awkward transition once they've turned the page.
For speedy group referencing in rehearsal situations, include page numbers on each page in predictable locations, and also include periodic measure numbers (once at the start of each system usually works well).
Use horizontal spacing that is proportional to note values, and line up parts vertically. E.g. avoid having the second half note of the soprano line up over the second quarter note of the alto.
Use beaming that makes it easy to count the measure (e.g. subdividing the beaming for sixteenth-note clusters may make it easier to count than beaming five or six of them together).
Indicate visually which accidentals are editorial, cautionary or courtesy.
Make clear which sources have been used for an edition.
Make clear what you have changed with respect to your sources. If you have changed key, clefs, rhythm (some editors, e.g., half all note values), add an editorial note explaining what the original key, clefs or rhythm was.
Print the licensing terms (e.g. CPDL license or Creative Commons) on the first page of your edition, so that choirs can easily find out whether they may use the score for a public performance.
Include information to help someone trying to find the softcopy, such as that it can be found on CPDL and/or the editor's name.
(Note: the style of barlines to use is a controversial topic due to variation in user preferences, approaches for different eras or styles of music, etc. So we are avoiding that topic for this page.)
Repository of common music notation mistakes, by Jean-Pierre Coulon, which includes additional suggestions and also excellent visual examples for comparison.
IMSLP.org Typesetting Guidelines
Standard Music Notation Practice by the Music Publishers Association of the United States, Inc.
How to add your edition to CPDL: Score submission guide
What formats should I upload for my edition?
In discussion in the CPDL forums, the book "Behind Bars: The Definitive Guide to Music Notation" by Elaine Gould was mentioned.
This page is part of the CPDL Help system.
View main help index
Retrieved from "http://www1.cpdl.org/wiki/index.php?title=Help:The_perfect_edition&oldid=560779"
CPDL how-to
Web page content is available under the CPDL copyright license; please see individual editions for their copyright terms.


Galaxy clusters — cosmic structures containing hundreds or even thousands of galaxies — are the largest objects in the Universe held together by gravity. Multi-million-degree gas fills the space in between the individual galaxies. The mass of the hot gas is about six times greater than that of all the galaxies combined. This superheated gas is invisible to optical telescopes, but shines brightly in X-rays, so an X-ray telescope like NASA's Chandra X-ray Observatory is required to study it.
We are very pleased to welcome Eleonora Troja as our guest blogger. She is an associate research scientist at the University of Maryland, College Park, with a joint appointment at NASA Goddard Space Flight Center. She divides her time between her research on colliding neutron stars, directing the Swift Guest Investigator Program, and her three-year-old daughter, Bianca.
A year ago, on October 16th 2017, an amazing discovery was announced. GW170817, a collision of two neutron stars seen through gravitational waves and light, had realized the perfect union of two worlds. At the press conference organized by the National Science Foundation, a journalist asked an important question to the panelists: "Hadn't we seen similar events before?" In that moment my mind ran back to an unusual gamma-ray burst, GRB150101B, localized by NASA's Swift satellite nearly three years earlier.
GRB150101B was a flash of gamma-ray radiation that lasted for less than a fraction of a second. It was one of the weakest explosions ever seen with Swift, yet it was very luminous in X-rays and for a very long time. This was so unusual that Swift scientists were not sure whether the burst was a gamma ray burst (GRB) or another type of weird explosion, and dubbed it with a dual name GRB 150101B / SwiftJ123205.1-1056. I asked that NASA's Chandra X-ray Observatory observe this object and help us unravel the mystery of its nature. Chandra revealed that there were two sources of X-ray light, not resolved by the Swift observations. A bright X-ray source was located at the center of the galaxy, probably indicating the presence of a supermassive black hole. Next to it, Chandra discovered a weaker X-ray signal coming from GRB150101B. At the same position, telescopes caught a glow of visible light which quickly faded away.
At approximately 9:55 a.m. EDT on October 10, 2018, NASA's Chandra X-ray Observatory entered Safe Mode, where the telescope's instruments are put into a safe configuration, critical hardware is swapped to back-up units, the spacecraft points so that the solar panels get maximum sunlight, and the mirrors point away from the Sun. All systems functioned as expected and the scientific instruments are safe.
The cause of Chandra's safe mode on October 10 has been researched and the Operations team has successfully returned the spacecraft to its normal pointing mode. The safe mode was caused by a glitch in one of Chandra's gyroscopes resulting in a 3-second period of bad data that in turn led the on-board computer to calculate an incorrect value for the spacecraft momentum. The erroneous momentum indication then triggered the safe mode. The team has completed plans to switch gyroscopes and place the gyroscope that experienced the glitch in reserve. Once configured with a series of pre-tested flight software patches, the team will return Chandra to science operations which are expected to commence next week.
Below are some questions and answers with additional technical detail, incorporating the latest information as of Monday October 15th, 2018.
Credit: X-ray: NASA/CXC/NCSU/S. Reynolds; Optical: PanSTARRS.


One of the most misunderstood syllogisms of our time has to be: 'the universe provides'. Those who accept it as a special exchange with the Great Provider take up a more challenging deal where we are trying for a constant relationship with the cosmos. Those who accept the journey also eschew magical thinking, or a knowing wink at the dole, or the myth of natural talent.
In exchange, the universe provides enough glimpses of our goals met and scored to keep us hurrying along, trying and re-trying, for another glimpse of mastery.
Here's the rub: if you want that engagement and you choose what Julia Cameron calls 'the artist's way', can you do it without expectation? This doubles your dharma and makes the journey even more provocative: you may have to go for extended periods with the existential mud dragging on your heels, and still stick to your practice.
Of course, if persistence feels too boring, you can at any time throw the whole process away and do something else … but then you may deprive yourself of the chance to see what would have happened if you'd only kept on keeping on.
To 'keep on keeping on' means holding faith with Jung's insight: "Change takes place at glacial speed" … but it rest assured, it does take place – change is still the only constant.
As an example, a woman I met a couple of years ago was suddenly widowed and then discovered her late partner had mismanaged their joint funds, leaving her virtually penniless.
She'd been born with artistic talent, but "reality always got in the way of the dream". She had followed the pragmatic journey of a working wife and mother, always imagining – as we do – that one day she'd have the space and financial security to develop her gift. Now she was over fifty, standing alone on very shaky ground.
The next couple of years were challenging, sometimes frightening, but she gradually righted her ship. On the voyage, she discovered she now had one precious, wholly-owned asset: her time.
Never in her adult life had she had so much of time to spare – nor been so aware of how finite it is – it seems for reasons both biological and cultural, that the gods do not permit us this insight until we reach a certain age.
At first the woman struggled to manage this abundance of extra time. All to often, loneliness came to fill the space, and with it a loss of faith in the singular miracle of life. Then one Saturday afternoon a friend invited her to a life-drawing class in the city. She felt the charcoal's grittiness on paper, her eyes began talking to her hand about lines, light, shade … two hours later she 'came to', as if she had woken from an hypnotic trance. Twelve drawings she had executed, tentative and rough, and the time had whipped through her, charged with extraordinary energy. That night, looking at her work, she made a pact between Self and Universe – she vowed that for one solid year she would do a drawing every day.
I met this woman at the end of her 365-day drawing practice, and at the start of her Master's Degree in Visual Art. After so much consistent focus on her internal and external universe, she had produced an extraordinary body of work. Not only because the final pieces were so strong and persuasive – but because you could track, from the first tentative sketches, the gathering of her energy. She was a storm of productivity, a living evocation of "energy out, energy in".
the only provision the universe makes for us is the next breath, and we have no other choice but to keep taking it.
This entry was posted in Alternative medicine, Art in Brisbane, art practice, Art theory and thought, creative practice, gratitude, Happiness, persistence, personal groth, personal growth, spiritual growth and tagged aging, art practice, belief, breathing, creativity, dharma, focus, grief, insight, meditation, middle age, personal growth, recovery, self awareness, self improvement, spirituality on October 16, 2015 by Doing as you please: a woman's journey and thoughts about art, social politics, form, function and the pursuit of happiness..
Eat cheese, I say. Eat bread and cheese. Bake your own bread, even – contact me for a recipe that always works!
Early in the morning, remember to lie still and listen for the bird who calls in the dawn with two notes.
Tell that person you love them – and how somewhere you will always love them.
Look at your work and tell yourself it's good – has improved – is improving.
Leave some weeds where they are, so you can see how their flowers look.
Grow your actual crops from seed. Let some flower, fruit, seed and die back. Wait for next season. Watch.
Look closely at how an animal's fur grows – especially on a horse's forehead.
Always choose a window seat in the 'plane.
This entry was posted in Happiness and tagged bread, bread recipes, cheese, gardening, happiness, humour, lifestyle, listening, love, meditation, self improvement on February 28, 2015 by Doing as you please: a woman's journey and thoughts about art, social politics, form, function and the pursuit of happiness..


Homemade Oak Extract is a sound alternative to barrel storage. The marriage of flavors takes place in glass or stainless steel storage containers instead of barrels and therefore needs to be racked at least as frequently as a barrel to slowly introduce oxygen. Other than maintaining that program the effects of oak flavor and aroma will very nearly match the tastes imparted from storage in oak cooperage. To make up your extract you will need a few supplies, as well as the oak chips.
Fill one Mason Jar with the oak chips and fill the jar completely with vodka or everclear. Cover and let stand for 24 hours. Line a funnel with several layers of folded cheesecloth and place over the second Mason jar. Pour in the oak vodka mixture, stand until well drained. You will normally collect approximately 10 to 12 oz. of Liquid Oak Extract. You may further clarify this liquid by straining a second time through a paper coffee filter. Pour the extract into a clean bottle and store until needed.
Measure 100 mL into the graduated cylinder and add .5 mL liquid oak extract. Pour 1 oz. of this flavored wine into a wine glass and mark it .5 mL. Add 1 oz. of wine to a graduated cylinder. Add another .5 mL liquid oak extract. Pour 1 oz. of this second flavored wine into a second wine glass and mark .85 mL. Add 1 oz of wine to the graduated cylinder and repeate this process 3 more times to give you 5 wine glasses marked .5, .85, 1.1, 1.28, and 1.41 mL. Now taste and smell these different wines until you decide which amout is the most desirable.
To treat five gallons of wine, multiply your facorite amount (in mL) by 188. For example: your favorite sample wine glass is the sample with 1.28 mL added. Multiply 1.28 x 188 = 241 mL. Add this extract per 5 gallons of wine you are flavoring. Taste it now and again in three weeks. The wine will apear to have lost some of its fruitier flavor and aromatic components, but after several weeks, the extract will "marry" to the wine and the fruit will reappear. We recommend you do the extract addition several weeks before bottling, in case you want to increase the amount of oak by making a second addition.


The scarpanid family consists of five airborne species which are defined by their habit of abducting prey and objects. Some swoop down from the sky to pick up two Pikmin at once or a single leader, but in Hey! Pikmin, they are also found carrying Sparklium Seeds, hearts, and occassionally treasures.
Although most creatures in the family are in the Scarpanica genus, the Spiny Coppeller is in the Purpuralacus genus, and the Muggonfly is in the Draco genus. The Coppeller also is in the viridelacus species, which consists of one known subspecies.
The Bumbling Snitchbug is a creature discovered by Captain Olimar during his second visit to PNF-404. It's a green bug-like creature with black arms attached to its head. It will steal leaders, and eventually hurl them into the ground, causing damage. Otherwise, it will wander around while flying with its wing-like antennae. Captured leaders may struggle to free themselves by rotating the analogue stick or have a second leader throw Pikmin to combat the enemy. Weighing the bug down will cause it to crash into the ground, where it is easily overwhelmed.
The Coppeller is a creature introduced in Hey! Pikmin. They are small, airborne, quadrupedal insectoids that, like the scarpanids from the previous games, can carry Pikmin as well as other objects. They will swoop onto the screen in groups, carrying Sparklium Seeds, Pikmin, and treasures, at which point the player will be able to take them out by throwing a single Pikmin at them. If allowed to escape, whatever they are carrying will be permanently lost. A more dangerous spiny version of this creature can be found in later levels.
The Muggonfly is a colossal dragonfly-like scarpanid introduced in Hey! Pikmin. It resembles a large Coppeller with a long tail that it uses to carry food back to its den. It can neither hurt nor be hurt by the player, but its food pouches can be destroyed and raided. It is very rare, appearing only once in the entire game, and is the only member of its family that is unable to harm Captain Olimar and/or Pikmin.
The Spiny Coppeller is a specially adapted relative of the Coppeller introduced in Hey! Pikmin. They are slightly larger than normal Coppellers, and are completely unkillable, as any Pikmin thrown at them will be impaled on their spiky armor. They do not carry anything and rarely move, instead simply hovering in place and blocking the player. They are one of the only enemies in any Pikmin game that can not be killed.
The Swooping Snitchbug is a creature present in all three Pikmin games. They are legless, round, flying insects that have evolved wing-like antennae as a means of locomotion. They attack by swooping down and grabbing prey, though this species only grabs the Pikmin, not the leaders. After carrying the prey for a few seconds, they violently throw it toward the ground, which forces the Pikmin to be replanted and revert to its leaf stage. Snitchbugs can be weighed down by throwing many Pikmin (or at least one Purple Pikmin) onto their body, causing them to crash to the ground and making them susceptible to attack. In Pikmin 3, throwing a Rock Pikmin at the creature will cause it to fall to the ground, and they replace the role of Bumbling Snitchbugs by gaining the ability to grab leaders as well as Pikmin.
Many members of this family have the word "Snitchbug" in their name, which is a combination of "snitch" and "bug"; to "snitch" means "to catch", in this context. "Coppeller" is likely a combination of "Copter" and "Propeller", in reference to the creatures's helicopter-like wings. Their scientific names use the genus name Scarpanica, which has no meaning, but reflects the family name.
This page was last edited on February 27, 2019, at 21:25.


Interview: Your Soul Is Speaking. Are You Listening?
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Q: Functions aren't working in Chrome Extension So I made a little html file the other day and it's just a page that has a clock, gif background, and a search bar that searches Google.
I had it all working as an html file earlier but then I wanted to make it into a chrome extension. I had to make a manifest.js file and put the scripts in a separate file too and then the search wasn't working anymore.
I really have no clue what I did wrong.
Here's my manifest file:

{
  "name": "THE GOODEST",
  "description": "Overrides the new tab page",
  "version": "0.1",
  "icons": {"48": "icon.png"},
  "incognito": "split",
  "chrome_url_overrides": {
    "newtab": "newTab.html"
  },
  "manifest_version": 2
}

Here's my html file:

<!DOCTYPE html>

<html>

<title>New Tab</title>

<body onload = "resizeWindow()">

<iframe src="http://free.timeanddate.com/clock/i63s4yyj/n224/ahl/avb/pa10/tt0/tw1/tm1/ts1" frameborder=0 width="195" height="37" style="position:fixed; bottom: 10px"></iframe>

<input id="searchBar">

<button onclick="search()">Search</button>

<script type = "text/javascript" src = "scripts.js"></script>

</body>

</html>

And here's my script:

function search() {

    var text = document.getElementById("searchBar").value;

    window.open("https://www.google.com/search?q=" + text)

}

A: As stated by @Deliaz in the comments, inline javascript isn't allowed in chrome extension because of strict environment isolation.
Change this: <button onclick="search()">Search</button> to: <button id='searchButton'>Search</button>
and place some code in your separate script.js file that attaches an eventlistener to your search button on the click action.
// Triggers when all DOM elements are loaded
document.addEventListener('DOMContentLoaded', function(event) {
  // Attaches listener for click event on search button
  document.querySelector('#searchButton').addEventListener('click', function(e) {
    return search();
  });
});

function search() {
    var text = document.getElementById("searchBar").value;
    window.open("https://www.google.com/search?q=" + text)
}

Alternatively you could also use the search event on the input field: https://developer.mozilla.org/en-US/docs/Web/Events/search

redpajama_set_name: RedPajamaStackExchange


TTtrigger is intended for theater use. It uses jack to trigger sound effects and other sounds to predefined audio ports. A shortcut key can be assigned to each sound effect or you can trigger the sounds sequentially.


Find a better rate on a low doc loan. Contact us for a free consultation to find out how.
A low doc loan, short for 'low documentation' loan, is a loan designed to be used by people who don't meet the regular qualification requirements for a conventional home loan to purchase or refinance a residential property.
Just as in regular loan applications, a low doc loan requires that the applicant submit their request in written form. Whilst previously many of these types of loans used to have the option to not submit proof of income, all lenders now require some form of proof of income.
Can I apply for a low doc loan?
Because low doc loans are devised to be used the people that have a level of equity or deposit saved, but are facing trouble in providing evidence of regular income. This usually works for the self employed. Low doc loans may also be available to individuals with a bad credit history.
Unfortunately, in some cases low doc loans are abused by individuals who deliberately erase their income to avoid tax returns. This is considered an offence and if the person is caught, he/she may be forced to pay penalties and fines that far outweigh any benefits they may have hoped for by violating the law.
What's the reason for taking a low doc loan?
If you happen to fall into the categories mentioned above and would like to purchase/refinance a house, townhouse, land or apartment, a low doc loan could be an alternative option for obtaining the required level of financing you need. Make sure that you weigh the pros and cons before making the final major financial decision. This will help you determine if you can afford the repayments. You may also be advised to take out mortgage insurance, which may add more to the total cost.
Usually 80% of the property value will be covered by the low doc loan. This can be increased if you provide more legal, verified financial documentation.
There are 2 types of low doc loans. These are: account statement and asset lend.Both have eligibility requirements that can vary significantly. BadCreditHomeLoans.com.au only looks at the account statement type. This is discussed briefly below.
In this case, you are to give concrete income evidence which may include a signed letter from your accountant. The interest rates are generally in accordance with standard home loans.
Should I be careful about anything?
There are some conditions and extra costs you should try to avoid. For example, higher interest rates, extra and higher fees, and charges along with mandatory mortgage insurance. Sometimes a higher level of existing equity or deposit is asked for. In some cases 20% is not uncommon.
If you would like to discuss obtaining a low doc home loan or to discuss your other options please call us on 1300 724 342 or fill out the enquiry form in the left hand menu of this page.


text:
Share this Story: Letters to The Sun, July 3, 2021: The Only Seafood Café was a precious part of Vancouver
Letters to The Sun, July 3, 2021: The Only Seafood Café was a precious part of Vancouver
The Only Seafood Café was a precious part of Vancouver
The refurbished neon sign for The Only after it was reinstalled at 20 East Hastings St. on June 16, 2011, when the Portland Hotel Society was looking to reopen the restaurant. It's now in storage. Photo by GLENN BAGLO /Vancouver Sun
RIP The Only, Hastings Street's landmark cafe
I read with interest your article on the history and loss of the building which housed The Only and the Loggers Club.
Letters to The Sun, July 3, 2021: The Only Seafood Café was a precious part of Vancouver Back to video
The Only Seafood Cafe was a precious part of the Vancouver that I came to know when I first moved west in the early 1970s. Much of the city that existed in the first half of the 20th Century was still alive at that time. I probably ate at The Only once a month until I moved north in 1980 — chowder, halibut cheeks and chips was my regular order, but if they had no cheeks, I favoured the fried skate. Even after I moved to Fort St. John (where pioneering history was only one generation ago), every time I came back to Vancouver, a visit to The Only was essential. When I moved back in 1997, I worked downtown and, once a week walked down for lunch, as well as introducing everyone I knew who visited Vancouver (and I thought sufficiently open-minded) to the delight of this last, great Vancouver oyster house.
Once, in the mid-'70s, I climbed the long, wide, uncarpeted spruce staircase to the Loggers Club. Inside the door, at the top of the stairs, was a large open room with no pillars or supports (built for a pool parlour, I now know) with wide, spruce floorboards and about half a dozen round wooden tables about six feet in diameter with seven chairs around each. Three of the tables were fully occupied with what, to my current memory, were characters out of "Now You're Logging" by Bus Griffiths, playing poker. The Loggers Club was every inch as characterful as The (much missed) Only.
Josh Lewis, Vancouver
John Mackie's two recent articles illustrate why Vancouver is losing its "awesomeness".
We laugh at the absurdity of the planner's vision for a freeway and "brutalist concrete towers" for the downtown waterfront in the 1960s , yet we passively accept the current planner's statement that The Only Cafe building must be demolished and replaced with yet another "insipid caricature." Those same planners ignored the demolition by neglect of The Only building. They could have offered incentives to incorporate it into a new development right along with that fabulous neon sign. Shame on them.
John Davis, Vancouver
Re: Lia Paradis: Living and dying as an Indigenous man
If I had Lia Paradis' address, I would write her directly to tell her how sad I was to hear of her brother Luc's death.
When I opened that page of The Vancouver Sun and saw his picture, I was at first happy to see him, until I read the article. I knew Luc at least a decade ago when he often hung around lower Davie Street. I always enjoyed talking to him and worried when at one point he disappeared. After some time he came back to the West End and told me he had been in rehab, and he definitely looked better for it. Luc was a lovely guy with a great sense of humour despite his struggles.
When he disappeared again, I often wondered how he was. Some years later, I was walking beside Native Housing and there he was. I was so happy to see him again and hear that he had housing. Street and transient people come and go here in the West End, but many of them are missed when they disappear — we rarely know what happened to them. I am sure many opened their Sun on Monday and were like me at first happy to see that lovely face, and then saddened to hear of his death.
My condolences to his sister.
Dannie Mcarthur, Vancouver
EV rebates are counterproductive
Re: We need 'more carrots and less sticks' to achieve a cleaner air goal
If we are talking about carrots and sticks for a better environment, governments should consider dropping rebates on purchases of electric vehicles and instead charge a premium on purchases of gas-powered vehicles. Government rebates are counterproductive. EV prices will stayed high as long as rebates are available. The same thing happened with LED light bulbs and high-efficacy furnaces. But as soon as the government rebates ended, and the product had to appeal to customers without government handouts, prices dropped. Going from EV rebates to gas surcharges would not only boost EV sales, it would turn the program from a cost centre to a profit centre for the government.
With increased EV sales and technology improvements, the price of EVs should be falling fast. Instead, the base price for EVs is set just below the threshold for the government rebate. That way the car companies let taxpayers do all the heavy lifting. Why drop prices if the government, through rebates, will do it for them?
S.I. Petersen, Nanaimo
Letters to the editor should be sent to sunletters@vancouversun.com .


Selling your home isn't an easy process. Prospective buyers and real estate agents will walk through your space, looking critically at potential problems and doing the math that will eventually result in bid prices. You'll quickly realize that the price of your home isn't only dependent on its structure, size, and location. It's also dependent on whether or not you ever got around to fixing that hole in the wall! Here are a few things to make sure you fix before your home goes on the market.
Nothing will torpedo the value of your home faster than a problem with the foundation. You can't afford to fall behind on foundation repair, so make it your mission to find out right away if your home need work in this department, and to get things completely fixed before any potential buyers step foot in your home.
Few things will send potential buyers scurrying as fast as air quality problems, so make them among the first things you tackle. Mold remediation services can solve your air quality problem, and HVAC upgrades and repairs can keep your home feeling fresh and comfortable. These improvements are key if you want to make your home worth more - and they'll also go a long way towards helping prospective buyers get comfortable during an open house.
Plumbing is a vital system in your home - and a potentially destructive one. Nobody wants to buy a home that could soon be damaged by water. Make sure your plumbing system is in pristine shape. That means fixtures as well as pipes. In fact, now is a good time to replace a few fixtures even if they aren't broken - which brings us to our next section.
If your potential buyers are already envisioning big renovations when they enter your space, they're going to be reluctant to bid big. After all, they've already decided that this is a fixer-upper! Fortunately, you can make your home look a lot more modern and stylish by focusing your energies on two rooms that go out of style fast: the bathrooms and, in particular, the kitchen.
New plumbing fixtures and countertops can make your kitchen look decades newer. Your bathroom can be updated with similar ease. No other rooms improve as quickly with a little modernization, so spend your money wisely and get a big return.
Scroll through a real estate website - like this one specializing in Cincinnati-area homes - and you'll see a whole lot of exterior photos. How your home looks matters!
But landscaping is a tricky thing. Great landscaping can make your home more beautiful, but extensive landscaping is also tough to maintain. Certain landscaping and hardscaping features that appear to improve your property can actually reduce its value - for instance, pools can drop property values in many regions. There are also tricky rules that apply only those selling homes. For instance, keeping plants further from your exterior walls will help assure home inspectors that you don't have problems with roots or bugs or damage to your seamless vinyl siding - but once the buyers move into your home, they'll almost certainly keep plants close to the walls and just under windows. Everyone does!
Research home inspection practices for your region and speak to your landscaper about making smart decisions with your landscaping. You want landscaping that's appealing to prospective buyers as well as to snooty home inspectors, and you also want easily maintained landscaping that will look beautiful even if you move out of your space ahead of a sale.
You'll also want to take a look at your driveway, patios, and walkways. Cracks and aging are obvious on these surface, and a little work can go a long way toward improving your home's perceived value.


The central objective of this ministry is to build people of Purpose, Power and Praise. This mandate is being fulfilled in everything that the ministry sets forth to do. We have the assignment to teach the uncompromised Word of God so that purpose is revealed. We share the principals of success through Seven Principals for Abundant Living to empower the believer to fulfill his/ her purpose. Because believers are firmly rooted in the Word of God and understand the source of success, they will give all praises to God.
AACTS must make in impact in this city, where people can be taught and given an example of holiness, character and integrity. This born-again and spirit-filled church is to have an emphasis on building men and women with a God-consciousness so that they function as husbands, wives and parents in a manner that glorifies God and impacts this generation. To reach the lost and hurting with the message of faith and the loving touch to help men and women overcome the challenges in life, this church is to provide enrichment through a special emphasis on ministry.
Further, through an example of excellence of ministry, this church would inspire others to achieve excellence in every area of their lives, ministry and careers. Through teaching the Biblical principals of success with emphasis on specific areas of life, we enrich the lives of the believers to maximize every state of their lives and fulfill their potential.
The fruit of ministry should be that the word will victoriously transform the lives of people and they take the same message into their worlds. Ministers of the Gospel are to be trained to pursue their calling with integrity, excellence and unquestionable ethics. Further, as ministers are trained and equipped, AACTS International Ministries will both send them forth to build independent churches and plant satellite churches of similar precious faith.


Looking forr "Helical Coil Springs" Suppliers ??
Looking for "Helical Coil Springs" Suppliers ? Tell Us Your Requirements.
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text:
Microworld(s)
Thaddeus Phillips
Independent artist Thaddeus Phillips created, developed, and performed Microworld(s), a two-part world premiere solo work about a Serbian immigrant. In part one of this piece, the famed Nakagin Capsule Tower is about to be imploded. Resident of Capsule #33, Milo Dukanovic, and his rubber ducky, Fumio, refuse to leave. Set inside a replica of a Japanese capsule living pod, the play depicts their last day in the Tower, where Dukanovic ponders the innovations of Nikola Tesla, micro-architecture, recycled classical texts, and the possibilities of the future. In part two, Dukanovic travels across the Pacific to Brazil, where he dreams of starting a shadow-puppet theater on the back of a bicycle. The audience provided energy to run the lights for the show by riding a stationary bike that charged a battery in the lobby.
Microworlds(s), retitled Capsule 33, was subsequently performed at TheatreWorks in Colorado Springs and at the Barrow Street Theatre in New York City, where power for the sound came from smashed iPhones. The Denver Post described the piece as "smart theater for a new generation of theatergoers, a model of efficiency and theatrical ingenuity."
Pew Fellow Thaddeus Phillips Receives 2016 Doris Duke Performing Artist Award
Adapt! (Event)
The Wilma Theater presents the world premiere of Adapt!, written by artistic director Blanka Zizka, and drawing on her personal experiences as a Czech émigré to the US in the 1970s.
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Exploring Female Sexuality and Desire through Clown
Performer and theater artist Charlotte Ford researched and developed a new theatrical project that asked, "Can a woman be funny and sexy onstage at the same time?"
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Theatre Exile presents Rizzo
Theatre Exile presents the world premiere production of Rizzo, based on Sal Paolantonio's best selling book Frank Rizzo: The Last Big Man in Big City America, written by playwright and Pew Fellow Bruce Graham.
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Paula Vogel
Pulitzer Prize-winning playwright Paula Vogel's current playwriting project is a Center-funded commission for Philadelphia's Wilma Theater, based on Don Juan Returns from the War.
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Lydie Breeze Cycle Marathon
EgoPo Classic Theater presents the world premiere of Lydie Breeze Trilogy as originally intended: with all three parts performed successively in a nine-hour marathon performance.
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A Period of Animate Existence
A symphonic theater hybrid for actors, classical musicians, and multi-generational choirs offered a meditation on life and the future of the planet, set in a time of rapid ecological and technological changes.
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Lydie Breeze Cycle: Aipotu
EgoPo Classic Theater presents Aipotu, the second of three performances in Tony Award-winning playwright John Guare's Lydie Breeze Trilogy.
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John Caird's adaptation of Voltaire's classic satire Candide received its American regional theater premiere.
This visual theater work blends vaudeville routines, illusion, origami, and kinetic set elements to tell the story of a life remembered and the frailty of human experience.
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The First Day of School
1812 Productions, Philadelphia's all-comedy theater company, workshopped and produced the shared world premiere of a "soccer-mom sex farce" by Billy Aronson.
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Tony Award-Winner John Guare's Three-Part Epic on Stage, April 25–May 6
Philadelphia audiences can experience the world premiere of the first full presentation of Tony Award-winning playwright John Guare's Lydie Breeze Trilogy, April 25–May 6.
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The Devil and Mister Punch
The 2011 FringeArts Festival featured the American premiere of Improbable Theatre's production, which took inspiration from the iconic puppet show Punch and Judy.
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Blanka Zizka
Blanka Zizka is the Founding Artistic Director of The Wilma Theater.
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Taylor Mac: A 24-Decade History of Popular Music
In its Philadelphia premiere, Taylor Mac's Pulitzer Prize-nominated performance work journeys through 240 years of US history and popular songs, staged in two 12-hour installments.
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Case Study: New Paradise Laboratories' Fatebook
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red black & GREEN: a blues
Annenberg Center Live brought Oakland-based arts activist Marc Bamuthi Joseph to Philadelphia in fall 2012 for a six-day residency and the regional premiere of a new work.
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Coming in 2018: Center-Funded Projects from Taylor Mac, Nels Cline, Tania El Khoury, Trenton Doyle Hancock, and More
The coming year brings engaging and cutting-edge Center-funded projects to the Philadelphia region.
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Questions of Practice: Theater Artist Taylor Mac on Duration and Ritual in Performance
Taylor Mac discusses the ways in which durational and participatory theater can break down an audience's defenses.
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People's Light & Theatre Company mounted a highly physical production of Shakespeare's play with Guy Hollands of Glasgow's Citizen's Theatre and the National Theatre of Scotland.
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