First stop: Halstead, where my in-laws reside. They live outside of town on about an acre of land, part of the original old family farm. The kids loooooove exploring there.
They love to explore until it gets really windy and Peter wonders aloud if the roof is blowing off and both kids freak the eff out.
And off we went to Aunt Arnita and Uncle Bus' for Thanksgiving. They too live on a hunk of land and there's lots to see and explore there as well.
And then it was Turkey time. Linus was primed and ready to eat.
And then, for my most favorite part of the day: the bonfire in the evening. So lovely!
And that's it for the turkey day.
Black Friday in Wichita forever holds a sweet place in my heart. This year Scott and I got some good coffee, spent an hour and $80 at the Nifty Nut House, did some light shopping, then celebrated our spoils with lunch at The Anchor and some mural chasing.
There's a lot of good coffee and art to be found in Wichita, friends.
After our day we headed back to share leftovers with the kids. Linus was only interested in one thing. And it was not the food.
He just wants the coffee.
The next morning we started getting ready to leave pretty early (had a long day of driving ahead), but I couldn't help but get a picture of the early morning from my in-law's front lawn. Throw on some quality country music and tell me that's not pretty darn perfect.
We made a pit stop in KC to see more friends as we came through, some beers and snacks and catching up is just what we needed to send us off in good spirits. I miss those faces.
Yep, there's my bridge again. I am excited to see all these things again, every last bit. Have a good rest of your week, friends. More fun to come soon.


text:
GERARD GENETTE PARATEXT PDF
Work[ edit ] Genette is largely responsible for the reintroduction of a rhetorical vocabulary into literary criticism, for example such terms as trope and metonymy. Additionally his work on narrative, best known in English through the selection Narrative Discourse: An Essay in Method , has been of importance. Thresholds of Interpretation Terms and techniques originating in his vocabulary and systems have, however, become widespread, such as the term paratext for prefaces, introductions, illustrations or other material accompanying the text, or hypotext for the sources of the text. If narratology could cope with Proust, this could no longer be said. They are primarily used to look at the syntax of narratives, rather than to perform an interpretation of them.
Author: Fenrijora Vidal
Uploader: Akinocage
Work[ edit ] Genette is largely responsible for the reintroduction of a rhetorical vocabulary into literary criticism, for example such terms as trope and metonymy. Additionally his work on narrative, best known in English through the selection Narrative Discourse: An Essay in Method , has been of importance. Thresholds of Interpretation Terms and techniques originating in his vocabulary and systems have, however, become widespread, such as the term paratext for prefaces, introductions, illustrations or other material accompanying the text, or hypotext for the sources of the text.
If narratology could cope with Proust, this could no longer be said. They are primarily used to look at the syntax of narratives, rather than to perform an interpretation of them.
Order[ edit ] Say a story is narrated as follows: the clues of a murder are discovered by a detective event A ; the circumstances of the murder are finally revealed event B ; and lastly the murderer is caught event C. Add corresponding numbers to the lettered events that represent their order chronologically: 1, 2, and 3. If these events were described chronologically, they would run B1, A2, C3. Arranged in the text, however, they run A2 discovery , B1 flashback , C3 resolution.
It also deals with the structure of narratives on a more systematic basis, accounting for flash-forward, simultaneity, as well as possible, if rarely used, effects. The separation between an event and its narration allows several possibilities.
An event can occur once and be narrated once singular. An event can occur n times and be narrated n times multiple. Duration[ edit ] The separation between an event and its narration means that there is discourse time and narrative time. These are the two main elements of duration. Not many people, however, could read Ulysses in twenty-four hours. Thus it is safe to say it has a lengthy discourse time. Voice is concerned with who narrates, and from where.
This can be split four ways. Where the narration is from Intra-diegetic: inside the text. Hetero-diegetic: the narrator is not a character in the story. It is related to voice. Distance of the narrator changes with narrated speech, transposed speech and reported speech. Perspective of the narrator is called focalization.
Narratives can be non-focalized, internally focalized or externally focalized.
2SC5200 DATASHEET PDF
Gérard Genette
Jump to navigation Jump to search Paratext is a concept in literary interpretation. The main text of published authors e. These added elements form a frame for the main text, and can change the reception of a text or its interpretation by the public. Paratext is most often associated with books , as they typically include a cover with associated cover art , title, front matter dedication, opening information, foreword , back matter endpapers, colophon footnotes, and many other materials not crafted by the author. Other editorial decisions can also fall into the category of paratext, such as the formatting or typography. Because of their close association with the text, it may seem that authors should be given the final say about paratextual materials, but often that is not the case. One example of controversy surrounding paratext is the case of the young adult novel Liar , which was initially published with an image of a white girl on the cover, although the narrator of the story was identified in the text as black.
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redpajama_set_name: RedPajamaCommonCrawl


We suggest that, as a matter of hygiene, you always wash any new purchase of tableware before first use, in a mild solution of liquid detergent. Washing up is one of the occasions when tableware can be damaged if it is not properly handled during both washing and draining. Even in water, the glazed surfaces can become scratched if rubbed against each other with any force. Normal dishwashing products used in hand-hot water will not harm your ceramic ware. Tea and coffee stains can be removed with any tea or coffee stain remover.
Your tableware can be used in a microwave oven.
Tableware can safely be used in freezers. Care should however be taken when reheating frozen food. No matter how strong the tableware, sudden changes of temperature (e.g. taking from the freezer and placing directly into a hot oven) are likely to cause thermal-shock which will damage the ware.
It is perfectly safe to warm your tableware gradually and evenly to 220 degrees Fahrenheit. However, it should never be exposed to direct heat from a naked flame or to rapid changes of temperature.
Q: Is Hippo Studio® tableware fragile?
A: All our tableware is strong and durable. But like all ceramic pieces will break if mishandled.
Q: Why is the piece I received not the same one as the one in the catalogue?
A: Each and every item from Hippo Studio® is an original piece of artwork – no two pieces are alike.
Q: How can I determine whether my purchase is an original Hippo Studio® piece or an imitation?
A: If you are unable to judge the product by its quality, please refer to the underside of your piece. It will always say handmade and hand painted in Zimbabwe by (the artist's name) and the year, together with the Hippo Studio ® or Chekari ® logos.
Q: Is it possible to choose my own decorations?
A: We do offer the possibility of customising/personalising products, whether it is a specified colour palette or design. All our products are hand painted and every effort will be made to meet your specifications.
Q: How long does it take from the moment I order until the moment I can receive my product?
A: It all depends whether your required product is available in stock. If not, normally a lead time of four to six weeks should be taken into consideration. One should not forget that Hippo Studio products are all pieces of Art and that it has to come all the way from Southern Africa.


Video production is an effective tool for producing more sales, training employees, and telling the world about products and services. Video presentations can be shown to large groups and be viewed privately by one person. Television is the number one source of information for most people in North American and Europe. Business and Industry has been using industrial films and videos for years. As production costs have dropped, video production has become even more widely used for small businesses. Small businesses can use video to improve their bottom line, but before launching a video production, a little knowledge will help in the overall process and help achieve an effective and useful video presentation.
A. Talent fees are the key words, here. Generally professional actors are used for voice over and on-screen word. They do a great job. They learn their parts. They can cope with script changes and the many re-takes of scenes. Best of all, however, is that they come across well on the TV screen. In short they have talent. If you need to trim your budget, there are better ways. A good production company can work within most budgets without sacrificing the effectiveness of a production. Using non-professional talent is a risk.
Q. Can't we have our people in the video at all?
A. Sure. Company people are excellent in video presentations. They are great to have interacting with each other and with clients. Company people can be videotaped for voice over commentary and short sound bites.
Q. Our head salesperson is used to giving presentations on our product all the time. He's a natural. He's friendly and people really like him and identify with him. Plus, he knows the product backwards and forwards. Shouldn't he be the one talking about our product on our video?
A. Sometimes company people can do a good job, especially experts like yours, and we've used them in our video productions. One word of caution, however. We've seen video productions get shelved soon after they were produced because the spokesperson on the video decided to quit and go to work for the competition. You can't have your spokesperson (especially, if they're well-known) saying good things about your product if they are no longer part of your organization. The appearance is that they found a better product or a better company to work for. If companies continue using a video tape with a turn-coat expert, it appears that the video tape is marketing the competition's product. That's not good.
Q. How about having our CEO or one of our top managers appear on-camera? Is there anything they can do to come across as professional as possible?
A. Yes, CEOs and top managers are excellent choices for corporate videos. They should be prepared for the shoot with several choices of wardrobe. They should also have their lines memorized. They should review a list of tips and suggestions for looking good on-camera.
Q. Can we shoot our own footage and then have a professional video production company edit the footage?
A. Yes, especially if you have competent people in your organization. We recommend that you read the book, Producing a First-Class Video For Your Business – Work With Professionals or Do It Yourself before you attempt this, however. We'd be happy to consult with you and assist in your production in, anyway. Our book is available at many fine book stores across Canada and the United States. Especially if the book store has a Self-Counsel Press display. Check with your favorite library, as well.
Q. We have some existing footage of our product in the field. It looks really good. It's on VHS format video tape. Can we use that in the production.
A. We pride ourselves on our ability to incorporate many different types of media into our production. VHS video footage, while it is the lowest resolution format, could be digitized and edited. Results vary. Production companies using digital non-linear formats, could probably handle your request very well, also.
A. Full-production, Hollywood-style crews can be disruptive, it's true. We like to keep crews to a minimum. Sometimes we only use a one-person or two-person crew. This is not only less disruptive, but it also saves money. With new lower-light cameras, the need for the bright lights of Hollywood have gone a little by the wayside.
A. In depends on the complexity, but generally about a month. Video production companies are used to working with deadlines. We've done many quick turn-around presentations. We burn the midnight oil for our clients. Visit the PNW Video Production site for a more detailed break down (week by week) of pre-production, production and post-production needs.
Q. What's the most economical video to produce?
A. Most production companies know actors. We have a selection of professional and semi-professional actors to work with. Video tapes and audio tapes (or Reels) are commonly available for review.
Q. Should we ask for a sample tape to look at?
A. Sure. Professional video production companies should either have their own sales & marketing tape (they're in the business!) or copies of productions that are similar to your project.
What we like to do is talk about the production and budget first. Then we show samples of productions within a selected budget. It doesn't do our clients any good to show them a champagne budget video, if they'll be working on a beer budget. The reverse is true, also.
Q. Professional video production companies would have to fly into our location. Wouldn't it be cheaper for us to hire a local production company?
A. Sometimes. There are many good production companies throughout the world. Even in small communities. There's a difference, however, in video production and business/industrial video production. There's no magic in producing a good looking video. What's more difficult is producing a video that sells a product, service, or viewpoint.
A. There are many factors. The usual figure given in the industry is $1,000 to $1,500 hundred per finished minute for quality productions. Many Betacam-SP productions run about $3,000 per finished minute.
A. Certainly. Please, tell the video production company up-front what kind of budget you have in mind. The production can be tailored for your needs and requirements. There are many ways to make video productions more economical. We're experts in trimming costs.
Q. What video format are used in industrial/business video production?
A. It depends on the budget. There are a wide variety of video formats used by industrial video production companies. VHS is the lowest resolution. Betacam-SP is one of the highest. There are many formats in-between.
Sometimes we shoot on Betacam-SP, a high-resolution broadcast standard. Most often these days, however, video camcorders are recorded in digital format, so the information can be easily transferred to editing computers.
Q. Can you put our completed production on DVD, or CD-ROM for distribution and the internet?
A. We like to know exactly how you intend to use your production. But, no matter how you are distributing, we will use the best format for your video.
Q. What's the first step? What do we do?
A. Take a few minutes to think about your project and your needs. To produce a video a good industrial video production company will need to know a few things about your company and the presentation.
4. What do you want people to do when they're through viewing the video?
The internet as a medium has become a powerful voice in the global village and satisfies the aspirations of millions of lay individuals. Brand awareness among consumers is constantly increasing and it is important that companies connect with customers via various media to stay relevant and market their products. E-commerce has emerged as the key to business engagement and survival in a globalised world where boundaries are being re-drawn and the end user is magnified. Individual empowerment and a proportional increase in disposable income and has resulted in an e-commerce explosion. A purchaser in any part of the globe with the right purchasing capacity can command any product of his or her liking at will thanks to the internet.
E-commerce solutions are extremely advantageous for companies since a physical brick and mortar is avoided. Employee salaries, rent, electricity and other overheads are minimal thus translating into better deals for the end customer. All payment transactions are immediate and virtual offering best terms for a business in terms of cash flow and security. For consumers, the advantages are that they can get any product they desire at will irrespective of seasonal availability for a reasonable price. Travel time is eliminated and comparison shopping gets them the best deals with a few mouse clicks.
Web design and development plays a key role in determining the fate of a business in the online world since the first step in retail e-commerce is the development of a catchy website. It should have an aesthetic look and feel, easy navigational features and proper security. Further, all the products must be showcased effectively. Payment gateways must be secured against malicious attacks and servers programmed to accept heavy traffic. The aim is to master the art of delivering perfect solutions that leave a pertinent and positive impact on end users without compromising on security. A right mix of creativity, technology and strong business acumen goes into the development of successful e-commerce solutions and websites. It is thus a highly skilled and knowledge intensive process that slowly transforms rustic thoughts into world class solutions.
The Indian service industry has grown from strength to strength over the years and has built a solid reputation based on efficiency, timely delivery and cost effectiveness. It encompasses a broad gamut of operations right from software development to back office processes. Many Indian companies have specialised is in the development of e-commerce websites and solutions. They cater to clients from all corners of the globe and have developed cutting edge solutions with their mastery of various programming languages. It is thus no wonder that the services sector has clocked rapid growth over the last few years. The secret of their success has been their ability to adapt and quickly master rapidly evolving technology that is continuously changing n a daily basis.
E-Commerce is a powerful tool that can engineer an instant change to the entire business structure, merchandising, pricing, marketing, and sales process in an organisation and the Indian service industry is playing a pivotal role in ushering this transformation.


The holiday season is here and that means Hallmark is rolling out its Christmas programming. From the lighting of the National Christmas Tree to the premiere of 21 new holiday movies, Hallmark brings the Christmas spirit into our homes.... Installing the app can be a challenge on those TVs that don't have access to the Google Play Store but it is almost always feasible. And if your TV does not run an Android-based OS, all is not lost and you can still enjoy Kodi, either with an external TV box or by using screencasting from another device running Kodi.
Here are examples of streaming issues in Kodi If you are using Android, don't install Kodi manually, but use the Google Play Store to install Kodi that way it stays up to date. If you are using Windows 10, install Kodi from the Windows Store so it always stays up to date. For everyone else and for those using the Amazon Fire Stick (which doesn't have the Google Play Store), you'll... Launch the Google Play Store app, search for and select the Kodi app, then install it. Alternatively, go straight to the Google Play page for the Kodi app . After installing the Kodi app, you'll be ready to go and can start loading up your media library or add to the app, such as with Kodi add-ons for movies and TV .
…of Kindle Fire tablet does not have a Google Play application but the Amazon Store. Although these tablet use rs can get various kinds of e-books on the Amazon Store, there are some applications that are not available in this place so use rs still have to use Google Play to get…... Kodi, on the other hand, is an open source software project that functions as an online-powered streaming service. It has numerous movies, TV series, documentaries, concerts, music, and even games available, with the opportunity to enjoy live sporting events as well.
Kodi is here to help if you're looking for a way to watch a high-profile PPV event. Here's all you need to know about how to watch PPV on Kodi. Here's all you need to know about how to watch PPV on Kodi.
Go to the Play Store on your Android phone or tablet and search for the app apps2fire and then install it on your device. Again on your phone or tablet search for kodi and thus install it as well like appsfire.
How To Install Kodi On Amazon Firestick Without PC Well here is our step by step guide to installing Kodi onto your Amazon Fire TV stick. Its easy enough and you can do it without using your PC, but you must follow the steps exactly.


An event also seemed to have occurred the next day, and Rafael and Lydi have started calling each other by their names before I noticed.
Because my previous existence was my brother's regret, I don't remember the events with Rafael.
I guess it would be strange for me to ask if something happened, huh?
In this way, Rafael has joined us in my rehabilitation in the courtyard during the night.
Since it won't count as a rehab if he puts his arm around my waist, he's now leading me while holding my hand.
There doesn't seem to be anything different as I look at Rafael half a step from behind.
Just because he got in contact with Lydi, it's not like a change will immediately occur.
Will he…. start to change?
So Rafael also noticed that girls are better after all….
Either way, a man like me can't be with Rafael….
Wait, what on earth am I thinking!
I was hugged and my lips were sealed.
It was in an instant, but my temperature immediately shot up.
It's not like we're in a hurry. Is what he said as he starts caressing my back gently.
My stiffened body loosened from the transmitted heat, and I entrusted my body to Rafael.
It looks like Rafael noticed my unusual behavior.
I wonder if he found out that I'm concerned about Lydi.
[Yeah, I'm okay. Thanks for worrying about me.
Rafael is looking at me in a close distance with a kind face.
That's why I also got distracted, but Rafael suddenly drove me to a nearby wall.
*Haa*, his hot breath hits my cheek.
Although we often kiss, no other contact has been made just like that time in Rafael's room so a gap can be seen.
I was wondering if he's gotten tired of it, but that doesn't seem to be the case.
Rafael's hot thing that has increased in mass is hitting my thigh.
After speaking, Rafael bit my shoulder on top of my clothes.
I wonder if he can vent through it.
There's no damage done to me other than my clothes. The way he moves his mouth reminds me of a chewing animal.
I was pleased and stroked Rafael's head.
Rafael stopped moving for a moment, then starting biting again.
I was looked with upturned eyes, and this time it's my turn to stop moving.
I wonder if his expression looks childish to me because of his previous action.
Without avoiding his approaching face, I closed my eyes and received his kiss.
He sucked my upper lip, and my eyelids tremble.
Just when Rafael starts tracing the boundaries of my lips, he then starts sucking on them(lips) again.
Then he put our foreheads together as I open my eyes.
His face is so close it's hard to focus on a single focal point.
It took me a while before understanding what he meant.
I've been told countless times the opposite, but I think this is the first time someone told me that I'm strong.
The air around Rafael changed, and I wonder why as my feelings stir.
Rafael continues talking while nestling his cheeks on me from time to time.
Rafael's behavior looks like a cat that has grown attached to me, making my heart grow warm.
Fortunately, I don't feel the pain that feels like it's tearing my body apart.
It's a pain I never want to remember ever again, but it has already become a part of my past.
Just thinking about scares me so focusing my concentration on the research for the cure might just be an excuse for me to turn away.
Receiving a compliment I'm not used to makes me feel embarrassed.
It's probably because Rafael doesn't know my abilities, that's why his words reached my heart.
It was directed not to me as a Dreaming Illness patient, to my very person.
It's surprising how Rafael was watching me to that extent.
I always thought that the numerous skinship he did to me in the courtyard was in order to get in touch with my being because he just takes me only for my outer appearance and from what he heard at that first time.
However in front of my restless eyes, I see Rafael close his eyes, and the heat that has just awakened has calmed down.
Can that be called cowardice?
If he's talking about revealing everything, then I, too, am hiding something.
Even if a cure is found in the future, nobody can talk about the current treatment going on aside from those who are involved.
I'm bewildered about Rafael's murmur of self-deprecation.
I wonder what's going on so suddenly?
Even though he's always been full of self-confidence up till now.
Has there been an incident that made Rafael timid?
Rafael was talking with a tinge of madness, but his face shows a sad expression.
When I replied with my usual tone, Rafael smiled a little.
In the first place, I can't win in strength by just having a sense of crisis, and even if I'm able to escape through Mana detection, I don't think I have any place to hide with Rafael being a member of the royal family.
Other than that, when I saw Rafael restraining himself, it made me embarrassed thinking he's being considerate of me to such an extent.
Because there's still Noe's treatment, being locked up is absolutely out of the question though.
I was relieved when he returned my smile.
I shouldn't keep on running, and properly face my feelings.
Let's give our reply. How I want to live other than for the Dreaming Illness.
I believe it's time to give Rafael a reply.


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text:
package org.apache.geronimo.mail.handlers;

import java.awt.datatransfer.DataFlavor;
import java.io.ByteArrayOutputStream;
import java.io.IOException;
import java.io.InputStream;
import java.io.InputStreamReader;
import java.io.OutputStream;
import java.io.OutputStreamWriter;
import java.io.StringWriter;
import java.io.UnsupportedEncodingException;

import javax.activation.ActivationDataFlavor;
import javax.activation.DataContentHandler;
import javax.activation.DataSource;
import javax.mail.internet.ContentType;
import javax.mail.internet.MimeUtility;
import javax.mail.internet.ParseException;

public class TextHandler implements DataContentHandler {
    /**
     * Field dataFlavor
     */
    ActivationDataFlavor dataFlavor;

    public TextHandler(){
        dataFlavor = new ActivationDataFlavor(java.lang.String.class, "text/plain", "Text String");
    }

    /**
     * Constructor TextHandler
     *
     * @param dataFlavor
     */
    public TextHandler(ActivationDataFlavor dataFlavor) {
        this.dataFlavor = dataFlavor;
    }

    /**
     * Method getDF
     *
     * @return dataflavor
     */
    protected ActivationDataFlavor getDF() {
        return dataFlavor;
    }

    /**
     * Method getTransferDataFlavors
     *
     * @return dataflavors
     */
    public DataFlavor[] getTransferDataFlavors() {
        return (new DataFlavor[]{dataFlavor});
    }

    /**
     * Method getTransferData
     *
     * @param dataflavor
     * @param datasource
     * @return
     * @throws IOException
     */
    public Object getTransferData(DataFlavor dataflavor, DataSource datasource)
            throws IOException {
        if (getDF().equals(dataflavor)) {
            return getContent(datasource);
        }
        return null;
    }

    /**
     * Method getContent
     *
     * @param datasource
     * @return
     * @throws IOException
     */
    public Object getContent(DataSource datasource) throws IOException {
        InputStream is = datasource.getInputStream();
        ByteArrayOutputStream os = new ByteArrayOutputStream();

        int count;
        byte[] buffer = new byte[1000];

        try {
            while ((count = is.read(buffer, 0, buffer.length)) > 0) {
                os.write(buffer, 0, count);
            }
        } finally {
            is.close();
        }
        try {
            return os.toString(getCharSet(datasource.getContentType()));
        } catch (ParseException e) {
            throw new UnsupportedEncodingException(e.getMessage());
        }
    }

    /**
     * Write an object of "our" type out to the provided
     * output stream.  The content type might modify the
     * result based on the content type parameters.
     *
     * @param object The object to write.
     * @param contentType
     *               The content mime type, including parameters.
     * @param outputstream
     *               The target output stream.
     *
     * @throws IOException
     */
    public void writeTo(Object object, String contentType, OutputStream outputstream)
            throws IOException {
        OutputStreamWriter os;
        try {
            String charset = getCharSet(contentType);
            os = new OutputStreamWriter(outputstream, charset);
        } catch (Exception ex) {
            throw new UnsupportedEncodingException(ex.toString());
        }
        String content = (String) object;
        os.write(content, 0, content.length());
        os.flush();
    }

    /**
     * get the character set from content type
     * @param contentType
     * @return
     * @throws ParseException
     */
    protected String getCharSet(String contentType) throws ParseException {
        ContentType type = new ContentType(contentType);
        String charset = type.getParameter("charset");
        if (charset == null) {
            charset = "us-ascii";
        }
        return MimeUtility.javaCharset(charset);
    }
}

redpajama_set_name: RedPajamaGithub


text:
Martin Wolf Logo
Cross-Border Expertise
LMM Group
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IT Index
"The goal as a company is to have customer service that is not just the best but legendary."
Verint Systems Acquires KANA Software for $514 Million
martinwolf Transaction Analysis
Total Transaction Size: $514 Million
Implied Enterprise Value (EV): $514 Million
EV/Expected Forward Revenue: 3.4x – 3.7x
EV/Expected Forward EBITDA: 11.4x – 12.9x
Verint Systems (NASDAQ:VRNT), a data-analysis and security software maker, announced today that it had signed a definitive agreement to acquire KANA Software, a customer service and cloud solution provider, for $514 million.
According to the press release, Verint expects KANA to generate non-GAAP revenue of approximately $140-150 million and non-GAAP EBITDA of $40-45 million in 2014.
KANA Software, which is a portfolio company of Accel-KKR, was first acquired by the private equity firm in 2009 for $41 million.
The deal will be financed by approximately $100 million of Verint's cash, $300 million from incremental term loans and the rest from Verint's revolving credit.
Shares of Verint closed up 9.2% on news of the deal.
Adding Cloud Capabilities to Strengthen An Existing Value Proposition
Broadening Capabilities for Providing Services: With this acquisition, Verint is moving to expand its set of capabilities into higher-growth services markets. After the acquisition, Verint's 10,000 customers (joined by KANA's 900) will be able to implement a single-vendor suite to manage their customer engagement.
Turning to the Cloud: KANA's solutions offerings cover both on-premise support and cloud alternatives, providing new means with which Verint can reach out to its global network of customers.
Transformation Through PE Investment: Following its acquisition by Accel-KKR, KANA grew its global presence by acquiring software companies in the customer service vertical in Ireland, the U.S., the U.K. and the Netherlands.
Low Interest Rates Continuing to Spur M&A: Verint is only funding $100 million of the purchase price with cash, fueled by the M&A-friendly, low-interest environment.
For more information, read the press release. martinwolf was not the advisor in this transaction.
Happy Holidays – The 2020 martinwolf Annual Letter
To Clients, Partners, and Friends of martinwolf M&A Advisors! Happy Holidays and wishing you a wonderful New Year as we look ahead into a new...
Computacenter plc to Purchase Pivot Technology Solutions, Inc.
Private equity firm Apollo Global Management (NYSE: APO) announced today that it completed its acquisition of Tech Data (NASDAQ: TECD)
Apollo Global Management Closes Tech Data Acquisition
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Publication of: Programa de Pós-Graduação em Antropologia Social - PPGAS-Museu Nacional, da Universidade Federal do Rio de Janeiro - UFRJ
Area: Human Sciences ISSN printed version: 0104-9313
(Updated: 2021/11/18)
Mana. Studies in Social Anthropology, quarterly publication of the Graduate Program in Social Anthropology, National Museum, UFRJ has 19 years of existence. Mana is a major Brazilian publication in the field of anthropology, included in the database of the major international indexes - and, notably, the most prestigious of them, ISI Web of Knowledge - and evaluated by the instrument Qualis CAPES and international as A (A1).
The objectives of Mana. Studies in Social Anthropology include:
To disseminate academic knowledge and ensure the flow of ideas between Brazilian and foreign centers, in order to contribute to the understanding of society and the Brazilian culture in a context of globalization.
Create a forum for the dissemination and discussion of new research and theoretical approaches.
Provide the Graduate Program in Social Anthropology (Museo Nacional/UFRJ) a publication corresponding to their level of academic excellence.
Through the implementation of exchanges with other journals, domestic and foreign, to contribute to the enrichment of the Library Francisca Keller, the PPGAS/MN/UFRJ, which boasts one of the most important collections of anthropological literature in Latin America.
Its abbreviated title is Mana, which should be used in bibliographies, footnotes and bibliographical references and strips.
Indexing sources
ISI - Current Contents
Anthropological Index
Clase - Citas Latinoamericanas en Ciencias Sociales y Humanidades
DataÍndice
Sociological Abstracts
Linguistics and Language Behaviour Abstracts
All content of the journal, except where identified, is licensed under a Creative Commons attribution-type BY.
Mana receives support from:
CAPES/CNPq
FAPERJ
Editor in charge
María Elvira Díaz Benitez, professora Adjunta IV do Programa de Pós-Graduação em Antropologia Social, Museu Nacional/UFRJ, RIo de Janeiro - RJ, Brasil
Edmundo Pereira, Universidade Federal do Rio de Janeiro, Rio de Janeiro - Brasil
Federico Neiburg, Universidade Federal do Rio de Janeiro, Rio de Janeiro - Brasil
Adriana Facina, Universidade Federal do Rio de Janeiro, Rio de Janeiro, Brasil
Adriana Vianna, Universidade Federal do Rio de Janeiro, Rio de Janeiro, Brasil
Antonio Carlos de Souza Lima, Universidade Federal do Rio de Janeiro, Rio de Janeiro, Brasil
Aparecida Vilaça, Universidade Federal do Rio de Janeiro, Rio de Janeiro, Brasil
Bruna Franchetto, Universidade Federal do Rio de Janeiro, Rio de Janeiro, Brasil
Carlos Fausto, Universidade Federal do Rio de Janeiro, Rio de Janeiro, Brasil
Edmundo Pereira, Universidade Federal do Rio de Janeiro, Rio de Janeiro, Brasil
Eduardo Viveiros de Castro, Universidade Federal do Rio de Janeiro, Rio de Janeiro, Brasil
Federico Neiburg, Universidade Federal do Rio de Janeiro, Rio de Janeiro, Brasil
João Pacheco de Oliveira, Universidade Federal do Rio de Janeiro, Rio de Janeiro, Brasil
John Comerford, Universidade Federal do Rio de Janeiro, Rio de Janeiro, Brasil
José Sergio Leite Lopes, Universidade Federal do Rio de Janeiro, Rio de Janeiro, Brasil
Luisa Elvira Belaunde, Universidade Federal do Rio de Janeiro, Rio de Janeiro, Brasil
Luiz Fernando Dias Duarte, Universidade Federal do Rio de Janeiro, Rio de Janeiro, Brasil
Marcio Goldman, Universidade Federal do Rio de Janeiro, Rio de Janeiro, Brasil
María Elvira Díaz-Benítez, Universidade Federal do Rio de Janeiro, Rio de Janeiro, Brasil
Marília Facó Soares, Universidade Federal do Rio de Janeiro, Rio de Janeiro, Brasil
Moacir Palmeira, Universidade Federal do Rio de Janeiro, Rio de Janeiro, Brasil
Olívia Maria Gomes da Cunha, Universidade Federal do Rio de Janeiro, Rio de Janeiro, Brasil
Otávio Velho, Universidade Federal do Rio de Janeiro, Rio de Janeiro, Brasil
Renata de Castro Menezes, Universidade Federal do Rio de Janeiro, Rio de Janeiro, Brasil
Afrânio Garcia Jr. (École des Hautes Études en Sciences Sociales, França)
Anne-Christine Taylor (Centre National de la Recherche Scientifique, França)
Anthony Seeger (Smithsonian Institution, Washington D. C., EUA)
Antonadia Borges (Universidade Federal Rural do Rio de Janeiro, Brasil)
Benoit de L'Estoile (Centre National de la Recherche Scientifique, França)
Claudia Lee Williams Fonseca (Universidade Federal do Rio Grande do Sul, Brasil)
Clara Han (Johns Hopkins University, Estados Unidos)
Cristiana Bastos (Instituto de Ciências Sociais da Universidade de Lisboa, Portugal)
Eduardo Góes Neves (Universidade de São Paulo, Brasil)
Jean Michel-Beaudet (Université Paris Nanterre, França)
João Biehl (Princeton University, Estados Unidos)
João de Pina Cabral (Instituto de Ciências Sociais da Universidade de Lisboa, Portugal)
Kabengele Munanga (Universidade Federal do Recôncavo da Bahia, Brasil)
Louis Herns Marcelin (University of Miami, Estados Unidos)
Luiz Antonio Lino da Silva Costa (Universidade Federal do Rio de Janeiro, Brasil)
Manuela Carneiro da Cunha (Universidade de São Paulo/ University of Chicago, Brasil e Estados Unidos)
Mara Viveros Vigoya (Universidad Nacional de Colombia, Colombia)
Maria Filomena Gregori (Universidade Estadual de Campinas, Brasil)
Mariza Peirano (Universidade de Brasília, Brasil)
Omar Ribeiro Thomaz (Universidade Estadual de Campinas, Brasil)
Osmundo Pinho (Universidade Federal do Recôncavo da Bahia, Brasil)
Pedro Pitarch (Universidad Complutense de Madrid, España)
Peter Fry (Universidade Federal do Rio de Janeiro, Brasil)
Ramon Sarró (University of Oxford, Inglaterra)
Rodrigo Toniol (Universidade Federal do Rio de Janeiro, Brasil)
Rosana Gúber (IDES/Conicet, Argentina)
Samuel Araújo (Universidade Federal do Rio de Janeiro, Brasil)
Susana Narotzky (Universitat de Barcelona/España)
Editorial assistant: Rafael Fernandes Mendes Júnior
Editoração eletrônica: Fatto Edições Digitais
Copidesque português: Malu Resende
Copidesque espanhol: Lucía González
Editorial support and Social Media
Marco Julián Martínez-Moreno, Universidade Federal do Rio de Janeiro, Rio de Janeiro, Brasil
Camila Fernandes, Universidade Federal do Rio de Janeiro, Rio de Janeiro, Brasil
María Rossi Idárraga, Universidade Federal do Rio de Janeiro, Rio de Janeiro, Brasil
Nathalia Ferreira Gonçales
Aim and editorial policy
Mana: Social Anthropology Studies accepts the following types of contributions:
Original articles in Portuguese or in Spanish. They must have a maximum of 11,500 words.
The dossier must have 5 to 8 original articles in Portuguese or Spanish. The dossier editors must present the proposition to Mana editorial board, indicating its title and including an abstract of up to 1000 words in which the theme and the objectives of the dossier are clearly stated, and also including abstracts of up to 250 words of the articles that will be present in the dossier. The proposal must be sent to revistamanappgas@gmail.com. It will be analysed by the editorial board. After the proposition is accepted, the articles will be evaluated by ad hoc peer reviewers. Each article must have up to 11,500 words and follow the formal guidelines of regular articles. Mana will also receive open dossier proposals. In this modality, the dossier editors must send the dossier's name and general abstract to revistamanappgas@gmail.com. An open call for papers will be published by the journal. The articles will be received through Mana's Scielo submission website and will be screened by the dossier editors before being evaluated by ad hoc peer reviewers.
Bibliographic Essays
Original work in Portuguese or in Spanish. They must have up to 4,400 words, including references and notes. Texts must be critical essays of a particular book or of several works addressing related questions through which the work of an author is analysed.
In Portuguese or in Spanish. Reviews must have a maximum of 1,600 words and be about works released in the last 5 years.
Starting 2021, Mana will diversify the reviewed contents, which may be:
a) Recent books
b) Movies
Documentaries of other films, whenever the text raises a question of anthropological interest.
c) Phonographic products
Phonographic materials linked to linguistics or ethnomusicology ethnographies.
d) Academic events
Critical evaluation of national or international academic events and debates.
The interview must be in Portuguese or Spanish, have a maximum of 9,000 words (including references), must be original and can be conducted by any given number of researchers. It must have a specific theme; for instance, the interviewee's academic trajectory, their ethnographic journey, comments about a recent book, their dialogue with their peers in a particular field of knowledge, or the development of a concept or a category associated with their work.
Original work in Portuguese or in Spanish. It must be based on the academic trajectory of an author (living or deceased), raise critical questions, and highlight their main contributions to the area of Anthropology. The authors being paid tribute can be of any nationality. Although this section is open to authors from all anthropological fields, areas and approaches, submissions on less canonical authors are particularly encouraged. Texts in this section must follow the same guidelines as regular articles. The texts will be evaluated by ad hoc reviewers.
This section in destined to the publishing of translations to Portuguese of texts of social anthropology originally written in other languages (except for Spanish). This section follows the journal's general guidelines for references. Those interested in publishing a translation must present their proposition with the name of the article and a minimum of 20% of the article already translated, alongside with a document signed by the owner of the article's intellectual rights authorizing the publication. After its approval and complete translation, the article will be reviewed by a professional translator appointed by Mana. The proponent is responsible for the costs of this review.
Photographic Essays
Original work in Portuguese or in Spanish. This section is devoted to publishing essays that, in images and texts, present the processes and/or the results of a research. The text must consist in an anthropological reflection linked to the images in a dynamic and creative way. The photographic essay must have at least 8 and up to 12 images and their respective authorizations, in the format of a contract of assignment of rights provided by Mana (with credits to the author and information on location, date, and name of the picture), must be signed. The essays must have up to 3.500 characters (with space). After the approval for publication, the images must be sent separately, in .jpeg, .gif or .png format, with resolution of 1.2M and 300dpi. The images must be named in the same order as they appear in the text. Photographic essays follow the journal's general guidelines for references.
The Debate section is dedicated to reflect upon a particular text. The text must be original or a translation to Portuguese of a key text recently published. The Debate editor must invite up to five anthropologists to comment of the text in question and must guarantee, at their discretion, that different perspectives are represented and add up to the discussion. The central article of the Debate can have up to 11,500 words. Comments must have a maximum of 1,600 words each. The Debate section follows the journal's general guidelines for references. The texts will be evaluated by ad hoc peer reviewers.
The Controversies section aims to incentivize the discussion and exposition of divergent ideas and thoughts, for we believe that this exercise is fundamental to the production of knowledge. Hence we seek the approximation of different academic approaches to particular subjects and the representation of distinct ways of making and thinking of Anthropology. If divergences around concepts such as "culture" or "identity" were keystones to our discipline, our goal is to know and publicize other controversies that are shaping ideas in Anthropology.
Field Review
Original work in Portuguese or Spanish. This section is dedicated to publishing articles that review the theoretical and/or ethnographic production regarding a particular theme or subject. These reviews may have a geographic frame (for instance, studies on riverside communities in Brazil); a temporal frame (for example, studies on militarism in Brazil between 1950 and 2000); or be based on transnational dialogues (for instance, the influences of George Simmel in Latin-American anthropological thought). The reviews are expected to be widely representative of their subjects, avoiding biases and including the production of different schools and regions. The Field Review articles have a maximum of 11,500 words. They follow the same reference guidelines as the other sections. Submissions will be evaluated by ad hoc reviewers.
The Documenta section focuses on publishing texts of historical value, such as archive materials, rare or barely known documents, retranslations of classic texts, memorials, tributes, and conferences.
To send your text, access:
https://submission.scielo.br/index.php/mana/login
Presentation of originals
1. The relevance for publication will be evaluated by the Editorial Committee (as to the adequacy of the journal's profile and editorial line) and by ad hoc reviewers (as to the content and quality of the contributions). Originals in Portuguese and Spanish are accepted. There is no cost for shipping and evaluating items.
2. Manuscripts should be submitted in Microsoft Word after registering in the SciELO platform. All references to the author must be suppressed.
3. Articles must include an abstract of between 100 and 150 words, in Portuguese, English and Spanish, as well as titles and keywords in the same languages. Only his institutional affiliation should be included below the author's name. After the conclusion the author should insert a small professional biography, indicating institution, position, title, and main research interests, as well as electronic address.
4. Footnotes should come at the end of the text and should not be simple bibliographical references.
5. Bibliographical references should appear in the body of the text with the following format: author's surname / space / year of publication: / space / pages), as the example: (Wagley 1977: 160-162).
6. The bibliography in alphabetical order should come after the endnotes and follow the format used in the following examples (with particular attention to punctuation, spaces, use of italics, and capitalization):
SAHLINS, Marshall. 1985. Islands of History. Chicago: The University of Chicago Press.
Collectanea
DOUGLAS, Mary (org.). 1970. Witchcraft, Confessions & Accusations. London: Tavistock Publications.
Article in a collectanea
FERNANDES, Florestan. 1976. "Aspectos da Educação na Sociedade Tupinambá". In: E. Schaden (org.), Leituras de Etnologia Brasileira. São Paulo: Cia. Editora Nacional. pp. 63-86.
Article in a jornal
LÉVI-STRAUSS, Claude. 1988. "Exode sur Exode". L'Homme, XXVIII(2-3):13-23.
CROCKER, Cristopher. 1967. Social Organization of the Eastern Bororo. Ph.D. Dissertation, Harvard University.
7. Review articles and book reviews should include the full reference of the works analyzed, indicating the number of pages for each one. Book reviews should not have a title nor contain notes or bibliographical references.
8. Submission of articles implies ceding of the copyright to the journal.
9. For more information, consult the editors of Mana Journal through the email revistamanappgas@gmail.com.
10. The articles will be peer reviewed by at least two reviewers whose work falls into the same area of research. Reviewers will be from national and/or foreign research and/or teaching Institutions, and will have a proven record of scientific output. Following the incorporation of any necessary changes and suggestions, the article will be accepted if approved by two reviewers and rejected if at least one reviewer provides an unfavourable assessment.
11. We will only accept articles from authors registered on the ORCID platform.
Programa de Pós-Graduação em Antropologia Social - PPGAS-Museu Nacional, da Universidade Federal do Rio de Janeiro - UFRJ Quinta da Boa Vista s/n - São Cristóvão, 20940-040 Rio de Janeiro RJ Brazil, Tel.: +55 21 2568-9642, Fax: +55 21 2254-6695 - Rio de Janeiro - RJ - Brazil
E-mail: revistamanappgas@gmail.com
Mana, Volume: 27, Issue: 3, Published: 2021


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text:
State lawmaker calls for audit of onePULSE Foundation
June 11, 2019 at 7:17 pm EDT
By Jason Kelly and Lauren Seabrook, WFTV.com
ORLANDO, Fla. — Wednesday marks three years since the Pulse nightclub terror attack.
It will likely be at least another three years until a permanent memorial opens.
Some survivors and victims' relatives said they are concerned about the public and private dollars for this memorial going to the onePULSE Foundation.
State Rep. Anna Eskamani, D-Orlando, advocated for the state to contribute $500,000 toward the memorial, but she said the organization should be audited.
"At the end of the day, everyone in this community is a stakeholder," she said. "If there's any indication of lack of transparency, it's going to lead to more questions and it's going to lead to doubt."
The organization said it is already undergoing an external audit.
Eskamani said she has a background in nonprofits and studied responsible spending in graduate school.
"It's really important that the overhead cost of staffing is low," she said.
Tax forms show Pulse's owner, Barbara Poma, is the organization's sole paid employee, earning $43,000 annually.
[ Read: Remembering the 49: Orlando to mark 3 years since Pulse nightclub massacre ]
Eskamani said the salary is modest compared with other charities.
She said it is also important to consider the cost of travel.
"Are they staying at expensive places? Are they booking the most expensive flight?" she said.
The organization said it has raised $14 million.
"I feel pretty confident that each one of us is going to be very intentional about, not only asking for the transparency, but doing what we need to do alongside the organization to ensure that it happens," Eskamani said.
The organization said that an audit that began in February will be finalized in July. It said that it plans to conduct annual audits.
[ Read: Lawmakers propose declaring Pulse nightclub site a national memorial ]
Earl Crittenden, board chairman of the onePULSE Foundation, provided Channel 9 with the following statement:
"The leadership and staff of the onePULSE Foundation take their mission and work very seriously, and any statement that the foundation has not been transparent with our finances and the work involved in fulfilling our mission is misguided. In January of 2019, we hired the independent firm of Holland & Reilly to conduct an audit of the 2018 fiscal year. This audit was sought out by the foundation because it is in line with national best practices for nonprofit foundations. The audit began in February 2019 and will be finalized in July. We plan on conducting an independent audit each year.
"For the 2016 and 2017 fiscal years, we have filed IRS Form 990s, which are publicly available and provide details on our work and spending in those years. As part of the process to secure funds through the Tourism Development Tax, we provided a great deal of information on our finances and our work. All of this information is publicly available and was thorough enough to support our awarding of those funds.
"We also want to emphasize that if a member of the public, a family member, survivor, or public official has questions about our finances, they are welcome to contact us. To date no member of the public has contacted our leadership about this issue."
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text:
The Popular Image
Study for Studio International Cover
Colored pencil, pencil and cut paper on paper
22 1/2 by 22 3/8 in. 57.2 by 56.8 cm.
Study for Water Lilies
Graphite, pencil and colored pencil on paper
3 7/8 by 9 in. 9.8 by 22.9 cm.
House With Gray Roof
Colored pencil and pencil on paper
8 by 8 3/4 in. 20.3 by 22.2 cm.
Ceramic Sculpture 7
Painted and glazed ceramic, unique
9 1/2 by 9 by 7 in. 24.1 by 22.9 by 17.8 cm.
MI&N 6211
The United States and the Macedonian
Woodcut on medium weight, natural Japanese paper
17 x 20 3/4 inches (variable)
43.2 x 52.7 cm (variable)
Ten Dollar Bill (Ten Dollars)
Lithograph on various papers, laid and wove, including Rives Heavyweight
18 15/16 x 24 1/4 inches (variable)
Foot Medication Poster
Offset lithograph, in blue and black, on white wove paper
22 15/16 by 16 15/16 in. 58.3 by 43 cm.
MI&N 12191
Modern Art Poster
Screenprint on smooth, ivory wove paper
Sheet: 8 by 10 7/8 in. 20.3 by 27.6 cm.
sheet: 16 1/2 by 38 7/8 in. 41.9 by 98.7 cm.
Lithograph on Arches paper
Goldfish Bowl
Woodcut on natural handmade Okawara paper
25 1/16 x 18 1/4 inches
Edition No. 1PPII
NEW YORK, November 3, 2014 – Mitchell-Innes & Nash is pleased to present an exhibition of works by Roy Lichtenstein focusing on the artist's exploration of popular imagery and mass production. This will be the gallery's sixth solo exhibition of Lichtenstein's work and will include 60 works ranging in media from the early 1950s until 1997, the last year of the artist's life.
Roy Lichtenstein is one of the founding members of the 'Pop Art' movement. Lichtenstein is best known for his boldly colored paintings of scenes culled from comic books and strips, however art historical references have always occupied a profound niche within his artistic practice. Many of these influences, ranging from Monet's flickering brushwork to the abstraction of Expressionist mark making, often graphically manifest in the artist's drawings and prints. For Lichtenstein, prints and multiples offered a way to bridge the boundary between high art and popular culture.
The allure of popular imagery for Lichtenstein grew from the desire to blur the boundaries between "high" and "low" culture as a means of fusing art with daily life. Works like Ten Dollar Bill, a lithograph from 1956, illustrates Lichtenstein's early investigation into the use of everyday symbols as subject matter. While this impulse is characteristic of Lichtenstein's fully developed paintings, editions such as Ten Dollar Bill were his first to elevate such quotidian forms of commercial culture to the status of fine art.
Roy Lichtenstein: The Popular Image traces the development of the artist's interest in adopting both contemporary culture and art history as well as their artistic adaptation. The development of this practice becomes apparent in the transition between his early woodblocks such as The United States and the Macedonian (1953) to the precise, minimalist lithographs of his late career such as Venetian School I (1996). For Lichtenstein, the production of accessibility found merit in the dissolution of boundaries.
About Roy Lichtenstein
Roy Lichtenstein was born in 1923 in Manhattan, New York. He received his B.F.A from Ohio State University in 1946, where he later completed his M.F.A. His work has been exhibited extensively at museums and galleries in the U.S. and internationally. Recent museum exhibitions have included "Roy Lichtenstein: A Retrospective" at the Centre Pompidou, Paris; and "Roy Lichtenstein: A Retrospective" at the Tate Modern London. He will be the focus of two upcoming exhibitions at the FLAG Art Foundation, New York and Fondazione Torino Musei, Turin, Italy. His work resides in public collections of institutions worldwide including the Museum of Modern Art, the Whitney Museum of American Art, the Guggenheim Museum, all in New York; the Tate Gallery, London; Museum für Moderne Kunst in Frankfurt; and the Stedelijk Museum in Amsterdam.
About Mitchell-Innes & Nash
Founded by Lucy Mitchell-Innes and David Nash, who previously headed the worldwide Contemporary and Impressionist & Modern Art divisions of Sotheby's, Mitchell-Innes & Nash places exemplary contemporary artists within a historical context, revealing a continuity of ideas and aesthetic virtuosity from the Modern era through the present day.
Mitchell-Innes & Nash's renowned exhibition program, in both their Madison Avenue and Chelsea locations, fosters excellence within artistic practice, while forging an informed dialogue between emerging and established internationally recognized artists. From acclaimed surveys of 20th century masters, such as Jean Arp, Anthony Caro, Jay DeFeo, Willem de Kooning, Leon Kossoff, Kenneth Noland, Roy Lichtenstein, and Nicolas de Stael, to solo exhibitions of Sarah Braman, Keltie Ferris, Daniel Lefcourt, William Pope.L, Virginia Overton, Martha Rosler, and Jessica Stockholder, Mitchell-Innes & Nash has proven expertise in both advancing the careers of emerging artists and maintaining the superior standard set by established artists.
Join the "Roy Lichtenstein" conversation on instagram,by mentioning @miandn and using the #RoyLichtenstein hashtag when posting.
Listings Information: Mitchell-Innes & Nash is located at 1018 Madison Avenue on the Upper East Side. Tel: 212 744 7400
web: www.miandn.com email: josie@miandn.com
Press inquires:
Taylor Maatman
FITZ & CO
Taylor.Maatman@fitzandco.com


Heathrow has – for several years – been dangling the carrot of being one of 4 "logistics hubs" around the UK, for its expansion plans, to over 65 possible sites. It was a way to get local support from MPs, councils, business etc. It has now made a list of 18 shortlisted sites that "remain in the running to help deliver the infrastructure project". So that leaves 47 sites disappointed and let down. Heathrow makes out that these are going to bring "jobs and economic opportunities up and down the country years before the additional trade and tourism that will follow from unlocked runway capacity." And it will be "sustainable" due to "transporting assembled components in consolidated loads." The sites shortlisted have "showcased a strong base of local support, their area's thriving supply chain, convenient connectivity links and the potential to tap into a skilled workforce." So those 18 shortlisted are still kept on tenterhooks, to see if they might get lucky, eventually. In the autumn, they will have the opportunity to pitch to the airport for their chance to become one of the final 4 construction centres, to be announced early next year, ahead of work [possibly, bearing in mind all the legal and planning hurdles] "starting in 2021".
Heathrow today announces the names and locations of the 18 shortlisted sites that remain in the running to help deliver the expanded airport, signalling the project has reached a new and significant milestone on its path to delivery.
"Heathrow's announcement today moves their vision for UK-wide Logistics Hubs a step closer to being realised.
Heathrow Airport today unveils 18 sites which are in the running to benefit from its third runway.
Bosses announced 18 locations on its shortlist to host "logistics hubs" for offsite construction for major parts of the controversial £14billion project.
Transport chiefs want to build as much of the facility as possible outside the congested South East.
Some 65 places were on the longlist, all of which were visited during a nationwide tour that finished last summer.
Places whose chances of being picked are boosted today include ABP in Cardiff, Lillyhall in Cumbria, British Steel in Scunthorpe and Burton Superhub in Burton-on-Trent, Staffs.
The winners will be announced early next year, with work starting in 2021.
The runway could be completed by 2026, depending on legal battles and planning permissions.
Those eventually chosen will be "key to kickstarting the nationwide benefits that Heathrow expansion will bring – creating jobs and economic opportunities up and down the country years before the additional trade and tourism that will follow from unlocked runway capacity", the airport said.
Heathrow's executive director for expansion, Emma Gilthorpe, will tell the British Chambers of Commerce conference in London today: "Heathrow is as committed as ever to creating a plan that delivers for every corner of the UK.
British Chambers of Commerce co-executive director Claire Walker said: "A strong skills base and high-performing infrastructure network are vital to securing the UK's economic future in the long-term.
In a letter by the No 3rd Runway Coalition (NoR3) in the Yorkshire Post, they explain how Heathrow has been conducting a variety of lavishly funded public relations exercises to counter the widely held perception that its expansion would be yet another South-East-centric project, which can only further entrench the UK's economic divisions. So Heathrow has claimed that a number of regions will become "logistic" hubs for the 3rd runway's construction. Just 4 of these "hubs" will be chosen, but 65 regions are invited to bid – building up their hopes (and driving support for the runway). The NoR3 coalition say "By the time the 61 losers learn who they are, it is hoped that their regional leaders will have sold their souls, speaking up Heathrow expansion, to curry favour with the airport. Clever. But cynical. Equally contemptuous is the way in which Heathrow is using this stunt to claim economic benefits for the country, which is knows is not supported by the latest figures." The correct figures for economic benefits for the UK from the runway are tiny (NPV – when costs are taken into account – of just £3.3 billion, for all the UK over 60 years, or even a negative figure…) and it is likely any possible benefits will be for the South East. Not the regions. Regional business people need to ask serious questions of Heathrow (and the DfT) on the reality of purported jobs and investment.
Four UK construction hubs are being sought by Heathrow to allow components of its £16bn expansion project to be built away from the airport. The logistics hubs will pre-assemble components for the proposed 3rd runway before transporting them to the airport. Heathrow claims this will make the project cheaper, and provide some jobs to other parts of the country. This form of construction may have been used in the housebuilding sector but had only had a "limited" role in major British infrastructure projects. The areas to have these construction hubs need to have good connectivity (road, rail?), have "a relevant supply chain and strong local skills". Areas need to apply by July 31st, with a list of potential sites expected to be announced later this year. The airport can only start submitting its development consent order if the NPS is voted for in Parliament, and if the government wins the legal challenges. That could not be before spring 2018. Heathrow hopes, perhaps unrealistically, to have its runway built and working by 2025. Heathrow says it has used off-site locations before, with large parts of the structural steelwork for Terminal 2 building constructed in Yorkshire and Lancashire. In October 2016 the Scottish government said: "Heathrow will work with the Scottish Government to investigate Glasgow Prestwick Airport as a potential site for a logistics hub to support the building of the third runway." No mention of that now?
The SNP decided to give its backing to a Heathrow runway, rather than one at Gatwick – having been led to believe that the only choice on offer was between these two. They were led, by Heathrow PR, to believe there would be greater benefits for Scotland. The SNP hoped to get exports from Scotland (salmon and razor clams) shipped through Heathrow. The Airports Commission came up with a figure of economic benefit from a Heathrow runway of UP TO £147 billion to all the UK over 60 years. Heathrow got a consultancy called Quod to work out the number of jobs. They came up with the figure of 16,100 jobs for Scotland (over 60 years) from the runway. The DfT has now downgraded the £147 billion figure, as it included various speculative elements, and double counted benefits. The new figure (also still far higher than the reality) from the DfT is UP TO £61 billion for the UK over 60 years. That, pro rata, would mean up to about 9,300 jobs for Scotland – not 16,100. It is unfortunate that the SNP were misinformed, as were other MPs, Chambers of Commerce etc across the regions. Heathrow also pledged benefits for Scotland such as using its steel for construction, and using Prestwick as a base. The Scottish Green party see the SNP backing of a Heathrow runway as a betrayal of those badly affected by it, and of Scotland's climate commitments.
Posted: Friday, March 29th, 2019. Filed in General News, News about Airports, Recent News.
Stop Stansted Expansion ('SSE') confirmed today [26 March] that it will commence legal proceedings to challenge last week's decision [20 March] by the Communities Secretary James Brokenshire not to intervene in the decision by Uttlesford District Council ('UDC') to approve the expansion of Stansted Airport to 43 million passengers per annum ('mppa').
The Communities Secretary explained that his reason for not intervening was that "the application does not involve issues of more than local importance". SSE considers this conclusion to be completely at odds with the facts.
The truth is that over half of Stansted's passengers are either London residents or London visitors and its official designation, 'London Stansted Airport', is intended to emphasise its position as London's third airport after Heathrow and Gatwick. In addition, within the next month or two, Stansted is expected to overtake Manchester to become the UK's third busiest airport. Meanwhile, Stansted has fewer local employees than 15 years ago despite the airport's growth. Nowadays, over 84% of its employees are not Uttlesford residents.
The noise, air pollution, community health and road traffic impacts of Stansted are felt far beyond the borders of Uttlesford, and the 3.7 million equivalent tonnes of carbon dioxide attributable to Stansted Airport this year will have significant adverse impacts not only at a national level but also internationally [Note 1].
In short, SSE believes that the Communities Secretary is both factually wrong and wrong in law to say that the further expansion of Stansted to become almost as big as today's Gatwick does not involve issues of more than local importance, and so does not justify his intervention.
Paradoxically, the Chairman of UDC Planning Committee [Note 2] gave Brexit as his reason for using his additional casting vote to ensure that the application was approved (after his Committee was split down the middle) saying that there was a need to consider the wider picture, beyond the impacts on Uttlesford.
SSE's legal proceedings will take the form of an application to the High Court for a Judicial Review ('JR') of the decision of the Communities Secretary not to call in the Stansted Airport planning application. SSE already has an outstanding JR application against the Transport Secretary, Chris Grayling, over his decision of 28 June 2018 to allow the airport planning application to be determined locally by UDC [Note 3]. This case was originally scheduled for a two-day High Court hearing in February but has been 'stayed' by the Judge to await the decision of the Communities Secretary, referred to above.
SSE is due to provide the Judge with an update on 29 March and has previously notified the High Court that it would seek to widen its challenge to include both Secretaries of State in the event of James Brokenshire taking the same line as Chris Grayling in refusing to consider the airport planning application at national level. SSE's barristers will confirm this position to the Judge on 29 March and seek directions regarding the timetable and other arrangements for a rescheduled hearing against the two Secretaries of State.
In the meantime, SSE solicitors have written to UDC pointing out that it would be inappropriate for UDC to issue any decision in relation to the airport planning application whilst these legal challenges are pending. It is hoped that UDC will agree to this and thereby avoid the risk of becoming embroiled in the legal proceedings.
2. Councillor Alan Mills – Conservative member for Felsted and Stebbing, 14 November 2018.
3. See SSE press release of 9 August 2018 at http://stopstanstedexpansion.com/press512.html.
The recommendation by Uttlesford District Council (UDC) planning officers, published on 22 October, that the current airport planning application should be approved, will not surprise anyone who has followed UDC's handling of this airport planning application from the beginning. As far back as July 2017 – before the application was even submitted – UDC were openly discussing concessions that might be extracted from Manchester Airports Group (MAG), the owners of Stansted, in return for approving the application. SSE say the UDC officers' report is little more than a rehash of MAG's planning statement with no attempt made to challenge the many unsubstantiated and misleading claims made in the planning application. They say UDC planning officers haven't even bothered to check the many wholly implausible assumptions made by MAG which allow it to claim that there would be no significant adverse impacts if the application is approved – thought that would mean a 66% increase in passengers and a 44% increase in flights compared to last year. But UDC say this "would not result in significant adverse impacts." It is now for UDC councillors on the planning committee to decide. This case seems too large and complex for a small team of planning officers in a small local authority, without the necessary resources or expertise.


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About 1000 mutations in breast cancers are listed in the IARC TP53 mutation database . Overall, the mutation prevalence is relatively low (20-30%). Mutations are associated with most aggressive tumor types and carry a significant risk of bad prognosis and outcome in both node-positive and node-negative tumors. Among tumors expressing mutant p53, those with mutations in the L2/L3 loops of the protein (DNA-binding surface) have a poorer response to some forms of treatment than tumors with mutations at other sites . It is noteworthy that p53 protein levels are elevated in more than 50% of breast cancers, suggesting that p53 function may be deregulated by mechanisms other than mutation.
The pattern of TP53 mutations shows a relatively high prevalence of insertions, deletions and nonsense mutations (altogether, 25%). The most frequent mutation type is GC to AT transitions (40%), equally affecting CpG and non-CpG sites. Cohort comparisons have shown differences in the nature, localization and frequency of mutations, but these studies need to be substantiated on larger groups .
Breast cancer frequently arises in Li-Fraumeni families . The mutations found in this context may be considered as representative of spontaneous mutations arising in breast cancer. Comparison with sporadic cancer shows that two transversions, G to T and G to C, are not found in Li-Fraumeni breast cancer patients. These transversions represent 18% of somatic breast-cancer mutations. They show a strong strand bias and occur at sites often mutated in lung cancers from smokers (codons 157, 248, 249 and 273) or in bladder cancers from smokers and/or dye-exposed workers (codons 158 and 280). Overall, these data indicate that although most of breast cancer mutations probably have a spontaneous origin, a small proportion of mutations show signatures that suggest the involvement of exogenous carcinogens.