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see more from Insurance
Here's The Little-Known Way That One Woman Got a 40% Discount on Car Insurance
by Mike Brassfield
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As a single mother of one, Lourdes Robles-Velazquez has to watch every penny.
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Doing the Comparison Shopping for You
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Since she signed on with Gabi two years ago, she's changed insurers twice to save money. Following Gabi's suggestions, she's moved from Liberty Mutual to Allstate to Mercury Insurance.
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Mike Brassfield ([email protected]) is a senior writer at The Penny Hoarder.
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redpajama_set_name: RedPajamaCommonCrawl


text:
De LOMO LC-A (Lomo Compact Automat) is een compacte analoge camera die van 1984 tot 2005 werd geproduceerd door Lomo (Russisch: ЛОМО́) in Sint-Petersburg, Rusland. Het ontwerp is gebaseerd op de Cosina CX-2.

Geschiedenis

In 1991 werd de camera in Praag ontdekt door een groep Oostenrijkse studenten, die enthousiast waren over deze lichtgewicht camera (270 gram). Door zijn gebruiksgemak konden scherpe foto's op een eenvoudige manier worden gemaakt. De studenten ontketenden een nieuwe rage in de fotografie, de zogenaamde "lomografie", waardoor de vraag naar de LC-A steeg. De camera werd vanaf 1992 over de hele wereld verkocht via de door de studenten opgerichte Lomographische Gesellschaft (Engels: Lomography Society), gevestigd te Wenen.

In 2006 werd de LC-A+ geïntroduceerd als opvolger van de LC-A. Deze camera werd niet langer in Rusland maar in China geproduceerd en kon online worden besteld op de website van de Lomography Society. De camera werd tot 2011 geproduceerd, waarna hij werd opgevolgd door de LC-Wide.

Kenmerken
De belichtingstijd is volautomatisch en varieert tussen 1/500 seconden en 2 minuten. De diafragma-keuze kent ook een automatische keuzeoptie ("A"). Alle andere handelingen moeten handmatig worden gedaan, zoals het laden van de 35mm-film en het scherpstellen. De lens kan worden gefixeerd op 0,8 m, 1,5 m, 3 m of oneindig. Op oude modellen worden deze focuszones aangeduid met iconen.

Zie ook
 Diana (fotocamera)
 Straatfotografie

Fotocamera

redpajama_set_name: RedPajamaWikipedia


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Mansfield is a town in Bristol County, Massachusetts, United States. As of the United States 2010 Census, the town population is 23,184. Mansfield is in the south-southwest suburbs of Boston and is also close to Providence, Rhode Island. The village of Mansfield Center is located in the town.
According to the United States Census Bureau, the town has a total area of 20.7 square miles (54 km2), of which, 20.5 square miles (53 km2) of it is land and 0.3 square miles (0.78 km2) of it (1.25%) is water. There are five conservation areas in the town. They are, from largest to smallest: the Great Woods Conservation Area, Maple Park Conservation Area, York Conservation Area, Marie Strese Conservation Area, and Sweet Pond Conservation Area. The town is bisected by the Canoe, Rumford and Wading Rivers, as well as many small brooks which are all part of the Taunton River Watershed. Mansfield's location is 28 miles south of Boston, 14 miles west of Brockton, and 19 miles north of Providence, Rhode Island. It is bordered by Foxborough and Sharon to the north, Easton to the east, Norton to the south, and Plainville to the west. The town's northern border is also a portion of the northern border of Bristol County. Its localities include East Mansfield, Ginty Corner, Mansfield Center, Purdy Corner and West Mansfield.
As of the census of 2000, there were 22,414 people, 7,942 households, and 5,861 families residing in the town. The population density was 1,095.4 inhabitants per square mile (422.9 /km2). There were 8,120 housing units at an average density of 396.8 per square mile (153.2 /km2).
Image: "MA Route 106 westbound entering Mansfield, MA" by John Phelan - Own work. Licensed under CC BY 3.0 via Wikimedia Commons.
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Third Generation Ost
new perspectives on the German Democratic Republic
Symposium – 30 Jahre Mauerfall
25/14 Event Series: Beyond the Wall
An Online Symposium 30 Years After the Fall of the Wall
Poetic Visibility: East German Poetry and Blackness in Farbe Bekennen (1986)
Memory Making and the Marketization of Socialism in East Germany
Why studying the GDR still matters today – The GDR as Lived Experience
Kunst und Macht. Lutz Dammbeck in Australia
Jerry_arila on Kunst und Macht. Lutz Dammbeck in Australia
Clarinet Videos on The Art Installation Beyond the Wall – Looking into the Eyes of the GDR Border Regime
How and when do artists become complicit with power, entangled in its strategies that sometimes surpass their awareness? German filmmaker Lutz Dammbeck's perspective is unique. Perhaps it is the result of Dammbeck being part of a minority of artists that were able to leave socialist East Germany in 1986 for the Western liberal-capitalist part of the country. The director allows us to share his viewpoint which, although highly subjective, appears nonetheless cautiously observing, impartial and even strangely ahistorical at times. From 1992-2003, Dammbeck created a four-part series in which he traces the ways art merges with power, talking to artists and intellectuals who, after the heights of their careers, sometimes abruptly find themselves marginalized and sidelined by an unforeseen historical change. In the process, he uncovers a complex of creators, institutions and a legacy of ideas from Nazi to GDR art, Viennese antimodernist actionism, to Silicon Valley Hippies and cybernetics, and invites us to step outside, to estrange ourselves from our own historical context.
Lutz Dammbeck's documentary tetralogy Kunst und Macht Zeit der Götter/Time of Gods, Dürers Erben/Dürer's Heirs, Das Meisterspiel/ Master Game, Das Netz/The Net) was screened at the University of Melbourne in four consecutive weeks in August 2018. This event was convened by writer Giles Simon Fielke (Artist Film Workshop www.artistfilmworkshop.org/) and critic and curator Nicolas Hausdorf (Arena— Australian Magazine for Political, Social and Cultural Commentary – www.arena.org.au), and organized in cooperation with the Goethe Institute Melbourne, the University of Melbourne, and the Artist Film Workshop. Each time, the room was filled to the brim with students, alumni and art enthusiasts engaged in discussions how far Dammbeck's powerful images can be transmitted across time and place, and what remains of their influence at the end of the 20th century and beyond. Nicholas Hausdorf's essay reflects on the practices of an exceptional artist and his ideas about the allures of power and art.
"We tend all too easily to forget that our reality comes to us through the media, the tragic events of the past included. This means that it is too late to verify and understand them historically, for precisely what characterises our century's end is the fact that the tools of historical intelligibility have disappeared." (Jean Baudrillard, "Necrospective around Martin Heidegger")
In an odd paragraph of his book "Finis Germania" that topped German book reading charts for months, despite being blacklisted and taken off the prestigious "Spiegel" bestseller list, the controversial German author Rolf Peter Sieferle asserts that the world is divided into two camps: tragic and non-tragic peoples. The tragic peoples include the Germans, the Russians and the Jews, Alternatively, Anglo-Saxons like those who continue to decisively shape contemporary Australian culture, are described as non-tragic. History drips from them, Sieferle implies, like it does from a raincoat. [1]
Admittedly, it would be rude to argue that Australian culture is static and not pervaded by the ongoing trauma and tragedy of the colonial experience and legacy, but it is certain that for Australia the idea of history is also marked by a strong sense of continuity. Its cityscapes, for example, lack Berlin's or Leipzig's drastic iconoclasm of eclectic experimental styles as a result of bombing campaigns, lost wars, regime collapse and ensuing overtly stylized and ostentatious new beginnings.
This discontinuity and tragedy of German culture might become most palpable when, as is the case in those current unbearably hot European summer months, tourists stroll along Berlin's boulevard Unter den Linden: The visitor might stop at one of the avenue's neoclassical portals and find the "Neue Wache" (New Guardhouse) monument. This building – one amongst many by the great Prussian architect Karl Friedrich Schinkel that coin this central part of Berlin – is a particularly interesting witness to the profound changes that have swept the city's recent history: Originally constructed by Frederic William III for the soldiers killed in action during the Napoleonic wars in 1816, the memorial shifted its meaning to commemorating the soldiers of WWI in 1931, to become the memorial for the victims of fascism and militarism during the period of the socialist German Democratic Republic in 1960. Finally, after the reunification of the two German states in 1990, it was again reimagined in 1993 to become a memorial for the "victims of war and dictatorship".
The place has thus become reinterpreted under every different ideological regime in modern Berlin. We may therefore imagine the New Guardhouse as a place of commemorative promiscuity. The incisive ideological transformations in Germany in the 20th century have left a legacy of uncertainty and instability that must seem rather abstract to nations with more continuous recent histories such as Australia. Meanwhile, a history that is moved and varied in this way is bound to favor the adoption of a rather critical and distanced stance vis-à-vis the status quo. Similar to the child in a divorce, who lost the familial emotional safe place, the citizen who has experienced the radical break of regime change adopts a more cautious distance to the present, away from cozy ideological-political certainties. This citizen knows that morose and inflated institutions can sometimes seem more stable than they are and quickly collapse under the weight of rapidly shifting economic and geopolitical realities. How would a future regime look at the present one, this citizen might come to ask. Which events would it highlight and commemorate positively, and at which would it frown in horror?
There could hardly be any artist who embodies the historical instability and uncertainty of German history better than Lutz Dammbeck, born in Leipzig in 1948. Leipzig was part of the Soviet-occupied territory before the socialist East German state was founded in 1949. After graduating from the Leipziger Hochschule für Grafik und Buchkunst, Dammbeck worked as a freelance artist in the DEFA Studio für Trickfilme in Dresden and created animated short films. Back then this was a space for critical artists and dissidents to produce subtle sociopolitical reflections and commentary on the repressive East-Berlin dictatorship. Some of Dammbeck's work fell victim to censorship and a few of his exhibitions were prohibited. In 1986, Dammbeck and his family were finally allowed to leave East Germany. They profited from East Germany's policy of selectively granting exit permits to relieve the country of some of the mounting pressure of increasingly organized and popular anti-government movements. Three years later, the popular movements would play a central role in the fall of the Berlin wall and the subsequent reunification of the German state.
Arriving in West-German Hamburg, Dammbeck meanwhile refrained from the temptation of many a dissident to uncritically (and profitably) join in the pervasive chorus of early 1990s liberal-capitalist triumphalism. Rather, he retained a more nuanced and critically observing position. This distance of the observer is what characterizes a series of documentaries he produced between 1992 and 2004, later assembled as the tetralogy "Art and Power".
The perils of suspending judgment
(…) I happened to see a documentary on television about the first Auschwitz trial in Frankfurt am Main. I saw gray and blurred pictures. The trial seemed soberer and more unspectacular than the staged theatricality and the pomp of the Nuremberg Trials, more like a work situation. It was late, and I was a little drunk. I turned off the TV. Yet a thought stuck in my brain: Wouldn't my generation have the same thing to do with their fathers? Go there and ask questions about why it did go wrong, but not repeat the mistake of the 1968 generation and cast a judgment. Just leave the story like it was told. (Lutz Dammbeck, Durer's Heirs)
To this day, Dammbeck's documentaries have frequently attracted the ire of critics and viewers alike. Reading the original response of the press in the 1990s to contemporary criticism, the most infuriating aspect of Dammbeck's work seems to be his lack of an overtly critical commentary of his interview partners. Whether it is observing Nazi or socialist GDR art, critics have accused Dammbeck of being too complacent and uncritical with his protagonists. Perhaps, this too is the position of a person who has become ideologically homeless, suspicious of power, someone who does not want to identify with the self-righteous position of the current winner, the unchallenged meta-voice behind the camera, allowed to produce definite meaning.
Arguably, to this day, to be a quiet observer and seriously engaging with marginalized positions while suspending judgment continues to risk infuriating all sides and has little space in a culture that thrives on the social media logic of polarization, echo chambers and badge commitments to political phraseology. Communist Capitalist! Fascist!: More than ever, these words have become mere catch-all phrases and empty-meaning-and-selective-history containers which can signify something different to everyone who uses or identifies with them. Rather than clarifying the conceptual debate, they increasingly act to prevent any sort of meaningful political discussion which attempts to reconcile, nuance and synthesize instead of divide.
Lutz Dammbeck's method could not be more contrasting. When talking to the protagonists, we can hear his own voice inquire skeptically and stoically, but there is no easy wholesale judgment from this position of historical retrospection, no feelings of superiority. When investigating the Nazi sculptor and Hitler protegé Arno Breker, for example, instead of condemning and demonizing the entirety of philosophical and aesthetic influences culminating in Nazism, Dammbeck does something infinitely more subtle and precise. He asks "at what point did it become monstrous?"
Modernity and its discontents
"It seemed increasingly clear to me that we actually know nothing about this relatively short period of time. (…) This idea seems absurd and curious, of course, given the number of books, films and explanations about fascism and the years between 1933 and 1945, which grow daily and pile up into high mountains, but we know (almost) nothing about it. And we won't learn much more about it either." (Lutz Dammbeck, Film Diary)
In many ways, Dammbeck's documentaries read like an archeology of what contemporaries have dubbed the culture wars – the frictions of the politically varied radical reappraisals and critiques of the present whose main logistical vector is the internet as a crowdsourced archive and alternative civilization excavation/dream machine. Even formally, Dammbeck anticipates the internet age's aesthetic of 'post-critical' enclave culture: His investigations are as highly personal and subjective, as they are non-linear and rhizomatic – hyperlinked – of sorts. Perhaps prototypical of the more recent works of Adam Curtis or Mark Lombardi, in Dammbeck's work research becomes an art form in and of its own.
In terms of content, "Art and Power" constructs the 20th century as an aesthetic-political antagonism between the forces of modernity and antimodernity. It thereby renders intelligible current cultural-political debates in the same legacy. By investigating the champions of antimodernity and its (German) romantic intellectual center, Dammbeck portrays the origins of a great deal of today's political (and proto-political) movements assembling those enemies and losers of modernity: the alt-right, ethno-nationalists, traditionalists, luddites [2], MGTOW [3] etc. He thereby portrays modernity in all its ambiguity, this force dubbed a "positive barbarism" by Walter Benjamin which has arguably both lead to unprecedented levels of societal freedom and liberation, but, in its permanent and ruthless challenge to tradition and iconoclastic desire to desacralize, revolutionize and overthrow, also created a legacy of instability, alienation and uprooted cultural anxiety.
By pursuing the legacy of anti-modernism in the West [4], with all its internal contradictions [5] and obliterated cultural grievances, he inevitably arrives at an investigation of modernity itself.
The last part of "Art and Power" mysteriously and evocatively subtitled "The Net – LSD, the Unabomber, and the Internet", which managed to propel Dammbeck to a certain underground fame beyond the German post-reunification context, excavates modernism's neglected material substructure and investigates in how far the current cultural trajectory is also the result of the very real experiments in cultural engineering (now often an accusation leveled at progressives by 'liberal' conservatives).
Such an enterprise again risks causing disquiet and unease. After all, while it is generally accepted that fascist and socialist regimes maintain a tight grip on their cultural and artistic production, the role of liberal regimes remains comparatively shrouded in mystery. Isn't it precisely the claim that liberal states grant full freedom of expression? "The Net" answers to this claim by revealing how the contemporary Western anti-authoritarian personality has its origins not in mere chance and an arbitrary cultural trajectory usually associated with emancipatory 1960s youth culture. Rather, viewers learn that the development of culture has been "helped along" by hidden forces of the CIA-funded Macy Conferences with the active participation of a techno-scientific elite. Inspired by the horrors of the Second World War and Theodor Adorno's study on the authoritarian personality and to forever avert the dangers of fascism, this complex of creators and intellectuals supported by the parapolitical institutions of the state devised a concerted effort of a scientific destruction of the authoritarian personality–type associated with the specter of fascism in general and Germany in particular.
Dammbeck thus dispels the last myths of the 20th century of an autonomy of the cultural sphere in the Western world and joins groundbreaking works such as those by Francis Stonor Saunder [6] on the CIA's funding of abstract expressionism during the Cultural Cold War, or Gabriel Rockhill's recent investigation of the CIA's anticommunist promotion of postmodern "French" theory in US universities [7]. Dammbeck's work thus forces us to radically reevaluate the Western cultural legacy of the 20th century which continues to exert its influence on aesthetics and politics today.
The filmmaker thereby reasserts the (ultimately very modern as ruthlessly critical) perspective of the internet age as one of popularized radical disenchantment. Exposed to the meticulously crowdsourced archives of internet information, political theory, philosophy, and culture lose their innocence as independently developing ideas and instead become reattached to a network of people instrumentalizing them for concrete interests and the pursuit of political power. As viewers, we witness a sort of Deep Sociology, a materialist critique of ideas, which is re-connecting thinkers and the formation of ideas to institutions: the usually hidden process of the creation of a superstructure by a network of individuals working for state, cultural and economic institutions [8] – l'eternel retour du concret.
With Art and Power, Dammbeck invites us to observe his careful and evocative snapshots of culture-as-power-constellation: an assemblage of personalized portraits, interviews and institutional connections constituting Gramsci's historical blocks as tales of cultural dominance and hegemony. In the puzzled faces and unstable positions of the protagonists, who suddenly find themselves disenfranchised from the apex of power and cast into suspicion, we can read the tales of a volatility of ideological hegemony and dominant narratives with creators as their sometimes unconscious and tragic protagonists.
Ultimately, we should view their example as one of political hope. One that allows us to step outside and estrange ourselves from our own historical context. It reminds us of our own active role in constantly creating and reassessing culture – and those things can change, and a final judgment has not yet been cast.
Nicolas Hausdorf is an editor, analyst and essayist living in Melbourne. His essay Superstructural Berlin was published by Zero Books in 2015.
[1] See also "Kultur und Skandal" in arena – Australian magazine of political, cultural and social commentary (no. 152)
[2] Paradoxically often inspired by Dammbeck's interviewees and the pop-culture status of Ted Kaczinsky, the US anti-technology terrorist, aka the Unabomber.
[3] Men Going Their Own Way, a movement that interprets men as being structurally disadvantaged in the war of the sexes and proclaiming a sort of gendered secession from women corrupted by contemporary culture.
[4] In Nazi Art ("Time of Gods"), GDR art ("Durer's Heirs") and a circle of 1990s right-wing avantgardists based around Vienna's Akademie der Kunst ("Master Game")
[5] The modernist situationist strategies of Viennese antimodernists shown in "Master Game", for example.
[6] See for example "Modern Art was CIA "weapon", The Independent, 22 October 1995 and "Who paid the piper. The Cultural Cold War, 1999.
[7] "The CIA reads French Theory: On the intellectual labor of dismantling the cultural left", The Philosophical Salon (2017) available from http://thephilosophicalsalon.com/the-cia-reads-french-theory-on-the-intellectual-labor-of-dismantling-the-cultural-left/
[8] Dammbeck in this way also anticipates philosophy's New Realism of the late 2000s.
Picture 1 – "Versuchsanordnung (1), 1978", copyright Foto: Karin Plessing
Picture 2 – "Versuchsanordnung 3, 1988-1990″, copyright Foto: Bildmischer LKA Düsseldorf
Picture 3 – "cabin, 2006", copyright Foto: Christoph Irrgang
Goethe Institute Melbourne Link to the event Kunst und Macht – https://www.goethe.de/ins/au/en/ver.cfm?fuseaction=events.detail&event_id=21302682
DEFA-Stiftung, biography Lutz Dammbeck – http://www.defa-stiftung.de/DesktopDefault.aspx?TabID=1677
Lutz Dammbeck: Herakles Konzept – http://www.herakleskonzept.de/material/index.php/herakles-konzept-95.html
Posted on October 25, 2018 November 2, 2019 Author Nicolas HausdorfTags East German Art, East German history, lutz dammbeck, modern art1 Comment on Kunst und Macht. Lutz Dammbeck in Australia


Zu will be playing in our town in april. Holy ****! ****ing Zu! **** me.
I'd go. One of the few melodic metalcore bands worth listening to.
yeah, i dont love them or hate them. think it would be a decent show. all of the other bands are ****ty deathcore scenster stuff tho.
I went to a deathcore show in a seafood restaurant years ago cause my best friend was the vocalist's neighbor. It's actually better live, but that's not saying much.
I knew this would happen when I saw they were doing a European tour. **** you and all that but have fun.
Muthafucking Deerhunter's coming to the southern border. Can't. Wait.
My friend is opening for them tonight. I'm still trying to get a ride down to the show, we'll see how that goes but I'm not too hopeful.


Raging Speedhorn are an English heavy metal band from Corby, Northamptonshire, consisting of singers John Loughlin and Frank Regan, guitarists James Palmer and Jamie Thompson, bassist Dave Thompson, and drummer Gordon Morrison.
Formed in 1998, the band released their debut self-titled album in 2000, followed by 'We Will Be Dead Tomorrow', in 2002, and 'How the Great Have Fallen' in 2005. 'Before the Sea Was Built' was released in 2007 and was the band's final album before they went on hiatus. In 2014 the band announced they would reform to perform at Damnation Festival and Sonisphere, with a new album, 'Lost Ritual', set to be released on July 15, 2016.
The band have headlined their own shows and tours, as well as having supported the liked of Skindred, Rammstein, Slipknot, Kittie, Biohazard, and Dir en Grey.
Raging Speedhorn will celebrate their 20 year career with an original line-up one off show in London! Catch them live by checking out the tour dates and ticket information below on Stereoboard.
Raging Speedhorn will celebrate their 20 year career with an original line-up one off show in London! Catch them live by checking out the tour dates and ticket information here on Stereoboard.
Raging Speedhorn will celebrate their 20 year career with a one off show in London.


This entry was posted on Friday, March 29th, 2019 at 9:57 am	and is filed under Hardhats NYC, Portraits, Street Photography. You can follow any responses to this entry through the RSS 2.0 feed. You can leave a response, or trackback from your own site.


I just got the $10/month account. And I was wondering how many RSS feeds can I have per Twitter account?
Yup, I am a newbie so my apologies, if I did not see the answer to this question. I searched before I wrote this. Honestly.
Thanks for signing up with TweetMiner!
There is no limit to the number of feeds you can have per account with the $10/month plan :) Thanks for signing up with TweetMiner!


The hard fact is this; businesses fail. It happens every day, all over the globe. Whether they are a Detroit carmaker or the corner bakery, the collapse of these businesses inflict plenty of damage - both primary (the owners, employees, banks, etc.) and collateral (those employees' families, 3rd parties, and customers) and he fallout can get pretty ugly; social media makes damn sure that happens.
Tucson marked the kickoff of HARD CHARGE events across the country. The next stop is Park City (Wichita) Apr. 26, followed by Minneapolis on May 17. Viewers can watch the series, then decide if they'll CHARGE a HARD CHARGE course for Fun or CHARGE for Glory to earn a spot to race on TV.


text:
Links & Interviews
Constructivist Psychotherapies
Texts and evaluation
Psychology of Grief and Loss
Public presentation
AV requirements
Robert A. Neimeyer, PhD
Neimeyer, R. A. (Ed.) (2016). Techniques of grief therapy: Assessment and intervention. New York: Routledge.
Thompson, B. E. & Neimeyer, R. A. (Eds.) (2014). Grief and the expressive arts: Practices for creating meaning. New York: Routledge.
DiLollo, A & Neimeyer, R. A. (2014). Counseling in speech-language pathology and audiology: Reconstructing personal narratives. San Diego, CA: Plural Publishing.
Neimeyer, R. A. (Ed.) (2012). Techniques of grief therapy: Creative practices for counseling the bereaved. New York: Routledge.
Neimeyer, R. A., Harris, D., Winokeur, H. & Thornton, G. (Eds.) (2011). Grief and bereavement in contemporary society: Bridging research and practice. New York: Routledge.
Raskin, J. D., Bridges, S. K. & Neimeyer, R. A. (Eds). (2010). Studies in meaning 4: Constructivist perspectives on theory, practice and social justice. New York: Pace University Press.
Neimeyer, R. A. (2009). The art of longing: Selected poems. Charleston, SC: BookSurge.
Neimeyer, R. A. (2009). Constructivist psychotherapy. London: Routledge.
Neimeyer, R. A. (2006). Rainbow in the stone: Selected poems. Memphis, TN: Mercury.
Neimeyer, R. A. & Neimeyer, G. J. (Eds.) (2002). Advances in personal construct psychology (Vol. 5). New York: Praeger.
Neimeyer, R. A. (Ed.) (2001). Meaning reconstruction and the experience of loss. Washington: American Psychological Association. Translation: Therapy for Loss and Grief: The Search for Meaning from a Constructivist Perspective. Tokyo: Kongo Shuppan [2007, Japanese].
Neimeyer, R. A. & Raskin, J. (Eds.) (2000). Constructions of disorder. Washington: American Psychological Association.
Neimeyer, R. A. (1998). Lessons of loss: A guide to coping. Memphis: Mercury. Translations: Aprender de la perdida. Barcelona: Paidos [2002, 2007, Spanish]; To those who have lost something important. Tokyo: Shunjusha [2006, Japanese]; To love and to lose: Coping with Loss. Athens: Kritiki [2006, Greek]
Neimeyer, G. J. & Neimeyer, R. A. (1997). Advances in personal construct psychology (Vol. 4). Greenwich, CN: JAI Press.
Neimeyer, R. A. & Mahoney, M. J. (Eds.) (1995). Constructivism in psychotherapy. Washington: American Psychological Association. Translations: Constructivismo em psicoterapia. Porto Alegre: Artes Medicas do Sul [1997, Portuguese], and Constructivismo en psicoterapia. Madrid: Paidós [1998, Spanish].
Neimeyer, R. A. & Neimeyer, G. J. (Eds.) (1995). Advances in personal construct psychology (Vol. 3). Greenwich, CT: JAI Press.
Wass, H. & Neimeyer, R. A. (Eds.) (1995). Dying: Facing the facts (3rd Ed). New York: Taylor & Francis.
Neimeyer, R. A. (Ed.) (1994). Death anxiety handbook: Research, instrumentation, and application. New York & London: Taylor & Francis. Translation: Métodos de evaluación de la ansiedad ante la muerte. Barcelona: Paidós [1997, Spanish].
Leenaars, A., Maltsberger, J. T., & Neimeyer, R. A. (1994). The treatment of suicidal people. New York: Taylor & Francis.
Liles, L. & Neimeyer, B. (1993). Winning racquetball. Madison, WI: Brown & Benchmark.
Neimeyer, R. A. & Neimeyer, G. J. (Eds.), (1992). Advances in personal construct psychology(Vol. 2). Greenwich, CN: JAI Press.
Neimeyer, G. J. & Neimeyer, R. A. (Eds.), (1990). Advances in personal construct psychology. (Vol.1), Greenwich, CN: JAI Press.
Gholson, B., Shadish, W., Neimeyer, R.A. & Houts, A. (1989). Psychology of science: contributions to metascience. Cambridge, England: Cambridge University Press.
Wass, H., Berardo, F. & Neimeyer, R.A. (Eds.) (1988). Dying: Facing the facts. (2nd ed) New York: Hemisphere/Harper & Row.
Neimeyer, R.A. & Neimeyer, G.J. (Eds.) (1987). Personal construct therapy casebook. New York: Springer. [In 1989, translated to Spanish under title of Casos de terapia de constructos personales, Bilbao, Spain: Desclee de Brouwer, S. A.]
Neimeyer, R.A. (1985). The development of personal construct psychology. Lincoln: University of Nebraska Press.
Neimeyer, R.A. (Ed.) (1984-85). Group psychotherapies for depression (special issue of International Journal of Mental Health, 13, #3-4).
Epting, F.R. & Neimeyer, R.A. (Eds.) (1984). Personal meanings of death. New York: Hemisphere.
Copyright © Robert A. Neimeyer, PhD.


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2 Jun, 2003•
What the…? This doesn't sound too good. Microsoft are planning to stop making a standalone browser after Internet Explorer 6 SP1. IE6 was released back in 2000, and has rather a lot to do in terms of standards and other such things. Basically it is quickly becoming a Netscape 4, and will be the browser holding back the improving standards of the web for many years to come, by the looks of things. Most XP users will probably stay with IE6 for ever, and will not switch to Mozilla or Opera. The next version of Windows, Longhorn, will be the first place to get an updated IE. That means that IE6 is going to be with us for at least two years as Longhorn isn't sceduled for release until 2005. Even then most users will not upgrade, so IE6 will be with us for a very long time yet.
For both web users and designers, this is going to be a thorn in the side for a long time to come. Users may not notice, but having to continually design for IE6 is going to severly hold back the development of much improved websites, in terms of features and ease of use. Full standards support of CSS across browsers would pave the way for amazing changes to the way websites are designed. Faster rendering, faster downloads, more interesting layouts and many more benifits may be hampered by Microsoft's short sited vision.
Look at how far the web has come in the past few years. We could move on as Netscape 4 gradually lost market share. IE fading from the web is much less likely to happen with IE due to it being bundled with the OS. Microsoft, for this alone, you suck.
AOL recently, when it comes down to it, caved in to MS and settled their lawsuit against them. For a small chunk of cash (in regard to MSs huge reserves) they sold out. IE will be AOL's browser for the next 8 years. If there is no standalone version of IE produced, does this mean that AOL users will have IE6 for 8 years? With the market share AOL has, this would be dire. IE6 in 2010…
AOL also own Netscape. Does their IE deal mean that they will stop with Netscape's browser production? What will the Mozilla browser do without the help of Netscape? Though it is open source and has a lot of very talented people working on it, Netscape provide a huge amount of help to the project. Without Netscape, Mozilla may be in trouble. That would be at least as bad as IE6s use for the foreseeable future. Without an excellent alternative in the form of Mozilla (many people just won't buy Opera), IE's market share increases still further and we are even more stuck in the mire we find ourselves in.
Hopefully things will be nowhere near this bad, but then again, they might be…
As usual, Zeldman says it better than I could.


Idan Computers, based in Israel, offers image analysis solutions that take advantage of any kind of ortho or oblique photos. Back in 2003 the company offered a desktop solution, Oblivision, (GIS Monitor coverage, pdf) and now offers a browser-based version. Directions Magazine caught up on the 10 intervening years with Joseph G. Freund, president and CEO.
Directions Magazine (DM): Essentially, you've ported your desktop Oblivision solution for getting the most out of oblique images (measure distance or area, find oblique images that relate to a point on an orthophoto, etc.) to the browser. [Readers can test the software here.] How complex a task was that? Aside from the interface changes, are there any features that differ between the desktop and browser versions?
Joseph Freund (JF): Using the same algorithms and code, it was quite straightforward. The most difficult parts were achieving the same speed of zooming and managing the images on a remote server.
DM: Oblivision for browser is not for sale to end users but rather to a "aerial photography firms, photogrammetric service providers, and related industry players that aim to extend their added-value product offering." How does that work?
JF: Oblivision (both desktop and the Web version) is a viewer that adds "intelligence" to oblique images. It is a justification for more and more people to use oblique images, and it is a tool to help the image providers to sell their product.
A typical oblique camera system is over $500,000 and there are not too many owners of such cameras at this moment. That's something I hope it will change.
The owner of the camera buys from us one copy of a special software called Bundler. The Bundler adds the metadata to each image, and then those images are sold to the end users, with the viewer.
The desktop viewer is installed per seat, or on a local area network (LAN) as a site license. This solution is suitable for a limited audience and needs an installation of the software on the end user's side.
The Web version (the viewer) saves the need to handle multiple copies of software, install, maintain, update and, of course, pay for each copy. It is for an unlimited audience and can be used from any browser. Another advantage is that the images are stored in one place, and they can be updated easily. With the desktop version, the user has to have the images on his computer (or LAN server).
DM: Where are the imagery and image analysis tools stored in an Oblivision for browser solution? At an end user's local or hosted server? On the reseller's server? In the cloud?
JF: Both the data and the application can be stored on any server, and there is no need to have any third-party software like ArcGIS server, etc., but of course ArcGIS is supported.
DM: Once a user identifies a location of interest in Oblivision for browser, a quartet of oblique images showing that location appears. But the images come in via several passes, getting more detailed with each pass. What's happening there? Is that an image pyramid in action?
JF: We have developed our geocoded tiles both for the oblique images and for the orthophoto that is practically unlimited in size.
DM: There are two levels of Oblivision for browser which can be selected in the settings: Basic and Professional. What's the difference between them and why did you decide to offer these two interfaces?
JF: The full benefit comes when using the professional version. However, we had comments from some first-time users that the four images are confusing them, so we decided to "simplify" the user experience (UX) for them. Our experience is that after a short while, they typically switch to the professional version, to fully benefit from the software.
DM: Are there any other things you want to share about the Oblivision products?
We support both tiled and dynamic layers from Esri ArcGIS Server.
We can provide the ability to edit GIS data directly over oblique images, but decided to leave it outside the packaged software.
We support English, Russian, Japanese, Chinese, Dutch and Hebrew. The data, of course, can be in any language.
Figure 1: Oblivision includes the ability to accurately measure a slanted slope. It's one of the most popular and hard to achieve features.


Wedding Budget Tip #40: Skip the pricey champagne.
Skip the pricey champagne. Guests can toast with whatever they're drinking.
We all know that one of the easiest ways to bust your budget is by keeping the alcohol free-flowing at your wedding. Of course, you want your guests to have a good time, but if your funds are tight, you can totally skip the pricey champagne toast. Your guests will still be able to toast you and your new spouse with whatever drink they've got in their hand, even if it's water.
However, if you're set on serving up the bubbly on your big day, you definitely have options. There are a few brands that fall into the budget savvy spectrum that are totally worth considering. Your best bet may be to opt for another bubbly variety that can't legally call itself champagne. Only wines produced under strict rules of appellation and made in the Champagne region of France can technically be called champagne.
For the best deals, you could opt for another sparkling wine variety such as Prosecco or Cava. Trader Joe's (or their Wine Store, depending on what state you live in) has a great selection of sparkling wine with several fab options under 10 bucks.
Want to order your wedding wine online? Check out Martha Stewart Wine Co. They have a great selection of wines under $15 per bottle. We especially love Martha Stewart Wine Co. because all of the wines have been tasted and approved by the lifestyle queen herself. Martha doesn't put her name on things that aren't quality, so you know you're getting something great at a great price!
Shop Martha Stewart Wine Co.
Cecilia Beretta Prosecco Treviso DOC sparkling wine is sold at Trader Joe's and is an excellent option at $7.99 in most stores. This wine hails from the Treviso region, north of Venice. This sparkling wine is a spumante Prosecco and is classified as Extra Dry. This makes the wine just a bit less dry than a typical Brut. Its frothy bubbles, fruity aromas, notes of sweet almonds, lush & creamy texture, and slightly bitter finish (typical for Prosecco) make the wine fresh, crisp, and satisfying in the mouth.
Prosecco DOC is a sparkling wine produced exclusively in East-Northern Italy. With its fruity taste and soft bubbles, Prosecco offers maximum drinkability by itself and mixability in cocktails. It's the perfect companion for a Wedding party to start and end the day with. Prosecco DOC is versatile, easy to drink, and is only a modest $11 to $15, depending on the market.
La Marca Prosecco is a sparkling wine that brings fresh citrus with hints of honey and white flowers. The flavor is fresh and clean, with ripe citrus, lemon, green apple, and touches of grapefruit, minerality, and some toast. The finish is light, refreshing, and crisp. You can often find this wine for under $15.
Spain is another region that offers a tasty and budget savvy alternative to champagne. Their version of champagne is called cava and can offer a truly great value for your money. Freixenet makes some wonderful cavas, and this one is very dry and smooth, with a mineral complexity. You can often find this sparkling wine for around $9 a bottle.
Le Grande Courtâge is a sparkling wine from France. Their name means "The Great Courtship." The company crafted a new bubbly which is designed to evoke a sense of romance. Their goal is to provide an affordable luxury that is perfect for celebrating life's special occasions and all of the moments in between. You can often find this luxurious bubbly for under $20.
So tell us: are you planning to serve bubbly at your wedding? Or are you going to skip the pricey champagne?


Dr. Cooper is the Editor of The Anthology Vol. X1I, The Application of the Principles of Neuromuscular Dentistry to Clinical Practice. It is published by the International College of Craniomandibular Orthopedics. This book will be distributed internationally in September 2019 and is a collection of scientific articles collected from ICCMO members throughout the world.
At the September 2018, International College of Craniomandibular Orthopedics North American Section meeting in Nashville, Tennessee, Dr. Cooper presented a lecture on The Application of Neuromuscular Dentistry in the Treatment of Patients with Temporomandibular Disorders (TMD) and in Restorative Dentistry. Attending this well-received lecture were dentists, office team members from the United States, Canada, Argentina, India, and Dubai. Attendees gained further insight into the causes and symptoms of temporomandibular disorders and how then can be successfully treated with computerized measurement instrumentation that is an integral part of neuromuscular dentistry. The same techniques can be applied to other areas of dental practice including restorative dentistry and orthodontics.


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« Abigail Williams – "In The Shadow Of A Thousand Suns" – Real, Extreme, Black Metal
Faster Pussycat "Greatest Hits" – a worthwhile Heavy Metal listen »
Dream Theater "Black Clouds & Silver Linings" – Many silver linings found on this album
I have come to the conclusion, that Progressive Metal and Progressive Hard Rock are the genres that keep me grounded. Dream Theater offers me the best of two worlds, like a one-two Metal punch… this band makes me want to Rock out, then again, I have many moments with their music when I want to chill, in a Metal sort of way. I am not at all stating that Dream Theater can be easy listening Progressive Music… no way. They offer the segues, interludes, intro's and instrumentals that serve as that musical cushion to fall back on, while awaiting the heavy parts. This is what draws me into their music, to always expect the unexpected with the Progressive nature of Dream Theater. Dream Theater has for me, come so far, paid their Metal dues, to be now recognized as a Progressive Metal super power. It is difficult to dispute the vast landscape of progressive musical ingenuity that Dream Theater bestows. listening to their new music is a reminder to me, that you can erase any other thoughts in your mind and escape into an album of songs.
"A Rite Of Passage" is an amazing song, it reminds me of what maybe Rainbow would sound like, in 2009. The keyboards in this song is what has me thinking of vintage Rainbow, the melody also has a deep, rich, Classic Rock flavor. "A Nightmare To Remember", the opening song, has all the dynamics I come to expect from Dream Theater, musically and lyrically. I am very glad the story line to this song has a happy ending, despite the child mentally reliving such a personal experience that is the referred nightmare. "Black Clouds & Silver Linings", (released on June 23, 2009), has most certainly eclipsed my expectations of what to expect, both musically and lyrically. This new Dream Theater release deservedly reached #6 on the Billboard album charts on the initial week of it's release. It is clear that new fans have embraced Dream Theater and all of their epic Progressive Metal.
After listening to "Black Clouds & Silver Linings", one can reach the conclusion that Dream Theater has created an album that is a throwback. With guitar leads and lengthy songs that reminisce of 1970's albums from Yes, Rainbow and Rush; it is my Metal opinion that Dream Theater has maintained, tweaked and fine tuned a remarkable balance of Old School intertwining with originality and relevance. If Metal music was ever supposed to move me, Dream Theater has done it on this release. This is an amazingly enjoyable album to listen to. This Progressive Metal Music with all of it's musical eloquence, will no doubt have me exploring the deep layers of "Black Clouds & Silver Linings" for years to come.
Dream Theater, as they appear on "Black Clouds & Silver Linings": John Petrucci on guitar & vocals, Jordan Rudess on keyboards & continuum, James LaBrie on vocals, John Myung on bass and Mike Portnoy on drums, percussion & vocals.
This entry was posted on July 16, 2009 at 3:30 am and is filed under Album Review, cool album covers, current prog metal albums, current prog metal music, current progressive metal albums, current progressive metal music, essential progressive metal albums, Hard Rock, heavy metal album review, heavy metal albums, Metal, metal music, metal music today, Metal Reviews, Music, prog metal albums, prog metal music, progressive metal, progressive metal 2009, progressive metal albums, progressive metal music, progressive metal today, progressive rock, progressive rock music, rock music with tags Album Review, black clouds & silver linings album, current progressive metal music, dream theater, dream theater 2009, dream theater progressive metal band, heavy metal album review, james labrie vocalist, john myung bass guitarist, john petrucci guitarist, jordan rudess keyboardist, metal music, mike portnoy percussionist, Music, progressive metal, progressive metal 2009, progressive metal albums, progressive metal music, Reviews.	You can follow any responses to this entry through the RSS 2.0 feed. You can leave a response, or trackback from your own site.
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KGP Short Film Reviews
Tag: Erik Kristopher Myers
Butterfly Kisses (2018): Documentary / Horror
A filmmaker puts together a bunch of old tapes he found in a basement that belonged to two students and does a documentary on them and their research on an urban legend called Peeping Tom.
Erik Kristopher Myers writes, directs, and takes to the next level a "found footage" horror on a story that we have watched before but he is doing it his way. As the late Wes Craven did in 1996 with "Scream", Myers puts under the microscope and questions the cinematic taboos that regulate the subgenre:
Using handheld shots, he avoids and criticises the nauseous shaky camera.
He shows an understanding and endorses the public's reaction towards something they don't understand doing what Doubting Thomas did in the Bible.
He, somehow, manages to market his film on IMDb as documentary/horror with certain characters portraying allegedly themselves.
He adds extra layers and depth by jumping onboard himself making a film on a documentary that researches a documentary on a student project (very "Inception").
Last but not least, among others, he interviews Matt Lake and Eduardo Sanchez; author of Weird Maryland and writer/director of Blair Witch Project respectively, deconstructing the "found footage" and urban legends.
Don't try straight away to focus on or attack its originality. Romantic comedies (which I find appalling) are all more or less the same but people watch them. "Slasher" horrors have been out there for a lot more decades than the "found footage" ones yet people still watch them. And still "alien" films dominate the sci-fi genre. Anyway, you get the gist.
Is "Butterfly Kisses" flawless? Definitely not. Has Myers utilised his nano-budget the best possible way? Definitely yes. Also, "Blink Man" doesn't make it to the level of other urban legends such as "Candyman", "Boogeyman" or "Babadook" for example. All three of them got a decent budget and distribution and we can only hope that Myers started something that will get noticed by the right people who will hire him to scare the s%!% out of us in the future.
Orson Wells (on the radio), Dean Alioto, Eduardo Sanchez, Oren Peli… all of them have offered and contributed to the "found footage" horror their way. Erik Kristopher Myers takes the torch now and, I for one, look forward to watching his next film.
P.S. Panasonic DVX 100 was also the camera I was using in 2005 as a cameraman.
akraefnis	2010's, Film Reviews	Leave a comment January 30, 2019 2 Minutes


Dungeons & Dragons Online Forums > Focused Discussions & Feedback > Classes > Spell casters > Wizard > are shiradi procs effected by metamagics?
View Full Version : are shiradi procs effected by metamagics?
If the spell I casted had maximize on it when i cast it, and I get a shiradi damage proc, does the +150 to spellpower from maximize work on the shiradi damage procs? Like the 2d100 force, 10d10 sonic, and the direct damage procs from double rainbow?


All reservation will be subject to confirmation by store staff via telephone by the following business day.
If your desired date and time is within the next 24-48 hours, please call our branch to ensure expediency in checking availability.
For inquiries and other additional arrangement, please contact the relevant branch for assistance.
Copyright © 2015 Heichinrou. All rights reserved.


Every year I seem to have a weird obsession with one particular aspect of Christmas decor. Last year I had some sort of crazy obsession with Nutcrackers and as you can see from the picture I did in fact have a fair few pictures with the large Nutcracker decorations I saw when out and about! This year the obsession has turned toward the little elf like gnomes that I have seen in the seasonal aisles, and well I just can't help myself!
I have to say I have bought a few of these when out shopping, and I love having them decorating the house and making it a little more festive. I love how cute these are and I do like that they aren't overly Christmas looking and so I could get away with keeping them up even after the festive season, however I don't think I will end up making them a permanent feature in my collection.
I have to say I am a little disappointed that there aren't as many of these out and about for me to have photos with, so I guess I will just be looking for anything fun and Christmas themed to take photos of, so do pop over to my Instagram @EntirelySarah to take a peak at all the festive photo action I will have going on. I'd love to know what your favourite decorations are this year!


Skipper Jack Parish saw his Buckingham Town side prepare for their 2019 Home Counties Premier League, division 1 debut season when they started indoor nets today (Sunday).
Parish's side dominated the 2018 division 2 campaign as they took the title with a game to spare. He was reappointed at the club's annual general meeting.
Town will hold their senior winter nets at The Royal Latin School.
All sessions are scheduled for 10am – 12.30pm on February 10th, 17th, 24th, March 3rd, 10th, 17th, 24th and April 7th, 14th.


In the cool shadows, the scarlet flame of a tanager gleaning insects from the leaves. An eddy of warm air brings the scent of ferns.
I love this. Scarlet tanagers and ferns…a few of my favorite things!
Glad you liked. I was pleased to see that tanager this late in the season. Needless to say the fern in question was hayscented.


Following early collaboration and underground hit "Sade," rising Atlanta rapper Hugo Joe and producer MexikoDro (Playboi Carti, Rich The Kid, Yung Bans) join forces for a joint EP titled Hugo Dro, set to drop 6/29 via Fool's Gold. The duo share first single and music video for "Tesla", featuring buzzy Oakland rap personality, Guapdad 4000. Listen now!


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Death toll in Indonesia volcano eruption now 34
Jakarta [Indonesia], December 7 (ANI): The death toll from the eruption of Indonesia's Semeru volcano on Tuesday went up to 34, media reported quoting a spokesman of Indonesia's disaster agency.
According to Kyodo News, 17 people are still missing in the incident.
Quoting National Disaster Mitigation Agency spokesman Abdul Muhari, Kyodo News rpeorted that about 3,700 people have been displaced.
Authorities earlier said that at least 3,000 houses were damaged and 169 people injured by the eruption of Mt. Semeru in East Java Province.
Semeru, located in Indonesia's East Java province, erupted on Saturday, emitting large amounts of volcanic ash into the atmosphere, wrecking homes and damaging a local strategic bridge. Initial local media reports said that at least one person died and 41 suffered burns.
Hot ash from the 3,676-meter-high volcano had reached an area as far as 11 kilometers from the crater near its peak, destroying and burning everything -- vegetation, livestock and houses -- along the way.
President Joko Widodo visited an affected village and pledged to ensure that the displaced people "have been well taken care of," while also expressing his condolences to the disaster victims, Kyodo News said.
It further reported that with eruptions ongoing, the Center for Volcanology and Geological Hazard Mitigation has advised residents and others to remain 1-5 km away from the peak, depending on where they are in relation to the volcano. (ANI)


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More thoughts on Kindle Edition Normalized Page Count
I really approve of KENPC (though goodness me, did they put any thought at all into that clunky acronym?) There is, however a downside.
Any less than best-selling author can follow a reader's progress through his book.
I was gratified when an anonymous reader powered through Replica in a day. But what about the reader who reached page 338 of Ice Diaries then apparently wandered off? I do hope he/she is all right, and didn't walk under a bus while engrossed in Tori's struggle to survive. Worst of all, though, is the person who read three pages of Remix four days ago and no more since.
There is only one solution to this. I need to sell as many books as Hugh Howey, then the daily pages read figure will be so stratospheric that I won't be able to discern individual readers who fail to finish my novels.
Right. I'm off to work on this.
Posted by Lexi at Thursday, July 09, 2015 13 comments
Amazon makes KU payouts fairer; some writers miffed
Yesterday Amazon's Kindle Unlimited lending library started paying authors a different way.
Instead of payment per book once the reader had reached the 10% mark, authors are paid for each page that is read. You can read about it here. Books' pages are worked out by a uniform system, the Kindle Edition Normalized Page Count (KENPC v1.0). Clever old Amazon, no doubt anticipating a flood of aggrieved emails, has made these smaller than a normal page; my novel Replica is 287 pages long, but 452 KENPs.
This system rewards writers who write full-length novels that grip readers. Shorter works, and books that readers don't finish, will lose out. This is fairer, right?
You'd never think so from the wails and moans rising from parts of the press and some authors. You'd never think putting your books in KU was optional.
Erotica shorts authors knew it was going to be bad. I just don't think most of them thought it was going to be quite *this* bad. Because it looks as if authors will be making about $0.0057 per page. That's slightly less than half a penny a page, folks.
Selena Kitt
(I think erotica tends to be on the short side.)
From The Guardian:
Casey Lucas, a literary editor who works with self-publishing authors, says she has lost six clients already. They have decided to stop writing after "estimating a 60–80% reduction in royalties". A lot of self-published romance authors are disabled, stay-at-home mums, or even a few returned veterans who work in the field because a regular job just isn't something they can handle," she says. "People are shedding a lot of tears over this."
Oh no! Wicked Amazon is ripping off the disabled and disadvantaged! Writers are being forced to stop writing!
Amazon's KU fund for July will be at least $11 million. If the new system encourages some writers to leave KU, there will be more for the rest of us. Always supposing that readers actually read our books after borrowing them, that is.
Posted by Lexi at Thursday, July 02, 2015 7 comments


Rush through the stream of constantly moving cars and enjoy the great adrenaline boost in the adventurous game City Moto Racer! Are you a true daredevil?Download City Moto Racer Free Full Version Game and start playing now and rember it's Game For PC!
Let's check it! Now you have a perfect chance to accept a challenge and show everybody that you are a true moto racing star! Sometimes we have a strong desire to test our skills and understand if we ready for undertaking situations or not. Let's do it right now! At the very beginning you have only 1 motorbike at your disposal – "Hunter", but later on you can buy more powerful bikes: Eagle, Racer, Racer-X and even F1-Bike. Can you imagine that you are rushing at full speed on the busy streets of the megapolis?
But in the racing game City Moto Racer everything is possible – just choose the bike and maneuver among the cars! Collect golden coins to upgrade your bike and gather bonuses to make the game easier! The magnet power-up will help you get all the coins on your way even if they will be far from you. And the nitro power-up boosts your speed and you'll feel like a true racer! Enjoy the real power of the bike while using nitro acceleration! The better its engine power is – the higher is the speed. Moreover, when you ride close to the car and don't ram into it, you'll get extra coins.


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Exchange shoppers generate $1.59 million for USAG Bavaria community
Community Contributor	June 25th, 2020
AAFES News Release
Grafenwoehr, Germany – Soldiers, retirees, Veterans and military families know it pays to shop their Exchange. In 2019, authorized Grafenwoehr Exchange shoppers generated $1.59 million of critical support for military Quality-of-Life programs in the form of earnings-based dividends.
The dividends help fund Quality-of-Life programs at USAG Bavaria, such as Child, Youth and School Services; Armed Forces Recreation Centers; and other programs that support the military.
One-hundred percent of the Army & Air Force Exchange Service's worldwide earnings are invested in the military community, with 59 percent going to dividends supporting Quality-of-Life programs, and the remaining 41 percent used to improve the experience in stores and at ShopMyExchange.com.
"The Exchange is Family Serving Family," said Grafenwoehr Exchange marketing manager, Chris Litch. "Exchange earnings improve the lives of Soldiers and their families."
The Grafenwoehr Exchange dividend is a part of the $217 million the Army & Air Force Exchange Service generated worldwide in 2019. In the last 10 years, the Exchange has contributed $2.2 billion to morale, welfare and recreation programs integral to Army recruiting, readiness and resiliency.
Part of the Exchange's dividend was generated by Veterans. On Jan. 1, 2020, 4.1 million Veterans, with service-connected disabilities, and certain caregivers were welcomed home with in-store shopping privileges. Since 2017, all honorably discharged Veterans have been authorized to shop the Exchange online. Veterans can find out more about their earned benefits on the Exchange's community Hub page at https://bit.ly/Vets4Life.
Despite the upheaval caused by the COVID-19 pandemic and the ever-changing retail landscape, the Exchange remains dedicated to supporting troops and their families — wherever the military mission takes them.
The Army & Air Force Exchange Service goes where Soldiers, Airmen and their families go to improve the quality of their lives through goods and services provided. Exchange earnings provide dividends to support military morale, welfare and recreation programs. The Exchange is part of the Department of Defense and is directed by a Board of Directors, responsible to the Secretaries of the Army and Air Force through the Chiefs of Staff. To find out more about the Exchange history and mission or to view recent press releases please visit our Web site at http://www.aafes.com/about-exchange/public-affairs/press-releases.htm or follow us on Twitter at https://twitter.com/ExchangePAO.
Categories: Health & Lifestyle News
Tags: exchangenews releaseshopping


text:
1 TERMS OF USE
1.1 The Artcube website (artcube.co) and/or mobile application (Platform) is made available on a limited basis only and all access and use remains entirely at your own risk.
1.2 The Platform is owned and operated by Artcube Limited (Company No. 08856943) of Martlet House E1, Yeoman Gate, Yeoman Way, Worthing, West Sussex, BN13 3QZ, United Kingdom (Artcube). Artcube grants you a non-exclusive, limited and revocable licence to use and access the Platform subject to these terms and conditions (Terms). In these Terms, "us", "we" and "our" refer to Artcube and references to "you" and "your" is to you, the user of the Platform.
1.3 By using the Platform you agree to be bound by these Terms. You agree that we may change, update or otherwise amend the Platform and these Terms at our absolute discretion.
1.4 We may end the agreement formed by the Terms immediately by giving you written notice. It is not essential to provide reasons for the termination. If you do not agree with these Terms or we give notice of termination, you must immediately cease using the Platform.
1.5 Users must sign up to Artcube to create a profile and be eligible to use the Platform.
2 PLATFORM
2.1 The Platform may be subject to frequent and possibly substantial changes as we look to make improvements to the Platform or related services and features. We reserve the right to withdraw or amend the Platform, and any service or material we provide on the Platform without notice and you agree that we are not liable for any loss or damage that you or any other person incurs by not being able to access the Platform.
2.2 You acknowledge that we are not required to keep the Platform or any particular features available for your use. We make no guarantees, implied or express, as to any ongoing availability of the Platform.
3 TERMS & DISCLAIMER
3.1 We would appreciate your feedback on the Platform. Please notify us of all bugs, glitches, lack of functionality or other problems on the Platform and share your ideas for enhancements that come to your.
3.2 You agree that that all feedback, information or testimonials that you provide may be used in any marketing materials for the promotion of the Platform.
3.3 We encourage you to publicly talk and write about the Platform. When doing so, please take into account that the Platform is subject to change. We kindly ask you to refrain from publishing full reviews, public tests, screenshots or anything else that might unfaithfully represent the Platform. Of course, we would prefer if you provide any constructive criticism to us directly.
3.4 You have been granted access to the Platform with a login account that was provided to you. Access to the Platform is not open to the general public. You agree not to grant access to the Platform to any third party, without our express written authorisation.
4 BUYING ART
4.1 When users buy a piece of Artwork as a result of clicking through a link on Artcube:
(a) payment must be made directly to Artcube;
(b) they may consent to their personal information (including separate consent for information on the content of their art collection) being shared with the Gallery;
(c) Artcube are not liable for any false, misleading or incomplete information provided by the user or the use of such data by the Gallery; and
(d) Artcube is in no way liable for the authenticity of the Artwork nor for any damage to the Artwork before it reaches the user or any misrepresentations made by any Gallery, other user or third party involved in the transaction.
5 CONTENT PROVIDERS
5.1 Artcube will provide Content Providers with feedback from users on the Artwork or Content they have uploaded to the Platform and other data (such as general gender profiles, age, art preferences and targeted price range from user comments). Artcube is not liable for the accuracy of such feedback or data.
5.2 All images of Artwork or Content are provided on the Platform for illustrative purposes only. Although we have made every effort to display the colours accurately, we do not guarantee that a computer's display of the colours accurately reflect the colour of the Artwork or Content.
5.3 Artcube makes no guarantee that the Artwork or Content uploaded by Content Providers will be viewed by users.
5.4 Content Providers are solely responsible for their Artwork and Content and warrant that the information they have uploaded on the Platform is accurate, complete, honest and genuine and within their legal rights to use on the Platform.
5.5 Content Providers acknowledge that the information they have uploaded on the Platform may be downloaded or made publicly available on or via the Platform and that we are not responsible for editing or monitoring this information. We may modify the format, layout, language, size and metadata of the information, although we will endeavour not to change the meaning of the Content Provider's expression.
6.1 All content remains the intellectual property of Artcube, including (without limitation) any source code, usage data, ideas, enhancements, feature requests, suggestions or other information provided by you or any other user. All content shared on or via the Platform is the copyright and property of Artcube.
6.2 Without our express written permission, you shall not copy the Platform for your own commercial purposes, including:
(a) modify, reuse, decompile, reverse engineer or otherwise translate the Platform or any portion thereof;
(b) replicate all or part of the Platform in any way; or
(c) incorporate all or part of the Platform in any other webpage, Platform, application or other digital or non-digital format.
6.3 Artcube has moral, proprietary and/or registered rights in its trademarks and you shall not copy, alter, use or otherwise deal in the marks without the prior written consent of Artcube.
7 THIRD PARTY INFORMATION, PLATFORMS & ADVERTISING
7.1 The Platform may contain information and advertising from third-party businesses, people and Platforms (Third Parties). You consent to receiving this information as part of your use of the Platform.
7.2 We are not responsible for any information transmitted by Third Parties in particular in relation to the accuracy of the information.
7.3 We are not liable for any reliance you make upon the information or statements conveyed by Third Parties (or in relation to your dealings with Third Parties), nor are we responsible for the accuracy of any advertisements.
8 LIMITATION OF LIABILITY & INDEMNITY
8.1 We intend to correct any technical problems as soon as possible, although this may result in the loss of your data and resetting your account. We disclaim any liability for such technical problems.
8.2 We accept no responsibility for the unavailability of this Platform, or any offer services found on the Platform.
8.3 Artcube makes no representations or warranties of any kind, express or implied, about the accuracy, completeness, or reliability of the information provided via the Platform for any purpose whatsoever.
8.4 You acknowledge that in using the Platform you do not rely on any statement, representation, assurance or warranty (whether made innocently or negligently) that is not set out in these Terms.
8.5 You agree to indemnify us for any loss, damage, cost or expense that we may suffer or incur as a result of or in connection with your use of or conduct in connection with the Platform, including any breach by you of these Terms.
8.6 In no circumstances will we be liable for any direct, incidental, consequential or indirect damages, loss or corruption of data, loss of profits, goodwill, bargain or opportunity, loss of anticipated savings or any other similar or analogous loss resulting from your access to, or use of, or inability to use the Platform or any content, whether based on warranty, contract, tort, negligence, in equity or any other legal theory, and whether or not we knew or should have known of the possibility of such damage, to business interruption of any type, whether in tort, contract or otherwise
8.7 Certain rights and remedies may be available under the Consumer Protection Act 1987 or similar legislation in this and other jurisdictions, and may not be permitted to be excluded, restricted or modified. Apart from those that cannot be excluded, we and our related entities exclude all conditions and warranties that may be implied by law. To the extent permitted by law, our liability for breach of any implied warranty or condition that cannot be excluded is restricted, at our option to the re-supply of our services or payment of the cost of re-supply of services.
9 PRIVACY POLICY & COOKIE POLICY
9.1 You accept our Privacy Policy and Cookie Policy and agree that you will not do anything that shall compromise compliance nor do anything contrary, insofar as your use of the Platform is concerned.
9.2 We may amend the Privacy Policy and Cookie Policy from time-to-time without notice and at our absolute discretion, and by continuing to use the Platform you accept such changes.
9.3 Subject to our Privacy Policy, we will not disclose information of your private art collection or portfolio to any third party without your expressively given consent.
10.1 You can contact our customer service team by email ([email protected]).
10.2 You can direct notices, enquiries, complaints and so forth to us using any other details published on the Platform. We will notify you of a change of details from time-to-time by publishing new details on the Platform.
10.3 We will send you notices and other correspondence to the email address that you submit to the Platform, or that you notify us of from time-to-time. It is your responsibility to update your contact details as they change.
10.4 A consent, notice or communication under this agreement is effective if it is sent as an electronic communication (having the meaning given to that term in Electronic Communications Act 2000 and the Electronic Signatures Regulations 2002) unless required to be physically delivered under law.
11.1 We may assign or otherwise create any interest in their rights under these Terms by giving you written notice.
11.2 Any provision of these Terms, which is invalid or unenforceable in any jurisdiction, is, as to that jurisdiction, ineffective to the extent of the invalidity or unenforceability without affecting the remaining provisions of these Terms or affecting the validity or enforceability of that provision in any other jurisdiction. The parties will negotiate in good faith to replace any such provision with a provision which is valid and enforceable and consistent with the intention of these Terms, so far as is reasonably practicable.
11.3 These Terms form part of an ecommerce transaction and the parties agree that these Terms shall be accepted electronically and the agreement to these Terms is formed & validly entered into electronically.
11.4 The termination of these Terms does not affect the parties' rights in respect of periods before the termination of these Terms.
11.5 These Terms and any non-contractual obligations arising therefrom are governed by the laws of England & Wales and you submit to the non-exclusive jurisdiction of the courts in England.
1	PURPOSE OF OUR POLICY
1.1	Artcube Limited (Company No. 08856943) (we, us or our) provides the products and services offered on the website (artcube.co) and/or mobile application (Platform).
1.2	For the purposes of the Data Protection Act 1998 (Act), we are the data controller.
1.3	We have adopted this Privacy Policy to ensure that we have standards in place to protect the data that we collect about individuals that is necessary and incidental to:
(a)	providing the products and services that we offer; and
(b)	the normal day-to-day operations of our business.
1.4	By publishing this Privacy Policy we aim to make it easy for our users, customers and the public to understand what data we collect and store, why we do so, how we receive and/or obtain that information, and the rights an individual has with respect to their data in our possession.
2	WHO AND WHAT THIS POLICY APPLIES TO
2.1	We handle data in our own right and also for and on behalf of our users.
2.2	Our Privacy Policy does not apply to information we collect about businesses or companies, however it does apply to information about the people in those businesses or companies which we store.
2.3	The Privacy Policy applies to all forms of information, physical and digital, whether collected or stored electronically or in hardcopy.
2.4	If, at any time, an individual provides data or other information about someone other than himself or herself, the individual warrants that they have that person's consent to provide such information for the purpose specified.
2.5	Our Platform is not available for use by children (persons under the age of 18 years).
3	THE INFORMATION WE COLLECT
3.1	In the course of business it is necessary for us to collect data. This information allows us to identify who an individual is for the purposes of our business, share data when asked of us, contact the individual in the ordinary course of business and transact with the individual. Without limitation, the type of information we may collect is:
(a)	Personal Information. We may collect personal details such as an individual's name, location, date of birth, nationality, family details and other information that allows us to identify who the individual is;
(b)	Contact Information. We may collect information such as an individual's email address, telephone and fax number, third-party usernames, residential, business and postal address and other information that allows us to contact the individual;
(c)	Financial Information. We may collect financial information related to an individual such as any bank or credit card details used to transact with us and other information that allows us to transact with the individual and/or provide them with our services;
(d)	Statistical Information. We may collect information about an individual's online and offline preferences, habits, movements, trends, decisions, associations, memberships, finances, purchases and other information for statistical purposes; and
(e)	Information an individual sends us. We may collect any personal correspondence that an individual sends us, or that is sent to us by others about the individual's activities, including activities with our partners (such as Facebook or Twitter).
3.2	We may collect other data about an individual, which we will maintain in accordance with this Privacy Policy.
3.3	We may also collect non-data about an individual such as information regarding their computer, network and browser. This may include their IP address.
4	HOW INFORMATION IS COLLECTED
4.1	Most information will be collected in association with an individual's use of our Platform, products and services, an enquiry about us or generally dealing with us. However, we may also receive data from other sources such as advertising, an individual's own promotions, public records, mailing lists, contractors, staff, recruitment agencies and our business partners (such as Facebook or Twitter). In particular, information is likely to be collected as follows:
(a)	Registrations/Subscriptions/Purchases. When an individual registers, subscribes and or purchases a product, service, list, account, connection or other process whereby they enter data details or grant access to information in order to receive or access something, including a transaction or services;
(b)	Partners. When an individual grants us access to their accounts with our business partners (such as Facebook, Instagram, Linkedin or Twitter).
(c)	Supply. When an individual supplies us with goods or services or contacts us in any way.
4.2	As there are many circumstances in which we may collect information both electronically and physically, we will endeavour to ensure that an individual is always aware of when their data is being collected.
4.3	We may also collect anonymous data such as traffic, IP addresses and transaction statistics, which may be used and shared on an aggregated and anonymous basis.
5	HOW DATA IS STORED
5.1	The data that we collect from you may be transferred to, and stored at, a destination outside the European Economic Area (EEA). It may also be processed by staff operating outside the EEA who work for us or for one of our suppliers. Such staff maybe engaged in, among other things, the fulfilment of your order, the processing of your payment details and the provision of support services.
5.2	By submitting your personal data, you agree to this transfer, storing or processing.
6	WHEN DATA IS USED
6.1	In general, the primary principle is that we will not use any data other than for the purpose for which it was collected other than with the individual's permission. The purpose of collection is determined by the circumstances in which the information was collected and/or submitted.
6.2	We will retain data for the period necessary to fulfil the purposes outlined in this Privacy Policy unless a longer retention period is required or permitted by law.
6.3	Information is used to enable us to operate our business, especially as it relates to an individual. This may include:
(a)	The provision of goods and services between an individual and us;
(b)	Verifying an individual's identity;
(c)	Communicating with an individual about:
i	Their relationship with us;
ii	Our goods and services;
iii	Our own marketing and promotions to customers and prospects;
iv	Competitions, surveys and questionnaires;
(d)	Investigating any complaints about or made by an individual, or if we have reason to suspect that an individual is in breach of any of our terms and conditions or that an individual is or has been otherwise engaged in any unlawful activity; and/or
(e)	As required or permitted by any law (including the Act).
6.4	If you publicly post about us, or communicate directly with us, on a social media website, we may collect and process the data contained in such posts or in your public profile for the purpose of addressing any customer service requests you may have and to monitor and influence public opinion.
7	WHEN DATA IS DISCLOSED
7.1	It may be necessary for us to disclose an individual's data to third parties in a manner compliant with the Act in the course of our business, such as for processing activities like website hosting.
7.2	We will not disclose or sell an individual's data to unrelated third parties under any circumstances unless we employ other companies to perform tasks on our behalf and we need to share your information with them to provide the Platform or other products and services to you.
7.3	There are some circumstances in which we must disclose an individual's information:
(a)	Where we reasonably believe that an individual may be engaged in fraudulent, deceptive or unlawful activity that a governmental authority should be made aware of;
(b)	As required by any law (including the Act) including court orders; and/or
(c)	In order to sell our business (as we may transfer data to a new owner).
7.4	We will not disclose an individual's data to any entity outside of the United Kingdom that is in a jurisdiction that does not have a similar regime to the Act or an implemented and enforceable privacy policy similar to this Privacy Policy. We will take reasonable steps to ensure that any disclosure to an entity outside of the United Kingdom will not be made until that entity has agreed in writing with us to safeguard data as we do.
7.5	We may partner with or utilise third-party service providers (such as Gmail from Google, Inc., and MailChimp from The Rocket Science Group LLC) to communicate with an individual and to store contact details about an individual. These service providers may be located outside the United Kingdom, including the United States of America.
8	THIRD PARTY ACCOUNTS
8.1	We may link your account with a third party (such as Facebook, Instagram, Linkedin or Twitter) to our services to enable certain functionality, which allows us to obtain information from those accounts (including your profile picture, friends or contacts).
8.2	The information we may obtain from those services often depends on your settings or their privacy policies.
9	COOKIE POLICY
9.1	Our Platform uses cookies to distinguish you from other users of our platform. This helps us to provide you with a good experience when you browse our platform and also allows us to improve our Platform. By continuing to browse the site, you are agreeing to our use of cookies.
9.2	A cookie is a small file of letters and numbers that we store on your browser or the hard drive of your computer if you agree. Cookies contain information that is transferred to your computer's hard drive. You block cookies by activating the setting on your browser that allows you to refuse the setting of all or some cookies. However, if you use your browser settings to block all cookies (including essential cookies) you may not be able to access all or parts of our Platform.
9.3	Please refer to our Cookie Policy for further information.
10	OPTING "IN" OR "OUT"
10.1	An individual may opt to not have us collect their data. This may prevent us from offering them some or all of our services and may terminate their access to some or all of the services they access with or through us. They will be aware of this when:
(a)	Opt In. Where relevant, the individual will have the right to choose to have information collected and/or receive information from us; or
(b)	Opt Out. Where relevant, the individual will have the right to choose to exclude himself or herself from some or all collection of information and/or receiving information from us.
10.2	If an individual believes that they have received information from us that they did not opt in or out to receive, they should contact us on the details below.
11	THE SAFETY & SECURITY OF DATA
11.1	We will take all reasonable precautions to protect an individual's data from unauthorised access. This includes appropriately securing our physical facilities and electronic networks.
11.2	The security of online transactions and the security of communications sent by electronic means or by post cannot be guaranteed. Each individual that provides information to us via the internet or by post does so at their own risk. We cannot accept responsibility for misuse or loss of, or unauthorised access to, data where the security of information is not within our control.
11.3	We are not responsible for the privacy or security practices of any third party (including third parties that we are permitted to disclose an individual's data to in accordance with this policy or any applicable laws). The collection and use of an individual's information by such third parties may be subject to separate privacy and security policies.
11.4	If an individual suspects any misuse or loss of, or unauthorised access to, their data, they should let us know immediately.
11.5	We are not liable for any loss, damage or claim arising out of another person's use of the data where we were authorised to provide that person with the data.
12	HOW TO ACCESS AND/OR UPDATE INFORMATION
12.1	The Act gives you the right to request from us the data that we have about you.
12.2	If an individual cannot update his or her own information, we will correct any errors in the data we hold about an individual within 7 days of receiving written notice from them about those errors.
12.3	It is an individual's responsibility to provide us with accurate and truthful data. We cannot be liable for any information that is provided to us that is incorrect.
12.4	We may charge an individual a reasonable fee for our costs incurred in meeting any of their requests to disclose the data we hold about them.
13	COMPLAINTS AND DISPUTES
13.1	If an individual has a complaint about our handling of their data, they should address their complaint in writing to the details below.
13.2	If we have a dispute regarding an individual's data, we both must first attempt to resolve the issue directly between us.
13.3	If we become aware of any unauthorised access to an individual's data we will inform them at the earliest practical opportunity once we have established what was accessed and how it was accessed.
14	ADDITIONS TO THIS POLICY
14.1	If we decide to change this Privacy Policy, we will post the changes on our Platform at www.artcube.co/privacy. It is your responsibility to refer back to this Privacy Policy to review any amendments.
14.2	We may do things in addition to what is stated in this Privacy Policy to comply with the Act and nothing in this Privacy Policy shall deem us to have not complied with the Act.
15	CONTACTING US
15.1	All correspondence with regards to privacy should be addressed to:
The Data Controller
Artcube Limited
You may contact us by email in the first instance.


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Richtaste (Indie Rock, Pop Rock, Hard Rock, Alternative Rock band produced by Pat Aeby (Krokus))
The first single from the album is "Good Days Are Gone." The entire CD was produced by Pat Aeby who is the drummer for the multi platinum Geffen Recording artist Krokus. The songs on the Lights and Sounds CD recount Stefan's life experiences pursuing a career in music and growing the bands repertoire for the new CD. Richtaste is a band made up of Stefan Frankhasuer (Vocals & Guitar), Rafael (Guitar), Roger (Bass), Marc (Drums) and Retro (Keyboard). The new album shows the growth and ripeness the band has gained by playing large stages live over the last year. And, Lights And Shades is produced by Pat Aeby (Krokus) who elevates the bands to the top of their game. The songs are done a high level with lyrics that are compelling and accessible throughout the entire CD. Coupled with the proficient musicianship, Lights And Shades is an appealing and awesome second CD. The band's debut self titled album has received amazing amounts of critical acclaim by all sorts of media outlets around the world. The debut CD also had a great amount of radio play in the United States due to the label picking up the CD for the rest of the world outside of Switzerland and Germany. Sunset Records released the debut to help set up the Lights And Shades follow up CD. We are working five (5) singles to radio starting this week, says Don Lichterman, the head of Sunset. Lichterman goes on to say that he must strategically work this album. One of the guys is going into the military service from late October until February of next year. We are doing key bookings in America before and after at industry conventions before doing a Europe tour after he is done with his service. There was no way I was waiting until spring to release this music, Lichterman says about Lights And Shades. I am working two (2) singles this year and then we will work Night Of 1,000 Dreams and Superman hard starting next year. The new CD was recorded this summer at the Madhouse by the famous Pat Aeby of Krokus. Aeby produced the CD with the entire band and he did the edit with ProTools before they mastered down the CD at the world famous G-Studios (Glenn Miller).We are very lucky to have signed Richtaste, adds Lichterman, The label plans to continue to work close with Universal Switzerland which is the label that originally released the debut self titled CD last year. The band, recently just played the main stage at the sold out The annual Open-air Etziken preparing for the Lights And Shades sophomore title. The group and producer Pat Aeby spent a lot of time with over 30 songs to choose these strong 14 tracks for the upcoming release. This is really a considered a debut although we did use the self titled to help introduce the music to media, radio and retail, says Lichterman about bringing the band to the US. And then conversely with Lights And Shades we will work with Universal in Switzerland to deliver the music. After about a year since starting the main proper labels at Sunset, Lichterman s releases are gaining critical acclaim. The label is seen on the initial Grammy Nomination Ballot 68 times this year. Richtaste is on the initial ballot for Best New Artist, along with five (5) other categories this year. The Lights And Shades CD is being worked to Alternative and College Radio this year.
Richtaste online
Music from Richtaste