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Home/News/Games/Fortnite Enhances Its Visuals With Next-Gen Unreal Engine 5.1 Features
Fortnite Enhances Its Visuals With Next-Gen Unreal Engine 5.1 Features
Battle Royale players are in for a treat.
By Amama Farrukh December 4, 2022Last Updated: December 4, 2022
Fortnite Chapter 4
Fortnite Chapter 4 is going to be unlike anything fans have seen before, and this is all thanks to Unreal Engine 5.1.
Unreal Engine 5.1 is going to take advantage of next-gen features and will significantly improve the overall graphics in the game. So what exactly is Unreal Engine 5.1, and why are fans over the moon about it?
MAJOR TAKEAWAYS:
Epic has introduced Unreal Engine 5.1 for Chapter 4 of the game.
Unreal Engine 5.1 will include Nanite, Lumen, Virtual Shadow Maps, and Temporal Super Resolution.
It is accessible for Fortnite Battle Royale on PlayStation 5, Xbox Series X, Xbox Series S, and PC.
Epic's use of Unreal Engine 5.1 has allowed them to build intricate and detail-oriented areas, one such being the Fortnite Battle Royal Island. All of this is thanks to the amazing features Unreal Engine 5.1 has to offer. These features include:
Nanite,
Lumen,
Virtual Shadow Maps,
Temporal Super Resolution.
In layman's terms, Nanite basically helps in the architectural aspect of the game. Through the use of Nanite, designers will be able to add intricate buildings with the help of millions of polygons. But that is not even the best part.
Fortnite unreal engine 5.1
All of these elements can, in fact, be drawn in real-time without losing the quality. Thanks to Nanite, our Fortnite experience is about to get ten times better.
Unreal Engine 5.1's Lumen will help enhance shadows in the game. It, in fact, helps improve realistic ray-traced reflections on glossy surfaces as well as water surfaces. Now, this may seem like a small add-on, but usually, the smallest elements end up setting a game apart from the rest.
Furthermore, Lumen also introduced real-time global illumination at 60fps. Virtual Shadow Maps will be adding on to Lumen. Through the Shadow Maps, each and every element or character in the game will have realistic self-shadowing.
Lastly, Temporal Super Resolution will ensure that the game has high-quality visuals while maintaining a high frame rate.
Fortnite is an online video game developed by Epic Games and released in 2017. Throughout the years, Fortnite has been famous for collaborating with many franchises like Fortnite X Teen Titans.
It can be enjoyed on a slew of different consoles, including PC, Nintendo Switch, PlayStation 4, PlayStation 5, Xbox One, Xbox Series X, and Xbox Series S.
Are you excited to play Chapter 4? Let us know in the comments below.
Similar Reads: The Callisto Protocol's' First PC Patch Tackles Stuttering Issues, Improving Performance.
Epic Games Fortnite
Amama Farrukh
Amama is a news reporter at eXputer. She has been interested in video games from a very young age. She's a die-hard God Of War stan. You'll find her cycling or walking when she is not playing games.
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When enough of these spill into my inbox I'll crowdsource the questions, opening them up to the infinite wisdom of the MDA community. This has resulted in some great discussions in the past (Dear Readers 1 , 2 , 3 , 4 , 5 ).
I've been reading your blog for some time, but looked at it in a new light after hearing you on The Art of Manliness podcast .


Brendan Steele of the USA won the Safeway Open at the Silverado Resort in California for a second year running. Steele finished two shots clear of his countryman Tony Finau.
Brendan Steele fired a final round of 69 at Silverado to finish the Safeway Open on 14-under-par and win the first event of the 2017-18 PGA Tour wraparound season. Steele ended the week two shots clear of Tony Finau with Phil Mickelson and Chesson Hadley tied for third.
Steele began the final round two shots adrift of Tyler Duncan but, as the 54-hole leader stumbled, Steele held strong in testing, windy conditions. The 34-year-old birdied the 16th and 18th holes to secure his third PGA Tour victory and a defence of the title he claimed 18 months ago.
Tony Finau had a great chance to claim his second PGA Tour victory but he came unstuck on the par-4 14th when his drive ended under a tree and he racked up a double bogey.
1 – It was a good week for title defences. After Tyrrell Hatton completed a second straight win in the Alfred Dunhill Links Championship, Brendan Steele successfully defended the Safeway Open. This is an event that clearly brings out the best in Steele. His last top-10 on the PGA Tour was in the Players Championship back in May.
2 – Phil Mickelson continued his good run of form with a tied third finish at Silverado. He got within a shot after 16 holes but a bogey on the 17th put paid to his chances. Mickelson hasn't won on the PGA Tour since the 2013 Open Championship.
3 – It was a difficult final round for Tour rookie Tyler Duncan. He led through 36 and 54 holes but couldn't handle the pressure on Sunday. He bogeyed the first three holes and could never get back into it from there. He finished with a 75 and in a tie for fifth place.


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Whitworth alumna publishes book reflecting on her journey through life and all 50 states
Whitworth alumna Allison (Spotts) Vesterfelt, '05, recently published a book, Packing Light: Thoughts on Living Life with Less Baggage, through Moody Publishers.
Whitworth forensics team begins season with milestone win
After three days of intense competition, Whitworth's forensics team brought home 43 awards, including three sweepstakes, from its first tournament of the season. The Steve Hunt Classic took place Oct. 11-13 at Lewis & Clark College, in Portland, Ore..
Whitworth President Emeritus Bill Robinson appointed interim president of the Council for Christian Colleges & Universities
The Council for Christian Colleges & Universities has announced that Whitworth President Emeritus Bill Robinson will serve as interim president of the organization, stepping in for Edward O. Blews, Jr. Robinson's new role was effective Oct. 22.
Whitworth hosts Daniel Taylor for Nov. 1 lecture on faith and skepticism
Prolific author and world traveler Daniel Taylor will present "Telling Stories to your Inner Atheist: Faith and Skepticism in a Postmodern World" at Whitworth on Friday, Nov. 1, at 7 p.m. in the Robinson Teaching Theatre in Weyerhaeuser Hall. This event is free and open to the public.
Whitworth named a Kiplinger's best value among private universities for seventh consecutive year
In an economic environment that makes a college education even more essential than in the past, yet also more difficult to afford, Whitworth University was included for the seventh straight year on Kiplinger's annual ranking of the 100 best values among private universities in the United States. The university joins some of the most elite schools in the country in the magazine's 2013-14 rankings. Whitworth is one of the smallest universities to appear on the list, yet it is the second-highest-ranked school in the Pacific Northwest and ranks ahead of all but a handful of other private universities on the West Coast.
Whitworth M.A. in Theology alumnus serves in Malawi, Africa
Tyler Holm, a 2011 graduate of the Whitworth M.A. in Theology Program, and his wife, Rochelle, have lived in Malawi, on the southeast coast of Africa, since 2012. As missionaries, they are serving a long-term commission sponsored by Presbyterian World Mission.
"Settling in Malawi truly felt as if we were coming home to the place which we were made for," Tyler says. "As we have worked more and more, that sense of purpose only deepens."
Student disembarks at Whitworth after life at sea
Every year Whitworth welcomes a new class of freshman students from a variety of backgrounds into its community. This year, one of these students is Carys Parker, who has lived her entire life at sea.
Grammy-winning saxophonist Chris Potter to perform with Whitworth Jazz Ensemble Nov. 2
World-renowned Grammy-winning saxophonist Chris Potter and the award-winning Whitworth Jazz Ensemble will perform in Whitworth's 25th annual jazz concert on Saturday, Nov. 2, 8 p.m. at the Martin Woldson Theater at the Fox, in downtown Spokane.
Whitworth professor's new anthology to benefit crisis nursery
After two decades of collecting quotations both comical and profound, Gordon Jackson, a professor of communication studies at Whitworth, has published his seventh anthology of quotations, You've Made Your Bed, Now Go Bounce On It: 800 Quotations about Children, Their Parents and Others Who Care for Them.
Whitworth Lindaman Chair to deliver lecture on "Civil Rights for the Gay Community and Religious Freedom"
>> Listen to Podcast
Whitworth Political Science Professor Julia Stronks will present her third Lindaman Chair lecture, "Civil Rights for the Gay Community and Religious Freedom: Avoiding a Constitutional Clash," on Thursday, Oct. 17, at Whitworth University. Stronks is a prolific author and thinker who has published numerous articles and books in her disciplines, including the forthcoming So You Want to Be a Christian Lawyer? She will give her lecture at 7 p.m. in Whitworth's Robinson Teaching Theatre in Weyerhaeuser Hall. Admission is free. For more information, please call (509) 777-3834.
Whitworth trustee and alum creates the Sue Chandler Endowed Professorship in honor of his wife
Today, in a surprise announcement in Whitworth University's Robinson Teaching Theatre, university trustee Scott Chandler, '84, pledged to fund a new endowed professorship to be named in honor of his wife, Sue, '85.
Whitworth Orchestra to perform with Coeur d'Alene Symphony Oct. 11, 12
The Whitworth Symphony Orchestra will perform with the Coeur d'Alene Symphony on Friday, Oct. 11, at 7:30 p.m., and Saturday, Oct. 12, at 2 p.m. in the Worship Theater of the Salvation Army Kroc Center, in Coeur d'Alene, Idaho.
Ticket are $8 for students with ID; $20 for adults and $15 for seniors. To purchase tickets, click here.
Gerald Gemmill, '85, selected as Whitworth's next Vice President for Finance and Administration
Whitworth President Beck A. Taylor has selected Gerald (Gerry) L. Gemmill, '85, to be Whitworth's next vice president for finance and administration, replacing Brian Benzel, who will retire in December. Gemmill will begin serving in his new role Nov. 1, with Benzel serving as special assistant to the president until Dec. 31.
Whitworth English lecturer named Spokane's inaugural poet laureate
Thom Caraway, a senior lecturer in the Whitworth English Department, has been named Spokane's first poet laureate. An award-winning poet and longtime resident of Spokane, Caraway will join the Spokane Arts Commission in promoting and supporting Spokane's vibrant literary community and expressing the spirit of the city outside of Eastern Washington.
Alumnus highlights close ties between Whitworth and Princeton
Whitworth alumna Erin Raska, '01, was recently elected as a member of the Princeton Theological Seminary (PTS) Board of Trustees.
"I look forward to learning from other board members who represent diverse vocations and offer excellent leadership and vision," says Raska. "Using the gifts and experiences God has given me, I am excited to be a part of conversations that will help shape and guide PTS into a new phase of life, ministry, education and community."
Whitworth to host film and lecture series featuring rare Chinese films
The Whitworth History Department will present "China in Transition," a four-part film and lecture series starting Wednesday, Oct. 16, at 6:30 p.m. in Room 111 in Weyerhaeuser Hall. Each film viewing is free and open to the public. For more information, contact Julie Shanholtzer at (509) 777-4963 or jshanholtzer@whitworth.edu.
Philosophy professor to present at Whitworth as part of annual conference
Whitworth University will host Katherin Rogers as a featured guest in the Faith, Film and Philosophy Lecture Series. Rogers will present on "Bedazzled, The Devil and Freedom" at 7 p.m. on Thursday, Oct. 10, in the Robinson Teaching Theatre in Weyerhaeuser Hall.
Whitworth alumna publishes book reflecting on her ...
Whitworth forensics team begins season with milest...
Whitworth President Emeritus Bill Robinson appoint...
Whitworth hosts Daniel Taylor for Nov. 1 lecture o...
Whitworth named a Kiplinger's best value among pri...
Whitworth M.A. in Theology alumnus serves in Malaw...
Grammy-winning saxophonist Chris Potter to perform...
Whitworth professor's new anthology to benefit cri...
Whitworth Lindaman Chair to deliver lecture on "Ci...
Whitworth trustee and alum creates the Sue Chandle...
Whitworth Orchestra to perform with Coeur d'Alene ...
Gerald Gemmill, '85, selected as Whitworth's next ...
Whitworth English lecturer named Spokane's inaugur...
Alumnus highlights close ties between Whitworth an...
Whitworth to host film and lecture series featurin...
Philosophy professor to present at Whitworth as pa...

redpajama_set_name: RedPajamaCommonCrawl


WEST WARWICK, R.I. – Families, friends and scarred survivors gathered Friday at the site of a nightclub that burned to the ground one year ago during a rock concert, listening as the names of the 100 people killed in the fire were read aloud.
The service at the site of The Station also included 100 seconds of silence after 11 p.m., about the time a band's pyrotechnics sent a shower of sparks into the air last Feb. 20, setting fire to flammable foam placed around the stage.
More than 1,000 people attended the service, which ended with the lighting of a 4-foot-tall, plywood heart with lights for each victim. Many of the attendees wore black baseball caps with the words "The Station, Feb. 20, 2003" etched in white letters.
Nancy Noyes, whose face and hands still bear scars from the fire, said she came Friday seeking answers.
"I'm trying to figure out how I got out (of the club) because I don't remember," she said. Noyes, who was among more than 200 people injured in the fire, was hoping rescue workers there Friday would recall pulling her to safety.
Visitors streamed to the site throughout the day, kneeling and crying before more than 100 crosses, which together formed a memorial around what once was the nightclub's perimeter. They brought flowers, balloons, pictures and other mementos to the site.
Several miles away in Cranston, the Most Rev. Robert Mulvee, bishop of the Providence diocese, presided over a Roman Catholic Mass at St. Ann Church.
Anne Gruttadauria, 59, mourned her 33-year-old daughter, Pam, who died in May and was the fire's last victim.
"It's like the light went out in my house," she said.
In December, a grand jury indicted the club's owners, brothers Jeffrey and Michael Derderian, and Dan Biechele, the former tour manager of the band Great White, on involuntary manslaughter charges. All three have pleaded innocent.


Well done to the SDFC Under 12s Div One team that have won the 2016/17 Grand Final. This great team had an awesome season going through every game undefeated and defeating Wanderers in the Grand Final. But it wasn't without controversy though as Wanderers called a head count on the Crocs with only a couple of minutes left in the last quarter. The Crocs had the correct number of players on the field and the Grand Final win could not be taken away from them. To cap off a great season Patrick Snell was awarded to the Atkinson Medal for best on ground in the Grand Final..


Right now two distinct historic methods are obtainable for college college students to conquer math. With either of this approach learners are in a position to do big and complicated calculations in vedic maths course with out require of any modern day digital gadgets. These methods are: 1) Abacus Math and 2) Vedic Math. Prior to we indulge straight into the variances permit us first know what these two techniques are.
The abacus is an ancient instrument invented for the duration of Greek and Roman times. Over the time period abacus has evolved into different types as it traveled across the world. However it was in China the abacus was innovated additional and employed seriously in day-to-day lifestyle for calculations. Abacus math is a technique derived from this very aged technique and suits right into the modern day working day planet. Abacus use can construct self-assurance, give a sense of achievement, encourage intuitive pondering, enhance difficulty-solving capability, encourage creative imagination and enhance focus and mental endurance.
Vedic Arithmetic has no legal definition. Hindu philosophy is dependent on Veda-s (ancient scriptures written in Sanskrit, some say as old as 5000 B.C.) and arithmetic translated from these texts is termed as Vedic Mathematics. These historical scriptures have been rediscovered by Sri Bharati Krsna Tirthaji (1884-1960) and he translated the complex textual content into simpler understandable mathematics.
The program is based on sixteen Vedic sutras or aphorisms, which are in fact term-formulae describing all-natural methods of fixing a entire range of mathematical issues. Some examples of sutras are "By a single much more than the one prior to", "All from nine & the very last from ten", and "Vertically & Crosswise". These 16 1-line formulae originally written in Sanskrit, which can be effortlessly memorized, enables 1 to fix long mathematical issues rapidly. These formulae explain the way the mind normally performs and are therefore a great aid in directing the student to the suitable strategy of answer.
With Abacus math, abacus is used as a instrument to find out calculations. Beads are moved up and down and numerous columns to represent the quantity. When youngsters use the two fingers to transfer the abacus beads to carry out arithmetic calculations, there is quick communication among the fingers and the mind that stimulates both the correct and left hemispheres of the brain. This promotes speedy, well balanced complete brain improvement. Abacus math should be started out at quite early childhood, as younger as age four. Abacus math starts off at really basic amount by instructing the figures and then progressing to calculations. At some point the kid retains the memory of bead positions and the appropriate notation. Abacus math if started out in the course of afterwards ages can create a bit of hindrance.
Vedic math is completely accomplished in head. Vedic math also begins at a standard degree of quantities and gradually progressing to easy additions, subtractions, multiplications and division. Vedic math goes significantly more outside of just the simple calculations. With Vedic math 1 can also solve intricate geometrical theorems and algebraic issues. Vedic math can be started at later on ages as well without having any issues.
The essential in each methods is to exercise and implement the methods in your day-to-working day lifestyle. And what could be a greater way to practice then making use of the math worksheets. Nowadays there are a variety of websites you can refer to gain understanding of possibly strategy.


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Twelve Tales in Another Town: The First Tale (The Mad Woman Across the Street)
My brother, me, mother, sister beside our Ford Fairlane 500
As a child I lived in a small Iowa town, population 400, named Newhall, in honor—evidently—of its largest structure. My father began his career there as the basketball coach, was quickly promoted to the principal of the school, and within a year or two of our arrival, became the Superintendent of Schools.
In small towns everyone is strange, since everyone knows everyone so well but not, evidently, enough. It's that space between knowing and not knowing which is at the heart of events in such towns. And there are so many events, ultimately, that you realize very quickly that not knowing people is what knowing people is all about. Living in a town where you know nearly everyone around you, you quickly comprehend that no one can ever be known very well. So confusion sets in, and in that confusion you try to explain to yourself what is the difference between knowing someone and not. Perhaps you can fill that gap between not knowing and wanting to with what you imagine is really there to be known. And that is at the heart of gossip, at first a friendly act and, later—when the not knowing persists—an act of malice for not being able to know about one so close. This is always how love and desire quickly turn into fear and hate.
The lady across the street was a very nice woman, an elderly woman living in what seemed to my childish eyes a mansion—in reality just a two-storey house. When my parents needed a babysitter on those two or three nights a year they determined to celebrate the fact that they were a married couple still in love, it was she to whom they turned. And it was Mrs. Heffner to whom we awoke, accordingly, when my mother—so our sitter proclaimed—had gone to the hospital to pick up my new baby sister. I knew better, that my mother had gone to "have" my sister—even if I didn't know what "having" meant—so I kept quiet about the old woman's mistake. Besides my brother was too young to know anything!
In all the years we knew her, my parents expressed an opinion of her life only twice. The first time was the morning her brother, with whom she lived, came out of the house and sat under the tree in the front yard on a Sunday morning dressed only in his pajamas. He often sat upon her porch, gently rocking in the swing, so I found nothing at all out of the ordinary in his pleasure. I knew, however, that, had I attempted to find such enjoyment in our front yard, my parents would have made me dress for the occasion. "Why doesn't she do something about him?" my mother asked of no one in particular.
Occasionally Mrs. Heffner was visited by her sister, but nothing was ever said about this sibling, even though she was far stranger, to my way of thinking, than Mrs. Heffner's brother. One time when I was playing about the "mansion," Mrs. Heffner invited me in for lemonade. The moment I took a sip, her sister began to shout: "Where's that damn bread man? Why hasn't he come? Where has he gotten to, I wonder? That lazy ass."
I had never heard anyone swear at a bread man; I had never heard anyone swear. Just as importantly, I had never seen a bread man and never known one to visit our town. What was a bread man? I wondered. Upon my asking my parents, they explained that a bread man was a man who used to deliver bread. "But nowadays we buy bread in the grocery store," my mother consolingly spoke. "Mrs. Heffner's sister is a not a well woman," she added. "She lives in an institution."
"Oh," I responded. For I knew what that meant. My grandfather's daughter by his first marriage had lived in an institution too.
"They should send her brother there as well," my father chimed in.
"Poor Mrs. Heffner," my mother ended their talk.
As I have reported, Mrs. Heffner herself was very nice, so different from the man next door to her, who often shouted at us children when we passed his place and one time killed a giant black snake, the body of which he displayed for weeks in his front yard. No one would go near his house.
Indeed, "nice-ness" is an important commodity in small towns, as it stands for everything from "minding your own business" to being kind and generous to your neighbors, the second representing the behavior of the Gertsons, the childless couple next door to our house.
One day they told me they were planning to mix some cement, so I should come by and play in the sand before they used it up.
A few days previous I had been so bored I had complained to my mother, who, as she hung clothes upon the back yard line, suggested that I begin collecting shells. Collecting shells! How ridiculous, I thought to myself. "Where would I get shells!" I wailed to my mother. Suddenly she bent down and brought up a small snail shell, one of the most beautiful shells I have to this day seen in my life! "Here," she said. "Your first shell." I have never received a greater gift.
In the sand beside the Gertson's garage I found numerous shells, marvelous seashells: a Strombus Sinuatus, a White Spindle, a Perry's Triton, a Rams Murex. What were they doing there? This sand must be from the sea, I responded upon the incredible discovery. "No, just from a river bank," Mr. Gertson said. When I showed Mrs. Gertson all the shells I had uncovered, she pinched herself in disbelief.
To this day, I still can't fathom the extraordinary kindness of these neighbors, who obviously had brought in sand and filled it with the imported treasures just for my delight. I kept this sacred collection, along with others sent to me by my uncle in California, in a box that one day simply disappeared, never to be seen again. I used to suspect my brother was behind its disappearance; knowing him as I do today, I cannot imagine his involvement, unless he gave the shells as a surrogate gift—like the Gertsons had given me—to his younger friends.
The Gertsons were the first people in town to buy a television set, and invited my brother and me to witness its inauguration. After Mr. Gertson fiddled for what seemed like forever with the rabbit ears, they plugged the huge behemoth into the wall, and an image magically appeared: it was Liberace! How awful, I remember feeling, television was. Even then I recognized that his great displays of piano bravura were the ultimate of kitsch—even if I didn't have a word for it.
The first day of school was a snowy one. Winter bore down hard upon this small Iowa village in September that year. I didn't want to go to school—two long blocks away from our house—but my mother literally pushed me out the door. I went and turned back. "The wind blew me home," I announced.
"You go on now," she laughed. Evidently she called my father to report my obstinateness; the man was understandably irritated by her call—having spent his entire morning attempting to reassign buses stuck in the snow drifts along the backcountry roads. That day must have been behind my parents' determination that I would never miss a day of class.
Indeed, for most of my life lived in the confines of educational institutions, I was a near-perfect student. I liked school well enough, save that the teachers, who—given the fact that father had employed them—went out of their way to make sure that I was treated just like everyone else. They never called on me when I raised my hand. When in music hour each week one student was selected to sing a special chorus, I was overlooked. For grades I received B's only, never a coveted A. Their fairness outraged my inborn sense of justice.
I hated recess, for then the school bully controlled my life. Jimmy Good pushed and pulled, spouting every mean thing his little mind conjured up until I was nearly in tears. Children, it is clear, do not have a sense of irony, for no one ever thought his last name inappropriate. I tried to ignore him, but everywhere I turned on the playground there he was to threaten my existence. Often times, I just hid near the door. But even there I wasn't entirely safe. One or another teacher was always attempting to push me back into the other children's games.
News spreads quickly in small towns; no need for newspapers or television sets. The news that day was awful: Jimmy Good had been hit by a car downtown, three blocks from our house. The reporter of this news must have been quite graphic, for, although I did not witness the event, I can remember to this moment the image of Jimmy sprawled upon the street, a box of broken eggs beside him, where they had spilled from his grocery sack.
Now it was safe to go out to play. But by that time I had learned to live inside my imagination and was awkward in group games. I was almost relieved when Jimmy came hobbling back. Besides, I was no longer afraid. And Jimmy, as everybody knew, had now learned what fear felt like. I began my long retreat from the world where everybody knew or wanted to know everything about everyone into a world where no one could know anything about anyone—a retreat into my head, where for ten years or more I hid out.
Los Angeles, May 28, 2003
Perfect Balance (on Carolyn Brown's autobiographical memoir of Cage and Cunningham)
John Cage and Merce Cunningham
In memory of Merce Cunningham
Carolyn Brown Chance and Circumstance: Twenty Years with Cage and Cunningham (New York: Alfred A. Knopf, 2007)
In her beautifully written and revelatory autobiographical study of the American composer and poet John Cage and the dancer Merce Cunningham, Carolyn Brown recounts the first time she saw Cunningham dance, in a Master's Class in Denver in April 1951:
He was slender and tall, with a long spine, long neck, and sloping shoulders; a
bit pigeon-breasted. The body was a blue-period Picasso saltimbanque though the
face and head were not. I remember Merce most clearly demonstrating a fall that
began with him rising onto three-quarter point in parallel position, swiftly
arching back like a bow as he raised his left arm overhead and sinking quietly to
the floor on he left hand, curving his body over his knees, rolling over quickly
arriving on his feet again in parallel position—all done with such speed and
elegance, suppressed passion and catlike stealth that my imitative dancer's mind
was caught short. I could not repeat it. I could only marvel at what I hadn't
really seen. His dancing was airborne then; critics and audiences of that time still
cannot forget his extraordinary gift for jumping. …Merce Cunningham had an
appetite for dancing that seemed to me then, as it does today, to be his sole
reason for living.
Brown had been brought up on dancing, studying with her mother Marion Stevens Rice, a member of the Denishawn school of Ted Shawn and Ruth St. Denis. Throughout her childhood she had attended dance events in Boston. "Despite that exposure," she nearly gushes, "I'd never seen anyone move like Merce; he was a strange, disturbing mixture of Greek god, panther, and madman."
Seeing Cunningham dance, however, was not enough for her and her husband, composer Earle Brown, to pack up and move to New York. Carolyn had no intention of becoming a dancer! It was Cage, with whom she and her husband intensely talked over two nights of parties in Denver, who would truly influence their decision to move to New York. Although they had intended to go to Los Angeles so that Earle could privately study with Arnold Schoenberg, the great composer's death in July 1951, along with a remarkable concert in their own living room by the young pianist David Tudor, as well as their earlier conversations with Cage determined their move East.
Greeted in their new environment again by Cage, with his "well-documented remarkable open-mouthed half-chuckle/half-laugh that exposed a large fleshy tongue lolling on lower teeth," the couple was quickly swept up into a concatenation of artists, dancers, composers and writers—Morton Feldman, Christian Wolff Jasper Johns, Robert Rauschenberg, Ray Johnson, Paul Taylor, and hundreds of other luminaries as they moved from lower Manhattan, to Black Mountain College—where in 1953 Cunningham first formed his dance company—through hundreds of American small towns, and eventually to Europe, Asia, and South America.
Along the way, the reader becomes privy to the hundreds of friend-ships, working mates, lovers, and acquaintances (Brown intimates the reasons for the break up of the Cage-Cunningham deep friendship with Rauschenberg, and hints at the dissolution of her own marriage). By the end of this long work, one feels almost as if he has read a panoramic novel, like War and Peace, instead of straight-forward autobiographical biography! Certainly, by the work's last words, with the former Greek God-panther-madman sitting, wracked with pain in a wheel-chair—we feel not only that we have seen every important dance that Cunningham choreographed, but that we know these two great men.
For all of her devotion to and love of Cunningham, Brown reveals that of the famed duo, Cunningham was the difficult one, a man often lost within himself, at times almost reclusive, failing to explain his decisions—including the seemingly impulsive decision to dismiss the popular Remy Charlip from his company—or even to relate the logic behind or names of the works he created. Brown survived Cunningham's company for so long, it appears, because of her great sense of independence, her ability to accept her mentor's silences, and her devotion to her art and to the idea of Cunningham's greatness.
Cage, on the other hand, comes across as a generous spirit throughout, a man who loved games, eating (his mushroom-hunting expeditions are renowned), and, most of all, talking. The gregarious Cage, traveling in the early days with the company, was responsible, so Brown suggests, for the feeling that they were, in fact, a company, for the sense of group spirit. Like a loving mother, Cage is always there to help Cunningham get through the ordeals of travel and the horrible pain the body of any dancer must endure.
Cage is presented as a joyful being, seeking everyone's happiness. Brown writes:
For many years we seemed to be operating in the world, not in a world
apart. There was a richness and variety of experience. …John had friends
from coast to coast and was always making new ones. And if there was a
really fine museum, or notable architecture, or maybe just a good movie
around, John would find time to get us there. Slow scenic routes were
chosen instead of mind-numbing thruways. "Have you seen Niagara Falls?"
John would ask…. Our existence then was governed by process, not product.
The means and the end justified each other. Despite the fact that getting
there (traveling) seemed to take precedence over being there (performing),
and what and where we ate appeared to be far more important than any
single performance…our focus nevertheless was single: art-and-life. No
separation. John's credo—accepting the multiplicity of things—was ac-
tively lived in the VW days. Later on, Merce's credo—weeding out every-
thing but absolutely essential to putting on a performance—became the
company doctrine….
It was Cage who wrote to various venues throughout the world and arranged the world tours that Cunningham's company would take. Cage, moreover, was responsible for raising money for many of Cunningham's performances and travels. What is utterly fascinating in Brown's remembrances is just how different this group of gay artists—Cage, Cunningham, Rauschenberg and Johns—were from the musical establishment as recounted in Sherry's Gay Artists in Modern American Culture. At the same time that Copland, Menotti, and Barber—as well as the established dance company of Martha Graham—were being paid large amounts to present their works around the world, Cunningham's company was turned down year after year for any governmental financial support. And grants came to Rauschenberg only after he received the Grand Prize at the Venice Biennale in 1964.
Cage's open-mindedness was reflected, as well, in his commitment to chance operations. While Cunningham, on the other hand, attempted chance operations in several of his dance works, the actual performances were mostly pre-determined and were not altered in subsequent renditions. If the dances of the Cunningham company may seem to be the perfect blending of music, dance and art, Merce's method of rehearsing his dancers without music, set, or costumes until the very last moment, seems to be at odds with the results.
Brown and other dancers make it clear they were not always in sync with the radical musical compositions by Cage, Wolff, Brown, and others that Cunningham employed. It is almost as if Merce and company were able to block out of their minds, at times, integral elements of the whole—although the critics commonly focused, in their attacks, on just those matters.
In the end, however, we come to perceive that the very greatness of Cunningham—and perhaps the brilliance of Cage's music and thinking—had a good deal to do with the differences between these two men and, at times, the oppositions of their other collaborators. It seems to me that the beautiful black-and-white photographs upon this book's cover express the essence of the Cage-Cunningham contributions to the whole artistic expression—a kind of perfect balance, between the arts, yes, but particularly between human beings.
Reprinted from Rain Taxi, XIII (Fall 2008).
Twenty Days in the City of Angels: The 15th Day (I'm Late, I'm Late) [on Howard Fox's 50th Birthday]
Howard Fox Jim Morphoesis, at another birthday celebration
Ever since I first met my companion, Howard has told me again and again that he does not like surprises, while I am very fond of them. Accordingly, when even before we open our Christmas gifts, Howard reveals the contents, I feel all the joy has been wiped away before I've even pulled the ribbon from the wrap; he, on the other hand, seems utterly annoyed by my secretive silence as he pulls the paper away from yet another DVD or cookbook!
Despite this attitude, however, I have often tried, particularly on special occasions, to find a way to bring a little startlement into his life. I often give up, however, before I have even begun, since he pleads beforehand each time that I cease and desist with any secret plots, warning me of his certain displeasure and possible anger.
For Howard's 50th birthday in 1996, nonetheless, I was determined that I was going to arrange something very special, perhaps even astounding. A few weeks before, we had eaten at an excellent small Italian tratorria, La Luna, in the nearby Larchmont neighborhood. Their Pennetta Fume and gnocchi had been particularly excellent. So I determined to rent out the entire restaurant for the evening, inviting about 50 of his and my friends.
A few weeks before the event, Howard once again warned me to not to plan anything "unusual" for his birthday, and begged me on several occasions to let him know if I had planned anything. This time I kept a stone face, refusing to be moved by what I perceived as strange strictures. But as the date came closer, I could see that he was highly suspicious, particularly when I suggested we might return to the Larchmont restaurant on the night in question. Usually, we simply asked each other where the celebrant would like to dine.
"So why are you so eager to go there?" he asked, carefully observing my demeanor.
"Remember how much we enjoyed that meal?" I pleaded.
"Yes, it was excellent. But we've only been there once. What if I wanted steak?"
"You can get steak anytime; and we eat too much meat," I responded, knowing that I'd better come up with another reason quickly or he'd immediately recognize my ploy. "Besides, I was impressed by how inexpensive it was. And it's so close. We don't have to drive far."
"I'll think about it," he frowned.
A few days later, I tried again: "Well we could go to Pane e Vino, which has such a pleasant garden. But the food isn't as good."
"How about Morton's [a nearby steakhouse]?"
"We always go to Morton's! I want to go to some place special for your 50th birthday!"
"And what's this thing you've got with Italian food all of a sudden?"
"I don't know. I just enjoyed La Luna, and found it pleasant. I thought it'd be fun—and affordable," I added.
"I don't really care," he stared me down, "but something's up."
"Absolutely not," I insisted. "Tell me where you want to go."
"As I said," I don't care, Howard demurred. "But don't surprise me."
"Oh I wouldn't do that," I lied. "I know how much you hate it."
But now I knew he truly did suspect, and I understood that I had to find some way to distract him from the facts. I spoke with my senior editor, Diana Daves, seeking her suggestions.
"You could drug him and drag him over there," she laughed. "But maybe if John and I join the two of you for a drink beforehand to celebrate, he'll be confused. We'll tell him we're on our way to a movie, and just want to toast him before we go."
"That's a great idea," I smiled, relieved by the recognition that if there had been a larger party planned, the two of them would certainly be included. If they told him they were going elsewhere, we'd confuse him, if nothing else.
I told Howard that Diana and her husband John wanted to see us before dinner. Indeed, we were to meet in a location in the opposite direction from the restaurant. Howard frowned in doubt. "They're coming in from the valley just for a movie?" he queried.
"Yeah, it's only playing at the Music Hall."
Howard always enjoyed the company of Diana and John, and that evening was no different. After a drink or two the conversation was flowing and he had nearly forgotten any fears he had had for the evening ahead. But suddenly, after glancing at a nearby clock, he asked: "When does you movie begin?"
Our friends had done their homework. "6:45," said John.
"You're going to be late!" Howard announced.
"What time is it?" Diana innocently asked.
"6.30," he replied.
"Oh dear."
"Oh dear," added John.
Suddenly they both stood like two frantic rabbits out of Alice in Wonderland, declaring: "We better go. We'll be late. We'll be late," quickly disappearing from the bar.
Howard took another sip from his scotch. "They're not going to make it," he said. "Particularly at this hour."
"Oh, I hope they do."
"They'll miss their movie," he opined.
As we got into the car, Howard asked, "Now we're on to Morton's?"
"Well, if you really want to go to Morton's," I pouted. "But I was so looking forward to La Luna."
"You're not planning anything?"
"If I were planning something," I responded, "I'd be nervous. Do I look nervous?"
"Yes, you look nervous," he laughed.
Off we drove to La Luna, and a few minutes later were walking down the street to the restaurant. There at a table in the doorway sat Diana and John.
Howard was so confused that for a few seconds he just stood in place, entirely perplexed, peering into the room where all our friends sat.
"So you missed your movie?" Howard laughed.
"Sure did," said Diana.
The room broke into applause, with some singing as we moved toward the back. Next to us sat one of Howard's artist-friends, Jim Morphesis, who had brought him a plastic trophy. "Here, you need an award," Jim announced.
Everyone—it would be pointless to try to recall all those I had invited—broke into conversation, a few asking: "Are you upset with Douglas for the surprise?"
"Yeah, I'm pissed," Howard answered. "But when I look around the room at all of you, I forgive him."
Twenty Days in the City of Angels: The 18th Day (The Aerie) (on attending a concert at the Walt Disney Concert Hall with its architect, Frank Gehry)
The Flight of Icarus from "Varekai," Cirque du Soleil
Frank Geary
The Walt Disney Concert Hall by night
Inside the Concert Hall. The "aerie" is on the upper right.
In 2002 Howard and I were invited to the house of the Québec Government Representative, Marc Boucher. The evening began with a pleasant cocktail party. I recall that Boucher collected pictures of pigs, and had numerous of these paintings and drawings all over his home, perhaps even on the tie he wore that evening. At some point we were all gathered into a bus and transported to downtown Los Angeles where we attended "Varekai," the newest extravaganza of the Cirque du Soleil. Although I recall some stunning production numbers, including the drop of a man with white wings into the center of the ring, I am not a particular fan of this kind of circus drama. Howard, however, did enjoy the evening, and I was certainly appreciative of the invitation.
Over the next couple of years, we kept in touch with Boucher, and Green Integer eventually received a small grant from his Délégation du Québec for the publication of Quebecois author, Denyse Delcourt in 2005.
Our second invitation to a Délégation event, however, occured before that, in December 2004, when, on the evening of the 16th, we joined Marc and a small group of invitees at Redcat (the Roy and Edna Disney-CalArts Theater) before a concert of the Los Angeles Philharmonic and the Chapelle de Québec of Handel's Messiah in the Walt Disney Concert Hall.
The performance was lovely, with a quite luminous quality to the singing of the Québec choir and wonderful solos by soprano Karina Gauvin, countertenor Andreas Scholl, tenor John Tessier, and bass-baritone Nathan Berg.
But of even greater fascination to us is that among our party was the architect of the Disney Concert Hall, Frank Geary himself. At the pre-event downstairs, we were graciously greeted by Marc, who revealed to Howard and me that since we last saw him, his wife had left him. "I truly wish I were gay," he openly laughed. "It would be so much easier to find a new companion than it is as a middle-aged heterosexual."
I spoke for a while to Frank Geary—we had met once previously at the Los Angeles County Museum of Art—before we were shepherded up the elevators to the concert itself.
The halls were gloriously lit those few days before Christmas, and the ushers were admirably professional in their Concert Hall positions. What I hadn't prepared for, however, was the fact that we were to witness this performance in the highest balconies of the Disney Concert Hall, which, since I suffer substantial vertigo, made it difficult for me to come and go down the narrow aisles, and even harder to stand to let others pass. All during the performance, I felt a bit as if I were that white-feathered Icarus from "Varekai," about to fall into the audience below. And the famed tenor solo, "Comfort Me," which I had myself sung as a youth, seemed inordinately appropriate to my own situation.
As we entered the aerie, Howard and I were met by a handsome young Black usher, smiling graciously as, seeing my discomfort, he offered to accompany us to our seats. "I love working here," he proffered without any coaching from us.
"Did you see that man that came in just before us?" Howard asked, pointing to Gehry as he stood at his nearby seat.
"That's Frank Gehry," I added.
Suddenly our young man blushed with genuine joy. "Really?"
"You should introduce yourself to him at intermission," Howard suggested.
"Oh, I will," he said. "Thank you for telling me."
At the intermission, I cautiously stood and moved toward the exit with the greatest of discomfort. The young usher was still standing there. "Did you meet him?" I queried.
"Yes! He shook my hand," he beamed.
Both Howard and I smiled with delight.
Despite my discomfort in our location, I perceived this aerie for the rest of the evening as joyful of a dwelling place, even if a bit dizzying, as sitting with the angels themselves.
Happy Happy (on Your Bright Future: 12 Contemporary Artists from Korea)
Choi Jeong-Hwa, "Welcome"
Choi Jeong-Hwa, "Happy Happy"
Do Ho Suh, "Fallen Star 1/5"
Bahc Yiso, "Your Bright Future"
Lynn Zelevansky, Christine Starkman, and Sun Jung Kim (curators) Your Bright Future: 12 Contemporary Artists from Korea / Los Angeles County Museum of Art
As a admirer of contemporary Korean literature (publisher of major Korean poet Ko Un) and given the large Korean population of my city, I wanted very much to love the new show of Korean artists at the Los Angeles County Museum of Art, located across the street from my home and my nearby office. This show does in fact give some glimmers of excellent art.
While the show was located primarily in the Eli Broad wing of the museum, the entire Ahmanson Building across the plaza was festooned in ribbons of fabric in yellow, red, and blue, by Choi Jeong-Hwa, an artwork that, whipped up by the wind, snapped and seemingly waved out its title "Welcome," to the neighborhood even before the opening of the show. And as museum goers entered the plaza they were greeted by an equally festive and joyful piece also by Choi titled "Happy Happy," a work made up of hanging plastic tubs, bins, strainers, bowels, funnels, and pitchers, all purchased from the nearby 99-cent Only Store. The latter work, a celebration of consumerism, was particularly beautiful, lit up so that the colors glowed in the night.
The first piece of the show, Do Ho Suh's "Fallen Star 1/5" was a definite knock out, picturing a replica of his home in Seoul where the artist grew up that has crashed into the a Providence, Rhode Island apartment house where Suh lived in the early 1990s while studying at the Rhode Island School of Design. The apartment, split literary in half—apparently by the crash of the Korean home—is filled with miniature furniture, reading materials, clothing, kitchen utensils, etc. with which Suh surrounded himself, and as the viewer goes from window to window to peer into the home and its contents, he witnesses what Suh describes as an "exposure of his life." The collision of the two buildings, Shu argues, signifies less of a outright statement of cultural differences than it does a kind of Wizard of Oz-like tale about cultural change:
I was in the house, making my first fabric architectural piece. All of a
of a sudden, there was a tornado that took the building into the sky. I
didn't know where I was going, but then I saw the ocean and a bridge from
Seoul to New York, so I knew that the house was heading to the U.S.
I realized the house was going down soon, so I finished my fabric
piece to use it as a parachute. I got scared when I realized that the house
was slowing down and I couldn't see land. I decided to throw things away,
but there were so many things I was personally attached to. I made a list
of things I possessed and prioritized them. It gave me time to reflect on
entire life in that house. Then I crossed off things on the list. In the end, I
decided to throw out pretty much everything except what was essential to
survival.
When the building started to descend, I went up on the roof with the
parachute. The house started to come down and crash, but it had a semi-
soft landing. And that's how I feel. Culture shock didn't come as a shock
to me. It took a long time.
Accordingly, Shu's work is personalized, and given its great attention to detail, we recognize these houses as being objects of great personal love and beauty. Yet one cannot ignore the fact that not only has Shu had to deal with a kind of "cultural shock," but his home country is itself a house broken in two. A companion piece, made of translucent resin, presents a more idealized version of the specific, a kind of glowing white quartered house, which could presumably be reunited in various forms by rearranging the four carts on which it stands.
Were that all the artists in this show were capable of this multi-complexity. At first, artist KIMsooja's video, "A Needle Woman," projecting images of streets in Patan (Nepal), Havana, Rio de Janeiro, N'Djanema (Chad), San'a (Yemen), and Jerusalem—in front of each of which the artist herself stands with her back to the viewer—is fascinating to watch as the various walkers in each of these locations move together and apart evidencing the differences of the way people interrelate and simply communicate in these very different cultures. But, in the end, since one cannot truly enter these landscapes, we realize that the various differences we have observed are, in fact, superficial. For the videos keep us at bay, and we can never know or understand what truly being in those locations means through the art.
Similarly, throughout the rest of the show the various objects, tapes, videos, and packing materials seem more to stand in for experience than actually create new meaning or participate in the world. Bahc Yiso's "Your Bright Future," for example, consists of 10 floodlights, tilting to the sky, surrounded by the electrical wiring necessary to keep the lights bright. The curators suggest that the work mimics a crowd standing before a charismatic leader, demanding a kind of obedience to the "great" or "dear" leader. But the bright future, given that Bahc lived in New York from 1982 to 1994, could be any false promise, including that of the American dream or desire for celebrity.
Gimhongsok's videos and large stuffed animals, including a Harvey-sized rabbit laid out on a pink sofa, "Bunny's Sofa," suggests yet another take on the crass commercialism of all things "cute," but in the end seems to lack the political bite it wants to suggest.
Haegue Yang, indeed, queries the whole question of even attempting to make art by presenting a room full of small and large wooden storage containers filled, we are told, by art he was unable to sell in various venues. Here the all-important question of the artist's ability to pay for the storage of what he creates comes painfully into play. But like so much else in this show, it is a conceptual piece that leaves one with little to hold onto. An essay on the subject might have been as elucidating as the vision of so many wrapped bundles. How I wanted to open those carefully packed cartons and encounter what lay within.
It is not the "conceptual" quality of this show's art, however, of which I am complaining, but the vagueness and, often, emptiness, of the concepts themselves. The bright future of happiness which the various artists seem both to desire and satirize is just that, a unresolved contradiction that transforms any possible enjoyment of the art into an empty promise.
Twelve Tales in Another Town: The First Tale (The ...
Perfect Balance (on Carolyn Brown's autobiographic...
Twenty Days in the City of Angels: The 15th Day (I...
Twenty Days in the City of Angels: The 18th Day (T...
Happy Happy (on Your Bright Future: 12 Contemporar...


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MPs WANT HEALTH WORKERS IN NBS' STEALING FROM THE SICK PROSECUTED
June 27, 2019 Writer
Members of the parliament have tasked government to arrest and prosecute health workers that were exposed selling government issued drugs in NBS Television's "stealing from the sick" investigative story. Ogwang made the demand as a matter of national importance during the Wednesday, 19 June 2019 plenary sitting chaired by the Speaker of Parliament, Rebecca Kadaga. The NBS TV documentary in partnership with the BBC Africa Eye was played in the Parliament for about 10 minutes to give an opportunity to MPs who had not watched it have a sneak peek of it.
Owing to the length of the documentary, Kadaga directed the Clerk to Parliament to avail the entire documentary to all MPs. She further requested Members on the heath committee to make recommendations to the House after they had watched and discussed the subject matter.
Prior, it was aired on NBS TV on Monday, 17 June 2019. It uncovered evidence that the much-needed life-saving medicines were being sold illegally on the black market by health workers.This documentary exposes the rot on how drugs are stolen from government hospitals right from Kampala across the country. These drugs are delivered to hospitals and within a short time, they say the medicine is finished yet the pharmacists sell these drugs despite them having a 'Not for Sale label' " he said.
Ogwang added that the racket is very big and it involves a number of people from the corrupt district health workers to the police. He suggested that all those exposed in the video should be investigated for causing such a loss in hospitals.
However, the opposition whip Ibrahim Ssemujju Nganda has clashed with Usuk county MP Peter Ogwang over a documentary exposing Uganda's health workers in drug theft. Usuk County MP Peter Ogwang raised a matter of national importance saying that the documentary on the theft of drugs which was broadcasted on BBC should not have been circulated on international platforms saying it reflects a bad image of the country.
"Government should follow up and prosecute these people who appeared in this documentary. However, this documentary is now international and these journalists should love their country …they did a good job but should not expose these things internationally", he said.
Ssemujju said that it is proper to expose players in corruption but advised that journalists should not be used as informers. He said that Ogwang should not condemn journalists for investigating this case and exposing it internationally. "Journalism is to be for public consumption. The moment you steal you should be exposed. If people are stealing, we cannot cover them internally", he shot back.
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2019 Average Stained Glass Repair Cost: Can Stained Glass Be Repaired and How Much Does it Cost?
KompareIt > Home & Garden > Windows > Can Stained Glass Be Repaired?
Can Stained Glass Be Repaired and How Much Does it Cost?
Stained glass is a beautiful and unique decorative feature. If you're lucky enough to have it in your home, chances are you want to do everything possible to preserve it. Properly maintained, stained or leaded glass can last many lifetimes. Think of all the centuries-old churches and cathedrals with stained glass still intact.
Some people are quick to have their stained glass removed or replaced if it is cracked, chipped or faded, but stained glass can almost always be repaired or restored. The most important thing to know is that you must hire someone who is professionally trained in stained glass repair and restoration. Stained glass is delicate, and it requires special handling. Otherwise, you risk losing the entire piece.
How Is Stained Glass Repaired?
If a couple panels are cracked or chipped, a skilled craftworker can replace them individually. The craftworker will order the matching replacement glass, cut the panels to size, remove the old panels and install the new ones. If the stained glass is faded, the piece will have to be repainted so the new panels blend in. Because stained glass is usually old, repainting is very commonly recommended with repairs.
If the damage goes beyond just a cracked panel or two, you'll need a more extensive restoration. A complete restoration typically involves removing all glass panels, replacing any damaged panels, repainting all panels and releading, or replacing the lead caming that holds the pieces of glass together. Releading is expensive and more time consuming than basic repairs, but the job usually lasts 100 years or more, so you'll never have to do it again.
In some cases, the wood frame surrounding the stained glass also needs repair and/or restoration. Many stained glass shops won't do this kind of work, but those that don't often subcontract it out to a local woodworking shop they trust.
Stained glass repair and replacement is almost always done in the shop, not in your home. You can remove the stained glass window yourself and bring it to the shop for repair. That will save some money, but the risk of damage is high. Or, you can hire the shop to pick up the stained glass, repair it and then reinstall it later.
How Much Does Stained Glass Repair Cost?
Depending on the complexity of the job, stained glass repair and/or restoration costs anywhere from a couple hundred dollars to many thousands of dollars. The price is based on the extent of the damage, the size of the window, the difficulty of repair, and the difficulty of removal and installation.
Many glass shops charge $50 to $100 per hour for labor alone. The high rate is a function of the difficult and delicate nature of the work.
Having a single perimeter piece replaced might cost $30, not including the cost of the glass. For an inside piece, budget closer to $50. If you need only a few minor repairs, the project might cost $200 to $500.
Complete restoration of residential stained glass usually costs more like $1,000 to $3,000 per panel, depending on size and condition.
For a large stained glass piece like you might see in a church, repairs might cost $10,000 to $20,000, while releading might cost $20,000 to $40,000.
Pickup, removal, delivery and installation almost always cost extra.
Do You Need a Stained Glass Repair Pro Near You?


Ever have a prayer request that has not been answered, but this one is beyond one of the biggest desires of your heart. That prayer request to see the Lord pull you through by any way as possible. You've hurt, you've cried and perhaps at times you have been silent by it. At a given point in our life's that request becomes our strength, our Hope in Jesus. At a given point in your life that request becomes your love and passion for God. More of him less of us. That prayer request becomes alone time with God. That prayer request becomes the answer to all the times you have told God to change me, mold me, change my thinking, change my ways. Sometimes change hurts and it not because God desires you to go through it He hurts when we hurt but because we all live in a fallen world it is through him that we can make it in such difficulties. That prayer request that has over taken, beat you down, over shadowed you and have made you scream at many times. That prayer request that is making you feel like you are being drowned from hearing no answers whether it's a yes, no, or just wait.
There is nothing like a storm when you know it has to be God or nothing. There is no other storm when you experience true trust. There is no other storm like the kind you could never even try to fix it on your own. There is no other storm like the one that will not be calm unless it's only by his Divine Love and Power. This is how it has been for many of us at one point in our life's. This is one of those moments for me. As I laid my six year old to sleep one night. I opened God's Word just hoping he would give me something. Give me something all I wanted was his word. I was drowning that's how it felt. And this is why I know that even though I do not see that answered prayer request, even though he hasn't said yes, no, or wait. My heart tells me that he will bring me above waters. And how do I know this? I will tell you why. I literally was sitting in the floor waiting for my son to fall asleep and I said please God give me something. I will take anything please reach out! His word is more profound then an answered prayer as he will always keep his promises. This is where the Lord leads me to.
This really impacted me. I had to keep repeating it over and over. I even cried.
That my friends are just the few waters we face everyday. Some are temporary. Some are there for a long time. Some are there until our last breathe but the Lord will put it to pass even if we do not see it with our own physical eyes. But when I heard the next part "Cannot Quench Love" I was amazed. That job loss, that illness, that difficult boss, that label, that loss of a love one, hate, among so much more "Cannot Quench Love"! Want to know why, Because God is Love! Many waters Cannot Quench God because he is in you for you and because he is with you and in you he is Never Quenched because he is Love. Oh My!! Can somebody please shout of Joy with me.
And then it says "neither can the floods drown it" Yes those waters, that prayer you will not stop praying about will not drown you because God is in you! God could never be drown, beaten or dismissed.
So as you keep praying keep telling your heart you will not be quenched, you will not be drowned. God is Love and he is for you! That thing that keeps you up at night will be your Joy will be your Laughter will be your remember God when I thought I wouldn't make it, if you did it before you will do it again. That thing you are praying so hard for is God's Glory. If you haven't heard anything yet from the Lord keep praying keep pushing this request is your breakthrough in the spirit. This prayer is your no one can tell you other wise. This prayer is your I do not care who is with me, that prayer is your I do not care if anyone cares or who is trying to knock you down. That prayer my friend is you finding God in the mess and his Love will shine. You will not be quenched, you will not drown!!


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Former Spymaster held over 'Torture to Confess' scandal
Politics2019-04-25
The Chingeltei District Court decided today (25 April) to extend the detention of B.Khurts, the controversial former director of Mongolian's General Intelligence Agency (GIA) for 15 days at the request of the prosecutors. He has been detained by the Criminal Police Department over the 'torture to confess' case. B.Khurts was taken to the 461st Detention Centre on 23 April. While in custody, he refused to give a statement without formal approval of D.Gerel, the current director of GIA.
B.Khurts was accused of breaching of laws on intelligence procedures for having used torture to obtain a confession from defendants of the much-publicised murder case of the politician S.Zorig, who one of the heroes of Mongolia's peaceful transition to democracy and a likely future prime-minister. Following an investigation lasting two decades – in which there have been accusations of cover-ups and during which numerous people, including the victim's wife, have been detained – Ts.Amgalanbaatar and two others were sentenced to 24-25 years in prison for the murder of S.Zorig.
The murder of S.Zorig case was transferred to the Criminal Police Department from Independent Authority of Anti-Corruption due to the lack of human resources on 19 March.
S.Zorig
Ex Spy-Chief released on bail
Tortured to Confess Scandal: Former spy-chief to stay in detention
Former Spymaster detained


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Duque de Manchester, ou, na sua forma portuguesa, de Manchéster, é um título de nobreza do Pariato da Grã-Bretanha. Foi criado em 1719 ao politico Carlos Montagu, 4.° Conde de Manchester, que notavelmente serviu como Secretary of State for the Southern Department. O Duque de Manchester é estilizado como Sua Graça.

Lista de Duques de Manchester
 Charles Montagu, 1.° Duque de Manchester
 William Montagu, 2.° Duque de Manchester
 Robert Montagu, 3.° Duque de Manchester
 George Montagu, 4.° Duque de Manchester
 William Montagu, 5.° Duque de Manchester
 George Montagu, 6.° Duque de Manchester
 William Drogo Montagu, 7.° Duque de Manchester
 George Victor Drogo Montagu, 8.° Duque de Manchester
 William Angus Drogo Montagu, 9.° Duque de Manchester
 Alexander George Francis Drogo Montagu, 10.° Duque de Manchester
 Sidney Arthur Robin George Drogo Montagu, 11.° Duque de Manchester
 Angus Charles Drogo Montagu, 12.° Duque de Manchester
 Alexander Charles David Drogo Montagu, 13.° Duque de Manchester

Nobres do Reino Unido
Ducados do Reino Unido

redpajama_set_name: RedPajamaWikipedia


Lana Hempsall will support local businesses, small and large - they are the backbone of our economy. She will start a local Business breakfast to champion local business and bring senior Government Ministers to meet you. As your MP, she would continue to back local firms and campaign for investment in the area. She is especially keen on delivering more apprenticeships to Norwich South, and the development of the technical and manufacturing skills which are essential to growing our economy and providing job opportunities across the board. She will work closely with the Norwich Research Park to unsure Brexit enhances their reputation and standing as a world class facility.


text:
Home Interviews Evan Oliphant; Tour of Britain 2010 Review – Part Two
Evan Oliphant; Tour of Britain 2010 Review – Part Two
We left our Tour of Britain 'catch up' with Evan Oliphant until after the British track champs, on the off chance that he might break the BC/Sky/100% ME grip on affairs – fat chance.
Wout Poels and his team go on the rampage. Photo©Robert Lampard
Back to the Tour of Britain, Evan Oliphant – stage five?
"The first hour was full on, it went out of the blocks. It was a good day for us because we had Iker Camaño away in the break which Frapporti won out of; and apart from Richey Porte going for it on the last KoM it wasn't that bad."
Stage six?
"Columbia were riding for Albasini all day; we expected it to go mental in the cross winds but it didn't happen.
"Partridge had a mechanical but that was our only awkward moment.
"It was actually the first day that I felt good in the race."
Stage seven?
"That was the flat stage to Colchester but there was an uphill finish, again Columbia were working for Albasini.
"We were working to get Jack Bauer and Alex Blain up there – they both made the top ten."
Stage eight?
"We had a little bit of a panic, the guy who was lying ninth behind Rob Partridge jumped away for an intermediate sprint – there was a three second bonus and he was just three seconds back on GC.
"But we spotted the danger and got him back before the sprint."
What's it like going from a tough stage race straight to the track?
"The T of B finished on Saturday afternoon and I was back in Scotland by early Sunday morning.
"I guess it would have made more sense to take my track stuff to the Tour with me but there's just so much to transport.
"I was on the track for Tuesday night, really to get me used to the track for the Games.
"The main difference is leg speed; in fact, I rode a wee bit higher than usual gear at Manchester."
You rode the scratch?
"I was seventh, I was in a break with Kennaugh, we had 3/4 of a lap and he jumped across the gap, the others in the break wouldn't help and up in the bunch Geraint Thomas and Ian Stannard nailed it once Kennaugh was on."
The Commonwealth Games have been a target for Evan Oliphant all season.
And points?
"James McCallum didn't ride, he wasn't feeling the best and when I saw a group of 12 riders having a meeting before the start, I thought; 'there's not much chance here !'
"I went for a death or glory lap gain but didn't quite make it – Ian Stannard was nailing it at the front for five or six laps when I was trying to get on.
"Once I saw that I wasn't going to make it, I climbed off – I was lying second at the time – and so did Stannard!
"Riding Manchester wasn't really about results, it was about getting ready for Delhi."
What's happening about the Games ?
"I leave on Thursday [today, 30th September], that was always the plan.
"The Scottish Games Council say that if when we get there the village isn't up to scratch then we'll be given alternative accommodation.
"But the Welsh have said that it looks OK.
"Kennaugh, Stannard and Thomas have all called off – Sky have said that it's the athlete's decision but I think it's because the team doesn't want then to go down with anything nasty.
"The wet season has come early and there's a lot of stagnant water which is a breeding ground for disease.
"I'll be riding the scratch and points; I don't anticipate that the Games 20 K will be as hard as the British one – we did 20 K in 22 minutes.
"I'll also ride the road race, it's pan flat – and the time trial which is the last event, so I've nothing to lose."
VeloVeritas will be keeping in touch with Evan and James during the Games – watch out for the interviews.
Tour of Britain 2010
Previous articleStokes Storms the Sandy Wallace Cycles 50 mile road race
Next articleWorld Championship 2010 Training Camp
Dave Viner – Track Cycling for Birmingham's Commonwealth Games to be held in London?
Bryan Steel – One of the Original World Class GB Team Pursuiters
Commonwealth Games 2014 – Road Race, Elite Men. Geraint Thomas the Biggest Bear
Commonwealth Games 2014 – Time Trial, Elite Men. Dowsett Movistars on Glasgow Green
Commonwealth Games 2014 – Time Trial, Elite Women, Villumsen for New Zealand
Commonwealth Games 2014 – Mountain Bike, Elite Men. Cooper the Strongest
Toby Moody – Eurosport's MotoGP Commentator and Huge Cycling Fan
Jake Stewart – Second in u23 Gent – Wevelgem 2018
Alexandre Blain – "By the summer, I'll be used to Scots!"
Franco Marvulli – On His Last Season Before Retirement
Charlie Quarterman – National '10' Champion and a Two Year Contract with Trek Segafredo
Le Tour de France starts tomorrow! Who do we fancy?
Shane Archbold – Focused Solely on the Omnium
Scottish National 25 Mile Time Trial Championship: Preview
Peter Hill – the Two Times BBAR Winner who Turned Pro...
Davie Lines – "It's Just a Pity I'm Too Old!"
Interviews August 22, 2011
Last weekend saw Endura's Davie Lines realise one of his big goals in the sport in winning the Scottish Criterium Championships. We had a word with 'Falkirk's Flying Fireman' (sorry), here's what he had to say.
Saunier Duval Team Launch 2008 – Day 1
Diaries January 11, 2008
The Saunier Duval Team Launch 2008 squad changed a little from last season - the team is made up of 26 riders, and one of its distinctive features will be it's youth: there will be no less than nine men under 24 years of age, and thus the team will be the second youngest in the ProTour peloton. The second distinctive feature of the team this season will be improved training: two personal trainers have been hired: Sergio Gelati, who worked with the team in 2007.
Le Tour de France 2013 – Stage 15: Givors > Mont Ventoux, 242km. Froome...
It was a long day for VeloVeritas, yesterday. But it was a cracker – positioned 800 metres from the line on Mont Ventoux, we were there from when Froome spun past like a madman on rollers until Jonathan Hivert ground past us, oh so painfully, some 50 minutes later.


text:
Q: How to get Powershell result from inner start-processs I have a ps script like:
Start-Process powershell -Verb runAs -ArgumentList "Get-WebApplication"

Because Get-WebApplication needs admin right, so I use "-verb runAs".
My question is: now the result only shows in the new powershell windows. How can I make my main powershell get/display the result?

A: You have two choices that I see:

*

*Run your script as administrator and just run Get-WebApplication directly.

*Capture the output from the powershell process you're starting with Start-process and then do whatever you want with the output in your script. To capture the output you can either redirect the output to a file and then read the file in your script, or you can use .NET [diagnostics.process]::start to redirect stdout and directly read the output stream in your script (no file is created).

redpajama_set_name: RedPajamaStackExchange


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Gold Hill Mesa keeping word on wall for neighboring townhomes
In keeping with an agreement last fall, Gold Hill Mesa has resumed building a perimeter wall around Villa de Mesa, and lead developer Bob Willard is confident that crews will be done with the portion that's promised for June 1.
Installed this spring by a Gold Hill Mesa contractor, the new privacy wall along the east boundary of the Villa de Mesa townhome enclave is seen in a view from the northeast corner. Visible at far right, amid the foliage, is a Villa de Mesa home; at far left in background are Gold Hill Mesa homes. Still to be built this month, under a mutually agreed-upon timetable between the neighboring developments, is another 170 feet perpendicular from this corner to form the first phase of the wall along VDM's north boundary.
Westside Pioneer photo
"We're doing it where it's supposed to be done, and we're ahead of schedule," he said this week.
The project is separate from other work that Gold Hill started this spring on a new access from 21st Street for both the 210-acre development and the 25-townhome enclave. The dual projects have kept crews busy near Villa de Mesa's southwest corner, where the access work is occuring, and its east and northeast boundaries, where the wall construction is continuing.
Mike Reeg, vice president of the VDM homeowner's association, lauded Gold Hill for being a "good neighbor" in the way it's handling the current work. "I think everyone here is very happy to see the wall go up and have been very accepting of the construction," he said. "I sent an e-mail to the other residents that we may have construction for the next three months. I haven't heard any complaints. If they had any, they'd be calling me."
One reason Gold Hill Mesa may be popular right now is it's doing extra work. Reeg said the development crews have been improving drainage, planting trees and moving big boulders within the townhome property. "These are things they didn't have to do," he said.
In a photo looking northwest, the new wall for Villa de Mesa's east boundary is seen at right, with the south wall (built by Gold Hill Mesa in 2006) perpendicular to it at left. The paint colors will be matched up, according to Gold Hill Mesa.
Built in the 1970s, Villa de Mesa had once been all by itself on a small part of the old Golden Cycle gold mill property east of 21st, north of Lower Gold Camp Road and south of Highway 24. When Willard and his partners bought the larger property around it, they offered the existing residents a chance to be integrated into the new project. However, the HOA insisted on staying separate, and seven years ago GHM agreed to build a privacy wall around the enclave.
The segments on its south side and most of its west side were built in 2006. But the VDM residents became upset at seeing the development move forward after that without new walls going up. Finally, after the HOA complained to the city, Gold Hill agreed to a timetable last fall. Under the plan, the east wall and 170 feet of the north wall are to be built by June 1, with the remainder of the north wall (and the last segment of the west wall) by 2014.
Most of the north/northwest end needs to stay open for now to allow Gold Hill Mesa flexibility in planning how it will grade from that point downhill to its envisioned commercial area north of VDM, explained Barry Brinton, the GHM development manager. "That's still being looked at," he said.
The VDM HOA has helped out its larger neighbor in that regard, giving up a 700-by-35-foot strip of land at the north end that GHM can use for grading (but not building).
The new wall is being built to last, Brinton asserted. Like the previous sections, the new segments are made of prefabricated concrete with the pier for each section built two feet wide and set three feet into the ground. "It's a good anchor and will withstand wind and earth movement," Brinton said.
The new walls will eventually be painted so their color matches the existing south and west walls, he added.
The contractor is Schanel Construction.
Westside Pioneer article


TUTA's mission is to excite the American audience with theatre that is both relevant and challenging in both form and/or content. TUTA continually searches for the unique and exceptional in the language of theatre, be it verbal, physical, or visual, in order to express ideas and expose questions vital to contemporary American society. TUTA is committed to producing theatrical and educational events that bridge all forms of cultural and geographical divides.


text:
Debatten om USA:s skuldtak (engelska: United States debt ceiling crisis) är en debatt i USA, särskilt i Kongressen, om förslaget att höja gränsen för landets högsta tillåtna statsskuld, för att undvika en situation med betalningsinställelser av räntor, pensioner med mera. Debatt om landets skuldtak har förekommit många gånger i landet historia, men denna artikel behandlar debatten inför höjningen som president Barack Obama, i sista stund, skrev under den 2 augusti 2011.

Bakgrund

Vad innebär skuldtaket?
Om USA:s finansdepartement inte får in tillräckligt stora intäkter från den federala regeringen kan den bli auktoriserad av Kongressen att ge ut skuld (låna pengar) för att täcka upp för budgetunderskottet.

Processen att sätta skuldtaket är separat från den reguljära processen att finansiera regeringens operationer.

USA har haft en statsskuld under hela sin historia. I samband med inbördeskriget började skulderna att rapporteras årligen. Den första januari 1791 var statsskulden 75 463 476,52 dollar. Sedan Harry Truman har varje president ökat den nationella skulden i absoluta dollar. Taket har höjts 74 gånger sedan mars 1962 inklusive höjningen i augusti 2011. Bland annat höjdes det 18 gånger under Ronald Reagan, åtta gånger under Bill Clinton, sju gånger under George W. Bush och det har höjts tre gånger (till och med augusti 2011) under Barack Obama.

I maj 2011 täcktes enligt finansminister Timothy Geithner omkring 40 procent av USA:s federala regerings utgifter av lånade pengar. En höjning av skuldtaket ger regeringen möjlighet att fortsätta att låna pengar för att upprätthålla dagens nivå på utgifterna. Om skuldtaket inte höjs skulle regeringen behöva sänka sina utgifter omedelbart med 40 procent.

Förslag för att undkomma skuldtaket

Att prägla mynt
Ett av de mer kreativa förslagen för att undkomma skuldtaket är att låta myntverket skapa platinamynt med ett konstlat och extremt högt nominellt värde. Den metoden har legitimerats genom att det inte finns någon begränsning i USA gällande myntens nominering.

Monetarisering av guld
Under Eisenhowers administration 1953 överskred USA skuldtaket, men det höjdes ändå inte förrän våren 1954. För att täcka upp för mellanskillnaden ökade administrationen sitt innehav av guldcertifikat vid Federal Reserve, vilket var möjligt eftersom guldpriset hade ökat. Enligt finansiella experter har finansdepartementet fortfarande laglig rätt att monetarisera 8000 ton guld, vilka är värderade till 42 dollar per ounce, men som har ett marknadsvärde på över 1600 dollar per ounce.

Historik
16 december 2009. Skuldtaket är överskridet. Finansdepartementet vidtar då extraordinära åtgärder ("extraordinary accounting tools").
12 februari 2010. Den senaste ökningen av skuldtaket signeras till lag av President Obama efter att ha passerat den demokratiska kongressen (USA:s 111:e Kongress). Skuldtaket ökade med $1,9 biljoner dollar, från 12,394 biljoner till 14,294 biljoner.
 18 februari 2010. Obama ger en Exekutiv order för att inrätta "National Commission on Fiscal Responsibility and Reform", även kallat Bowles-Simpson Commission. Kommissionens syfte var att föreslå rekommendationer för att balansera budgeten till år 2015, exklusive räntebetalningar på statsskulden. Kommissionen fick i uppdrag att ge ut en rapport den första december 2010.
 31 juli 2011. President Barack Obama tillkännager att ledare för båda partierna har nått en överenskommelse om att lyfta skuldtaket och att reducera det federala underskottet. Talmannen i Representanthuset John Boehner tillkännager detaljer om överenskommelsen i en presentation för Representanthuset.
 2 augusti 2011. Senaten röstar för lagen (76 ja-röster och 24 nej-röster). President Obama signerade lagen samma dag.

Se även
Fiskala stupet

Referenser

Externa länkar
 "Apple Corporation Now Has More Cash on Hand than the U.S. Government"--$76.2 billion vs. $73.8 billion—CNN News July 29, 2011
 Concord Coalition—Understanding the Federal Debt Limit—July 2011

2011 i USA
USA:s offentliga finanser
Amerikanska politiska debatter


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This page contains a single entry by Bryony published on April 16, 2018 8:00 AM.
Swimming with wild dolphins in the Red Sea - video was the previous entry in this blog.
Komodo calling! is the next entry in this blog.


In a RGB color space, hex #024c58 is composed of 0.8% red, 29.8% green and 34.5% blue. Whereas in a CMYK color space, it is composed of 97.7% cyan, 13.6% magenta, 0% yellow and 65.5% black. It has a hue angle of 188.4 degrees, a saturation of 95.6% and a lightness of 17.6%. #024c58 color hex could be obtained by blending #0498b0 with #000000. Closest websafe color is: #003366.
● #024c58 color description : Very dark cyan.
The hexadecimal color #024c58 has RGB values of R:2, G:76, B:88 and CMYK values of C:0.98, M:0.14, Y:0, K:0.65. Its decimal value is 150616.
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Groundbreaking Research
KU is a top-tier research university. For our students, this means you'll take classes from professors who are leading experts in any discipline you choose. It also means you have the opportunity to work side-by-side on their research projects, learning firsthand how to take a project from an idea to a groundbreaking discovery. For our faculty, the array of colleagues translates to a wealth of collaborative opportunities to expand the scope and impact of your work.
The College plays a major part in KU's reputation for research excellence. Our faculty, staff and students produce research and creative works that seek to make our world a better place. In the College, you will find:
Creative activities and performances that inspire
Scholarly work that expands our minds and shapes how we see the challenging issues in society
Laboratory studies that are building our basic understanding of the world and addressing fundamental questions at the heart of our greatest problems in society
Applied research and outreach efforts that directly impact communities in Kansas and around the world.
KU sits among some of the most prestigious research Universities in the United States with its membership in the exclusive American Association of Universities (AAU). In the College, we conduct research in three schools and over 50 departments, programs, institutes and centers spanning the full range of the arts, liberal arts and sciences. Moreover, researchers in the College play an integral role in some of the largest insitutes and centers across campus.
Research Headlines
Federal grant bolsters Russian, East European, Eurasian studies at KU
Virtual debate would allow issues to be explored, expert says
Gap between gun owners and non-owners explains disparities in political attitudes, voting patterns
Public Management Center tapped by national transportation organization to lead trainings
New book details power of paratext in medieval works


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Find answers to frequently asked questions about the Electronic Certification of Effort and Reporting Tool (ECERT).
How do I get access to ECERT?
Departmental Security Administrators (DSA) assign access to the department business manager and anyone whom the business manager designates as preparer, (the person[s] who reviews reports before certifying them). Certifiers automatically have access.
I'm having problems logging in. What should I do?
If you already have a Business Systems account, contact the ITS Service Desk, (858) 246-4357 or ext. 6-HELP. If you need a Business Systems account, contact your DSA or self-register.
When do effort reports become available?
ECERT generates reports every quarter. For more information, see the effort reports schedule.
Can I share a saved ECERT search with another user?
Yes. If you create a search, you are the owner of that search. If you make changes to the search, others granted access to the search will automatically see these changes. If you decide to make changes to a search shared with you, you will generate a private copy and will no longer be associated with the original shared search. Likewise, if you delete a search shared with you, other copies of the search will not be modified or deleted.
When do reports require a comment?
Reports require a comment for all changes. For more specific information, see Editing an Effort Report, step 6.
What does the "Certified/ Adjustment Required" status mean?
The Certified/ Adjustment Required designation indicates that a modification has been made to the Adjusted Payroll % column and the effort report has been certified. The effort report will have a status of Certified/ Adjustment Required which means a PET must match the Original Payroll distribution to the Adjusted Payroll %.
If the data matches the certification after it's processed, the PET status automatically changes to Certified, and no further action is necessary. If the data does not match the certification, the status changes to Open/ Reissued and notifies the PI to re-certify.
Why do I get an error message when I subscribe to a PI?
This occurs if the PI is new to the university, is adjunct faculty, or has been away on sabbatical. In order for you to subscribe to their "MyProjects" list, they need to log in once to the ECERT system with their Single Sign-On ID. (It may ask them to register with the last 5 digits of the SSN, employee ID number, and birth date.) Once they have done this, ECERT will be able identify them.
Is there a documented "reasonableness" standard?
UC-wide policy allows for a +/-5% tolerance threshold of reasonability for certification to be valid and authentic.
Why is my PI seeing fewer reports than I do? Why does the status report show more Open reports than I can see?
If what you see on your screen differs from someone else's screen, it's likely that your searches do not filter the same way. Verify that your search filters on the correct status and that you have selected the relevant reporting period(s).
How can my department stay in compliance?
Read recommendations for implementation, review, and compliance with effort reporting in the ECERT Best practices section.
Is it necessary for departments to retain printed copies of effort reports for faculty?
Because ECERT tracks all certifications electronically and PIs can access the information any time, there is no need to print the reports. ECERT serves as the official database of record. You can, however, print reports by clicking the Print Report button.
Who certifies efforts? What if an employee gets paid on grants outside of my organization?
Certifiers must have first-hand knowledge of the effort expended. Normally, an employee or a supervisor can certify his/ her own effort. The PI ultimately takes responsibility for all effort certification. Non-academics can't certify for academics.
Occasionally, multiple certifications are required if the employee works on multiple projects, has multiple supervisors, and doesn't know which projects their effort benefits. ECERT supports multiple certifications with a check box at the bottom of the effort report. When you activate this function, individual line certification becomes available.
What happens if I don't certify my effort report?
If you do not certify your effort report, you will not be in compliance with OMB Circular A-21. The university is then at risk of losing existing and future funding from sponsoring agencies.
Our ECERT system requires a comment whenever our PIs Certify Effort Reports after the certification deadline. (Certifications are due within 120 days after the end of each quarter.) See an example ECERT Certify ERS Report - Comment Required (PDF) and Effort Reporting Best Practices for more information related to managing certifications.
Effort reports that remain uncertified past the deadline will be escalated for review and appropriate consequences will be rendered. The university requires all effort to be certified within 120 days after the end of the reporting period (e.g., for the Jan-Mar quarter, reports will be due 120 days after March 31).
What if my PI left the University?
Certifiers must have first-hand knowledge of the effort expended. PI changes to Effort Reports in the ECERT (Electronic Certification of Effort and Reporting Tool) system are processed in the CCM (Cost Center Management) system in FinancialLink/Tools by using the COA (Chart of Account) Override Maintenance. To process a COA Override see Change a PI or fund manager. Non-academics can't certify for academics.
What happens when effort changes during the project period?
If significant effort changes occur, department administrators should update the payroll distributions in a timely manner to reflect the actual effort expended in support of the sponsored project.