text:
...that Catalog posts canon Q&A sessions on the Waypoint Forums?
...that the Kig-Yar built a space habitat with the Insurrectionists called the Rubble?
...that the panic button is an emergency beacon used by UNSC Special Forces teams?
...that the escape pod from Halo: Combat Evolved is called the Bumblebee?
...that crouching while jumping gives the player extra height?
McFarlane Toys/Halo Helmet Wave 1
< McFarlane Toys
McFarlane Toy's Halo Helmet Wave 1 is a series of action figure helmets based on Halo 3's multiplayer characters. They cannot be placed on the original figures, as they come on a base. All of the helmets feature Spartan helmets.
1.1 Set 1
Set 1[edit]
Set 1 includes three different helmets: Mark VI, CQB, and EOD. All of the helmets are colored red.
The Mark VI helmet measures 1 1/2 inches wide, 1 3/8 inches high, and 2 1/8 inches deep. It includes a 3-inch square base.
The CQB helmet measures 1 5/8 inches wide, 1 3/4 inches high, and 2 inches deep. It includes a 3-inch square base.
The EOD helmet measures 1 3/4 inches wide, 1 1/2 inches high, and 2 1/8 inches deep. It includes a 3-inch square base.
The red Mark VI helmet.
The red EOD helmet.
The red CQB helmet.
The Helmet 3-Pack in package.
Set 2 has three different helmets: EVA, Hayabusa, and Rogue. Each are a different color.
The EVA helmet is cyan. It measures 1 3/4 inches wide, 1 3/4 inches high, and 2 inches deep. It includes a 3-inch square base.
The Hayabusa helmet is white. It measures 1 7/8 inches wide, 1 7/8 inches high, and 1 7/8 inches deep. It includes a 3-inch square base.
The Rogue helmet is crimson. It measures 1 3/4 inches wide, 1 1/2 inches high, and 2 inches deep. It includes a 3-inch square base.
The white Hayabusa helmet.
The cyan EVA helmet.
The crimson Rogue helmet.
Set 3 has three helmets: Master Chief's helmet, CQB, and Rogue. All are different colors.
The Master Chief's helmet measures 1 1/2 inches wide, 1 1/2 inches high, and 2 inches deep. It stands on a 3-inch square base.
The CQB helmet is orange and measures 1 3/4 inches wide, 1 1/2 inches high, and 2 1/8 inches deep. It includes a 3-inch square base.
The Rogue helmet is silver and measures 1 3/4 inches wide, 1 1/2 inches high, and 2 inches deep. It includes a 3-inch square base.
The Master Chief helmet.
The orange CQB helmet.
The silver Rogue helmet.
Set 4 has three helmets: EVA, Hayabusa, and EOD. All are different colors.
The EVA helmet is yellow and measures 1 5/8 inches wide, 1 5/8 inches high, and 2 inches deep. It includes a 3-inch square base.
The Hayabusa helmet is red and measures 1 7/8 inches wide, 1 7/8 inches high, and 1 7/8 inches deep. It includes a 3-inch square base.
The EOD helmet is blue and measures 1 5/8 inches wide, 1 3/4 inches high, and 2 inches deep. It includes a 3-inch square base.
The yellow EVA helmet.
The red Hayabusa helmet.
The blue EOD helmet.
Set 5 of the Helmet Wave was not listed on McFarlane's site, nor were photos released of the helmets, yet it appeared in stores with the other sets. It contains three helmets: EOD, CQB, and Mark VI.
The EOD helmet is sage and measures 1 5/8 inches wide, 1 3/4 inches high, and 2 inches deep. It includes a 3-inch square base.
The CQB helmet is purple and measures 1 3/4 inches wide, 1 1/2 inches high, and 2 1/8 inches deep. It includes a 3-inch square base.
The Mark VI helmet is silver and measures 1 1/2 inches wide, 1 3/8 inches high, and 2 1/8 inches deep. It includes a 3-inch square base.
The silver Mark VI helmet.
The sage EOD helmet.
The purple CQB helmet.
The square bases appear to have a white UNSC logo on them.
McFarlane Toys Halo series
Halo 3 Series 1 • Halo 3 Series 2 • Halo 3 Series 3 • Halo 3 Series 4 • Halo Series 5 • Halo Series 6 • Halo Series 7 • Halo Series 8
Halo: Reach Series 1 • Halo: Reach Series 2 • Halo: Reach Series 3 • Halo: Reach Series 4 • Halo: Reach Series 5 • Halo: Reach Series 6 • Halo: Reach Vehicle Series
Heroic Series • Halo Wars Heroic Series 1 (Halo Wars Heroic Series 2) • Legendary Series
Miscellaneous/Exclusives
Halo Point Prizes
Halo Helmet Wave 1 • Halo Helmet Wave 2
Halo: Anniversary Edition Series 1 - Advance • Halo: Anniversary Edition Series 1 • Halo: Anniversary Edition Series 2 • Halo Universe
Halo 4 Series 1 • Halo 4 Series 2 • Halo 4 Series 3
Halo 5: Guardians Series 1 • Halo 5: Guardians Series 2
Halo Avatars
Series 1 • Series 2
Odd Pods
Micro Ops
Retrieved from "https://www.halopedia.org/index.php?title=McFarlane_Toys/Halo_Helmet_Wave_1&oldid=951690"


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Berlin's Bon Voyage
By Anya Russom
The news of Berlin's move to Kansas City is undoubtedly a shock to our friends and supporters. We understand that this development is difficult, concerning and confusing. We know that you all love and cherish Berlin as a symbol of our community and our zoo, and we know that you want her back. Trust us; we do too. But we hope that you also understand that the decision to move Berlin is completely and totally in her best interest. And I'm not even talking about one interest here; we've got a whole bucket full of reasons, concerns, ethics, and morals that led us to what is a terribly heart-wrenching, yet completely sound decision. Let me break it down for you. The flood in June devastated our zoo. We are reminded of this on a daily basis, and the bottom line is: Polar Shores is uninhabitable.
During the flood, the Polar Shores building was filled with over 14 feet of standing water, not to mention the basement, which remained flooded for some time. The pumps do not work, and the electricity does not function. To put any living creature in that facility would mean a complete renovation of the building to restore its normal functions. That aside, Polar Shores was built to match standards set in the 1980s. As with all things, time and knowledge demand an upgrade, and though Polar Shores may seem like an ideal home for a polar bear, it actually needs quite a bit of work. As an AZA (Association of Zoos and Aquariums) accredited zoo, we pride ourselves on upholding extremely strict guidelines in regards to animal care. Long story short- the building needs a major upgrade. It needs grass and salt water and a whole lot of other things that would require major renovation to ensure happy and healthy polar bears for years to come.
And while we're on the subject of polar bears, let's talk about SSP (species survival plan) recommendations. These are set in place by the AZA in order to preserve endangered animal populations around the world. At this point in time, polar bears are listed as vulnerable, and due to rapidly shrinking arctic ice sheets, they could become endangered sooner rather than later. Berlin is one of 65 polar bears in an AZA accredited institution, and one of 37 active participants in the polar bear SSP program. Around the country, there are beautiful, state of the art facilities (like Kansas City) that give animals the absolute best shot at successful reproduction. Berlin has been matched up with the Kansas City Zoo's bear, Nikita, in hopes that the two will have cubs. Admittedly, the odds aren't ideal. Berlin is 23 and reaching the end of her breeding years. But she's not there yet. The veterinarian from Kansas City will be visiting her at Como next week to ensure that all is well, and we're confident that it is. We all know she's a sassy bear, and we hear that Nikita is quite the looker. Kansas City will provide Berlin with something that we can't: a chance at love. But, in all seriousness, it is our mission as a zoo to be leaders in animal care and conservation. This means having to make tough decisions in regards to animals with which we spend the vast majority of our time. However, as hard as it is, we have to take our selfishness and our personal feelings and transform them into hope for our beloved animal friends. After all, they're the only ones who can repopulate themselves. We're just there to give our care, support, and a helping hand (like any good friend would).
So Berlin's current home is in complete disarray. The building is internally devastated. She's also got a shot at being a mom (who doesn't want to see Berlin's cubs??!) But here comes the real kicker: Polar Shores is officially within the flood plain of our zoo. What this means is, if we put Berlin back in her old exhibit, we are creating the possibility to put her in danger of another flood, and that is something that we will not do. Berlin is our family. She is our sister, our friend, and our colleague. We will not put her back into a facility that has the potential to cause her harm. She deserves better than that, and we intend to give it to her.
This is why the construction of Bear Territory is so important. The complex has the potential to bring Berlin (and maybe even a baby!) home. We have the ability, as a zoo, to regain our status as being a leader in polar bear care and conservation. We have the bear who can come home to us a hero. We know that Kansas City is really far away. We know it sounds like Berlin will never come back. The truth is, she might not. But even though she's not currently in her home, Berlin has never for even one second left any one of our hearts. She will NEVER not be our bear, and as long as it's in her best interest, we are going to do whatever is in our power to have her back with us again. So have faith in us and in Berlin. She's got a big journey ahead of her, and she needs your support, your thoughts, your well wishes, and your love (as do we). We'll be here rooting her on. We hope you will be, too.
Best wishes to Berlin and all those who have cared for her over the years. And best wishes to the Lake Superior Zoo getting back on their feet after the flood.
Join us for Boo at the Zoo!
What is Zoo Membership, Anyway?
You can change the world!
All about birds and so much more!
Keeper in a storm
Plastic replaces sand between your toes
Trip to Bali Environmentally Eye-opening
Compassion over Judgement
Swapping Your Un-used Treasures
Choose Three Things!

redpajama_set_name: RedPajamaCommonCrawl


Our apartments are located in Gaja, a quiet part of Novalja only 300 meters from the center and only 30 meters from the sea. In front of the facility is a nicely furnished garden with a lot of greenery and an outdoor grill. We can offer you accommodation in seven completely furnished apartments for 2 to 5 people and we are oriented towards family tourism.
Additional offer: Storage of boats parked in the winter. Dry dock.


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Who's Who When Everyone is Someone Else review
CD Rose plays fictional games with plot and form to great comic effect
CD Rose: has written a playful book-lover's novel which is also a comic gem
Andrew Gallix
Sat Sep 1 2018 - 06:00
Who's Who When Everyone is Someone Else
Author: CD Rose
Publisher: Melville House Publishing
Guideline Price: £12.99
Is CD Rose an elaborate literary hoax? Some have harboured suspicions ever since he "edited" The Biographical Dictionary of Literary Failure (2014) chronicling the fate of obscure scribes, who, on closer inspection, all turned out to be fictional. The provocative title of his debut novel, Who's Who When Everyone is Someone Else, lets the (Cheshire) cat out of the bag.
A suspiciously anonymous protagonist doubles up – like so many other things in this tale of doppelgängers and mistaken identities – as a remarkably reliable narrator who conceals his storytelling talents behind apologetic asides to the reader (the storyline is far less digressive than he makes out). Following the "modest success" of a book he edited – yes, the aforementioned Biographical Dictionary – he is invited to deliver a series of 10 lectures on lost or forgotten works in an unspecified provincial city, somewhere in central Europe. The stage is set for a campus caper in Kafkaland that reads, at times, like a David Lodge revisited by Umberto Eco.
When he sets foot in his cramped hotel room – dominated by an oversized Narnia-like wardrobe – the narrator senses that he is "somewhere just not quite right", signalling that he has stepped through the looking-glass into a recognisable, yet subtly defamiliarised, world. After all, what is this "cupboard within a cupboard" if not a mise en abyme – the space of fiction squared, which is that of literature itself?
Eradicating literature
The uncanniness of the hotel room spreads to the labyrinthine city, which seems expressly "designed to lose oneself in", geometry being a "loose concept" in these Expressionistic climes. Roaming the streets, the narrator has the distinct feeling of being preceded (rather than followed) as though haunted by the anxiety of influence or trapped in someone else's narrative. It transpires that the ever-elusive Professor, who (supposedly) invited him in the first place, is dead – having probably been eliminated as part of a sinister plot to eradicate literature. Unbeknown to him, the narrator has been enrolled in the resistance due to his faith in Maxim Guyavitch, a cult author who wrote very little and whose very existence is contested.
Pastiche of genre
Who's Who is a book lover's book, as well as a comic gem. Its palimpsestic quality is obvious from the italicised opening paragraphs, which are meant to be an excerpt from a potboiler the narrator is trying (and failing) to read on the train. Later, the discovery of a volume – which may or may not be a lost Guyavitch – is savoured like a fine vintage: "It gave off an odour of ferns, of waxy newness with an undertow of body musk". The lectures that interrupt the frame narrative at regular intervals (the last one is left blank in homage to Tristram Shandy) allow the author to produce pastiches of various genres ranging from magic realism to folk horror. Most of the authors on whose fake works he then offers a mock-academic excursus exist – insofar as they are figments of other writers' imaginations. Enoch Soames, for instance, comes from Max Beerbohm, Vilém Vok from Enrique Vila-Matas, Silas Flannery from Italo Calvino, Maurice Bendrix from Graham Greene and Herbert Quain from Borges.
It is the latter, of course, who advocated summarising or critiquing books instead of going to all the trouble of composing them. Writing about fictitious or lost works (both in this case) is a means of holding literature in abeyance; of preserving its potentiality. This is as close as we can get to fiction's "strange kind of utopia". As for the author? CD Rose is a rose is a rose is a rose.
From Sherlock Holmes to Jackson Lamb: 12 fictional detectives whose stories will keep you gripped
My Father's House by Joseph O'Connor: A masterful, seamless blend of fact and fiction
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A town divided: What's going on at Listowel Writers' Week?
Gaelic Neighbours: Scotland and Northern Ireland 1918-2021 review: Close study of cultural ties
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The polymath's most enduring and wide-ranging contribution to the interpretation of Indian history was his approach to the idea of India as a civilization.
D.D. Kosambi (1907-1966) was a polymath who made original contributions in diverse areas including pure mathematics, quantitative numismatics, Sanskrit studies, and ancient Indian history. But he is remembered today chiefly for his work as a historian. That is not without reason. That is where he made an enduring impact even if some details of his findings and observations may be open to question in the light of later research. If we try to situate his contribution to the interpretation of history, the most enduring and wide-ranging in significance appears to be his approach to the idea of India as a civilization.
When he wrote in 1965 his last major work, The Culture and Civilization of Ancient India, he gave a central place to the notion of civilization. He began with the question: what unifies Indian civilization amidst cultural diversities within? He goes on to ask: what explains "the continuity we find in India over the last three thousand years"? He underlines the importance of the "material foundation for Indian culture and civilization" and, in the concluding chapter, explores the reason why, in his judgment, the ancient civilization was destined to stagnate.
On the other hand, when Kosambi talked about the Indian civilization, he entered a discourse of civilization that was developed by some of the most creative minds of twentieth century India, including Mahatma Gandhi, Rabindranath Tagore, and Jawaharlal Nehru. The questions that engaged such minds were roughly the same as those Kosambi grappled with. What kept India together as a civilization through the millennia? Was it a Hindu civilization, as some would have us believe? Is it possible to discern a continuity in this civilization from the prehistoric to colonial times? How does a notion of an 'Indian civilization' accommodate the immense diversities in the constituent communities and cultures? Is it necessary, even if it were possible, to talk of an 'Indian civilization'? How did Kosambi's intervention relate with the nationalist discourse of civilization?
It is interesting to recall that about two years after the birth of Kosambi (July 31, 1907), M. K. Gandhi, not yet the Mahatma, published his very first political tract, Hind Swaraj (1909). It was an unusual political tract in that it was mainly about India's civilization. "It is my deliberate opinion that India is being ground down not under the English heels, but under that of modern civilization" (chapter VII). In a chapter entitled 'What is civilization' Gandhi poses a choice between what he considered to be true Indian civilization and the 'materialistic' civilization of Europe, for that choice would determine the outcome of the clash between the two. Gandhi virtually subordinates the political agenda before India to the cultural agenda and goes so far as to say our goal was not the expulsion of the English: "We can accommodate them. Only there is no room for their civilization" (chapter XIV).
Between this approach and Kosambi's there are close parallels. Kosambi begins his treatise on The Culture and Civilization of Ancient India with the statement that India displays "diversity and unity at the same time." And he deploys the notion of syncretism in Indian civilization in explicating the absorption of peripheral tribal groups into the mainstream, "their merger into general agrarian society," in terms of the accommodation of their religious belief systems within the Brahmanic scheme of things. He saw a "process of syncretism" in the absorption of "primitive deities," a "mechanism of acculturation, a clear give and take," which allowed "Indian society to be formed out of many diverse and even discordant elements" (chapter 7).
The idea of a syncretism in the construal of India's civilizational unity was of crucial importance in the nationalist discourse. The absence of the European concept of nationhood in the pre-colonial past, despite the substantial evidence of the existence of an indigenous notion of patriotism at the regional and sometimes also at the supra-regional level, was undeniable. The intellectual response to this perception was the idea of India's civilizational unity, cutting across and over-riding all diversities.
Shortly before Gandhi wrote famously of India as a civilization, Rabindranath Tagore articulated the idea of syncretism in some less-known essays. "We can see that the aim of Bharatavarsha has always been to establish unity amidst differences, to bring diverse paths to a convergence, and to internalize within her soul the unity within severalty, that is to say to comprehend the inner unity of externally perceptible differences — without eliminating the uniqueness of each element." Tagore wrote thus and much more in that vein in 1902 in an essay, 'History of Bharatvarsha,' which was reproduced many times during the Swadeshi agitation in Bengal from 1905. More prominent in the public mind were of course the pronouncements of the nationalist leadership.
While Kosambi shared this perception, while he underlined the unity within apparent diversity, he went on to make a point that was not often made in the nationalist discourse of civilization. "The modern Indian village gives an unspeakable impression of the grimmest poverty and helplessness," he writes in 1965 in the book cited earlier (chapter 1). "The surplus taken away from people who live in such misery and degradation nevertheless provided and still provides the material foundation for Indian culture and civilization." This evaluation was a radical departure from the oft-heard paeans of praise of the civilization.
His notion of the 'primitive' and the implicit idea of progression to 'higher' stages may be open to question today. In fact that approach is not so pronounced in his earlier essays on this theme, for example Myth and Reality (1962). However, the point for the present is that, contrary to the usual nationalist position with regard to the virtues of syncretism, he was critical of the consequences in terms of the obscurantism that enveloped the Indian mind.
The most famous exposition of the theme of the unifying Indian civilization in Kosambi's lifetime was Jawaharlal Nehru's Discovery of India (1946). Nehru commences with the question, "what is this India, apart from her physical and geographical aspects?" (p.36) He goes on to hazard a bold generalisation: in India's past "disruptive tendencies gave rise immediately to attempts to find a synthesis. Some kind of a dream of unity has occupied the mind of India since the dawn of civilization." He returns to this theme through the entire work time and again. He ends the book with reflections on the same question: India is "a cultural unity amidst diversity, a bundle of contradictions held together by strong but invisible threads…She is a myth and an idea, a dream and a vision, and yet very real and present and pervasive" (p. 378).
The idea that India was held together by bonds of unity rooted in the past of Indian civilization was not of course new. What was new was its assertion at a time when that unity was threatened by a communal divide that was soon to bring about the Partition of 1947. In the face of the threat, Nehru speaks of a dream of Indian unity. In early 20th century that unity appeared as an undeniable reality to Gandhi or Tagore; to Nehru in 1946 it was a dream, although it was in some ways also a reality. To Kosambi that unity possibly appeared as an enduring fact of history.
But when Kosambi reviewed this book, in Science and Society, he did not comment upon this aspect of it. Actually he found Nehru to be a poor historian so far as ancient India was concerned; he added however that he was "an admirer of the author" and he could see how difficult it was for Nehru, sitting in jail, to get the sources he needed. His critique was directed mainly against Nehru's failure to attempt class analysis in understanding modern developments in India (Exasperating Essays, 1957). In this regard Kosambi was consistent in that he made class analysis the basis of his analysis of changes and continuities in Indian civilization when he turned to that theme in 1965.
That raises finally another question. What explanatory weight is to be assigned to Kosambi's Marxian method in our effort to understand and contextualise his approach to the civilizational discourse? In a letter to his old friend Daniel Ingalls, an Indologist at Harvard, he wrote in 1953: "The world is divided into three groups: (1) swearing by Marxism, (2) swearing at Marxism, (3) indifferent, i.e. just swearing…I belong to (1), you and your colleagues to (2)." Perhaps Kosambi's adherence to Marxism was to its use as a method, not as a source on par with empirical sources of knowledge.
He allowed that in some respects there was a poor fit between Indian history and the classical Marxian scheme. But he consistently used Marx's method as a tool. Hence his scorn for 'theological' tendencies in Marxism. In his Introduction to Exasperating Essays he writes: "Indian Official Marxists hereafter called OM" were often displeased with him but he could not but protest their "theological emphasis on the inviolable sanctity of the current party line, or irrelevant quotations from the classics." In using Marxist method in his own lights, in his effort to construe the civilization in India, in the convergences and divergences between his approach and the nationalist discourse of civilization, D.D. Kosambi has left much for us to try and understand and evaluate.
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Here at the Huntington & Langham Estate, we're incredibly grateful for every single review of our homes, whether it's from someone who lives here, a family member or friend, a member of the team or anyone else who pops in!
Recently, the husband of a lady living here described Langham Court as 'probably the best home in the area, country even, for dementia care' – we are so thankful for this kind comment and are proud to have made somebody feel so confident in the care we provide for their loved one. It made us start thinking about how lucky we are to live and work in such a wonderful place, surrounded by acres of beautiful countryside, so we wanted to share our thoughts with you.
Right on the edge of Surrey near the border of Hampshire, our residential & nursing and dementia care homes in Hindhead are ideally located to travel up into London or down to the coast, meaning we can offer all sorts of opportunities for exciting days out. We're also easily accessible for those looking for expert residential, nursing and dementia care in Surrey for a loved one, as we're located just off the A3 by the Hindhead Tunnel, right by the charming villages of Bramshott, Grayshott, Grayswood and Liphook, as well as the town of Haslemere.
In fact, people travel all the way from places such as Basingstoke, Winchester, Crawley, Farnborough, Horsham, Leatherhead and Guildford for our expert nursing and residential care in Hindhead, and even further afield for our specialist dementia care here in Surrey, including from London, Hampshire and Sussex.
It's a real team effort to make these homes what they are and to provide award-winning residential, dementia and nursing care in Surrey. We have people who travel from far and wide to help us provide such a wonderful service for the people who call the Huntington & Langham Estate their home, and we hope this shows how much people enjoy working here.
We endeavour to make life as exciting and fulfilling as possible for the people living here at the Huntington & Langham Estate, so we appreciate how lucky we are to have all sorts of attractions nearby to visit; Winkworth Arboretum, Hindhead Commons and the Devil's Punch Bowl, and Hollycombe Steam to name a few of our favourites. As part and parcel of our residential, nursing and dementia care in Hindhead, everyone living here is provided with the opportunity to partake in a wide variety of activities and we also organise all sorts of entertainment here in our purpose-built home.
We have consistently high review scores on carehome.co.uk and are proud to have high ratings from the CQC too, with the Care Quality Commission being the independent regulator of health and social care in England. When it comes to finding the right residential, nursing or dementia care in Surrey for you or someone you love, there are so many factors to consider, but hopefully recommendations from real people who know all about our expert residential, nursing and dementia care in Surrey will help to make that decision a little easier.
To read more about what people think of the Huntington & Langham Estate, visit carehome.co.uk and have a look at the reviews on our Facebook page. If you like what you read, we would love to hear from you – get in touch by clicking on our Contact page. We would love to show you around the Huntington & Langham Estate, so feel free to pop in to see our homes and meet the team.
Have you seen our Haslemere Hounds? Be sure to keep an eye out!


How to Get Away With Murder - Season 5 - 5x04 - Promotional foto. . HD Wallpaper and background images in the How to Get Away with Murder club tagged: how to get away with murder season 5 5x04 promotional photos.
pohon salam, laurel & Frank | That without them, anda feel like nothing.


text:
Ци́леншек () — словенская фамилия. Известные носители:

 Циленшек, Иоганн (1913—1998) — немецкий композитор, пианист, органист и педагог.
  (1848—1937) — словенский ботаник.
  (1925—1997) — словенский журналист.

redpajama_set_name: RedPajamaWikipedia


Bayou Classic, Premium 10-gallon Brew Kettle, 6-pc set, is designed for the serious All-Grain Home Brewer. This premium stainless kettle features a tri-ply bottom and includes a domed lid, stainless Spigot with Ball Valve, side-mount 3-inch Brew Thermometer ranging 60-220 degrees, stainless False Bottom that sets 3.25 Inch above the bottom of the pot, and a tube shaped Filter Screen. Bulkhead fittings enable easy attachment of thermometer and spigot for a water-tight seal. Side calibration measuring in gallon and quart that read from the inside of the kettle, enabling more accurate water level setting. The try-ply bottom promotes even heating and fights against scorching, while the all stainless construction has no interaction with wort or acids. The narrow diameter and high side walls reduce the chance of boil overs; and the false bottom fits tightly on the low side indention to reduce particles and grain from entering the spigot chamber.


text:
Coronavirus News Source
Online Tool Effective in Triaging Nearly All COVID-19 Patients
5-Nov-2021 10:20 AM EDT, by Perelman School of Medicine at the University of Pennsylvania contact patient services
Newswise — PHILADELPHIA— An automated, online triage tool developed by Penn Medicine categorized nearly every one of the patients who used it into a safe severity level, a new study shows. Published today in Applied Clinical Informatics, the study analyzing the COVID-19 Triage Tool found that just six patients of the 782 analyzed had symptoms that were more severe than what the system assessed. But even in those cases, clinicians working alongside the system were able to upgrade the patients' assessment to the proper level of severity and attention.
"The triage tool was incredibly effective at safely categorizing patients to their appropriate triage level or a slightly higher acuity," said the study's co-lead author, Elana Meer, an MD/MBA student in the Perelman School of Medicine at the University of Pennsylvania and the Wharton School. "We aimed to describe the process of developing and testing an automated, publicly available COVID-19 symptom triage tool that could provide a roadmap for others. Our primary priority in this work was to evaluate safety and efficacy and, to that end, I'd say that this was an incredibly successful system that helped both patients and providers at an extremely trying time."
When COVID-19 struck the United States, it stretched thin the availability of doctors and nurses who typically assess patients. On top of that, social distancing complicated those assessments. In response, a team at Penn Medicine leaned on something patients have already been doing for years: Checking their symptoms online.
The COVID-19 Triage Tool was deployed May 4, 2020, amid the first large surge of the virus on the East Coast. The tool consisted of a frequently asked questions (FAQ) page and an automated, online chatbot that asked patients questions through their browser or patient portal. Unlike common and commercially available symptom checkers, the triage tool was built by Penn Medicine and integrated within its systems so that patients could be guided to the right level of care. Often, online symptom checkers get to a point where they direct patients to call their primary care doctor, and then the doctor has to repeat the evaluation. This system was set up to do the early legwork, document it, and efficiently send patients to the right people without doubling up on human workloads.
"When developed thoughtfully, symptom checkers should both improve patient experience and take some of the load off care teams," said study co-author Krisda Chaiyachati, MD, the medical director of Penn Medicine OnDemand, the health system's virtual visit service. "A proper triage tool, especially one during a crisis like COVID-19, should improve patients' experience by enabling 24/7, on-demand self-service while also safely offloading patient call centers, freeing up clinicians staffing them to attend to patient calls that more require their expertise and judgment."
The researchers assessed the COVID-19 Triage Tool from its launch until April 2021, during which time 20,930 patients used it. For the study, 782 patients were analyzed since they had been categorized by the tool and had also contacted the health system's formal triage phone line. That way, the tool's categorization could be directly compared to a live clinician's assessment.
Roughly half of the patients who used the tool were judged by it to be asymptomatic, while more than 30 percent were categorized as either moderately or severely sick. Those patients were all directed to immediately call their physician or 911, respectively. The tool did not assess whether a patient "had" COVID-19, just how concerning their symptoms were and what type of care they were likely to need.
To ensure that patients were being safely handled, the COVID-19 Triage Tool was designed to be conservative in its assessments. As such, a little over 29 percent of the assessments the tool made matched exactly how the clinicians working alongside it would have classified patients' status. But 70 percent of the patients were assessed at a higher severity than clinicians would have categorized them. That meant that the number of patients being triaged by the tool to a lower severity than what they actually were was miniscule.
"From our standpoint, this was a win, given that 99.3 percent of patients either were assessed exactly as an experienced clinician assessed them or were referred – out of an abundance of caution – to a clinician who later judged these patients to be lower risk than had been originally been suggested," said co-lead author Maguire Herriman, an MD/MBA student in the Perelman School of Medicine at the University of Pennsylvania and the Wharton School. "Later research can assess absolute accuracy and precision for this kind of tool. It safely served its purpose for us in this situation."
Even if physicians were reconsidering the patients classified at a higher severity than needed, much of the work had already been done for them. The clinician answering the phone for patients referred to the clinician hotline could understand at a glance the questions and answers that the triage tool had already reviewed. And it was presented in a useful way that saved time.
While the COVID Clinical Triage Tool was discontinued in May 2021 when its use dropped significantly, it filled an important role at a critical time and provides a blueprint for future solutions.
There will be some need for further refining the product for those future situations. Only about 13 percent of the users were patients over 61 years old, which might call for adjustments to the system to make it more friendly to less tech-savvy populations. That could include phone interviews or other interventions.
"Future work might identify different ways of promoting tools like this with older adults and consider offering accessible, readily-understood, coaching sessions to those individuals interested in using symptom checker tools," said senior author John D. McGreevey III, MD, an associate chief medical information officer at the University of Pennsylvania Health System. "By taking such steps, whether with older adults or other population subgroups, we can assure that a wide range of users become comfortable and confident in using symptom checker tools."
Penn Medicine is one of the world's leading academic medical centers, dedicated to the related missions of medical education, biomedical research, and excellence in patient care. Penn Medicine consists of the Raymond and Ruth Perelman School of Medicine at the University of Pennsylvania (founded in 1765 as the nation's first medical school) and the University of Pennsylvania Health System, which together form a $8.9 billion enterprise.
The Perelman School of Medicine has been ranked among the top medical schools in the United States for more than 20 years, according to U.S. News & World Report's survey of research-oriented medical schools. The School is consistently among the nation's top recipients of funding from the National Institutes of Health, with $496 million awarded in the 2020 fiscal year.
The University of Pennsylvania Health System's patient care facilities include: the Hospital of the University of Pennsylvania and Penn Presbyterian Medical Center—which are recognized as one of the nation's top "Honor Roll" hospitals by U.S. News & World Report—Chester County Hospital; Lancaster General Health; Penn Medicine Princeton Health; and Pennsylvania Hospital, the nation's first hospital, founded in 1751. Additional facilities and enterprises include Good Shepherd Penn Partners, Penn Medicine at Home, Lancaster Behavioral Health Hospital, and Princeton House Behavioral Health, among others.
Penn Medicine is powered by a talented and dedicated workforce of more than 44,000 people. The organization also has alliances with top community health systems across both Southeastern Pennsylvania and Southern New Jersey, creating more options for patients no matter where they live.
Penn Medicine is committed to improving lives and health through a variety of community-based programs and activities. In fiscal year 2020, Penn Medicine provided more than $563 million to benefit our community.
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This is the best air bed out there. It's luxury at its best but it's also a super splurge. Comfort that simply cannot be matched, digital remote, separate adjustable firmness of the halves of the bed, plush soft top, memory cell or latex pillow tops (your choice). Solid wooden box with a luxury upholstering. No way around giving this bed a 5 star review. Wish I could afford it.
So you decided to go for luxury bed?
Knowing what I know I say it will probably be one of the best decisions you've made this year. Or ever.
We spend the third of our lives sleeping and the quality of the waking time is greatly determined by how good of a nights' sleep we get.
So, who could argue that investing in a high quality bed is a mistake?
And if they do, laugh at their face and leave them to buy their dresses and t-shirts that will be in the trash cans few years from now while you will still be basking in your luxury bed. A good bed is for life. That's all there is to it.
Who am I and how can I help?
My name is James Menta and I am running this website and writing bed reviews for years now. I can offer you every last bit of information to make a controlled and informed decision on whether this is the right bed for you.
But how is this website any different from any other website reviewing beds?
One simple thing – I don't just write reviews, I actually go out and try to contact people that are using this bed to ask questions I know are relevant.
And this was quite a task with this one and I actually found only one person that was willing to answer a few questions about their bed. Thank you, Debra.
Let's get down to work and see if this is the bed for you.
This bed is as close as it comes to perfect. If the price wasn't one of the categories in the Overall Quality Rating it would score a Whammy. That is what I call a perfect 50 out of 50 in the overall rating.
For your information, over the long years that this website exists, zero beds have scored 50 and the only way for something like this to happen is for someone to decided to make something as good as this bed and not make any profit of it.
So, you guessed it, I deducted the one point for the price tag.
And there is nothing that is not amazing and high end on this bed.


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fiercewireless.com Go back Open original
New T-Mobile's plans for in-home, fixed wireless internet services begin to take shape
When T-Mobile and Sprint first announced their plans to merge in April, the companies didn't mention any plans to offer in-home broadband internet services. But that changed in June, when the companies promised to grow into the nation's fourth largest ISP, behind the likes of Comcast and Charter.
And this week, T-Mobile offered its clearest glimpse yet at exactly what it will offer in terms of in-home, fixed broadband internet services if the company is allowed to merge with Sprint—to become what it has called "New T-Mobile."
And New T-Mobile's in-home internet plans are certainly ambitious.
The Wireless industry is an ever-changing world where big ideas come along daily. Our subscribers rely on FierceWireless as their must-read source for the latest news, analysis and data on this increasingly competitive marketplace. Sign up today to get wireless news and updates delivered to your inbox and read on the go.
Specifically, T-Mobile's chief operating officer Mike Sievert told the FCC that New T-Mobile "has confirmed that there is a large market for New T-Mobile's in-home broadband offering at the anticipated pricing and service levels." He said the company expects to offer in-home internet services to 52% of the zip codes across the county by 2024, covering 64% of Charter's territory and 68% of Comcast's territory. "New T-Mobile expects to utilize caching and other network optimization techniques to increase the number of households that can be served," he said.
Further, Sievert predicted New T-Mobile would gain 1.9 million in-home wireless broadband customers by 2021 and 9.5 million customers by 2024, making it the nation's fourth largest in-home ISP by 2024.
But perhaps the most interesting item in Sievert's comments is that New T-Mobile appears to be ready to allow customers to install their own equipment for the service. "Unlike other in-home broadband offerings, the wireless nature of the offering will also provide customers with the choice of avoiding installation appointments and related charges as they will be able to self-provision the necessary in-home equipment," Sievert said.
Thus, it appears that New T-Mobile believes it will succeed where Verizon appears to have failed. Verizon had developed a prototype aimed at allowing customers to install their own equipment for the carrier's new 5G Home internet service, but that device was not part of Verizon's commercial launch of the offering this month. Instead, the carrier said that its technicians would have to install the necessary equipment on the outside of customers' homes or offices so that they would be able to receive Verizon's 5G signal.
In his comments about New T-Mobile's planned in-home wireless broadband offering, Sievert said the company would provide consumers across the country with average download speeds of 100 Mbps. By 2024, he said New T-Mobile will be able to cover more than 250 million people with data rates greater than 300 Mbps and more than 200 million people at greater than 500 Mbps.
Those speeds are generally comparable to those provided by Verizon's new 5G Home internet service; Verizon has promised consistent speeds of around 300 Mbps and peak rates of up to 1 Gbps.
Interestingly, Sievert hinted that New T-Mobile's in-home internet service would stand separately from its mobile offerings. In his statement to the FCC, Sievert said that "New T-Mobile will also enable consumers to use their mobile services as a substitute for in-home broadband. T-Mobile has estimated that 5.8 million households will use their New T-Mobile 5G mobile services for all their broadband needs (whether in-home or mobile) by 2021 and a total of 6.3 million households by 2024."
Those comments appear to indicate that—in addition to offering an in-home internet product—T-Mobile would allow its mobile customers to create a Wi-Fi hotspot inside their home using their smartphone, in order to power their home internet services like laptops, video game consoles and smart TVs. (Although mobile customers today can create Wi-Fi hotspots inside their homes with their smartphones, such services are generally capped at 10 or 20 GB per month. ISPs like Comcast and Altice have pegged average in-home internet usage at around 200 GB per month, likely due to high-bandwidth applications like Netflix and Hulu.)
Dave Mayo is the T-Mobile executive in charge of the operator's fixed wireless plans, and he has been relatively tight-lipped about how the operator might move forward in the space.
Nonetheless, T-Mobile's plans for the in-home internet industry serve to again shine a light on the potential for wireless technology to deliver internet services into homes and offices. Players ranging from AT&T to C Spire to Windstream to Rise Broadband are deploying fixed wireless services in urban and rural areas, and the technology promises to create an alternative to the wired internet offerings sold by Comcast, Charter and AT&T.


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908-625-1571 pauledwardpinkman@gmail.com
Philip F. Clark discusses my work.
Grief, Truth, Lies
Identity (Portraits)
Depression sets in (Less is More)
by admin | Dec 31, 2009 | Thinking about Art - Out Loud
What does it mean to be an artist? and then what does it mean to be an artist in the 21st century in the US? I've written here before how Duchamp determined what an artist was through a leap of complete conviction and belief and that concept continues to operate for more and more artists every day.Now, flash forward, and what does it mean for us, artists who define ourselves as such and yet remain stubbornly in the shadows. What the hell is this state of mind and soul that makes so many people self-identify, "I am an artist", and yet we have no concise meaning for that phase.One aspect of being an artist today is that it is deigned to be a sort of gut wrenching process. Angst is the emotion that motivates it all, right? Moving people to do things that are considered outrageous, anxiety driven and aggressive. Nothing new there. We're all Vincent Van Gogh, Jackson Pollock, or Dash Snow, you name it, that's us. Artists looking for success and attention through living out loud, drunk, drugged and cantankerous and always defiantly creating.
Another maybe more pervasive approach seems to be the simmer and slow burn(out) process. Work and work and work and work and get burned out when few if any pay any attention at all. The irony is that it doesn't seem to matter the quality of the work. Remember, as Duchamp wrote, "Whether [the artist] with his own hands made the [art] or not has no importance. He CHOSE it. He took an ordinary article of life, placed it so that its useful significance disappeared under the new title and point of view – and created a new thought for that object."
Where does that leave artists like that? Like me? That is, those of 'us' who come at art from a different place. It seems that the USA in the latter part of the 20th century and the beginning of the 21st, only knows how to create from and respond to neurosis. We are, at this juncture in time, a highly neurotic society, acting like junkies on a trip, a culture trip if not an actual heroin trip. The requirement seems to be "hit 'em between the eyes" and do it in a place like LA or NYC where there's currency in that approach. (No good selling carpets in Persia.)
It's almost humorous how junky culture thrives like marijuana in California. It gets co-opted into 'elite' society. Artists, the self- described and determined outcasts and harbingers of society wait and wait for acknowledgment from the very society they profess to hate. The authentic ones pretend not to notice the co-option that happens as they become members of the "I deserve this" classes and convince themselves that they are special because of what they have to say.
The inauthentic ones make no bones about it. They use the position of auteur and outsider to catapult themselves into the mainstream of money and position. No bullshit. Give me the money!
And then there's the last group. The 'believers'.
I can honestly say that deep in my soul is a belief that art has inherent value. I cannot really say why I believe that. I think, often, that I am just a faux-outcast, determined to prove that I'm important by simply saying so. Can't I do that? Duchamp said I could and an army of artists worldwide have followed in his footsteps.
In my last installation I worked hard to create something that would present a different kind of space. I wanted, and seem to have achieved, an art piece that gave people a sense of quiet and contemplation. By channeling some aspects of 19th century art (Manet to be specific) and reaching toward those moments where I find myself feeling most centered and open, the work replicated the idea of presence. And as far as I can tell, it succeeded with the majority of the audience. This was remarkably rewarding.
Ah, but therein lies the trouble. Who was the audience and to what extent is it necessary for art to have an extensive audience to 'live'? I have never been successful at selling my art or showing it in any thing like a grand venue. In great part because I haven't made selling a focus. I haven't wanted to. I don't get a thrill from turning my work into a commodity. I realized at some point in the past that just creating more objects, more stuff that people can add to their burgeoning closets and storage isn't and wasn't what mattered. In many ways, I reveal myself in the process of making things. The issue comes with the idea of those things being product rather than concept, reaction, feeling. The idea of accumulation of objects has been historically seen as a sign of wealth, status and import. I feel comfortable, however, saying beyond doubt that we have reached a point between population and the ability to 'make' and 'buy' things that further accumulation is pointless. In fact, it feels like the Shakers had it right. Or the Buddhists. Less is more.
When Robert Browning has the painter Andrea del Sarto say, "Well, less is more, Lucrezia: I am judged." it comes as no surprise that he puts those words in the mouth of a painter. There are times when things seem to go so well that there's no time to notice nothing's changed. Shows happen, there's lots of excitement, people pay attention for a moment or two and then BANG!, it's over. And what's left is the same void that was there before. That's the thing that makes me realize how pedestrian I really am as an artist. I am looking for something more profound than wealthy people buying expensive objects or, for that matter, ordinary people buying ordinary objects.
And so what of creating from a different place? Making work that speaks to another part of the soul? It seems it has little place in our crack(berry) induced, video exhausted, television controlled world. Still, somehow, trying to make something that might peek through all that, that might actually touch an audience and make them stop has such as appeal that it, in turn is it's own drug. The drug of creativity.
Six portrait-based works to be seen at See|Me – ChaShaMa, World Trade Center, NYC 30 May '19
THE REJECTS at Cold Bench online 30 May '19
New Works on Paper at the Drawing Rooms, Jersey City 6 May '19
Celebrating Unlearning 6 May '19
Crossing Lines: Paul Edward Pinkman at the Watchung Arts Center 18 Feb '19
AESTHETIC BONDS: Paul Edward Pinkman at The Gallery at Hillside Square 13 Mar '17
Monmouth Museum exhibit includes two Paul Edward Pinkman "Selfie" portraits 15 Sep '15
2015 Invitational Opens at Watchung Arts Center 15 Sep '15
Conceptual Art Edouard Manet Fine Art Michelangelo Raphael
Copyright 2017, Paul XO Pinkman


ZephLabs, LLC is a one man indie game studio with a mission to convert "spare" time into quality mobile games.
Founded in 2010 by Levi Lansing, ZephLabs kicked off with the release of Pong '72, a mildly successful clone of the original Pong. Following a few threats from Atari, Inc., Levi began focusing on original game design drawing inspiration from his favorites but unable to settle on a single genre. For the last 4 years he has been designing a couple games every year, with about 50% seeing the light of release. With a renewed drive for indie development, you can expect more games from ZephLabs in the coming months.
There are far more images available for ZephLabs, LLC, but these are the ones we felt would be most useful to you. If you have specific requests, please do contact us!


Amid the constant flurry updates to Google Chrome, extensions now available for Safari 5, and previews of Internet Explorer 9, you may have missed Mozilla Firefox 4 peeking its head over the horizon. Although still ambling along in beta form, the next milestone release from the company that commands more market share than other non-Microsoft browser will bring with it a number of significant upgrades, including some that may sway recent converts to Safari and Chrome. What's new and worthwhile? We gave it a test drive to find out.
Whether you consider yourself a complete saint on the Web, or admit to a will easily plied by curiosity, we're guessing you wouldn't want your Internet history splayed open and examined by a random stranger. But an interesting loophole in CSS can do just that, testing up 210,000 URLs per minute and potentially even identifying you by triangulating between the social networking groups you visit. The latest Firefox will slap a much-need patch over this (rather disturbing) security hole, keeping knowledge of your visits to sewing and knitting forums safe. For now.
Or as we like to call it, "Chrome style." Firefox 4 will do away with the current (and rather dated) interface that places tabs below a slew of other information to put them up top, prioritizing the names of the sites you're browsing. Not surprisingly, it looks a lot like Google Chrome, which may be a saving grace for a browser that has started to show its age after the latest round of competitor redesigns.
Where Tabs on Top brings Firefox 4's interface on par with Chrome's in some ways, App Tabs might actually be a genuine step forward. For users who keep a number of tabs open all day – like Pandora, Gmail and Facebook – App tabs allow you to make a persistent tab that will never go away, kind of like pinning an application to your start bar in Windows 7. It also shrinks to the size of a mini icon, saving space and helping differentiate app tabs from your other tabs.
Where do you put all the options for a browser when you strip them off the top in favor of tabs? Under a single menu button, of course. The orange Firefox button on the upper left of a Firefox window now offers access to every Firefox command you need, including history, print, and customizations.
If HTML5 weren't the wave of the future, devices like the iPhone 4 and iPad that support it instead of Flash certainly rewrote the course of history to make it so. While Firefox 3.6 includes some basic support for HTML5, it remains rudimentary compared to both Chrome and Safari. Firefox 5 will include a brand new HTML5 parser built from the ground up, support for Google's WebM HD video format, and more HTML5 form controls.
A new manager for add-ons will allow developers to code them more easily, and you to install them more easily. Perhaps most noticeably, the interface for installing and managing add-ons has completely changed (it's just another tab now) and you'll no longer have to restart Firefox to apply a new add-on.


Our Lady of the Snows Catholic Academy School.
Versant's 52 exclusive homes comprised of Chalets and Lodges, each as majestic and grand as the surrounding Rocky Mountains. Located just minutes from downtown Canmore, steps away from the award winning Stewart Creek golf course, and on the doorstep of the rugged backcountry, Versant is both a luxurious mountain enclave and a thrilling gateway to adventure.
The first 5 Purchasers will receive the following incentive package.


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Home/News/"We have disbursed N100bn in five years to unemployed youths and small businesses" – FG claims
"We have disbursed N100bn in five years to unemployed youths and small businesses" – FG claims
PeremoboweiDecember 20, 2021
The Minister of state for labour and employment, Festus Keyamo has claimed that the federal government has in the last five years disbursed N100bn to unemployed youths and small businesses.
Festus said this at an empowerment programme held in Jos, in which he was represented by the Abubakar Nuhu Fikpo, Director-General of the National Directorate of Employment (NDE).
In a statement released on Sunday December 19, the Minister disclosed that the disbursement of N100 billion was done through the Development Bank of Nigeria since 2017.
"You will all agree with me that unemployment is one of the remote causes of banditry, terrorism, corruption and other forms of criminality.
"Even though the Federal Government is working hard at check terrorism and all other forms of criminality and violent crimes, it is equally prosecuting the war against mass unemployment.
"I am proud that the National Directorate of Employment (NDE), whose board I am privileged to chair and also directly supervise, is effectively leading that war against mass unemployment.
"Let me inform you all that the Federal Government has put all plans in place to ensure that businesses succeed in Nigeria.
"The present administration has launched a series of funding and capacity development initiatives designed to support Micro, Small and Medium Enterprises (MSMEs).
"Since 2017, the Development Bank of Nigeria has disbursed a total of N100 billion through the bank's 27 participating financial institutions (PFIs), thereby impacting more than 100,000 MSMEs.
"It is heartwarming to note that 52 percent of loans disbursed in 2019 and 2020 were to youths and women-owned businesses."
Festus further revealed that empowerment programmes for women were designed to ensure that beneficiaries acquire relevant skills for starting their own businesses.
"Our goal is to provide them with quick income-generating opportunities because of their roles in providing family support and sound social stability at the very foundation of society.
"I am proud to inform you that the Women Employment Branch (WEB) of the Small Scale Enterprises Department of the NDE is responsible for driving initiatives aimed at providing ample opportunities for women with the entire framework of our employment creation processes.
"Our objective in empowering women is clear. We create employment for women to improve their socio-economic status, reduce poverty, create wealth and boost their leadership qualities, so that they can have a say in their immediate community in relevant decision-making processes."
disbursed FG five years N100bn small businesses unemployed youths
Peremobowei
Rapper Dremo and his friends attacked by robbers in Lagos traffic
Nancy Isime writes birthday appreciation note in tears
See Photos of IPOB leader, Nnamdi Kanu in court
FG set to launch new satellite worth over N2.5billion
Corps member allegedly [email protected] a 12-year-old girl in Bayelsa(Photos)
Buhari order Operatives to Leverage 5G Network to Fight Insecurity in Nigeria
BREAKING NEWS!!! FG Finally lifts Twitter Ban


Janine Steele has over a dozen years experience in the Canadian Media Industry. She currently manages production and operations of the NFB Digital Studio at the National Film Board of Canada. Her team has created the pioneering interactive documentaries Circa 1948, Seven Digital Deadly Sins, Bear 71, Welcome to Pinepoint and more (visit nfb.ca/interactive.) Janine's work has received dozens of awards including a Cannes Cyber Lion, FWA Site of the Year 2012 and four Webby Awards (Oscars of the Internet). Prior to the NFB, Janine was a Business Analyst with the Canadian funding agency Creative BC / BC Film where she was instrumental in establishing digital and interactive media funding programs for both traditional filmmakers and new media makers.


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Q: How to convert time zones in oracle? I have a list from peoplesoft timezones which i need to convert using From_TZ method. The time zones will be in a format as EST,IST..etc.
select FROM_TZ (CAST ( (:dt) AS TIMESTAMP), 'EST')
          AT TIME ZONE 'IST' from dual

A: IST does not work, because it is ambiguous, see this table:
SELECT tzabbrev, TZ_OFFSET(tzname), tzname
FROM V$TIMEZONE_NAMES tz WHERE tzabbrev IN ('EST', 'IST')
ORDER BY 1,2,3;

TZABBREV    TZ_OFFSET(TZNAME)   TZNAME
EST +10:00  Australia/Brisbane
EST +10:00  Australia/Lindeman
EST +10:00  Australia/Queensland
EST +10:30  Australia/Broken_Hill
EST +10:30  Australia/Yancowinna
EST +11:00  Australia/ACT
EST +11:00  Australia/Canberra
EST +11:00  Australia/Hobart
EST +11:00  Australia/LHI
EST +11:00  Australia/Lord_Howe
EST +11:00  Australia/Melbourne
EST +11:00  Australia/NSW
EST +11:00  Australia/Sydney
EST +11:00  Australia/Tasmania
EST +11:00  Australia/Victoria
EST -05:00  America/Cayman
EST -05:00  America/Detroit
EST -05:00  America/Fort_Wayne
EST -05:00  America/Grand_Turk
EST -05:00  America/Indiana/Indianapolis
EST -05:00  America/Indiana/Marengo
EST -05:00  America/Indiana/Vevay
EST -05:00  America/Indianapolis
EST -05:00  America/Iqaluit
EST -05:00  America/Jamaica
EST -05:00  America/Kentucky/Louisville
EST -05:00  America/Louisville
EST -05:00  America/Montreal
EST -05:00  America/New_York
EST -05:00  America/Panama
EST -05:00  America/Thunder_Bay
EST -05:00  Canada/Eastern
EST -05:00  EST
EST -05:00  EST5EDT
EST -05:00  Jamaica
EST -05:00  US/East-Indiana
EST -05:00  US/Eastern
EST -05:00  US/Michigan
EST -06:00  America/Cancun
EST -06:00  America/Chicago
EST -06:00  America/Indiana/Knox
EST -06:00  America/Indiana/Petersburg
EST -06:00  America/Indiana/Vincennes
EST -06:00  America/Knox_IN
EST -06:00  America/Managua
EST -06:00  America/Rankin_Inlet
EST -06:00  CST
EST -06:00  US/Central
EST -06:00  US/Indiana-Starke
EST -07:00  America/Cambridge_Bay
IST +00:00  Atlantic/Reykjavik
IST +00:00  Eire
IST +00:00  Europe/Belfast
IST +00:00  Europe/Dublin
IST +00:00  Iceland
IST +02:00  Asia/Gaza
IST +02:00  Asia/Jerusalem
IST +02:00  Asia/Tel_Aviv
IST +02:00  Israel
IST +05:00  Asia/Karachi
IST +05:30  Asia/Calcutta
IST +06:00  Asia/Dacca
IST +06:00  Asia/Dhaka

You can use the timezone abbreviation only for following timezones:
SELECT tzabbrev, tzname, TZ_OFFSET(tzname)
FROM V$TIMEZONE_NAMES tz
WHERE tzabbrev = tzname;

TZABBREV    TZNAME  TZ_OFFSET(TZNAME)
CET CET +01:00
CST CST -06:00
EET EET +02:00
EST EST -05:00
GMT GMT +00:00
HST HST -10:00
MET MET +01:00
MST MST -07:00
PST PST -08:00
WET WET +00:00

Important note: When you use the timezone abbreviation like EST then you don't get any Daylight-Saving-Time values!

redpajama_set_name: RedPajamaStackExchange


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Home>Collection>Madonna and Child
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This image is in the public domain. You can copy, modify and distribute this image, even for commercial purposes. Learn more about our image policies.
Shown from the waist up, a young woman holds a baby up against her chest in this vertical painting. They both face us and have pale skin. The woman holds the baby against the right side of her chest, to our left, and she tips her slender, oval face toward him. She looks out at us with hazel eyes under thin, arched brows. She has a long nose, smooth cheeks, and a pale pink, bow mouth. The neckline and the cuffs of her garnet-red gown peek out from beneath a dark, spruce-blue, gold-edged mantle that covers her head and wraps around her body. One forearm rests along a surface marbled in red, brown, and tan. With her other hand, she supports the chest of the baby, who wears a long, white robe. The sleeves and hemline are pushed up to reveal his pudgy arms and the leg we can see. The infant has wavy, reddish-brown hair, delicate features, and large, green eyes under faint brows. His head also tilts to our left, and he gazes off in that direction. His exposed left leg, on our right, dangles over the woman's arm, his toe nearly brushing the tabletop. His other leg is tucked within the folds of her robe. The long fingers of her free hand curl around the child's hidden leg. The pair are warmly lit from the upper left and set against a dark, earth-brown background.
Giovanni Bellini
Madonna and Child, c. 1480/1485
painted surface: 52.3 x 41.5 cm (20 9/16 x 16 5/16 in.)
overall: 53.7 x 42.5 cm (21 1/8 x 16 3/4 in.)
framed: 86.8 x 70.6 x 7.9 cm (34 3/16 x 27 13/16 x 3 1/8 in.)
Samuel H. Kress Collection
Giovanni Bellini (artist) Venetian, c. 1430/1435 - 1516
Niccolò d'Attimis, Conte Maniago, Spilimbergo (near Udine in Friuli); purchased 1916 by (Duveen Brothers, Inc., London and New York);[1] on approval to Carl W. Hamilton [1886-1967], New York, by 1920, and returned 1921;[2] sold 1937 to the Samuel H. Kress Foundation, New York;[3] gift 1939 to NGA.
[1] The name "Olivotti" is recorded next to the date and amount of the purchase, possibly indicating an agent for the transaction (X Book, Reel 422, Duveen Brothers Records, accession number 960015, Research Library, The Getty Research Institute, Los Angeles).
[2] According to Edward Fowles (Memories of Duveen Brothers, London, 1976: 127-129), a large collection of Italian paintings was offered on approval to Hamilton by 1920, but he did not purchase them and returned them to Duveen the following year.
[3] The Duveen Brothers letter confirming the sale of twenty-four paintings, including NGA 1939.1.352, is dated 9 March 1937; the provenance is given as "Maniago Collection" (copy in NGA curatorial files; Box 474, Folder 5, Duveen Brothers Records, accession number 960015, Research Library, The Getty Research Institute, Los Angeles). See also The Kress Collection Digital Archive, https://kress.nga.gov/Detail/objects/1332.
Duveen Brothers, Inc.
Hamilton, Carl W.
Kress Foundation, Samuel H.
d'Attimis, Conte Maniago, Niccolò
Loan Exhibition of Important Early Italian Paintings in the Possession of Notable American Collectors, Duveen Brothers, New York, 1924, no. 47 (no. 44 in illustrated 1926 version of catalogue).
Exhibition of Italian Renaissance Art, Wadsworth Atheneum and Morgan Memorial, Hartford, 1932, no. 8.
Byzantium: Faith and Power (1261-1557), The Metropolitan Museum of Art, New York, 2004, no. 306, repro., as Icon of the Virgin and Child.
Duveen Brothers. Duveen Pictures in Public Collections of America. New York, 1941: no. 80, repro.
Preliminary Catalogue of Paintings and Sculpture. National Gallery of Art, Washington, 1941: 21, no. 445.
Book of Illustrations. National Gallery of Art, Washington, 1942: 248, repro. 70.
Paintings and Sculpture from the Kress Collection. National Gallery of Art, Washington, 1945 (reprinted 1947, 1949): 90, repro.
Summary Catalogue of European Paintings and Sculpture. National Gallery of Art, Washington, 1965: 12.
National Gallery of Art. European Paintings and Sculpture, Illustrations. Washington, 1968: 4, repro.
Shapley, Fern Rusk. Paintings from the Samuel H. Kress Collection: Italian Schools, XV-XVI Century. London, 1968: 39, fig. 94.
European Paintings: An Illustrated Summary Catalogue. National Gallery of Art, Washington, 1975: 20, repro.
Shapley, Fern Rusk. Catalogue of the Italian Paintings. 2 vols. National Gallery of Art, Washington, 1979: 1:56-57; 2:pl. 32.
European Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1985: 40, repro.
Boskovits, Miklós, and David Alan Brown, et al. Italian Paintings of the Fifteenth Century. The Systematic Catalogue of the National Gallery of Art. Washington, D.C., 2003: 56-59, color repro.


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text:
\section{Introduction}

For the past few years the NCSU group has focused upon the development
of a comprehensive relativistic, many-body description of hadron
structure {\cite{bigpaper,ncsu}}.  This approach has many virtues,
particularly the explicit incorporation of gluonic degrees of freedom
and a rigorous connection to QCD at short distances.  Calculations
{\cite{ncsu}} of the glueball spectrum have been quite encouraging,
reproducing the available lattice data.

This talk details recent results from a new renormalization procedure
for the Coulomb gauge QCD Hamiltonian.  There are several reasons for
selecting the Coulomb gauge.  First, it is completely physical; there
are no spurious gauge degrees of freedom or ghosts.  Second, both
$q\bar q$ and gluon-gluon interactions appear explicitly in the
canonical Hamiltonian which facilitates contact with quark model
phenomenology. Finally, there appears to be a natural scenario for
confinement in the Coulomb gauge, as originally suggested by Gribov
{\cite {gribov}} and recently formalized by Zwanziger
{\cite{zwanziger}}.

This Hamiltonian must be supplemented with a regulator, which is
applicable nonperturbatively and is consistent with the many-body
techniques we eventually wish to employ.  Next the renormalized
Hamiltonian is constructed, which includes the correct cut-off
dependent counterterms such that physical quantities (e.g.,
eigenvalues) are cut-off independent.  It is inevitable that the
regulators at our disposal will violate subsets of Lorentz covariance
and gauge invariance, so that the structure of the counterterm
Hamiltonian may be expected to be quite complicated.  Due to
asymptotic freedom, however, it should be reasonable to construct
these operators using perturbation theory, provided the energy cut-off
is not too low.

The result is a Hamiltonian formulation of QCD which is fully
covariant and gauge invariant through some order in perturbation
theory.  To effectively apply this Hamiltonian, further approximations
and phenomenological considerations are necessary.  An approach we
have initiated involves making a variational {\em Ansatz} for the
physical vacuum state, based on the BCS ``pairing'' form.
Quasi-particle degrees of freedom emerge naturally with
constituent-scale masses and may be identified with constituent quarks
and gluons.  One then can construct approximate bound states of these
constituents utilizing standard many-body techniques such as
Tamm-Dancoff and RPA.

\section{Regularization and Renormalization}

Our starting point is the canonical QCD Hamiltonian in the Coulomb
gauge ${\bf \nabla}\cdot{\bf A}=0$.  The dynamical degrees of freedom are the
transverse gauge fields ${\bf A}$, their conjugate momenta ${\bf \Pi}$, and the
quark field $\psi$.  The canonical Hamiltonian may be written as
\begin{equation}
H_{\rm can} = H_0 + H_{gg} + H_{qg} + H_C \; ,
\label{breakup}
\end{equation}
where $H_0$ is the free Hamiltonian for quarks and transverse gluons,
$H_{gg}$ contains the self-interactions between transverse gluons, and
$H_{qg}$ contains quark-gluon interactions.  $H_C$ is the Coulomb
term,
\begin{equation}
H_C = \frac{1}{2} g^2 \int d^3x d^3y\thinspace
{\cal J}^{-1}\rho^a({\bf x}) K^{ab}({\bf x},{\bf y}) {\cal J} \rho^b({\bf y})\; ,
\label{coulomb}
\end{equation}
where ${\cal J}= {\rm det}\left[{\bf \nabla}\cdot{\bf D}\right]$ is the Fadeev-Popov
determinant, and the kernel $K$ is given by
\begin{equation}
K^{ab}({\bf x},{\bf y}) = \langle{\bf x},a|({\bf \nabla}\cdot{\bf D})^{-1}(-{\bf \nabla}^2)
({\bf \nabla}\cdot{\bf D})^{-1}|{\bf y},b\rangle\; .
\end{equation}
The color charge density $\rho^a$ includes both matter and gluonic
contributions, $\rho^a({\bf x}) = \psi^\dagger({\bf x}) T^a\psi({\bf x}) +f^{abc}
{\bf A}^b({\bf x}) \cdot {\bf \Pi}^c({\bf x})$, so that $H_C$ represents a complicated
set of instantaneous quark-quark, quark-gluon, and gluon-gluon
interactions.

Perturbative schemes for renormalizing Hamiltonians typically suffer
from technical problems related to the occurrence of vanishing energy
denominators.  One way to avoiding this difficulty is the cut-off
method of G{\l}azek and Wilson {\cite{gw93}}.  In this approach one
considers the basis formed by eigenstates of the free Hamiltonian
$H_0$, with eigenvalues $E_n$.  The theory is then regulated by
suppressing matrix elements of $H$ between states for which the
absolute value of the free energy difference $E_{nm}\equiv E_n-E_m$ is
large.  Specifically, we define matrix elements of the regulated
Hamiltonian $H(\Lambda)$ by
\begin{equation}
\langle n|H(\Lambda)|m \rangle \equiv E_n \delta_{nm}
+f_{mn}(\Lambda) \langle n|H_I |m\rangle\; ,
\end{equation}
where $H_I=H-H_0$ is the interaction.  Here $f_{nm}(\Lambda)$ is some
convenient function which is unity for $|E_{nm}|\ll \Lambda$ and vanishes
for $|E_{nm}|\gg \Lambda$.  In Ref.  {\cite{bigpaper}} we chose
\begin{equation}
f_{nm}(\Lambda) = e^{-E_{nm}^2/\Lambda^2}\; .
\label{cut-off}
\end{equation}
Note that, since the cut-off is defined in terms of {\em free} energy
differences, it is not fully Lorentz covariant (though it is of course
rotationally invariant).  It also violates gauge invariance, though
this issue is difficult to address directly in the present context
since we work in a fixed gauge.  The counterterm Hamiltonian will
therefore also contain Lorentz- and gauge-noninvariant terms, which
are necessary to correct for the violations induced by the regulator.
These complications are in practice unavoidable if one wishes to work
with Hamiltonians in a relativistic field theory.

At this point we have a fully regulated formulation of QCD in the
Coulomb gauge.  Our next task is to remove the dependence on the
cut-off parameter $\Lambda$ by adding counterterms to the Hamiltonian.  We
thus obtain the renormalized effective Hamiltonian, $H_{\rm eff}(\Lambda)$, which
may then be analyzed nonperturbatively using many-body techniques.

An elegant way of determining the counterterms involves designing a
similarity transformation which changes the cut-off in all matrix
elements of $H$.  Because the transformed Hamiltonian is equivalent to
the original one, physical predictions (e.g., eigenvalues) are
unchanged.  One then searches for Hamiltonians which are form
invariant, or ``coherent,'' under this transformation.  Such
self-similar Hamiltonians will automatically yield cut-off independent
predictions and thus represent renormalized Hamiltonians.
Specifically, we write
\begin{equation}
H(\Lambda^\prime) = U(\Lambda^\prime;\Lambda) H(\Lambda) U^\dagger(\Lambda^\prime;\Lambda)\; ,
\label{simtrans}
\end{equation}
where $U$ is a unitary matrix constructed so that the matrix elements
$\langle m|H(\Lambda^\prime)|n \rangle$ are all proportional to
$\exp(-E_{nm}^2/{\Lambda^\prime}^2)$.  Construction of a suitable $U$ is may
be accomplished following the formulation of Wegner {\cite{wegner}}.
We define the operator $T$ via
\begin{equation}
{dU(\Lambda;\Lambda^\prime)\over d(\Lambda^{-2})} \equiv T(\Lambda)U(\Lambda;\Lambda^\prime)\; .
\end{equation}
The evolution of $H$ under a change in $\Lambda$ is then given by
\begin{equation}
{dH(\Lambda)\over d\Lambda^{-2}} = [T(\Lambda) , H(\Lambda)]\; ,
\label{dhdlambda}
\end{equation}
from which $T$ is seen to be a generator of infinitesimal scale
transformations.  It is straightforward to show that the choice
\begin{equation}
T(\Lambda) = [H_0,H(\Lambda)]
\end{equation}
results in the transformation properly changing the value of the
cut-off parameter in the regulating functions used for all matrix
elements of the Hamiltonian{\cite{bigpaper}}.

Eqn. (\ref{dhdlambda}) can then be analyzed order-by-order in
perturbation theory by expanding the interaction $H_I = \sum_p g^p
H_p$.  At second order, for example, we find
\begin{equation}
\langle n|\delta V_2|m\rangle
= \frac{1}{2}\sum_l\left({1\over E_{nl}}+{1\over E_{ml}}\right)
\left(e^{-2E_{nl}E_{ml}/\Lambda^2} - e^{-2E_{nl}E_{ml}/{\Lambda^\prime}^2}\right)
\langle n|V_1(\Lambda)|l\rangle \langle l|V_1(\Lambda)|m\rangle\; ,
\end{equation}
where $\langle n|H_p(\Lambda)|m\rangle \equiv
\exp\left(-E_{nm}^2/\Lambda^2\right) \langle n|V_p(\Lambda)|m\rangle$ defines
the ``reduced'' interaction $V_p$, and $\langle n|\delta V_2|m\rangle
\equiv \langle n|V_2(\Lambda^\prime)|m\rangle - \langle n|V_2(\Lambda)|m\rangle$.
This shift in the interaction explicitly accounts for the physics
removed by changing the cut-off from $\Lambda$ to $\Lambda^\prime$.

As discussed above, requiring form-invariance of the Hamiltonian under
the similarity transformation determines the counterterm structure
uniquely.  We have implemented this constraint and determined the
complete effective Hamiltonian through second order.  The operators
that appear in the counterterm Hamiltonian include, as expected, all
possible one-body operators which are rotationally invariant (and
respect, e.g., time-reversal invariance, charge conjugation, etc.).
These are a gluon ``mass'' term, ${\bf A}^2$, the operators ${\bf \Pi}^2$ and
$(\nabla_i A_j)^2$, and, for fermions, $\overline{\psi}\psi$.  Each has a
calculable coefficient, except for the particular combination of
${\bf \Pi}^2$ and $(\nabla_i A_j)^2$ which has the structure of a gluon
wavefunction renormalization.  For this combined operator, the {\em
variation} of the coefficient under changes in the cut-off is
calculable, and gives the gauge field anomalous dimension: $\gamma_A =
-(g^2/16\pi^2)\left(4C_A/3\right)$, where $C_A$ is the Casimir
invariant of the adjoint representation.  See Ref. {\cite{bigpaper}}
for full details.

\section{Work in Progress and Future Directions}

Having obtained the renormalized Hamiltonian, we can now proceed to
construct a model for the ground state and analyze excitations such as
glueballs, mesons and hybrids.  In Ref. {\cite{bigpaper}}, we focused
attention on the gluonic sector and made a variational BCS vacuum {\em
Ansatz}.  This leads to a gap equation which may be solved numerically
to give the spectral function of the quasi-particle constituent
gluons.

Work in progress includes extending the similarity analysis to higher
orders, applying this smooth cut-off treatment to the quark sector and
designing improved models for the vacuum.  At third order, one should
see the running of the coupling, as well as the appearance of many new
operators in the counterterm Hamiltonian.  Going beyond BCS is
expected to be particularly important in a combined treatment of the
quark and gluon sectors.  In addition, other composite operators, such
as currents, must be properly renormalized which is also possible
using the formalism presented in Ref. {\cite{bigpaper}}.

Finally, there are a host of phenomenological applications to be
explored.  Not only meson spectra but also form factors, electro-weak
and hadronic decays, etc. can be predicted and confronted with
available data.  This comprehensive analysis should provide
significant insight into hadron structure as well as a key linkage
between fundamental QCD and the successful phenomenological quark
model.

\section*{Acknowledgments}
Financial support is provided by U. S. Department of Energy.

\vskip 1 cm
\thebibliography{References}

\bibitem{bigpaper}
D. G. Robertson, E. S. Swanson, A. P. Szczepaniak, C.-R. Ji, and
S. R. Cotanch, submitted to Phys. Rev. D.

\bibitem{ncsu}
A. Szczepaniak, E. S. Swanson, C.-R. Ji, and S. R. Cotanch, Phys.
Rev. Lett. {\bf 76}, 2011 (1996);
A. Szczepaniak and E. S. Swanson, Phys. Rev. D {\bf 55}, 1578 (1997);
E. S. Swanson and A. Szczepaniak, {\tt hep-ph/9804219}.

\bibitem{gribov}
V. N. Gribov, Nucl. Phys. B {\bf 139}, 1 (1978).

\bibitem{zwanziger}
D. Zwanziger, Nucl. Phys. B {\bf 485}, 185 (1997);
A. Cucchieri and D. Zwanziger, Phys. Rev. Lett. {\bf 78}, 3814 (1997).

\bibitem{gw93}
St. D. G{\l}azek and K. G. Wilson, Phys. Rev. D {\bf 48}, 5863
(1993); {\em ibid.} {\bf 49}, 4214 (1994).

\bibitem{wegner}
F. Wegner, Ann. Physik {\bf 3}, 77 (1994).

\end{document}

redpajama_set_name: RedPajamaArXiv


text:
Q: iOS UINavagationController stack go infinite when you press fast enough I setup a simple UINavigationController with three scene, then control drag the UIBarButtonItem to every next scene. Simplest setup.
When I run in simulator, and press very fast to the next scene, it like spawning some extra last scene. Look at the GIF below.
https://imgur.com/a/15ilQ
Is this normal? or I do it wrongly?

Edit 1: It appear when I setup the UIBarButtonItem with the same labeling, it will cause the spawning of extra scene. Not when I give them a unique labeling, or at least different from the next scene.


text:
official site | twitter | instagram | facebook | youtube | soundcloud
"South Carolina rock-infused rapper Dro Kenji has been on a tear since last August when he received a call from the Internet Money team. Releasing project after project, Kenji has been showcasing his impressive vocals and emotion-filled lyrics. With his newest project, "F*CK YOUR FEELINGS", we see Kenji's most confident and cohesive work." – Earmilk
"Once he selects a beat, the melodies and lyrics flood over him like an epiphany. The result is raw and heart-sinking music, meant to be a guiding light to fans." – Audiomack
Dro Kenji's rise is a testament to the power of the internet. Last year, the 19-year-old artist was a senior in high school in South Carolina, releasing a string of captivating singles and mixtapes on his SoundCloud. Now, he's preparing to release his debut album on Mira Touch/ Internet Money Records/ 10K Projects, collaborating closely with the label's team of platinum-certified producers, and hoping to earn some plaques of his own. A true child of the digital age, raised on video games and the lo-fi sounds of rap's online underground, he has a remarkable ability to capture both the apathy and aspiration of his generation in his songs and a spellbinding voice with which to tell these stories.
Raised in Summerville, South Carolina, a town outside of Charleston, Dro Kenji mostly kept to himself. "There's not really a lot going on," he says of his hometown. "Up until I started making music at the end of 10th grade, I really didn't do shit but play video games and listen to music." His parents put him on to classic '90s-era hip-hop and R&B, but some of his earliest music fandom came from an unlikely combination of his two main hobbies: the video game Rock Band. While playing, he heard songs by Weezer, Radiohead, and Soundgarden, bands whose lead singers would go on to influence his own soaring melodies.
In high school, inspired by the DIY recordings he found on SoundCloud from XXXTentacion among others, Dro Kenji decided to start making music of his own. "When I wanted to make a song, I didn't know how to do anything," he remembers."I didn't have a mic; I just had a shitty laptop." At first, he downloaded an app that allowed him to use his iPhone 6 as a microphone plugged into his computer but, eventually, his process evolved and so too did the songs he wascrafting, reflecting a sound that was more melodic and off-kilter like the music he had always been drawn to online.
Last summer, after graduating from high school and building a steadily growing SoundCloud fanbase with mixtapes like Introvert and standout tracks like the buoyant anthem "Finnished," Dro Kenji got a DM on Instagram an Internet Money A&R. A month later, he was in Los Angeles, recording at the Internet Money headquarters. The songs he's recorded over the past six months, with tracks like "Save Me" and "Houdini" produced by Internet Money's resident hitmaker Nick Mira, show Dro Kenji with an elevated confidence in his impressive vocal range.
Eat Your Heart Out, his debut album on Internet Money and 10K Projects, deals with the growing painsof leaving home and living fast. While songs like the pop punk-inflected "4 Life" find him lamenting young love lost, hedonistic anthems like "Goodbyes" serve as a soundtrack for late nights that make it easier to forget. Overall, it presents Dro Kenji asan artist unafraid to bear his soul to a young generation going through the same experiences: "Put it in a song and they gon' fuck with it."
Dro Kenji Makes Losers Weep in "FINDERS KEEPERS" ft. Internet Money & Scorey
Dro Kenji Seeks a Spotless Mind in New "Vanish" Video
Dro Kenji Bargains with His Broken Heart in "Vanish" Single
Dro Kenji Has No Use For Love In New Video For "I'M RICH NOW B**CH"
Dro Kenji & $NOT Can't Escape Heartbreak in "Kill Cupid" Animated Video


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Sarah Chilton - CM Murray LLP
Sarah Chilton is a Partner at CM Murray LLP specialising in partnership and employment law.
She is dual qualified to practice in England & Wales and Scotland and has represented clients in both the English and Scottish Courts.
Sarah advises partners, partnerships, LLP members and LLPs on a wide range of issues including: termination provisions and senior partner exits, protection of confidential information, remuneration structures and issues arising in relation to deferred remuneration and incentive plans, business reorganisation and redundancy, conduct and performance issues, whistleblowing and discrimination.
Sarah regularly advises on cross-border issues involving multiple jurisdictions including the US, Russia, the Middle East and Europe and the Scottish law implications relating to funds using Scottish partnerships structures.
CM Murray LLP
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sarah.chilton@cm-murray.com
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Aster's transactional work includes mergers, acquisitions, disposals, joint ventures and LLP conversions. His advisory practice encompasses partnership agreements, governance, risk management and structuring issues. He has a particular interest in international structuring, including the establishment and operation of network structures (such as the Swiss Verein). On the contentious side, he assists firms and individuals with partner disputes, including team moves.
As well as professional services firms, Aster works with businesses in the financial services sector, including hedge funds and private equity houses, on the use of LLPs and partnerships.
Addleshaw Goddard LLP
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