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Quincy Data Adds U.S. Treasuries Data at Low Latency
Quincy Data Adds US Treasuries Data at Lowest Latency
Secaucus-NY2 sourced US Treasuries data via microwave at Aurora, IL data center
13 May, 2020 – Oakland: Quincy Data announced US Treasuries data has been added to its Quincy Extreme Data (QED) service. Quincy now sources on-the-run US Treasuries data at the Equinix Secaucus-NY2 data center. Quincy uses the McKay Brothers' microwave network to transport the data to Aurora, IL in under 4 milliseconds, the lowest latency available.
The QED service distributes data for the 2, 3, 5, 7, 10, and 30-year US Treasuries sourced from the leading cash Treasuries trading platform at the industry-leading futures exchange for US Treasuries.
Stephane Tyc, Quincy Data Co-founder: "Quincy serves the fixed income markets by providing traders and risk managers with the most up-to-date cash and futures pricing data. We are excited to interconnect the preeminent cash and derivative markets for US Treasuries."
Quincy's new US Treasuries data highlights the unrivaled value of combining premium exchange data with the lowest latency network.
Quincy Data's long-standing goal is to level the playing field for access to the best low latency market data. QED utilizes the microwave network of its sister company, McKay Brothers. Quincy and McKay are guided by the principle that markets function best when all participants can access the most up-to-date information.
Quincy offers short-term subscriptions, a discount for small and emerging firms, and a single API globally. QED feed is available in twenty major trading centers globally at latencies unmatched by any competitor.
About Quincy Data
Quincy Data LLC, is the leading microwave distributor of extremely low latency market data. Its Quincy Extreme Data service offers an integrated and normalized feed of select financial market data sourced from multiple exchanges in the US, Europe and Asia. QED is available in exchange colocation centers in the US, the UK, Germany, Spain, Italy, Switzerland, the UAE, India, Japan, Singapore and Hong Kong. Quincy Data is dedicated to levelling the playing field for extreme low latency market data. For more information visit www.quincy-data.com
About McKay Brothers
McKay Brothers and affiliates design, build and operate telecom networks for latency sensitive traders and risk managers of banks, funds and trading firms. Since upending the market for low latency wireless connectivity between Chicago and NY in 2012, McKay has provided fair and equal access to its lowest latency services across the US, Europe and Asia. It has main offices in Oakland, Geneva and Paris. For more information visit www.mckay-brothers.com
Sustainable Debt Issuance Doubles
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SEC requires a review of data on non-listed securities before initiating or resuming quotes.


We love working with different timbers to create our beautiful bespoke worktops. As a final step in completing a kitchen, our wooden worktops really make your room stand out from the crowd. But of course, we understand that our customers like to see things for themselves before they place their order. Whilst we encourage wholeheartedly that you visit our beautiful showroom in West Raynham, we do appreciate that this is not always possible and thus we offer the opportunity to purchase samples of our worktops, to be delivered to your home.
Our samples allow you to see the different wood types, grain patterns and finish options available. By purchasing our samples first, you can ensure that you are making an informed decision about what material you would prefer to use for your kitchen worktop and know that you have explored all possible options.
Iroko. This beautiful wood is a magnificent golden honey colour, bringing natural warmth and colour to any space. With a natural mix of light and dark tones, this is the perfect choice for any kitchen. A slightly more unusual choice of worktop timber, Iroko adds a unique feature to a kitchen, and is perfect for a feature piece such as an Island or table top. A more recent addition to our timber options as Iroko has been one of the most difficult wood types to find from an certified source, but after years of searching, we finally have one and are so happy to provide this sustainable timber choice.
Maple, a pale wood, that gives the same luxurious glow and lightness of Ash, without as much of the grain. Another great choice for a fresh feeling kitchen. With grain looking like crushed silk, we use it to great effect in kitchens where light can be an issue, or we want to balance out the colours of the units and walls. Maple is an incredibly hard wood, harder than oak even, and once oiled, this timber reflects light beautifully.
Cherry is a rich coloured timber and looks beautiful in all kitchen types, adding a beautiful unique colouring that is so statement. A natural timber that once oiled looks almost metallic, this worktop timber choice is certainly one that makes an impact. One way to make this timber pop even more is to pair it with neutral coloured cabinets to really let the bright red colouring shine and take the centre stage. As well as being incredibly beautiful, this wood is very dense with a fine, close grain giving it an even texture. The Cherry timber we use is called 95/50, which means the top surface must be at least 95 % red (as opposed to cream) and the underside at least 50 %.
Sapele has fascinating grain patterns and a lovely chocolatey hue. This timber makes for a vibrant worktop whilst adding an elegant touch. Our Sapele timber possesses a beautiful grain pattern of long straight lines of contrasting dark lines with hints of golden highlights. Sapele is the darkest of our African timbers, and is a fantastic choice for any kitchen which can be improved by a rich dark coloured worktop.
Wide Block – This is a very popular option for a wooden worktop. Using wide joined stave, this worktop style will allow you to really make a feature of your chosen wood, as it shows more of the grain, and looks subtle yet beautiful in any kitchen.
Traditional Plank – Inspired by stately homes, the Norfolk Oak traditional plank uses similar techniques to worktop construction found four hundred years ago. Portraying beautiful symmetry in length and placement, the traditional plank marries well with all wood textures and is the epitome of a country kitchen.
Superstave – This style of worktop offers full stave planks to create the most memorable impact. As well as being the Norfolk Oak signature style, the Superstave is very much the Rolls Royce in kitchen worktop design. Bringing uniformity and chic style to the fold, the Superstave also showcases the character of the grain, making the most of the natural beauty of the timber.
End Grain – Not only does an end grain worktop make for a beautiful addition to any work surface but it is a must-have for any chief worth their salt! Used traditionally by butchers, the end grain is the best surface for preparing dishes and chopping meat, and looks absolutely beautiful in any timber type. As well as being highly functional, it looks magnificent, both as a work-surface and as an individual chopping board, adding traditional charm to your kitchen.
We offer a variety of options from our finishing room, including pre-installation oiling and clear lacquer. We will also provide you with a non-treated surface if you would prefer to treat your worktop yourself during installation. However, one of the most exciting things about a Norfolk Oak worktop is the option to have it Nano-coated. An innovation of the 21st Century, our Nano-coating is the best protection for your worktop, designed to not only enhance the natural beauty of the grain but to resist any damage of a busy kitchen environment. Using a special mixture of solvents and resin to provide a long lasting protection, the Nano-Treatment repels dirt, soap scum and water, making it a dream to clean and maintain. Not only this, but Nano-treatment protects the natural colours of the timber from UV damage and greying! So there is no need to worry about placing your gorgeous new work-surface in sunlight. Just let it shine.
Check out our Facebook Page, Twitter and Instagram for more pictures and information!
Guest blog post written by Lauren Campbell.


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Nazi Germany and the Arab World
10 April 2015 by Colin Shindler
What if Monty had lost in the Middle East?
By Colin Shindler, April 8, 2015
Meeting of malevolent minds: Mufti and Hitler in 1941
By Francis R. Nicosia
Cambridge University Press, £60
What would have happened if Montgomery had lost at El Alamein and Hitler had defeated the Soviet Union? The Nazis would have marched into Iran and Georgia – and one German report dreamed of the possibility that a German-Arab force would have advanced from Basra in Iraq to link up with the Japanese heading towards Sri Lanka.
The author of this comprehensive work, the American academic Francis Nicosia, argues that, while there is no definitive answer as to how the Arab world would have treated their Jewish neighbours if the Nazis had been victorious, there is no doubt that Hitler would have extended the Final Solution to the Middle East – and added to the figure of six million. As in Eastern Europe, he would have expected local participation.
Many Arabs were pro-German because Hitler opposed their British and French masters. The Arabs, like the Germans, wished to reverse the post-First World War status quo imposed by the Allies and they were impressed by Nazi fervour. And Germany had not interfered in internal Arab affairs.
While the leader of Palestinian Arab nationalism, the Mufti of Jerusalem, had expressed his appreciation of Nazi anti-Jewish policies shortly after Hitler's accession to power in 1933, the Führer was uninterested in the Arab world and privately racist about its inhabitants. Hitler wanted to preserve the British and French empires while he controlled Europe – and this included maintaining British rule in Palestine.
On the one hand, Hitler wanted to expel all Jews from Germany; on the other, he ideologically opposed the prospect of a state of the Jews as envisaged in the Peel Commission proposals in 1937.
Moreover, he did not wish to antagonise his Italian ally, which harboured a thirst for territorial acquisitions in the region.
Such conflicting views resulted in an ongoing vagueness about Nazi intentions in the Middle East. This produced only a trickle of German arms to Iraq and meagre financial assistance via Saudi Arabia to Palestinian Arab rebels. Hitler used Arab aspirations to serve German policies.
When Hitler famously met the Mufti in November 1941, he sidestepped the proposal to issue a formal declaration of support for Arab independence, but was unambiguous in stating Germany's commitment to "an uncompromising struggle against the Jews".
The Mufti expressed his strong opposition to Jewish emigration from occupied Europe in May 1943 when he suspected that Nazi policy might be changing. He condemned the idea that 5,000 Jewish children should be allowed to go to Palestine in exchange for German nationals held by Britain since the outbreak of war.
The new Middle East would have consisted of a Greater Syria including Palestine, Lebanon and TransJordan, probably under the Mufti's rule. Iraq would have annexed Kuwait while Saudi Arabia would have taken Bahrein, Oman and the southern coast of the Arabian peninsula.
Hitler remained reluctant to exploit Arab fury at the British. The Mufti was still trying to persuade the Germans to establish an Arab military force as late as October 1944 – even after Majdanek had been liberated by Soviet forces.
Francis Nicosia's book is a scholarly – and salutary – reminder of what was and what could have been.
Categories Book Reviews
The Jewish Left (Still) Exists
1 thought on "Nazi Germany and the Arab World"
murl petersen
22 April 2021 at 11:08 pm
One thing that has been forgotten is that the Nazis (specifically Goebbel's Ministry Of Propoganda) produced a film in the 1930s called "Song Of The Desert",which was a tribute to the traditional nomadic Bedouin tribe of Arabia. Hitler admired them for their toughness and independence,and also because they kept their "bloodline pure" by not marrying outsiders. This film was mentioned in a textbook i read years ago,which I think was titled "The Eleven Year Reich". What I find interesting is that today's so-called "Neo-Nazis" seem to misunderstand this,and instead think being a good Nazi means bashing anything non-white. They are confusing Hitler with the Ku Klux Klan,and those two ideologies are NOT the same!

redpajama_set_name: RedPajamaCommonCrawl


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Supported by $2.33 Million National Institute on Aging Grant, Researchers Aim to Ensure Access to Future Alzheimer's Treatments
Dana Goldman (left) is director of the USC Schaeffer Center for Health Policy & Economics; Darius Lakdawalla (right) is the Center's director of research.
Millions of patients and their families across the U.S. and globally are affected by Alzheimer's disease and related dementias (ADRD), and the number is expected to rise in the coming decades. Although there is still no cure for Alzheimer's disease, scientists at USC and other institutions are actively pursuing potential treatments. To help ensure that such therapies reach as many people as possible, USC School of Pharmacy faculty members Dana Goldman, PhD, and Darius Lakdawalla, PhD, are engaged in a four-year project identifying innovative reimbursement strategies.
Supported by a $2.33 million, RO1 grant from the National Institute on Aging, Goldman and Lakdawalla, who are also experts at the USC Schaeffer Center for Health Policy & Economics, are evaluating affordable ways to address the rising number of ADRD patients, including developing novel reimbursement frameworks, to ensure these patients have access when an innovative treatment becomes available. Drawing on a mix of qualitative and quantitative methods, the investigators are also enlisting experts in economics, neuroscience and clinical care to evaluate the most promising interventions. They also are utilizing USC Schaeffer Center's pioneering Future Elderly Model microsimulation to examine the long-term health, economic, and social benefits and costs of new therapies and technologies, including the impact of different pricing mechanisms.
Because the harm caused by ADRD extends far beyond individual patients, the investigators' examination of the social benefits and costs also incorporates the effects on family and professional caregivers.
Learn more about the USC Schaeffer Center's ongoing research in Alzheimer's disease and dementia. Created in partnership between the USC School of Pharmacy and USC Price School of Public Policy, the USC Schaeffer Center for Health Policy & Economics focuses on the major healthcare challenges facing the country — access, quality and cost.


BAKER, DAVID ERSKINE. BIOGRAPHIA DRAMATICA; OR, A COMPANION TO THE PLAY HOUSE. 1812.
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Beautiful World General General Safety Signs Are Constructed Of Corrugated Plastic For Bend-resistance And Strength. All Signs Measure 24 W X 12 H.Always Have Safety Signs.
Beautiful World General General safety signs are constructed of corrugated plastic for bend-resistance and strength..
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Release price guide: Electric ladyland / Jimi Hendrix on label Nippon Grammophon Co., Ltd. with catalogue numnber SMP 9301 / 9302, Japan.
Jimi Hendrix Record Value Release price guide: Electric ladyland / Jimi Hendrix on label Nippon Grammophon Co., Ltd. with catalogue numnber SMP 9301 / 9302, Japan.
Electric ladyland / Jimi Hendrix is the collectable edition of title Electric ladyland recorded by Jimi Hendrix Experience. The record was published with catalogue number Nippon Grammophon Co., Ltd. SMP 9301 / 9302. This pressing was released in Japan. This record was release on 0000-00-00. It was released as a Double LP (12") and appeared on the Nippon Grammophon Co., Ltd. record label. The sleeve cover was designed by an unknown artist.
Our auction results for SMP 9301 / 9302 were last updated on 2019-04-13. Out of 13 auctions 10 items were sold. The best auction result was $342.99 On average $96.04 was the price paid for this record.
Amazing Japanese release of Jimi's famous double LP. It features the inside photographs of the UK version on the outside of the sleeve. The inside has a beautiful booklet featuring the infamous Ladies photograph.


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Valise 13
Date: OCT 20-23, 2016
Zephyr Dance and Defibrillator Gallery present
20, 21, 22, 23 OCTOBER | 2016
Chicago Tribune: ZEPHYR DANCE REVIEW
Picture this Post: ZEPHYR DEFIBRILLATOR GALLERY REVIEW
Preview in NewCity Stage MOVEMENT and the MASON'S LINE
In Chicago Reader's FIVE BEST BETS for FALL DANCE
Zephyr Dance Artistic Director Michelle Kranicke collaborates with architect and husband David Sundry to present the world premiere of Valise 13, an interactive series of vignettes that invite audience members to forge their own paths in an exploration of movement and space. Encompassing the entire facility, this site-specific work was developed during a summer residency at DFBRL8R. Performed by Kranicke and Molly Strom, Valise 13 is a succession of separate forays, trajectories, linkages and fleeting formations that chart our inability to tie one moment to another moment, to follow a trail, to dissemble a whole, to adhere to a line of visual argument or adequately involve ourselves in a disparate, continuous unfolding of sound, texture, image and movement. Kranicke and Strom migrate along individual pathways, interacting with transformative materials that allow shifts in physicalities and personas. A shimmering enclosure of impermanent materiality occupies the center of the space, opening the edges around it and encouraging the action to settle in the leftover areas of the gallery. The work's fractured oblique structure echoes how sense objects inhabit the world. Audience members are challenged to account for the unseen parts and spaces between the fragments, and the movers themselves, as they make decisions about who to follow (or not to follow) and which path to take throughout the evening. The independent trajectories of the movers and audience intertwine and entangle in edges of light, darkness and enclosure.
"Architecture and choreography share two structures: linear time and the organization of the movement of bodies in space," said Kranicke. "In creating Valise 13, David and I are deepening our collaborative process by working side by side in rehearsal. Open encounters, or working space, can result when we engage the edge of each discipline to provide a critical resistance, or pushback, to the other—colliding and reforming—or like an emulsion of both art forms, allowing them to exist together in a state of suspension. During the process, the imaginative world of architecture, where one must envision myriad unbuilt possibilities, shifts and changes, collides with the visual, visceral, kinetic understanding that choreography pursues through physical movement. Each discipline confronts its own choices and methods, investigating how they work with and against both the fluid practices of movement and the fixed methods, investigating how they work with and against both the fluid practices of movement and the fixed aspects of architecture. Each artist must navigate the gap between the ephemeral nature of the performative and the more lasting nature of an environment."
Zephyr is an experimental dance company with a strong artistic presence in Chicago for more than 20 years. Zephyr pushes to the edge of the discipline to question current trends in dance making and the reduction of the art form to its most quantifiable, easily recognized patterns. Zephyr works to critically investigate the overreliance on virtuosity, popular definitions and/or understandings of dance and the tendency to lean on narrative to inform the abstract nature of movement without confronting the history/meaning of that movement, or the movement itself. Zephyr considers the interaction between performer and viewer and the movement possibilities that arise through that interaction. The company stages its performances in various spaces, from the proscenium stage to large auditorium spaces to galleries, to allow viewers choices in how they encounter, and engage with, movement. The results are works that transform the atmosphere of a space with rich images, sensual movements and unexpected occurrences. For a history of Zephyr, visit zephyrdance.com/about/history/
DAVID SUNDRY is a design/build architect who has been constructing single-family homes, small offices and mixed-use spaces in Chicago since 1989. He is the founder and president of Triple O Construction, a small design/build construction company, and O Group, Inc., its partnering architecture studio in association with Lyle Haag Engineering. Sundry's architectural/environmental designs for Zephyr include The Balance in Between; Out and Back in Again: an immersive environment of movement, sound and image; Allowances and Occurrences; and Broken Time. He has been collaborating with Zephyr Artistic Director Michelle Kranicke, serving as dramaturge and advising on the architectural and painterly aspects of movement, since 2000. His buildings have been featured in Chicago magazine, Chicago Social and Better Homes and Gardens. He received a BFA in fine arts from the University of Notre Dame and an MFA in painting from Pratt Institute in New York.
dancers : Michelle Kranicke & Molly Strom | environmental design : David Sundry | lighting : Richard Norwood | costumes : Amanda Lee Franck
Zephyr Dance is supported, in part, by the Alphawood Foundation, The Gaylord and Dorothy Donnelley Foundation, The Richard H. Driehaus Foundation, the City of Chicago Department of Cultural Affairs and Special Events, the Illinois Arts Council and numerous individuals.
Featured Artists: Michelle Kranicke, David Sundry, Molly Strom, Richard Norwood, Amanda Lee Franck
⟨ #exsanguination
SAMHAIN 2016 RITUAL/PERFORMANCE ⟩


Her father, Luigi Vittorio de Savoie-Carignano, Prince de Carignan died aged 57, on 16 December 1778.
When Marie Antoinette tired of the Polignacs' intrigues, she turned again to the sweet Princesse de Lamballe.
In 1781, she was painted by the French female painter Marie-Élisabeth-Louise Vigée-Le Brun (16 April 1755 – 30 March 1842).
From 1785, the Princesse de Lamballe was the besieged Queen's closest friend. The Princess displayed remarkable personal courage and loyalty towards her disgraced friend. She was a great support to her during the early, difficult years of her marriage to King Louis XVI, when the Mesdames de France spoke ill of the Queen, she was there and supported her, and when the country turned against her, her loyalty was even then, never to peril.
Marie-Thérèse Louise accompanied the Royal Family to imprisonment at the Tuileries Palace after they were forced to leave the Palace of Versailles.
In 1791, she was allowed to go to Great Britain where she tried to gain support for the beleaguered Royal family. Like Madame Du Barry, she too no doubt was advised to remain put, but she was determined not to desert Marie Antoinette and so came back to France. Princess de Lamballe remained with Marie Antoinette until the events of 10 August 1792, when the Revolutionary mob attacked the Tuileries Palace and massacred the 900 Swiss Guards. The Royal Family, which escaped in the nick of time, was now carted off to imprisonment at the Temple Fortress in Paris. After being incarcerated here herself, on 19 August 1792, she and the Marquise de Tourzel, governess to the royal children, were separated from the Royal family and transferred to La Force prison in Paris. On 3 September 1792, she was brought before a hastily assembled tribunal, who demanded she swear an oath of perpetual hatred against the French monarchy. She was asked to embrace the Revolution and its principles and denounce the Monarchy. While she agreed to take an oath supporting the former, she firmly refused to turn against her beloved Queen. With this refusal, she signed her own death warrant. Confronted by an improvised court on trumped up charges which she denied, she was then asked to swear an oath of loyalty to Liberty and Equality and one of hatred to the King, Queen and Monarchy, she accepted the first but refused it later.
A door was opened off the interrogation room, where the Princess saw men waiting with axes and pikes.
Pushed into an alley she was hacked to death in minutes. Just because she was the Queen's friend, because of jealousy and blind rage.
Her character was of the admirable few. What was in her honour was her strength to resist evil, her loyalty to her last breath.
Sources: Madame de Lamballe by Georges Bertin, The Memoirs of Marie Antoinette by Madame Campan and the Memoirs of Madame Vigée Le Brun by Marie-Élisabeth-Louise Vigée-Le Brun.


Whether you are a student on summer vacation, taking a gap year, or looking for a career break, if you want to get your hands dirty and see physical results volunteering overseas, our General Building Project in Tanzania may be ideal.
Building volunteers work in and around Arusha and are involved in helping to construct a variety of different buildings. This includes classrooms, libraries, and nursery schools in the communities in which we work.
Volunteers work alongside a local builder, who will teach you all the necessary building and construction skills to enable you to take part fully in the construction process, and assist with all levels of building. The buildings are made using traditional methods and locally sourced materials. The construction techniques are simple to master and are ideal for sites with limited resources. No electricity is required at the site and everything is done by hand!
Projects Abroad is currently working with local Maasai communities outside the town of Arusha. The primary focus is the Maasai village of Meserani, where Projects Abroad runs a nursery school. Our goal is to build a proper building for the nursery school. This will enable children from Mesarani and the surrounding communities to get pre-k education otherwise unavailable to them. The new building will provide volunteers with a space where they can work in a professional and well-structured environment.
This is a long-term project that will last 6 months to a year. So far, we have built 3 classrooms where classes are already held. We aim to build 7 more classrooms and an office. In addition to our volunteers who teach at this school, we have also employed two local teachers who work on a permanent basis.
We have already received a wonderful welcome from this community, who really see the value of having the volunteers here. We are excited for this opportunity to contribute to the community in such a lasting way and eager to have volunteers join the effort!
The work of the volunteers is varied but may include digging foundations, mixing cement, building walls, constructing roofs, plastering, or putting the finishing coat of paint on a completed house.
Building work usually takes place between 9am and 3pm. Work is dependent on weather conditions and the type of work being done on the day. For example, if it is too hot volunteers will stop working, or if you lay cement that needs to dry, you will only continue working on the following day. On some days, volunteers finish work at midday and have the afternoon free.
During your stay, you'll have plenty of time to get involved in township life. Each site is overseen by a qualified builder from the community who will help volunteers with the construction process.
You do not need previous building experience to take part in this project, although anyone who does have any relevant skills will be very welcome and able to take on a more specialized role. All volunteers should, however, be reasonably fit and prepared for working outdoors in a variety of weather conditions. Volunteers live with local families in the area.


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Project Topic:
GENDER INEQUALITY AND POLITICAL REPRESENTATION IN NIGERIA: EVALUATION OF POLITICAL APPOINTEES FROM 2000-2015 (A CASE STUDY OF PLATEAU STATE)
Format: MS WORD :: Chapters: 1 - 5 :: Pages: 93 :: Attributes: Questionnaire, Data Analysis,Abstract :: 537 people found this useful
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POLITICAL SCIENCE UNDERGRADUATE PROJECT TOPICS, RESEARCH WORKS AND MATERIALS
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1.1. BACKGROUND OF THE STUDY
The increasing agitations for gender equality have raised intense academic discourse on poor participation of women in politics all over the world. Women's low political participation is a universal phenomenon. However the imperative of women participation in democratic governance cannot be over emphasized. Sustainable democracy relies upon the equality and complementary participation of a men and women in the conduct of the affairs of society through political processes. However, despite widespread democratization in most countries, women record poor participation in politics and decision making process across the world. It has been acknowledged that the development of any country requires the participation of both men and women. In Nigeria, although women constitute 48.78% of the national population, the average representation of women in national politics has hardly ever been more than 3%. The challenge of women's participation in Nigeria's politics became worrisome following the country's return to democracy in 1999. With the transfer of power from the military regime to a civilian democratic administration, one had expected a substantial improvement in women's political participation in the country. There is global recognition that gender equality in political participation is a fundamental aspect of modern democratic governance. It is suggested that both men and women should have equal rights and opportunities to participate fully in all aspects and at all levels of political processes. But in practice, women face challenges and the number of women in leadership and decision making positions is abysmally low. Meanwhile, it has been proven that countries with increased women's participation in politics and leadership position tend to be more inclusive, egalitarian and democratic. Scholars have made it known that gender inequality have made it difficult for one half of the population (women) to make significant contribution to development hence the need to understand gender and gender relations. The issue of gender is better understood when analysed with the concept of sex, gender relations and patriarchy. Globally women are marginalized even in the so-called advanced democracies, women are still marginalized. For instance in UK and United States as at 1994, women representation in parliament was 9.1 and 9.0 percent respectively. Although women constitute over 50% of the population of the world, they are relegated to the background in every facet of life. It is of great important to note that there is a big difference between sex and gender. Sex has to do with the biological differences between male and female. Gender is the social and cultural constructed roles for men and women. Take for instance, gender roles of men as owners of property, decision makers and heads of household are socially, historically and culturally constructed and have nothing to do with biological differences. Gender roles differ from place to place and change with time. As noted above, women have been historically marginalized in all spheres of life including social, economic and political spheres. Even when there is a growing recognition of the untapped capacity and talents of women and women's leadership, it is obvious therefore, that the perception that democracy would automatically boost women's political involvement in Nigeria has not been validated after eighteen years of its return to civilian rule.
STATEMENT OF PROBLEM
Over the years, there has been raging debates over the participation or desire of women in Nigerian politics. Some argue that: Women are regarded as weaker sexes are social constructs owing to social value, norms and beliefs, which have neglected their meaningful contributions and have placed them in a subordinate position to men in the nation's political system. This 'sexual division of labour' in the political system is often traced to the onset of colonialism in Nigeria. Their Western cultural notion of male superiority reflected in their relations with Nigerians. The 1922 Sir Hugh Clifford Constitution disenfranchised women and limited the participation of adult male to the wealthy. This is not to say that there was no existing element of gender inequality in traditional state and stateless societies in Nigeria but that the colonial order made gender discrimination more pronounced. In traditional Yoruba states, for example, women held high political offices like the Iyalode, Iyaloja, Iyalaje and even the office of the Oba. But at the establishment of the colonial order, women became estranged to these rights politically, but in the Yoruba Kingdoms they could still perform their traditional roles. The political enfranchisement of women in Nigeria politics seems to have maintained on the surface a level of gender equity politically, because it is assumed that constitutionally there are not barriers to women's participation. But what exactly is/are the problems and prospects women encounter in their quest to participate in politics? Women movements can be said to have been largely responsible for increase in political participation of women. Kira Sanbonmatsu recognized an important variable responsible for the increase in women participation other than women movements. In her study, she concluded that "women would be even more supportive of electing more women to public office if they were knowledgeable as men about the extent of women's under representation" (Sanbonmatsu 2016). She also went further to distinguish their 'descriptive' representation from 'substantive' representation. Descriptive representation referred to the representation of their respective constituency, whereas substantive referred to representation based on gender (the prioritizing of the pursuit of women interest by female representatives). Thus, is women's participation actually substantive – for the pursuit of the interest of women; is women's participation actually descriptive – for the pursuit of the interest of their constituency; or is women increase in political participation a movement in itself?
1.3. AIMS AND OBJECTIVES OF THE STUDY
The major aim of the study is to evaluate gender inequality and political representation in Nigeria. Other specific objectives are as follows;
To examine the factors accounting for low representation of women in politics.
To examine the current status of women in politics and the various efforts made by them for their political empowerment.
To examine the effect of gender inequality on political representation in Nigeria
To examine the factors responsible for increase in women's participation in politics.
To examine if substantive representation is fundamental to women participation.
To examine problems women face in their quest to participate in politics.
1.4. RESEARCH QUESTIONS
What are the factors accounting for low representation of women in politics?
What is the current status of women in politics and the various efforts made by them for their political empowerment?
What are the effects of gender inequality on political representation in Nigeria?
What are the factors responsible for increase in women's participation in politics?
Is substantive representation fundamental to women participation in politics?
What are the problems women faces in their quest to participate in politics?
1.5. RESEARCH HYPOTHESIS
H0: There is no effect of gender inequality on political representation in Nigeria.
H1: There is a significant effect of gender inequality on political representation in Nigeria.
1.6. SIGNIFICANCE OF THE STUDY
The paper, is very important in many ways, it will help the Nigerian government to identify and understand that women under representation is a serious problem affecting our nation in third world. Research findings like this will whip up public momentum and provide the basis to hold policy owners like the political parties and government to their policy promises. It is hoped that the research findings will add to existing literature on the Nigerian women's participation in the super-structure level of politics. The outcome of this study will be a relevant academic material for policy makers, students of research and civil society organizations. Also women politicians will find the findings useful as it will inform them about the factors that affect their participation in national politics. It will also expose the effect of women under-representation in politics in Nigeria.
The study is restricted to gender inequality and political representation in Nigeria: evaluation of political appointees from 2015-2015, a case study of Plateau state.
1.8 LIMITATION OF STUDY
Financial constraint- Insufficient fund tends to impede the efficiency of the researcher in sourcing for the relevant materials, literature or information and in the process of data collection (internet, questionnaire and interview).
Time constraint- The researcher will simultaneously engage in this study with other academic work. This consequently will cut down on the time devoted for the research work.
1.9 DEFINITION OF TERMS
Participation: Is a process where citizens are actively involved in expressing their views on issues of governance and development. Participation here goes beyond merely including citizens in governance but giving them the power and authority to influence decisions that affect their lives.
Politics: The activities associated with governing, with obtaining legislative or executive power. This includes taking part in political party campaigns, seeking for election or being associated with an organization that seeks to promote governance by holding government accountable through policy engagement, demonstrations and processions.
Inequality: Unequal power relations between men and women where the latter is under represented in political governance at both national and local levels.
Gender equality: This refers to a situation where women and men have equal conditions for realising their full human rights and potentials; are able to contribute equally to national, political, economic, social and cultural development and benefit equally from the results. Furthermore, it entails that the underlying causes of discrimination are systematically identified and removed in order to give men and women equal opportunities. Equality is therefore understood to include both formal equality and substantive equality, and not merely simple equality to men.
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Early decisions were taken at both Whaley Bridge and Hadfield that yesterday's rain was enough to abandon both matches. That meant we had the opportunity to spend a few hours under the baking sun in the Sheps beer garden. And what a few hours. Crompy explained why he was the master of Facebook and how everyone else was wrong, Luke explained that most shark attacks are doe to the fact that sharks have no hands, whilst Peter Crowley was obviously suffering from the knee injury picked up at the hands of Sam Slack last Thursday.
The rain returned just before 4, but it is now once again fine and sunny. May even get to cut the lawn at this rate!


text:
Předplacená karta se v obecném smyslu používá pro karty, které se kupují (nebo darují jako dárek), a jsou za ně poskytovány konkrétní služby (již předplacené). Stačí je jen použít podle návodu nebo dojít na místo služby, kde tuto kartu lze využít.

Předplacená herní karta

Předplacená herní karta je karta, která slouží k jednorázovému zaplacení/prodloužení platnosti internetového účtu pro hraní her přes internet. Tyto karty se dají koupit v obchodech zaměřených na počítačové hry.

Takové karty jsou většinou trochu dražší než možnost zaplatit za hru alternativním způsobem – bankovní transakcí nebo internetovým bankovnictvím, ale zároveň je jejich použití pohodlnější.

Obsah

Taková karta je většinou zabalená v malé krabičce nebo alespoň igelitovém sáčku, přičemž na jedné straně je kód této karty zakrytý ochrannou vrstvou, kterou je třeba nejdříve odstranit (seškrábnout). Poté se kód z karty obvykle zadá ve správě účtu na internetu a herní doba by se měla ihned prodloužit.

Předplacená dobíjecí karta (mobilní kredit)

Předplacenou kartou se též rozumí karta, jejíž kód se používá pro dobití telefonního kreditu.

Podobně jako herní karta se i tato kupuje v obchodě, nejlépe přímo u operátora, ale lze ji sehnat i v některých trafikách a samoobsluhách. Taková karta většinou stojí stejně jako hodnota kreditu, který dobíjí. Stejně jako u herních karet, i u těchto se musí seškrábnout ochranná vrstva, aby se objevil kód – ten je ovšem pro aktivaci nutné odeslat ve formě SMS na specifické telefonní číslo podle operátora.

Předplacená platební karta
Je karta podobná kreditní kartě s tím rozdílem, že není vázána na konkrétní účet nějakého člověka a nepodléhá několika dalším "omezením". Zároveň je ovšem limitována výší peněžní částky vybírané do minusu – to ve většině případů nejde – tedy jsou peníze, nebo nejsou peníze.

 Dárková předplacená platební karta – je karta vytvořená především pro darování jiné osobě. Tento typ karet neumožňuje pozdější vkládání peněz, takže slouží jako jednorázově nabitá. Je to další vhodná forma darování peněžité hotovosti. Dárkové karty vydávají některé kluby nebo obchodní řetězce.
 Dobíjecí předplacená platební karta – je široce využitelná verze předplacené platební karty, která má oproti předešlé zásadní rozdíl – jde dobít penězi. Je tedy vhodná například jako způsob vyplácení kapesného dětem nebo jako plnohodnotná náhrada kreditní nebo debetní karty pro dospělé, kterým jiné karty nevyhovují. Dobíjecí karta je také známá jako SVC karta (z anglického stored-value card).
 Virtuální předplacená platební karta – virtuální verze předešlého druhu karty – nemáte ji tedy fyzicky. Nejvíce se používá pro platbu přes Internet (která probíhá stejně jako s normální kartou). V kamenném obchodě s  ní ovšem nezaplatíte – nemáte totiž s čím.

Reklamace
Reklamace karet, jako jsou herní a dobíjecí (kreditu) může být obtížná. Většina prodejců uvádí, že karta bez ochranného povrchu je nereklamovatelná – mohl již být použit její kód.

Externí odkazy
 Série tří článků ohledně Předplacených platebních kartách

Peníze
Platební karty

redpajama_set_name: RedPajamaWikipedia


STEM Bicycle Club Launches at Holmes Middle School > Covington Partners - Unite. Grow. Succeed.
March 13, 2015 - Through an application process, fifteen students at Holmes Middle School have been selected to participate in the STEM Bicycle Club, a specialized after-school program in the Holmes Middle School Community Learning Center made possible by the assistance and support of local community partners, including Fidelity, GE, Wal-Mart, Greater Cincinnati STEM Collaborative, and many more.
The initial club was developed last spring as the result of a partnership between the Greater Cincinnati STEM Collaborative (GCSC), Time Warner Cable's Connect a Million Minds, the Urban League of Greater Cincinnati, GE Aviation, the Greater Cincinnati Foundation, and the Woodward Career Technical High School. As a result of the program's earlier success, several community partners have come together to support the STEM Bicycle Club at Holmes Middle School in the spring of 2015.
The STEM Bicycle Club will meet each Monday after school beginning March 9 throughout the remainder of the school year. Mr. Jeff Haney, an avid bicyclist and Holmes Middle School science teacher, will act as sponsor of the club. Volunteer coaches from Fidelity and GE will guide the students through the process and expose them to different careers in the area of STEM (Science, Technology, Engineering, and Math). With guidance from the teacher and volunteer coaches, student participants will learn how to build their own bicycle while incorporating the principles of STEM. At the end of the ten-week course, students will be able to keep their new bicycle.
Congratulations to Anthony Brockman, Nick Brockhoff, Elijah Crosby, Nick Delacruz, Samantha Fitzgerald, Jonathan Jones, Luke Lack, Hezekiah Miller, Matthew Mocahbee, Robert Russell, Abdul Salaah, Majdaah Salaah, Azriel Sendelbach, Jashaun Washington, and Mark Worthy for being accepted to participate in the 2015 STEM Bicycle Club at Holmes Middle School Community Learning Center.


Horizontal Small Bellow come in a pair of one horizontal bellow and one vertical bellow, side opening. The Horizontal bellow has a length of 2 1/2" and the Vertical bellow is 4 1/8". The lengths include the bellow top as depicted in the diagram.


Many condo master policies are now using a "per unit" deductible in order to shift risk from the master policy to the HO-6 or "unit owner's" policy. Condo owners need to be advised of the type of HO-6 policy they should carry in order to properly minimize their out of pocket exposure.
The condo trust documents, or "condo docs" spell out what the association and unit owners are responsible for in the event of a loss. Under your agreement, the association is responsible for all common building elements and the entire unit, including any betterments or improvements made by owners.
Unit owners should always carry enough under their HO-6 Coverage A limit to cover the master policy's highest deductible. This limits the association's expense of paying the deductible for a loss involving one of the units and limits the unit owner's out of pocket expenses.
Unit owners should check with their insurance agent to see that their policy has the "HO 17 34 – Unit Owner's Modified Other Insurance & Service Agreement Condition" endorsement. Some companies use a base policy that includes this coverage automatically, but companies using newer forms can add this endorsement, to ensure there's no issue with the HO-6 company paying the cost of the master policy deductible.
The unit owner should also carry the "HO 04 35 – Loss Assessment Coverage" endorsement. This endorsement (at limits typically up to $50,000) protects the unit owner from a loss that is assessed to all unit owners, like damage to a common area, by a peril that is covered by the HO-6 policy (like fire).
Finally, the unit owner should carry "HO 17 32 – Coverage A Special Form" endorsement. This endorsement broadens the types of perils that the HO-6 policy covers. Under "special form", the HO-6 policy covers all perils except for those specifically excluded by the policy. Without this endorsement, the HO-6 covers only the perils listed on the policy.
For more information on Condo Insurance, or for questions regarding your Condo coverage, contact your McSweeney & Ricci Account Manager.


text:
Workshop Helps Teens Find Their Own Voice
Students expressing themselves at the theatre workshop.
By Jay Fields
High school students who participate in summer workshops at UT's Clarence Brown Theatre come into the program from a wide sea of circumstance. One painfully shy. Another adrift in grief from the loss of a parent. A third, street-smart and angry, and worried about acceptance.
But for each teenager who makes the commitment, something invariably happens to change things. By the end of two weeks of voice lessons and improvs and performances, there's a shift. The heart lightens, the world offers a new slate of possibilities, there's a willingness to take risks that wasn't there before.
"To begin with, there's a lot going when you're in your mid-teens," says Carol Mayo-Jenkins, UT resident artist and workshop coach. "You're trying to figure out who you are, how you fit in. You're discovering you're different from your parents. You're learning to use your own voice, maybe for the first time.
"Then we get into this work, nine to four every day. It's a lot of physical work. There are exercises and games and technique development in the morning, scenes and musical numbers to run through in the afternoon," she says. "We set up a very positive experience. We suspend judgment. We encourage a sense of daring. So everyone is more willing to take risks. And when someone falls down, everybody supports them. We dust them off and they get right back in the game, usually with a lot of laughter."
A Theatre of Change and Growth
The Clarence Brown Theatre High School Acting Workshop, founded in 2001, enrolls 30 to 40 high school students each summer in two separate intensive workshops. Past participants, from Tennessee and seven other states, have worked on skills that include basic acting, improvisation, voice, movement, and musical theatre technique.
"There's no audition," says Terry Silver-Alford, UT Theatre Department faculty member and director of the program, "just an interest in performance.
An acting couple.
"Over the past few years," he continues, "we've added a musical theatre component. Students are assigned duets from Broadway musicals, receive voice coaching, and learn one or two large ensemble numbers that require singing and dancing. All these pieces are presented in a final showcase, which includes acting scenes from major American plays."
For each student, the theatre at hand is a theatre of change and growth.
"You meet your coaches—like Carol and David Alley—and they're really accomplished actors with great careers, and you realize, 'You know, they're people too. I can do this,'" says Rachel Winfrey, a workshop participant for four years and a recent UT theatre graduate. "What's going on opens you up emotionally. And, let me say, there is some awesome socializing. You're part of a family."
Rachel, who has assisted in the workshops, talks about students adapting to games, to improv situations, to different ways of thinking and doing things.
"You might jump rope while delivering lines from Shakespeare," she says. "It's amazing. And it's amazing to see how much it can mean."
In a stage exercise, one young man wrote a rap song to his father whom he had never known. "It came out of a big group scene where the actors stepped forward with a monologue they had each written," says Carol. "It was extraordinary. All the monologues were stunning.
Exposing the Talent
"The most surprising experiences for me are those times when this sort of unrealized ability just comes out in one of the kids. I don't really know what talent is but I do know when a student puts something of themselves forward—that is amazing. Often it's just for the moment—something they are able to reach inside themselves—something unforgettable."
And, says Carol, "I think when it pops loose, when it comes up in a performance, yes, I think they recognize it too."
"These are kids from across every spectrum," Rachel says, "and they're pushed at the same level. They grow, they learn, they come into a light heart."
In addition to Carol Mayo-Jenkins and Terry Silver-Alford, David Alley, another honored professional actor and UT resident artist, takes a major role in workshop coaching, as well as Jimmy Brimer who has musically directed a raft of shows at the Clarence Brown over many years of service to the university and to its theatre.
"In Tennessee," says Terry Silver-Alford, whose own daughter is a recent participant, "there's nothing quite like these workshops."
For further information, contact Terry via email at tsilvera@utk.edu or phone 865-974-6011. Student participants pay a fee for workshop attendance.
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Imagine this. A young man named Cheng Wei is having trouble sleeping. He is worried about work. He works for a small company that designs computer games. For several years, Cheng worked hard for his company. And two months ago, his company gave him a big promotion. Now, Cheng is no longer making computer games. His job is to decide which computer games his employees should make.
For the first time, Cheng is a boss. But this makes Cheng worried. He learned a lot about computer design in school. But he did not learn about how to be a good leader. Today's Spotlight is the second program in a two-part series on how to be a good boss.
You may have heard another Spotlight program on being a good boss. That program looked at three things bosses can do to manage employees well. But leading employees is only part of being a boss. Bosses much also think about the success of the company. Today's program will concentrate on how bosses can serve their companies well.
Bosses have to make many important decisions. This can be difficult for new bosses like Cheng Wai. Cheng has many ideas about how to improve the company. But he is often afraid to make a wrong decision. Cheng's company makes multi-player computer games that are based on the internet. But Cheng's company has also started making game apps. People can play these game programs on mobile devices like smart phones. Apps have become extremely popular. And they take less time and money for the company to make. Cheng believes that apps can make his company more money than internet games.
Right now, Cheng's company is losing money. So, he thinks his company should stop making multi-player online games. Instead, he thinks they should only make game apps. But Cheng is worried. If he makes this decision, he knows that some people may be unhappy. The company would need to reorganize. And some people could lose their jobs. It is a difficult decision. What should Cheng do?
"If you do not manage a situation, the situation will always manage itself. And often, the result might not be what you desired."
If Cheng does not act, the company will continue to lose money. And this may cause even more people to lose their jobs. So, Cheng makes the difficult decision. A good boss does not just know the right decision. He or she also has the courage to make it.
Another important part of being a good boss is keeping good employees happy. Imagine this. Deng Ai is a computer programmer. Like Cheng, she has worked at her company for several years. Deng is a good worker. She is very creative. She always does excellent work. And her work is never late. But recently, Deng has not been excited about the app she is creating. It is an app that helps people organize their time. Her boss has not told her what the company plans to do with the app. He also never tells Deng she is doing a good job. He accepts her work, but that is all. For these reasons, Deng does not enjoy her job. And after many years of good work, she has decided to look for another job.
Many good employees do their work well. But often, they do not feel satisfied. Good bosses must work hard to keep good employees happy. Happy employees are loyal to their companies. And they will stay and work for a company for many years.
"It is involvement. It is not about going to work at 9 and leaving at 5. Money is not the main reason for working. Money is second or third. The main reason is always about the goal, about being a part of something."
Lastly, good bosses must also take informed risks. Remember Cheng Wei, the boss of the computer company? After his decision to stop making multi-player games, his company did well. At first, some people were angry. Some even chose to leave the company. But, Cheng's decision helped the company make more money. And soon, even more people wanted to buy their apps.
Now, Cheng has a new decision to make. More companies and people want to buy his company's apps. Currently, he does not have enough employees to meet the demand. To make new apps, he would have to hire more people to work. But that is a risk. It costs a lot of money to employ more people. Would it be worth it? Would there be continued demand for new games?
"Risk-taking is a necessary part of any business model. Without risk, you can achieve little. People quickly become tired with your product, service, or program."
Taking risks is necessary. But not all risks are good. Bosses must only take informed risks. They must think about a risk's chance of failing. They must do research and make detailed plans.
After doing research, Cheng decides to start with a small risk. He decides to hire just one new employee instead of several. In fact, he hired Deng Ai to design apps! Hiring Deng was a good idea. After 6 months, the company is producing more apps and people are buying more apps than ever. Cheng has thanked Deng and all his employees for their work. And now he hopes to hire Deng's friend from her old company.
Even though he was worried, Cheng showed that he was a good boss. He made strong decisions, knew how to treat good workers, and took necessary risks. Hopefully now he will be able to sleep at night!
The writer of this program was Jen Hawkins. The producer was Mark Drenth. The voices you heard were from the United States. All quotes were adapted and voiced by Spotlight. You can listen to this program again, and read it, on the internet at www.radioenglish.net. This program is called, "How to be a Good Boss, Part 2."
What are some good decisions your boss has made? If you are a boss, what are some good decisions you have made?
At first, I want to thank you for producing more one great article for us learners and readers of English, thanks!
My boss is a just boss. So, he has made some good decisions for his employees.
There are many ways to develop company.
The first, you should are a good employee, to be done very hard.
The second, if you has management skill, you should become boss candidate.
When you are a boss, there are many thing you have to do, to get the benefit for company, you should concentrate on the work and management, two these things parallel each other if lack one of these things, you cannot are a good boss.
You should have an independ on thinking, you can give the idea even though it will be wrong in future, but you remember that the new idea can change the life, but do not know what trending is.
Some of bosses become the big boss, some of them are failure but the changing is the mission of anybody Who is a boss.
Idea is very important. if you are big boss, you should always encourage the employee to look for the new way, new idea to change the company, do not afraid fo anything.
The satisfaction of employee is a successful of the boss too. you are good boss, you should do what when employee come to the company like as they come their home, work like as a relax, they will be do by their heart.
Great episode and great examples. Thank you for such a beneficial app and program. I learn a lot from you.
A manager needs to have a lot of skills. A good manager is good at a lot of skills. A good manager helps a company exist and develop. A good manager helps his employees promote their abilities. No one does not have difficulties. No one does not wish beautiful good things. We do our work well. We complete our work well. A manager needs to have a lot of skills. A good manager is good at a lot of skills. A good boss helps a company exist and develop. A good boss helps his employees promote their abilities.
The more difficult decision I had made was to fire a good employee and it were a decision made for my boss, who passed it to me.
Leadership is an ability learned in army like a thing that grows naturally. The leader gains confidence among their subordinates through their examples of knowledge, courage, self control and attachment to the truth. Thanks God I were a soldier for 25 years and I will be proud all my life.


text:
addTransitionProperties()
{

if [ "$transition_style" != "" ]; then
	property_count_in_file=`grep -ic ^${transition_style}: $BINDIR/${slidezilla_transition_property_filename}`

   if [ "$property_count_in_file" -gt 0 ]; then
	   add_properties_for_transition=$transition_style
   else
	   add_properties_for_transition="SIMPLE"
   fi

else
	add_properties_for_transition="SIMPLE"
fi

echo "" >> ${slide_prop}
echo "#-----Effect properties for transition ${add_properties_for_transition} " >> ${slide_prop}
grep -i ^${add_properties_for_transition}: $BINDIR/${slidezilla_transition_property_filename} | awk -F':' '{ print $2 }' >> ${slide_prop}

}

#----------------------- PREPARE 4 TRANSITION -------------------------

prepareForTransition()
{

allFrames=`find ${SLIDEHOME}/* -name ${video_extract_img_prefix}* | grep -v input_frames`
for frameImgName in $allFrames
do
echo "`basename $frameImgName`:$frameImgName" >> ${SLIDEHOME}/tmpFrameFile.txt
done

sort -t':' -k1 ${SLIDEHOME}/tmpFrameFile.txt >> ${SLIDEHOME}/tmpFrameFile_sorted.txt

previousSlideToSrcFile=`head -1 ${SLIDEHOME}/tmpFrameFile_sorted.txt | awk -F':' '{ print $2 }'`
thisSlideFromSrcFile=`tail -1 ${SLIDEHOME}/tmpFrameFile_sorted.txt | awk -F':' '{ print $2 }'`

cp $thisSlideFromSrcFile ${SLIDEHOME}/transition/from.${video_extract_img_format}

if [ "$prevSlideTransition" != "" ]; then
	cp $previousSlideToSrcFile ${prevSlideTransition}/to.${video_extract_img_format}
fi

prevSlideTransition="${SLIDEHOME}/transition"

#cleanup..
rm ${SLIDEHOME}/tmpFrameFile.txt
rm ${SLIDEHOME}/tmpFrameFile_sorted.txt

}

#----------------------- CREATE TRANSITION -------------------------

createTransition()
{

#Find out the number of files we will be creating by using fps * transition time + 2
tran_file_count=$(( $fps * $transition_duration + 2 ))
#Find out the starting number to be used for naming the images by reading the number of files in SLIDES/n directory - input_frames
last_img_name_count=`find ${SLIDEHOME}/* -name szimg* | grep -v input_frames | wc -l | awk '{ print $1 }'`
#Use case to determine the transition effect we need to apply..

#IF TRANSITION IS NOT SPECIFIED THEN WE WILL JUST HAVE NO TRANISITION
if [ $transition_style == "" ]; then
transition_style="NONE"
fi

upr_tran_style=`echo $transition_style | tr "[:lower:]" "[:upper:]"`
   case "$upr_tran_style" in

   SIMPLE)
   	   trnx_simple
   ;;
   DISSOLVE)
	   trnx_dissolve
   ;;
   BLEND)
   		trnx_blend
   ;;
   DISTORT_N_DISSOLVE)
	   	trnx_distort_dissolve
   ;;
   MOVELEFT)
	   	moveLeft
	;;
   MOVERIGHT)
	   	moveRight
	;;
   MOVEUP)
	   	moveUp
	;;
   MOVEDOWN)
	   	moveDown
	;;
	MOVELEFTACC)
		moveLeftAcc
	;;
	FADEBLACK)
	fadeBlack
	;;
	FADEWHITE)
		fadeWhite
	;;
	SWAP)
		swapFrames
	;;
   esac

}

#----------------------- SIMPLE TRANSITION -------------------------

trnx_simple()
{

i=1
mid_point=`echo $tran_file_count / 2 | bc`
mid_point=`printf "%.f\n" $mid_point`
last_img_name_count=$(( $last_img_name_count + 1 ))
while [ $i -le $tran_file_count ]
do
img_name=`printf "szimg-%03d" $last_img_name_count`

if [[ $i -gt $mid_point ]]; then
	cp $TRANSITION/to.${video_extract_img_format} $TRANSITION/${img_name}.${video_extract_img_format}
else
	cp $TRANSITION/from.${video_extract_img_format} $TRANSITION/${img_name}.${video_extract_img_format}
fi

i=$(( $i + 1 ))
last_img_name_count=$(( $last_img_name_count + 1 ))
done

}

#----------------------- DISSOLVE TRANSITION -------------------------

trnx_dissolve()
{

i=0
f=1
arg_increment=`echo 100 / $tran_file_count | bc`
arg_increment=`printf "%.f\n" $arg_increment`

last_img_name_count=$(( $last_img_name_count + 1 ))
while [ $f -lt $tran_file_count ]
do

img_name=`printf "szimg-%03d" $last_img_name_count`

i=$(( $i + $arg_increment ))
j=$(( 100 - $i ))
ca="$i,${j}"

  convert $TRANSITION/from.${video_extract_img_format} $TRANSITION/to.${video_extract_img_format} -alpha on \
          -compose dissolve -define compose:args=$ca \
          -gravity South  -composite     $TRANSITION/${img_name}.${video_extract_img_format}

f=$(( $f + 1 ))
last_img_name_count=$(( $last_img_name_count + 1 ))

done

img_name=`printf "szimg-%03d" $last_img_name_count`
  convert $TRANSITION/from.${video_extract_img_format} $TRANSITION/to.${video_extract_img_format} -alpha on \
          -compose dissolve -define compose:args="100,0" \
          -gravity South  -composite     $TRANSITION/${img_name}.${video_extract_img_format}

}

#----------------------- BLEND TRANSITION -------------------------

trnx_blend()
{
i=0
f=1
arg_increment=`echo 100 / $tran_file_count | bc`
arg_increment=`printf "%.f\n" $arg_increment`

last_img_name_count=$(( $last_img_name_count + 1 ))
while [ $f -lt $tran_file_count ]
do

img_name=`printf "szimg-%03d" $last_img_name_count`

i=$(( $i + $arg_increment ))
j=$(( 100 - $i ))
ca="$i,${j}"

  convert $TRANSITION/from.${video_extract_img_format} $TRANSITION/to.${video_extract_img_format} -alpha on \
          -compose blend -define compose:args=$ca \
          -gravity South  -composite     $TRANSITION/${img_name}.${video_extract_img_format}

f=$(( $f + 1 ))
last_img_name_count=$(( $last_img_name_count + 1 ))

done

img_name=`printf "szimg-%03d" $last_img_name_count`
cp $TRANSITION/to.${video_extract_img_format}  $TRANSITION/${img_name}.${video_extract_img_format}

}

#----------------------- DISTORT DISSOLVE -------------------------

trnx_distort_dissolve()
{
i=100
f=1
arg_increment=`echo 100 / $tran_file_count | bc`
arg_increment=`printf "%.f\n" $arg_increment`

#Incerasing the i by arg_increment so the first image is 100%
i=$(( $i + $arg_increment ))

last_img_name_count=$(( $last_img_name_count + 1 ))
while [ $f -lt $tran_file_count ]
do

img_name=`printf "szimg-%03d" $last_img_name_count`

i=$(( $i - $arg_increment ))

  `convert -size ${video_extract_img_size} xc: +noise random -colorspace gray -threshold ${i}% ${TRANSITION}/tmp_random.png`
  `convert $TRANSITION/from.${video_extract_img_format} $TRANSITION/to.${video_extract_img_format} ${TRANSITION}/tmp_random.png -compose over -composite $TRANSITION/${img_name}.${video_extract_img_format}`
  `rm -rf ${TRANSITION}/tmp_random.png`

f=$(( $f + 1 ))
last_img_name_count=$(( $last_img_name_count + 1 ))

done

img_name=`printf "szimg-%03d" $last_img_name_count`
cp $TRANSITION/to.${video_extract_img_format}  $TRANSITION/${img_name}.${video_extract_img_format}

}

#----------------------- MOVE LEFT -------------------------

moveLeft()
{
#find the pixel size by fps * secnds ... that is the number of pixels to cover in one frame..
total_frames=$tran_file_count
increment=`echo $video_extract_img_width / $total_frames | bc`
current_width=0
f=0
last_img_name_count=$(( $last_img_name_count + 1 ))
while [ $f -lt $total_frames ]
do

img_name=`printf "szimg-%03d" $last_img_name_count`
current_width=$(( $current_width + $increment ))
pos_x=$(( $video_extract_img_width - $current_width ))
pos_y=0

#convert 1.png -crop 0x0+${current_width}+${video_extract_img_height}  +repage  ${img_name}.png
convert $TRANSITION/to.${video_extract_img_format} -crop ${current_width}x${video_extract_img_height}+0+0 +repage  $TRANSITION/${img_name}_tmp.${video_extract_img_format}

composite -geometry +${pos_x}+${pos_y}  $TRANSITION/${img_name}_tmp.${video_extract_img_format} $TRANSITION/from.${video_extract_img_format} \
            $TRANSITION/${img_name}.${video_extract_img_format}

rm -rf $TRANSITION/${img_name}_tmp.${video_extract_img_format}

f=$(( $f + 1 ))
last_img_name_count=$(( $last_img_name_count + 1 ))

done

img_name=`printf "szimg-%03d" $last_img_name_count`
cp $TRANSITION/to.${video_extract_img_format}  $TRANSITION/${img_name}.${video_extract_img_format}

}

#--------------------- Move Left with Acceleration

moveLeftAcc()
{
#find the pixel size by fps * secnds ... that is the number of pixels to cover in one frame..
total_frames=$tran_file_count

#sqrt of size / total frames = increment
increment=`echo "scale=2;sqrt($video_extract_img_width) / $total_frames"|bc`

#start with 0 .. add increment, remove decimal , square and that gives width
#do while calc-width -lt total width

current_width_ind=0
f=0
last_img_name_count=$(( $last_img_name_count + 1 ))
current_width=0
while [ "$current_width" -lt $video_extract_img_width ]
do

img_name=`printf "szimg-%03d" $last_img_name_count`
current_width_ind=`echo "$current_width_ind + $increment" | bc`
cwit=`printf "%.f\n" $current_width_ind`
current_width=$(( $cwit * $cwit ))

pos_x=$(( $video_extract_img_width - $current_width ))
pos_y=0

#convert 1.png -crop 0x0+${current_width}+${video_extract_img_height}  +repage  ${img_name}.png
convert $TRANSITION/to.${video_extract_img_format} -crop ${current_width}x${video_extract_img_height}+0+0 +repage  $TRANSITION/${img_name}_tmp.${video_extract_img_format}

composite -geometry +${pos_x}+${pos_y}  $TRANSITION/${img_name}_tmp.${video_extract_img_format} $TRANSITION/from.${video_extract_img_format} \
            $TRANSITION/${img_name}.${video_extract_img_format}

rm -rf $TRANSITION/${img_name}_tmp.${video_extract_img_format}

f=$(( $f + 1 ))
last_img_name_count=$(( $last_img_name_count + 1 ))

done

img_name=`printf "szimg-%03d" $last_img_name_count`
cp $TRANSITION/to.${video_extract_img_format}  $TRANSITION/${img_name}.${video_extract_img_format}

}

#--------------------- Move Left with Deceleration TO BE COMPLETED...

moveLeftDec_TBD()
{
#find the pixel size by fps * secnds ... that is the number of pixels to cover in one frame..
total_frames=$tran_file_count

}

#---------------------- Move Right

moveRight()
{
#find the pixel size by fps * secnds ... that is the number of pixels to cover in one frame..
total_frames=$tran_file_count
increment=`echo $video_extract_img_width / $total_frames | bc`
current_width=0
f=0
last_img_name_count=$(( $last_img_name_count + 1 ))
while [ $f -lt $total_frames ]
do

img_name=`printf "szimg-%03d" $last_img_name_count`
current_width=$(( $current_width + $increment ))
top_x=$(( $video_extract_img_width - $current_width ))

pos_x=$current_width
pos_y=0

#convert 1.png -crop 0x0+${current_width}+${video_extract_img_height}  +repage  ${img_name}.png
convert $TRANSITION/to.${video_extract_img_format} -crop ${current_width}x${video_extract_img_height}+${top_x}+0 +repage  $TRANSITION/${img_name}_tmp.${video_extract_img_format}

composite -geometry +${pos_x}+${pos_y}  $TRANSITION/${img_name}_tmp.${video_extract_img_format} $TRANSITION/from.${video_extract_img_format} \
            $TRANSITION/${img_name}.${video_extract_img_format}

rm -rf $TRANSITION/${img_name}_tmp.${video_extract_img_format}

f=$(( $f + 1 ))
last_img_name_count=$(( $last_img_name_count + 1 ))

done

img_name=`printf "szimg-%03d" $last_img_name_count`
cp $TRANSITION/to.${video_extract_img_format}  $TRANSITION/${img_name}.${video_extract_img_format}

}

moveUp()
{
#find the pixel size by fps * secnds ... that is the number of pixels to cover in one frame..
total_frames=$tran_file_count
increment=`echo $video_extract_img_height / $total_frames | bc`
current_height=0
f=0
last_img_name_count=$(( $last_img_name_count + 1 ))
while [ $f -lt $total_frames ]
do

img_name=`printf "szimg-%03d" $last_img_name_count`
current_height=$(( $current_height + $increment ))
top_y=$(( $video_extract_img_height - $current_height ))

pos_x=0
pos_y=$top_y

#convert 1.png -crop 0x0+${current_width}+${video_extract_img_height}  +repage  ${img_name}.png
convert $TRANSITION/to.${video_extract_img_format} -crop ${video_extract_img_width}x${video_extract_img_height}+0+${top_y} +repage  $TRANSITION/${img_name}_tmp.${video_extract_img_format}

composite -geometry +${pos_x}+${pos_y}  $TRANSITION/${img_name}_tmp.${video_extract_img_format} $TRANSITION/from.${video_extract_img_format} \
            $TRANSITION/${img_name}.${video_extract_img_format}

rm -rf $TRANSITION/${img_name}_tmp.${video_extract_img_format}

f=$(( $f + 1 ))
last_img_name_count=$(( $last_img_name_count + 1 ))

done

img_name=`printf "szimg-%03d" $last_img_name_count`
cp $TRANSITION/to.${video_extract_img_format}  $TRANSITION/${img_name}.${video_extract_img_format}

}

moveDown()
{
#find the pixel size by fps * secnds ... that is the number of pixels to cover in one frame..
total_frames=$tran_file_count
increment=`echo $video_extract_img_height / $total_frames | bc`
current_height=0
f=0
last_img_name_count=$(( $last_img_name_count + 1 ))
while [ $f -lt $total_frames ]
do

img_name=`printf "szimg-%03d" $last_img_name_count`
current_height=$(( $current_height + $increment ))
pos_x=0
pos_y=0

#convert 1.png -crop 0x0+${current_width}+${video_extract_img_height}  +repage  ${img_name}.png
convert $TRANSITION/to.${video_extract_img_format} -crop ${video_extract_img_width}x${current_height}+0+0 +repage  $TRANSITION/${img_name}_tmp.${video_extract_img_format}

composite -geometry +${pos_x}+${pos_y}  $TRANSITION/${img_name}_tmp.${video_extract_img_format} $TRANSITION/from.${video_extract_img_format} \
            $TRANSITION/${img_name}.${video_extract_img_format}

rm -rf $TRANSITION/${img_name}_tmp.${video_extract_img_format}

f=$(( $f + 1 ))
last_img_name_count=$(( $last_img_name_count + 1 ))

done

img_name=`printf "szimg-%03d" $last_img_name_count`
cp $TRANSITION/to.${video_extract_img_format}  $TRANSITION/${img_name}.${video_extract_img_format}
}

#----------------------- Fade to Black ----------------------------

causeFade()
{

i=0
f=1
total_frames=$tran_file_count
half_frame_count=$(( $total_frames / 2 ))
arg_increment=`echo "scale=0;100 / $half_frame_count"| bc`
arg_increment=`printf "%.f\n" $arg_increment`
last_img_name_count=$(( $last_img_name_count + 1 ))

convert -size ${video_extract_img_size} canvas:${1} ${TRANSITION}/bg.${video_extract_img_format}

while [ $f -lt $half_frame_count ]
do

img_name=`printf "szimg-%03d" $last_img_name_count`

i=$(( $i + $arg_increment ))
j=$(( 100 - $i ))
ca="$i,${j}"

  convert $TRANSITION/from.${video_extract_img_format} $TRANSITION/bg.${video_extract_img_format} -alpha on \
          -compose dissolve -define compose:args=$ca \
          -gravity South  -composite     $TRANSITION/${img_name}.${video_extract_img_format}

f=$(( $f + 1 ))
last_img_name_count=$(( $last_img_name_count + 1 ))

done

img_name=`printf "szimg-%03d" $last_img_name_count`
cp  ${TRANSITION}/bg.${video_extract_img_format}   $TRANSITION/${img_name}.${video_extract_img_format}
last_img_name_count=$(( $last_img_name_count + 1 ))
f=0
i=0

#---------- Second leg of the transition..
while [ $f -lt $half_frame_count ]
do

img_name=`printf "szimg-%03d" $last_img_name_count`

i=$(( $i + $arg_increment ))
j=$(( 100 - $i ))
ca="$i,${j}"

  convert $TRANSITION/bg.${video_extract_img_format} $TRANSITION/to.${video_extract_img_format} -alpha on \
          -compose dissolve -define compose:args=$ca \
          -gravity South  -composite     $TRANSITION/${img_name}.${video_extract_img_format}

f=$(( $f + 1 ))
last_img_name_count=$(( $last_img_name_count + 1 ))

done

img_name=`printf "szimg-%03d" $last_img_name_count`
cp $TRANSITION/to.${video_extract_img_format}  $TRANSITION/${img_name}.${video_extract_img_format}

}

fadeWhite()
{

causeFade white

}

fadeBlack()
{

causeFade black

}

swapFrames()
{

border_thickness=40
#border_thickness_y=30
size_reduction_in_tran=80
pre_tran_frame_count=4
total_frames=$(( $tran_file_count / 2 ))

#------------------- Stage - 1 create four frames

per_frame_border_thickness_increment=$(( $border_thickness / $pre_tran_frame_count ))
f=0
pre_tran_border_thickness=0
while [ $f -le $pre_tran_frame_count ]
do
pre_tran_border_thickness=$(( $pre_tran_border_thickness + $per_frame_border_thickness_increment ))
last_img_name_count=$(( $last_img_name_count + 1 ))
img_name=`printf "szimg-%03d" $last_img_name_count`

convert $TRANSITION/from.png -bordercolor black -border ${pre_tran_border_thickness} \
-resize $video_extract_img_size \
-size $video_extract_img_size xc:black +swap \
-gravity Center -geometry +0+0 -composite \
${TRANSITION}/$img_name.${video_extract_img_format}
f=$(( $f + 1))
done

last_img_name_count=$(( $last_img_name_count + 1 ))
img_name=`printf "szimg-%03d" $last_img_name_count`

convert $TRANSITION/from.png -bordercolor black -border $border_thickness \
-resize $video_extract_img_size \
-size $video_extract_img_size xc:black +swap \
-gravity NorthEast -geometry +0+0 -composite \
${TRANSITION}/$img_name.${video_extract_img_format}

#-------------------- End Stage 1
#create a cavas bg - 222 color ---------------------------------------------
convert -size $video_extract_img_size xc:black $TRANSITION/bg.${video_extract_img_format}

# new sizes for the image that has the reflection..---------------------------------------------
new_size_h=`echo "scale=0;$video_extract_img_height * 2 + 160"|bc`
new_size_w=$(( $video_extract_img_width + $border_thickness * 4 ))

#create images for the clear reflection..---------------------------------------------
convert $TRANSITION/from.png -bordercolor black -border ${border_thickness} -alpha on \
      \( +clone -flip  \) -append \
      -size ${new_size_w}x${new_size_h} xc:black +swap \
      -gravity North -geometry +0+0 -composite ${TRANSITION}/from_ref.png

convert $TRANSITION/to.png -bordercolor black -border ${border_thickness} -alpha on \
      \( +clone -flip  \) -append \
      -size ${new_size_w}x${new_size_h} xc:black +swap \
      -gravity North -geometry +0+0 -composite ${TRANSITION}/to_ref.png

#Create the gradient image that will create the reflection gradient ---------------------------------------------
grad_width=$(( $video_extract_img_width + $border_thickness * 2 ))
grad_height=$(( $video_extract_img_height + $border_thickness * 2 ))
convert -size ${grad_width}x${grad_height} gradient:none-black $TRANSITION/tmpbg.${video_extract_img_format}

#Final Input images with the gradient overlay ..---------------------------------------------
convert ${TRANSITION}/from_ref.${video_extract_img_format} $TRANSITION/tmpbg.${video_extract_img_format} -gravity South -compose Multiply -composite -resize ${video_extract_img_width}x${new_size_h} ${TRANSITION}/f.${video_extract_img_format}
convert ${TRANSITION}/to_ref.${video_extract_img_format} $TRANSITION/tmpbg.${video_extract_img_format} -gravity South -compose Multiply -composite -resize ${video_extract_img_width}x${new_size_h} ${TRANSITION}/t.${video_extract_img_format}

#Create the background to be used for generating frames.. To and From BGs will be diff ---------------------------------------------
#First Leg will have to image in the background..
final_size=$(( 100 - $size_reduction_in_tran ))
convert ${TRANSITION}/bg.${video_extract_img_format} \( ${TRANSITION}/t.${video_extract_img_format} -resize ${final_size}% \) \
	  -gravity NorthWest -geometry +0+0 -composite \
	 -size ${video_extract_img_size} +repage -flatten ${TRANSITION}/fl_bg.${video_extract_img_format}

convert ${TRANSITION}/bg.${video_extract_img_format} \( ${TRANSITION}/f.${video_extract_img_format} -resize ${final_size}% \) \
	  -gravity NorthEast -geometry +0+0 -composite \
	 -size ${video_extract_img_size} +repage -flatten ${TRANSITION}/sl_bg.${video_extract_img_format}

#reduce the size and cmposite with the canvas and reduce to the size

dec_size_delta=`echo "scale=2;$size_reduction_in_tran / $total_frames"|bc`
dec_img_size=100
img_size=100
f=0
while [ $f -le $total_frames ]
do
last_img_name_count=$(( $last_img_name_count + 1 ))
img_name=`printf "szimg-%03d" $last_img_name_count`
newpos=$f

convert ${TRANSITION}/fl_bg.${video_extract_img_format} \( ${TRANSITION}/f.${video_extract_img_format} -resize ${img_size}% \) \
	  -gravity NorthEast -geometry +${newpos}+${newpos} -composite \
	 -size ${video_extract_img_size} +repage -flatten ${TRANSITION}/${img_name}.${video_extract_img_format}

dec_img_size=` echo "scale=1;$dec_img_size - $dec_size_delta"|bc`
img_size=`printf "%.f\n" $dec_img_size`
f=$(( $f + 1 ))
done

f=0
to_img_size=$(( 100 - $size_reduction_in_tran ))
dec_to_img_size=$to_img_size
while [ $f -le $total_frames ]
do
last_img_name_count=$(( $last_img_name_count + 1 ))
img_name=`printf "szimg-%03d" $last_img_name_count`
newpos_to=$(( $total_frames - $f ))

convert ${TRANSITION}/sl_bg.${video_extract_img_format} \( ${TRANSITION}/t.${video_extract_img_format} -resize ${to_img_size}% \) \
	  -gravity NorthWest -geometry +${newpos_to}+${newpos_to} -composite \
	 -size ${video_extract_img_size} +repage -flatten ${TRANSITION}/${img_name}.${video_extract_img_format}

dec_to_img_size=` echo "scale=1;$dec_to_img_size + $dec_size_delta"|bc`
to_img_size=`printf "%.f\n" $dec_to_img_size`
f=$(( $f + 1 ))

done

#------------------- Stage - 4 create four frames

last_img_name_count=$(( $last_img_name_count + 1 ))
img_name=`printf "szimg-%03d" $last_img_name_count`

convert $TRANSITION/to.png -bordercolor black -border $border_thickness \
-resize $video_extract_img_size \
-size $video_extract_img_size xc:black +swap \
-gravity NorthWest -geometry +0+0 -composite \
${TRANSITION}/$img_name.${video_extract_img_format}

f=0
pre_tran_border_thickness=$(( $border_thickness + $per_frame_border_thickness_increment ))
while [ $f -le $pre_tran_frame_count ]
do
pre_tran_border_thickness=$(( $pre_tran_border_thickness - $per_frame_border_thickness_increment ))
last_img_name_count=$(( $last_img_name_count + 1 ))
img_name=`printf "szimg-%03d" $last_img_name_count`

convert $TRANSITION/to.png -bordercolor black -border ${pre_tran_border_thickness} \
-resize $video_extract_img_size \
-size $video_extract_img_size xc:black +swap \
-gravity Center -geometry +0+0 -composite \
${TRANSITION}/$img_name.${video_extract_img_format}

f=$(( $f + 1))
done

#-------------------- End Stage 1

}

#----------------------- TEMPLATE TRANSITION METHOD -------------------------

trnx_template()
{
i=0
while [ $i -le $tran_file_count ]
do
echo "Do something here"
i=$(( $i + 1 ))
done
}

#Cross Zoom
#Ripple
#Page Curl Right
#Page Curl Left
#Flim Strip next
#Spin In
#Sping Out
#Circle Open
#Circle Close
#Cube
#Mosiac
#divide in windows and rotate windows
#Timewarner Ad type transition where there are three slides in swap like transition.. one facing viewer and two on the either side
#Active frame minimizes to one of the four corners and the other

redpajama_set_name: RedPajamaGithub


You are here: Home / Discussion / drinking skim milk. will it hurt my fat loss diet?
will drinking skim milk hurt my fat loss diet? i drink about half a cup per meal.
I don't think drinking skim milk is bad really, but every meal seems a bit to much. You should consider drinking water with every meal not skim milk. A lot of people have no idea how important water is on a diet.
no it wont, its actually good because it helps to curve ur appitiette!!!


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A UK-based litigation funder is to back a shareholder class action against Slater & Gordon as its share price continues to tank following Monday's announcement of huge losses.
Having started the week at 83c, the embattled firm saw its shares finish trading on the Australian Stock Exchange today at just 26c, their lowest ever point and a world away from nearly A$8 of a year ago before it bought Quindell's professional services division.
Two Australian law firms have been working towards shareholder class actions, and one of them, ACA Lawyers, said it has finalised a funding agreement with listed Australian funder Justkapital Litigation Finance, and London-based Woodsford Litigation Funding.
The class is people who bought Slater & Gordon shares between 1 April 2015 and 17 December 2015, the day before ACA announced its examination of statements made by the firm at the time of its £460m capital raising in April 2015 to make the acquisition, and profit forecasting for the 2016 financial year.
The £493m loss revealed on Monday was mainly attributable to a write-down in goodwill in relation to the deal.
Bruce Clarke, principal with ACA Lawyers, said investors have many questions about the UK acquisition. "The directors have a lot of explaining to do. It was only in November shareholders and the market were being told the company was in good shape. Now three months later there are massive losses and write downs." he said.
Mr Clarke said his firm had been "inundated" with enquiries from aggrieved investors. "There is real anger among Slater and Gordon investors, from small mum and dad investors to large institutional investors who are looking for some way to recover the millions of dollars that have been lost over the past 10 months," he said.
Andrew Watson, the national head of class actions at Maurice Blackburn Lawyers, the other law firm sizing up proceedings, said: "The sheer size and scale of this write down casts enormous doubt on the adequacy of disclosures made by Slater & Gordon in relation the true value of the Quindell assets, from the time of the transaction's announcement right through until [Monday].
Meanwhile, analysts in Australia said Slater & Gordon would be expected to settle as many cases as possible in the next month to soothe the concerns of its bankers.
According to the Sydney Morning Herald, National Australia Bank and Westpac have given the firm until 30 April to prove it can improve its cash flow position. Receipts from customers in the six months to December 31 were £276m, while payments to suppliers and employees were £307m.
"Over the next month, the group will need to prove to advisers that [Slater Gordon Solutions – the renamed professional services division] can be operated profitably with sufficient cash flow for the debt facility to be extended past March 2017," Macquarie Bank analyst Michael Higgins told the newspaper.
This meant Slater & Gordon stood a better chance at repaying its debts if it could finish its existing cases.


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