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Bharat Parv at Red Fort set to showcase Indian culture and cuisine
NG News Desk
New Delhi: The Red Fort premise is set to witness the 'Bharat Parv' festival from January 26, as part of the Republic Day celebrations. The fest organised is set to showcase the cuisine and culture of different states of India.
The 'Bharat Parv' festival will be held from January 26 to January 29.
"The prime objective of organising the event is to generate a patriotic mood, promote the rich cultural diversity of the country and to ensure wider participation of the general public," an official release said.
The highlights of the event include performances by the Armed Forces Bands (static and moving) along with cultural performances from different regions of the country. Along with a display of Republic Day Parade tableaux, the event will feature a food festival and a crafts mela.
The festival will be open to the public from 5 PM to 9 PM on 26 January and from 12 noon to 9 PM on the 27, 28 and 29 January.
"The event is open to the public and the entry is free. However, identity proof is to be carried," the release said.
Cultural performances will include folk and tribal dances along with a musical program by the Ministry of Culture through its zonal cultural centres. Performances by cultural troupes from the different states will also be witnessed. (Inputs from agencies) (picture courtesy: makingdifferent.com)
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Articulating the Terror of Obstetric Violence
Symposium: Medical Humanities and the Fantastic
Articulating the Terror of Obstetric Violence in Carmen María Machado's "The Husband Stitch"
Lucía López
Ever since I read Charlotte Perkins Gilman "The Yellow Wallpaper" (1892) as an undergraduate student of English literature, I have been attracted to representations of the interactions of vulnerable bodies with what I call "the medical establishment" by which I mean state sanctioned clinical practice, that which follows mainstream discourse and does not consider other understandings of health but the Western one. Gilman's text firmly aligns with this examination of mainstream medicine through the lens of literature, since the author depicts a "resting cure" popularized by Silas Weir Mitchell, a famous physician at the time, which consisted in enforced seclusion and bed rest for patients diagnosed with nervous conditions such as hysteria or neurasthenia. Perkins Gilman herself had been subjected to this cure, which she believed damaging and, in an effort to warn against its dangers, she denounced the extremely oppressive and confining prescriptions patients were forced to follow. In "The Yellow Wallpaper," said prescriptions involve extreme confinement and prohibition of almost any social interaction or mental exercise, which seem to drive the protagonist to madness rather than to cure her, and the narration masterfully reflects the increasing claustrophobia and loss of touch with reality provoking an increasing unease in the reader that may well end in terror.
Although the protagonist's progressive illness is disquieting on its own, I argue that a good part of the terror that Gilman's story provokes in the reader emanates from the fact that the protagonist's husband, who is also a doctor, is the one who takes the role of care giver and enforces the limiting "resting" cure. Thus, the narrator is doubly betrayed, first by the medical establishment that pathologizes her disinterest in the domestic as a nervous condition, and second, by her husband, who prioritizes medical prescription over his partner's explicit desires.
The protagonist's betrayal by those who should have her best interests at heart may seem outdated by contemporary Western standards; after all, we live in a time where feminism has drastically changed the power dynamics of marriages and the medical institutions securely stand on scientific grounds that should not allow for abuses of power. Although the forced vulnerability of Gilman's protagonist is evocative and vaguely terrifying for a contemporary female reader, that terror should be far removed from our personal experience. However, contemporary women's writing is still very much concerned with how gender bias and misogyny infiltrate clinical practice to the detriment of female patients: many recently published memoirs of sickness such us Abby Norman's Ask Me About My Uterus (2018), Sonya Huber's Pain Woman Takes Your Keys, and Other Essays from a Nervous System (2017) or Porochista Khakpour's Sick: A Memoir (2018) certainly express the many frustrations and potential pitfalls of navigating the medical system as a woman. Although these memoirs deal explicitly with the encounters of female embodiment and the medical establishment, it is again a short story—Carmen María Machado's "The Husband Stitch"—which talks back to "The Yellow Wallpaper" by covering the protagonist's medical experience with a layer of terror, highlighting the betrayal of a medical establishment that is depicted as caring more for gender performativity than the wellbeing of the patient, and a husband whose obsession with taking ownership of his wife's body leads to doom.
In "The Husband Stitch," published in her debut collection Her Body and Other Parties, Carmen María Machado evokes the potential dangers of the intimacy of marriage and the embodied vulnerability of giving birth and weaves a fabric of terror that speaks to its contemporary reader in the same way The Yellow Wallpaper does: addressing through figurative language and literary representation a fear well rooted in the readers' close reality. Ann Radcliffe's definition of terror as a feeling that expands the soul and awakens the faculties to a high degree of life" (150) accompanied by "uncertainty and obscurity" (151), which is the vehicle to the sublime in its capacity to evoke danger and excite the imagination seems poignantly close to what Machado accomplishes in her writing: by highlighting the implicit threat in the commonplace, her text forces the reader to reimagine said threats upon the everyday that lies outside the pages of the book, very different from the experience of horror, described by Radcliffe as a cheaper version of the emotion, its "effect, though sudden and strong, is also transient" (150). In Laura Kremmel's comprehensive chapter on Medical Horror in the new Palgrave Handbook to Horror Literature, the author considers this type of literature to "provoke the fear associated with the human body and mind's vulnerabilities" (313). However, she points out that it is not only the "fears of the body as a threat to itself" that this subgenre draws from, but also and more prominently, "the fears of the larger medical institutions and authorities that claim absolute power over the body in their promise to care for and cure it" (314). That this promise goes unfulfilled is implicit, and thus "healing becomes exploitation, experimentation, and terrorization for a goal that circumvents the benefit of the individual patient" (314). This is what happens both in "The Yellow Wallpaper" and "The Husband Stitch," where the medical establishment takes ownership of the female body and pathologizes what is seen as a failure to acquiesce with normative gender performance within the bounds of marriage, disregarding women's explicit decisions regarding their bodies' performances and medicalizing dissent.
In her Survey of Medical Horror Kremmel distinguishes between horror of "what can happen to the body (injury, illness, or death) and horror of what can be done to treat the body" (315), and I argue that is in this latter category, that the terror of the medical experience emerges from. The very real potential vulnerability to an implicit threat that the reader feels very close to their experience resonates with Radcliffe's understanding of terror, rather than horror, and although Kremmel does not stop to make a distinction between the two, her nuanced commentary regarding the imaginative potential of the immediate experience to instill fear in the reader, certainly aligns her vision with what Radcliffe wrote about. According to Kremmel, medical terrors that promise "an inherent relevance and imminence . . . The familiarity of medical spaces and the fears that already reside in them make patients, even potential patients, vulnerable to a medical manifestation of horror tropes" (323). In the case of Machado's short story, it is the familiar terror of obstetric violence that provokes the reader. In a complex and nuanced short story, the author evokes the absolute vulnerability in the most intimate of physical spaces and the potential for damage it posits when we are faced with an unscrupulous clinician.
Machado's protagonist claims at the beginning of her tale that "[e]veryone knows these stories—that is, everyone tells them, even if they don't know them—but no one ever believes them" (5). That certainly seems to be the case with the husband stitch (the procedure, not the story); as Jane Dykema states in a much-read article in Electric Literature, a quick internet search of the term will demonstrate that there is "no entry in Wikipedia, nothing in WebMD. Instead there are pages and pages of message board entries and forum discussions on pregnancy websites." The existence of this procedure is rarely acknowledged by medical professionals, as seen by the absence of studies or official records. Consisting of an extra stitch given after a vaginal birth to tighten the vagina of the patient after there has been either a natural tear or an episiotomy, its objective is the increased sexual pleasure of a male partner and often carries with it the accompanying pain of the patient. Despite the lack of records, as Carrie Murphy states in another article on the topic, this time in the site Healthline, "the proof is in women's words. Or sometimes, it's sewn into their bodies." The thousands of personal testimonies that seem to have been unearthed after the publication of the story by Machado give testament to that: the husband stitch is not a myth, but an unrecorded, unofficial and unsanctioned medical practice where stereotyped gender performativity takes precedence over the well-being of the patient. In Machado's story, it is the protagonist's husband who asks the doctor while she is under the haze of a powerful sedative: "How much to get that extra stitch?" . . . "You offer that, right?" (16). And despite the patient's lack of explicit consent, or ability to consent at all, since she is under sedation, she is given the extra stitch rumored to recreate a tightness comparable to that of a virgin. When she wakes up, the protagonist is "all sewn up" "Nice and tight, everyone's happy . . . You're going to need to rest for a while" (17), she is told by the doctor.
In her harrowing memoir about dealing with endometriosis, Abby Norman expresses her frustration with her doctors, who repeatedly dismiss her statements that she is absolutely decided to sacrifice her fertility if it will alleviate her pain:
I can only assume that doctors don't feel comfortable taking a woman's word for it when she says she's not concerned about her fertility . . . I was slowly figuring out that not only was my pain going to be disbelieved, but it was never going to take precedence.
(Norman, Kindle Position 690-693)
Precedence, in this case, over fertility, or over her partner's sexual pleasure, as is the case in Machado's story. Both Norman and Machado highlight in their writing instances were the medical establishment fails to make the female body the interested party. In Norman's experience, as well as in Machado's story, the performativity of the female body in accordance to stereotypical gender norms, as a mother or as a lover, takes precedence over the patient's expressed desires. Women's agency is overruled by the doctors' perception of what her body ought to do.
The enforced silence of women's voices is another topic that Machado addresses in her powerful story. In stage directions, the reader is introduced to the narrator by being told that her voice should be performed "as a child, high-pitched, forgettable; as a woman, the same. . . ALL OTHER WOMEN: interchangeable with my own" (3). Intermingled with the protagonist's life story, Machado weaves a fabric of open-ended old wives' tales, urban legends and folktales in which women are punished for behaving outside the norm: "I have heard all of the stories about girls like me, and I am unafraid to make more of them" (7), claims the narrator as a young woman discovering sex with her future husband. However, as in the classic horror stories that we find in the text, sins have punishments in Machado's story. In "The Husband Stitch," which is a rewriting of the classic horror tale "The Green Ribbon," known by most in Alvin Schwartz's retelling in the young readers' collection In a Dark, Dark Room and Other Scary Stories, the husband is increasingly insistent and aggressive in his attempt to uncover the mystery of the green ribbon worn by his wife. Although we are first presented with an idyllic picture of the couple's story, where they seem to fall passionately in love, their courtship, marriage and life together is marred by the husband's continuous attempts to untangle the ribbon that his wife wears around her neck. His greed in wanting to take complete ownership and control of his wife's body against her will, first by asking the doctor for the extra stitch, then by unraveling the ribbon, is punished with the horror of a decapitated head at the end of the story. For the unnamed narrator, who has freely rejoiced herself in her lust, the punishment is death. As Lorna Piatti-Farnell explains in her review of children's fairytales, "bodily violence constructs the apogee of the educational lesson in the story and is seemingly justified by the receivers' previous ill conduct and greed" (99). In this case, the female protagonist's enjoyment of her lust is punished twice, first by the extra stitch, who reportedly may cause severe pain for the woman when attempting penetration, and secondly by her death at the hands of her untrusting husband, whose greed brings doom to the couple.
In conclusion, "The Husband Stitch" weaves several threads of terror by introducing storytelling as a powerful force that shapes our lives. Fantasy mediates uncertainty and allows Machado to recreate the embodied terror and intimate betrayal of obstetric violence by rewriting the threatening half whispered rumors of not consensual postpartum intervention into a gory children's story of beheading. She creates a tale where the perpetrator of such violence is not an unnamed monster but "not a bad man at all. To describe him as evil or wicked or corrupted would be a deep disservice to him" (30). "He is not a bad man, and that, I realize suddenly, is the root of my hurt," (30) the narrator says in the moments before her death. The terror of this story that we would prefer not to believe emerges from the frivolity with which the protagonist's agency over her own body is overruled by husband and doctor, otherwise caring and functional men, normal men. Casual misogyny and how it infiltrates every layer of reality, even those we believe are protected behind the walls of scientific objectivity, is the terror of this story.
Lucía López is a MA student of the University of Salamanca, where she will begin her doctoral studies in September. She has been dedicated since her undergraduate thesis to studying the intersection of medical humanities and fantasy, science fiction and postcolonial literatures, attempting to draw attention to the behavior of the medical field towards those relegated to the fringes of society. She was awarded a prize for outstanding academic performance for her project "Marginal Bodies in Science Fiction," recently presented at the (Post)Colonial Health Conference in Leeds and is currently researching the works of Indigenous author Lee Maracle.
Dykema, Jane. "What I Don't Tell My Students About 'The Husband Stitch.'" Electric Literature, 10 Oct. 2017, electricliterature.com/what-i-dont-tell-my-students-about-the-husband-stitch/.
Kremmel, Laura. "'And Send Her Well-Dos'd to the Grave': Literary Medical Horror." The Handbook to Horror Literature, edited by Corstorphine and Kremmel, Palgrave Macmillan, 2018.
Machado, Carmen Maria. "The Husband Stitch." Her Body and Other Parties. Serpent's Tail, 2017.
Murphy, Carrie. "The Husband Stitch Isn't Just a Horrifying Childbirth Myth." Healthline, 24 January 2018, http://www.healthline.com/health-news/husband-stitch-is-not-just-myth.
Norman, Abby. Ask Me About My Uterus: A Quest to Make Doctors Believe in Women's Pain. Bold Type Books, 2018.
Perkins Gilman, Charlotte. "The Yellow Wallpaper." American Fantastic Tales: Terror and the Uncanny from Poe to the Pulps, edited by Peter Straub, The Library of America, 2009, pp. 131-47.
Piatti-Farnell, Lorna. "Blood Flows Freely: The Horror of Classic Fairy Tales." The Handbook to Horror Literature, edited by Corstorphine and Kremmel, Palgrave Macmillan, 2018.
Radcliffe, Ann. "On the Supernatural in Poetry." The New Monthly Magazine and Literary Journal, vol. 16, no. 1, 1826, pp. 145-152.
Schwartz, Alvin. "The Green Ribbon." In a Dark, Dark Room and Other Scary Stories, HarperCollins Children's Books, 1984.
Posted on July 10, 2020 August 10, 2020 Author sfrarevCategories 50.1, Symposium: Medical Humanities and the FantasticTags Carmen Maria Machado, Charlotte Perkins Gilman, Conference Symposium, feminism, Horror, Lucía López
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Our sales staff are used to greeting visitors from all sorts of backgrounds with a range of different requirements. But over the past few weeks, one set of customers has ruffled a few feathers at our East Anglia regions Northfield View development in Stowmarket.
The site features a selection of homes built to cater for growing families, and that is perhaps what first attracted a group of mallards to waddle over to the sales office from a nearby swale and take a look around. The development sales team were happy to help them choose the perfect place to nest, and even provided some organic duck food to encourage them to visit again.
The family are now regular visitors to the development as they decide which home fits the bill.


Neil Young. The Road Goes On Forever-50 Years of Inspiration. DVD. Directed by Jon Storey. [United States]: Pride, 2015. PG2DVD177. $26.95.
While Neil Young has never quite cracked the ceiling of Rock and Roll celebrity to become a superstar, he has achieved nearly universal respect among his peers and audiences for his artistic integrity and general consistency. That said, this documentary makes it clear that he has never been one to value consistency at the expense of development and setting personal challenges for himself.
Born in Toronto in 1945, Young spent the early part of his life in rural Canada and turned chiefly to music as a personal outlet following the breakup of his parents' marriage during his teen years. He was initially attracted to early Rock and Rhythm and Blues, but showed an early predilection towards eclecticism, listening to folk, country and pop music of the 1950's. This variety of musical influences was a vital component of his emerging musical style and is well represented by this documentary, which includes a number of interviews with friends from those early Canadian years. While barnstorming during this period Young met a number of later associates including Joni Mitchell, Rick James and Stephen Stills. In 1965 Young relocated to Los Angeles and teamed up with Stills in the influential country rock band Buffalo Springfield which lasted for less than two years and produced a few albums that began to showcase Young as both a singer and songwriter.
While the eclecticism of his early listening habits clearly informed his songwriting, its influence on his vocal style was one of the most compelling parts of this documentary. Interspersing talking head experts with concert footage of Roy Orbison, Bob Dylan and some lesser known folk artists, the DVD presents a remarkably clear picture of where Young's distinctive vocal style came from. I found the case that Orbison was a vital early influence to be surprising yet convincing and extremely important to an understanding of Young's work even to the present day. The development of his guitar style from an even more complex set of influences is explored in detail as well.
Following the breakup of Buffalo Springfield, Young toured with Crazy Horse--a much more elemental rock band with an informal style and approach. While Young commented that this was a very happy period artistically, it was clearly not a long term solution for him and he soon joined Stephen Stills again with an existing group that added his name, becoming Crosby, Stills, Nash and Young. While performing with them, Young also began to do solo tours featuring mainly original acoustic music straddling the folk/country/rock line and producing many songs that became popular. Later experiments in the 1980's and 90's combined his playing and songwriting with styles as diverse as electronica, funk and grunge--all of which are detailed in this documentary. Discussion of the electronic period alone, a relatively short one in Young's career, is given much greater status than it probably deserves; it almost works as a mini-documentary of the whole movement.
Publication information: Article title: Neil Young. Contributors: Clark, John - Author. Journal title: Notes. Volume: 72. Issue: 3 Publication date: March 2016. Page number: 605+. © Music Library Association, Inc. COPYRIGHT 2016 Gale Group.


I live in Raleigh, NC and I am busy with my greenhouse and aquaponics in the spring. Every spring there are a few nights where we will get a good freeze and I need to shut off my outdoor faucets (sillcocks). You must shut off the faucet AND disconnect the hose - to make sure no water remains in the faucet housing. I used to use 'quick connects' to the faucet, but I would always need to release the water pressure before I could remove the hose. This involved shutting off the faucet, opening the hose nozzle, and finally releasing the quick connect (i.e not so quick).
Climate change is here and it is affecting our food supply.
Freeze drying your harvest - is it for you?
Is anyone else using a cold frame this winter?


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Grass Fed Cows? Raw Milk?
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Upper Marlboro – Paulsboro Refinery donated a five-ton steam turbine to the Baltimore Joint Apprenticeship program that helps train future millwrights and carpenters in the construction industry.
"This turbine takes our apprentices from learning about a piece of equipment from a theoretical perspective to a real-world approach," said Bob Eaton, training coordinator for the Upper Marlboro, Maryland-based Mid-Atlantic Carpenters Training Centers Fund. "This turbine gives them plenty of hands-on opportunity for learning. Now when we use terms related to turbines, they can see the machine close-up by touching and examining it, which provides a more effective learning experience.
"Paulsboro Refinery is proud to donate this out-of-service steam turbine to the Baltimore Joint Apprenticeship to enhance their already well-established Millwright and Carpenter training programs," said Kristi Moore, Community Relations Specialist for the Paulsboro, New Jersey-based Paulsboro Refinery.
"This type of donation demonstrates the collaboration between Building Trade Unions and companies who seek to hire individuals graduating from these programs," Moore explained.
Miles Trengrove, a journeyman millwright for nine years and a member of Millwright Local 715, who is a contract worker at Paulsboro Refinery, helped coordinate the transfer to the Upper Marlboro training center Feb. 13.
"The turbine was a useful piece of machinery at the refinery, and we were fortunate to have the company donate it to us after they upgraded to a more efficient turbine," Trengrove said.
Millwrights are highly skilled craftsmen, who disassemble, repair and reassemble machinery in power plants, refineries and chemical plants, factories, mills and other industry-related projects.
Paulsboro Refining Co. is a subsidiary of PBF Energy (NYSE:PBF), one of the largest independent petroleum refiners and suppliers of unbranded transportation fuels, heating oil, petrochemical feedstocks, lubricants and other petroleum products in the United States.
The mid-Atlantic Carpenters' Training Centers (MACTC) has conducted carpentry training programs for Maryland, Virginia, and the District of Columbia since 1951. Students in this program are on a career path that promises good union jobs with superior health benefits and retirement pension plans.
The MACTC apprenticeship is a four-year program consisting of on-the-job training and related school-based instruction. Our carpentry students are employed by union construction companies and earn some of the best wages in the industry. MACTC Apprentices earn while they learn.
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SFX 200 film from Ilford is a premium B&W film created for high-quality and high-detail infrared photography. Add an intense red filter to get unique and powerful images. As always with infrared we recommend aiming your camera at full vegetation and dramatic cloudy skies. In medium format this infrared film will dazzle with its detail and other-worldly impact.
To understand more about the details above you can check out our film guide or if you want some inspiration then head over to our page on choosing your next film. And if you want the full details about the film, including technical information, read about Ilford over on EMULSIVE.
When you buy your camera film from us we can ship it across the UK, Europe, USA, New Zealand, Australia and Canada (more countries planned soon!) So buy Ilford SFX Film 120 B&W ISO 200 today and dive back into the fun of medium format film photography!


Shenzhen KTC Technology Group (hereinafter referred to as "KTC"), founded in 1995 and headquartered in Shenzhen, specializes in the manufacturing of flat panel display terminal products. It is one of the earliest manufacturers of LCD monitors, LCD TVs, commercial LCD terminals and medical LCD terminals in China.
Currently, the Group has more than 6,000 employees, and intelligent manufacturing industry parks in Shenzhen and Huizhou, with a gross floor area of 400,000㎡. The Group mainly consists of Shenzhen KTC Technology Co., Ltd., Shenzhen KTC Commercial Display Technology Co., Ltd., Shenzhen KTC Intelligent Technology Co., Ltd., Shenzhen KTC Medical Solutions Co., Ltd., Huizhou KTC Technology Co., Ltd., Hong Kong KTC Technology Co., Ltd., etc.
Always adhering to the business concept of "Implement Integrity Management, and Focus on Quality and Service", KTC is committed to providing high-quality products and serving customers with the highest standard. It strengthens the quality system and environmental protection, and has established first-class management systems. KTC has been certified under the SGS ISO9001:2015 quality management system, the SGS ISO14001:2015 environmental management system, the SGS ANSI/ESD S20.20-2014 electrostatic discharge standard, the Electronic Industry Code of Conduct (EICC), the integration of informatization and industrialization management systems, etc.
Products of KTC Group have passed numerous domestic and overseas certifications such as CCC, TCO03, CE, CB, FCC, UL, SASO, TUV, ROHS, Energy Star, and CECP. Also, KTC highly values the internal management and has established sound PDM, ERP, CRM, SCM and MES management systems.
As a national hi-tech enterprise and an accredited technical R&D center in Shenzhen, KTC has formed a sound R&D system - KTC Technology Center, through over two decades of continuous investment and development. This center undertakes the mission for core and front-end technology research and development, new product development and industry upgrade. Its R&D architecture consists of Structural, Electrical, Software, Optical, Technology and Product Departments and Testing & Experimental Center, which has hundreds of professional R&D engineers and elites from the flat panel display terminal industry. Each R&D department under the Technology Center is assigned with their respective tasks, implements collaborative development with the advanced collaborative development management system (PDM system), and tracks the development trend of industrial technology. Their R&D level and quality inspection capability rank among the best in the industry.
Caring for the growth and development of every employee, KTC has made outstanding achievements in capital input to skilled talent training, and in establishment of skilled technician incentive management mechanism, etc.; it continuously enhances the construction of talent team and makes great efforts to attract and train more skilled personnel, high-caliber personnel and technical experts. Through KTC University, new employee mentorship program, new backbones program, internal trainers, interest group, external training and other training programs, KTC helps employees to realize career planning and self-improvement, encourages professional dedication, skill advancement, and innovation and creativity. KTC is honored the "Craftsman Training Model Company in Shenzhen" and "Outstanding Enterprise in Social Responsibility Fulfillment".
Since KTC entered the field of PC monitors in early 1990s, it has been making relentless efforts in pursuit of high quality through efficient enterprise management, exquisite craftsmanship and personalized service, showing great competitiveness in the smart flat panel display field. The Company has been successively honored as "Top 100 Electronic Information Enterprises in China", "2008 FORBES CHINA 200 UP-AND-COMERS", "China's Top 10 Color TV Export Company", "Top 500 Private Manufacturing Enterprises in China", "Top 100 Manufacturing Enterprises in Guangdong", "Top 100 Industrial Enterprises in Shenzhen", "Top 100 Independent Innovation Enterprises in Shenzhen", "Best ODM Suppliers of Commercial LCD Equipment", etc., which has brought good social effect and influence.
KTC's smart products are sold to countries and regions in South America, North America, Europe, Africa, Australia, and Asia. The Company has established a stable sales network and maintained good cooperative relationships with domestic and international renowned enterprises. Over these years, KTC has forged a complete and sound system of domestic and overseas after-sales services.
As the flat panel display enters a new digital, intelligent and network-based era, KTC is expanding to smart TVs, medical displays, commercial displays and other fields through continuous innovation, core technology breakthroughs, and service segmentation and customization. It has become one of the Top 100 Electronic Information Enterprises in China. With an independent R&D system and technological advantages, the Company has been accredited as a national hi-tech enterprise and a municipal R&D center in Shenzhen. It is also active in exploring new business models and creating new demands. Based on differentiated and customized products and services, it endeavors to open up new prospects for sales growth and to build and constantly improve the intelligent manufacturing system and product family, thus to lay a foundation for steady corporate development.
Looking into the future, KTC will, with a new image and adhering to the service concept of "Customers First and Creates Affection", continuously enhance its capability in innovative development, and establish and improve its intelligent manufacturing system, thus to provide customers with high-quality smart display products and solutions. With the concept of "Technology Improves Our Life", the Company is marching toward a larger scale and a higher level, endeavoring to become a world-class professional manufacturer of smart flat panel display products.


Mary Grace Rice, daughter of the late Harry and Myrtle Slack who immigrated to Canada from England in the early 1900s, was born October 8, 1923 in Windsor, Ontario, Canada. She was a graduate of Sandwich High School and Grace Hospital Nursing Program. She was proud to train with the Salvation Army during World War II, and worked as a Registered Nurse in Canada and the United States.
Mary met her future husband Charles Rice through a mutual friend and had an instant connection. They married on August 26, 1950. After marrying Chuck, she was a homemaker and mother of 5, and eventually became a U.S. citizen. Chuck was a reservist for the U.S. Army Air Corps/ USAF so the family traveled a lot to TX, MS, MI, FL while eventually settling in Nassau Bay, TX where he became the Head of Safety for NASA.
Mary was an active member of St. Paul's Parish for almost 50 years. She was the President of the Houston Chapter of the Reserve Officers Association Ladies Club. She participated in the first Harvard Nurses' Health Study and continued for 40 years. Mary also enjoyed reading mystery novels, baking, and knitting and sewing for her children.
She peacefully departed this life on February 6, 2019 at her son Bill's home in Phoenix, AZ. She was preceded in death by her siblings Edward "Bud" Slack, Myrtle Bernice Fletcher, and Ida O'Neil.
She is survived by her husband Charles Rice; her children: Joseph Rice, William Rice, Catherine Rice, Susan Rice and Jennifer Rice; grandchildren: Jonathan Rice, Winston Carter, William Rice and daughter-in-law Anna Rice; and great-grandchildren Holden, Lucas, Asher and Mina.
The viewing will be held from 2:00-4:00 pm on Monday, February 11, 2019 at Hansen Mortuary Chapel, 8314 N. 7th St., Phoenix 85020. The funeral Mass will be held at 10:00 am on Tuesday, February 12, 2019 at St. Joseph's Catholic Church, 11001 N. 40th St., Phoenix 85028, with burial to follow at 1:00 PM at National Memorial Cemetery of Arizona, 23029 N. Cave Creek Rd., Phoenix 85024. Memorial donations in lieu of flowers may be made to Hospice of the Valley, 1510 E. Flower St., Phoenix, AZ 85014.
So sorry for your loss, Bill., Trudy and Jonathan. I met your Mom on several occasions and she was a lovely woman. May she rest in eternal peace until you meet again.


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Hotels.ng reaches 6000 hotel milestone in Nigeria
Hotels.ng, has surpassed their milestone of 6,000 hotels in Nigeria – that is another 1,000 hotels added in just within 4 months making it the biggest hotel booking website in Nigeria but closely followed by Jovago whichofficially announced in October it had 5000 hotels.
In a statement Mark Essien, founder and CEO of Hotels.ng. "As end of 2014 arrives, hotels.ng has reached 6000 hotels in Nigeria. We've gone from burning cash at the start of the year to profit of multiple our monthly expenses at end of the year. We've built a tight, independent team that works efficiently without intervention. We recorded almost no customer complaints in last two months, while booking tens of thousands of people."
"I learnt that if you're creative and keep thinking, you can solve problems that people have said cannot be solved. And I've learnt to have complete faith in the team – it's group work that got us this far, and it's group work that will take us into gear two in 2015," added Essien.
Hotels.ng allows customers to book hotel rooms online, providing list of hotels from all across Nigeria with hotel descriptions, photos, prices, and reviews to ensure customers stay in good, clean and safe hotels all over the country.
Source: TechMoran
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Oscar Wilde once said: 'One should always have something sensational to read on the train.' And while trains are not common national transport, you're in luck, because kulula.com is! And khuluma, the airline's in-flight magazine, has all you need to keep everyone (including the young ones) entertained on the flight. Not flying? No worries! You don't need to miss out on any of the action because it's all here – from our celebrity guest editor's opinions to interviews with up-and-coming South African artists, fantastic feature articles, events listings, fashion trends, hot travel tips and loads of competitions!


I recently collaborated with SCBWI illustrator Paul Morton on a highly-illustrated middle grade book called Max Tastic's Guide to Internet Stardom. It's the first time I've worked directly with an illustrator on a project, and it's been a great creative experience for both of us. Because we live 160 miles away from each other, we do most everything via email, and writing this article was no exception. So first, Paul tells his side of the story and then you get to hear mine. Enjoy!
We all like a good story, and there are few better pleasures than reading or listening to a rip-roaring and riveting tale. Rub the magic lantern of the book in your hand, and characters and places swirl into life before us. I often wonder if it's slightly different though for an illustrator when seeing these phantom characters emerge - whilst wallowing in the deliciousness of the journey, at the same time you are always imagining bringing them to life through drawing.
Have I imagined the scene from the best 'camera angle'? What exactly does the main character look like from above? And, if I'm reading and picturing her being ecstatic, how would I draw her in abject misery? The writer paints pictures with words and the best (picture book) writers leave a breathing space for illustrations to extend the descriptions.
At last year's picture book retreat, one of the SCBWI writers was wondering out loud about this over breakfast. Following an intensive sketching session the previous afternoon - with the emphasis on 'really observing' our surroundings - she asked if "you illustrators and artists are always exhausted? I never realised before, but you must always be switched on and seeing things from the potential of drawing them."
This seemed like a pleasant compliment to me and I answered in the affirmative, saying that it had become totally second nature, no longer something that took any extra effort. I can imagine it's a bit like being bilingual - listening to a conversation in one language whilst being able to translate simultaneously in your head.
All this conjecture is leading me to confront what happens when it's not MY story that I'm bringing to life, not the book I'm reading for pleasure, nor the radio play I'm listening to. It's when I've been invited to give visual life to a friend's precious story by working in collaboration with a fellow SCBWI colleague.
I've been asked to illustrate other people's texts before and have in fact worked on one other SCBWI member's book - Helen Bonney's wonderful Wally Woppapotamus! It was the strength of Wally's character that appealed to me then, and similarly, when Nick Cross eventually sent me the first few chapters of the incredible Max Tastic, I was hooked.
I say 'eventually', because Nick first approached me and suggested that we do 'something' together, but didn't know exactly what. We swapped various ideas back and forth until the just-about-complete idea for his colourful MG escapade featuring the exuberant Max Tastic swept into my in tray. Max had a captivating cast of friends and foes, including a dynamic sidekick in the futuristic shape of a sentient digital assistant called Zanthea.
Nick would upload the first few chapters of the story which I'd print out on A4 sheets.
As I read and laughed out loud at the story, I'd sketch thumbnail scenes and characters along the margins. These were the first images that sprang to my mind and quite often survived through into the final dummy book.
Nick is very generous with his feedback and reacted (almost always) favourably to how I'd depicted his characters. I wouldn't go as far as describe us as 'symbiotic,' but it was satisfying to see our ideas and suggestions ricocheting around until they hit a mutually acceptable target.
Because so much of the plot revolves around Max's incredible and powerful new Zapbook computer, it felt right to try and visualise the story on such a tablet-like screen. This idea chimed with Nick as he'd been investigating how to present the book in digital episodic formats.
To make our non-synchronised communication easier, we shared documents and sketches on a couple of cloud platforms - notably PBworks, Picasaweb and then ISSUU.
We also have Skyped a few times when longer discussion seemed the best way to make the next move forward. And of course have met at the SCBWI conference, but then everyone will know how limited free time can be at such events!
From piles of sketches and the completed manuscript, we arrived at an illustrated, but pared down, version of the first few chapters for submitting as a book dummy. It's designed in the shape of a mini laptop or tablet device and Max is currently out and about seeking feedback at a number of agents.
It feels like we never got enough time to put as much effort into the collaboration as I would have liked. I think Nick feels the same, but hopefully once we get our joint passion for Max returned by an agent or publisher, we can really make him take off and conquer the world.
Writing can be a lonely business. I had tried collaborating with another writer, but although we came up with a load of ideas, our differing styles never quite seemed to gel. I'm also a bit of a control freak when it comes to words, which probably didn't help! But the fact that my books had been getting shorter and more light-hearted meant that collaborating with an illustrator seemed a more natural fit.
However, I didn't do much about this idea until after a chat with fellow writer Nick Cook. He said: "You should team up with Paul Morton. He'd be a great person to work with." It was a brilliant suggestion that seems obvious in retrospect - I had met Paul a few times at SCBWI events, and knew he understood both children's illustration and the digital side that I was hoping to explore. So I sent him a tentative email and things started moving. Then stopped. Then started again. Then... (you get the idea).
The problem wasn't that Paul didn't want to collaborate with me. The problem was that Paul is far too good at his day job, which is commercial design. As a freelancer, he has to grab every opportunity that comes his way, and I quite understood that meant putting our collaboration on the back burner, especially as its earning prospects were (and continue to be) uncertain.
Luckily for me, after designing beer labels, cereal boxes and a number of Disney board games, Paul eventually had a gap in his schedule. When he works on a project, Paul likes to really get his teeth into it, and I was amazed by how quickly he created illustrations of Max and the other main characters. I have a very weak visual imagination, which means that I literally don't know what my characters look like. This actually worked strongly in our favour, because I had no predefined context to clash with Paul's interpretation of the key players. Of course, he's also very skilled at visual characterisation, which doesn't hurt! Seeing my characters brought to life was a rewarding and fascinating experience.
The main area in which I was able to give helpful feedback on the illustrations and layouts, was in the telling of the story. For instance, I wanted the illustrations to complement the jokes and not to undercut them. There's an unconscious tendency for both writer and illustrator to "claim" a joke as their own, but a good partnership gives equal weight to both. I was also keen to make sure that the flow of the book was very clear to the reader, and we spent a lot of time on certain layouts to make sure the reader's eye tracked across the page in the right way.
A number of people have told me that I'm making life harder for myself by teaming up with an illustrator before publication. And I suppose they have a point, but I also haven't got anywhere with the last four books I've written entirely on my own! One agent did ask if we'd consider submitting the text without the illustrations, but I'm not keen on that option. Although the text was initially written separately from the illustrations, the two now feel like one inseparable whole to me. Max can't conquer the world on his own and neither can I!
Max Tastic's Guide to Internet Stardom is an illustrated middle grade humour novel – Dennis the Menace for the YouTube generation. Brimming with crazy humour and anarchic action, the book charts Max's attempt to reach one million hits on the internet before his nemesis Eve Lyness can outdo him. Armed with a superfast, self-aware laptop and the dubious skills of his friend Jackson Dent, Max is hell-bent on becoming the most famous boy in the world. Because then, his dad might finally notice him.
The book is currently seeking a publisher - please with any enquiries.
Paul Morton has been creating illustrative illusions and making magical marks for over 25 years, running his Hot Frog Graphics studio.
An active member of SCBWI, Paul is proud to have illustrated three children's books that were published in 2015: The Birthday That Went with a Bang, See You at the Waterhole and Race to the Little Red Barn.
I'm really pleased that Max is now a book. Sounds great!
Just Brilliant, Nick and Paul! Really interesting to read about about your process, together and singly. Love everything about Max.


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Covid-19 update: 07 May 2020
A round-up of this week's coronavirus-related news and countermeasures from the photonics industry.
It's back to work at ICFO, with experimental research resuming for some, at least.
Barcelona, Spain-based photonics research center ICFO has announced it will begin a gradual reopening of experimental activities. ICFOnians have spent almost two months at home, prioritizing community safety and often working from home to contain the spread of Covid-19.
ICFO management this week stated, "Researchers have shown great dedication to ensuring that all possible activities of the center have continued, proactively carrying out all types of tasks that can be done remotely, engaging in webinars and online training and exchanging experiences. Most ICFOnians will continue to work remotely, but are also now prepared to begin a gradual reopening of ICFO's experimental facilities."
After the successful completion of a pilot-phase launched to test and refine the new protocols and processes that will be in place from now on at ICFO premises, starting this week, a limited number of researchers will be granted access to facilities to conduct experimental activities.
The statement continued, "ICFOnians share with the rest of the world the responsibility to contribute to solving the Covid-19 crisis. We are convinced that responsible science will be a key part of the way out and of the future of our societies at large. Therefore, we redouble our efforts to carry out the research activities of the institute, which seek to make the world a safer, cleaner and better place."
High color purity 3D printing
ICFO researchers have reported on a new method to obtain high color purity 3D objects with the use of a new class of nanoparticles. Selective powder sintering for 3D printing has recently become an increasingly affordable solution for manufacturing made-to-order elements of almost any shape or geometry.
High color purity 3D printing.
The technique involves heating a bed of powder (such as polyamide, PA12) to just below its melting point, using an IR light source to selectively melt a cross section of the powder, then adding more powder and repeating to form a 3D object. To reduce costs and increase printing speed, a photothermal sensitizer is often added to the powders.
Typically carbon-based, with a strong broadband absorption, adding these sensitizers to the polymer powders increases the conversion of incident light to heat, which means greater print speeds. However, carbon-based sensitizers can only produce black or gray objects. To create white or colorful prints, visibly transparent equivalents are needed.
In the new study, reported in Nano Letters, the team of researchers has reported on using nanoparticles made of tungsten oxide (WO3) as the photothermal sensitizers for polymer powders. The results of the study open a new pathway for the use of plasmonic nanoparticles that can be used to produce high color quality 3D-multicolor objects for advanced manufacturing processes.
Laser sintered samples by using PA12 powder and gold nanoparticles (GNRs), tungsten oxide (WO3) and carbon-black-based sensitizers (CB).
Most UK photonics firms maintain production
Analysis of the first 200 responses to the UK's industry organization Photonics Leadership Group (PLG)'s survey of the impact of Covid-19 measures on photonics and acoustics industries reveals that 85% of manufacturing organizations have been able to continue production, with half of these organization reporting "only a minor impact" on capacity. The impact has been more severe among those providing high-value services, particularly to acoustics where one third of firms report more than a 50% drop in short-term turnover.
Half of respondents said pandemic disruption could foster new innovations.
The strong resilience of photonics and acoustics is being demonstrated by half of all photonics companies and one quarter of acoustics organizations indicating they have no intention to apply for Government financial support. Seven out of ten respondents overall indicated they were making use of, or intend to make use of one or more of the UK government business support schemes, with 1 in 20 indicating they had difficulties securing support.
Across all photonics and acoustics organization it is the impact on the order pipeline that is causing greatest concern with many reporting a significant lengthening of the sales cycle and difficulty closing new orders. More than half of all manufacturing organizations also highlight difficulties in importing key components in their top three challenges.
Looking to the future, the general prevalence of uncertainty is supported by ~20% of respondents saying it is too early to predict what the impact will be in a years time. However where people did express an opinion ~30% currently predict business turnover and investment will return or even increase over pandemic levels in a years time. The potential for the pandemic disruption to foster new innovations is supported by one half of all respondents predicting new product development plans will remain the same or even increase.
Aside from the lifting of stay-at-home social distancing restrictions more than half of photonics and acoustics organization report the ability to have face-to-face meetings and access to customers will be important to getting back to pre-virus business levels. Notably, the removal of European and intercontinental travel restriction is much more important to photonics and acoustics manufacturing organizations – a reflection of the international markets they address. Nevertheless, nine out of ten respondents still predict a significant increase in remote/home working and the use of virtual remote meetings in the longer term.
'Favorable demand for Violeds.'
Seoul Viosys, a developer of short wavelength LED products and technology, has announced that it earned KRW 87 B ($71.1 M) in consolidated revenue for the first quarter of 2020 and operating profit of KRW 2.7 B ($2.2 M).
Q1 revenue increased by 10% year-on-year (YoY). The company stated that, "favorable demand for its Violeds (UV LED) products for sterilization purposes increased due to outbreaks of viruses." However sales of visible LEDs have slightly slowed. Consequently, "Seoul's overall sales have grown in double-digit numbers for the past consecutive quarters," the statement added.
"For first quarter revenues from manufacturers of LED chips in other countries have been expected to decline due to both seasonal slowdown and the Covid-19 impact. However, Seoul is turning this global crisis into an opportunity and is responding to change in market demands with our full wavelength LED portfolio including short wavelength Violeds products, which offer a lifetime of more than 50,000 hours."
The company said that its R&D spending and selling and administrative expenses (SG & A) were also significantly reduced by 32% and 15% YoY respectively, driven by "continuous cost reduction". The company added that it will continue to reasonably reduce the ratio of R&D spending to improve margins. Looking ahead, Seoul expects that the increased demand in Europe and US for its Violeds, which are claimed to sterilize 99.9% of Covid-19 [contamination] within 30s, will continue to drive sales growth even after the second quarter.
Corning withdraws its full-year 2020 guidance due to Covid-19 impact
Glass, ceramics, and optical technologies giant Corning has also reported its first quarter 2020 results, which it describes as "solid – while responding to Covid-19 pandemic". The company also stated, "Given the economic uncertainty and disruption created by Covid-19, the company is withdrawing its full-year 2020 guidance. Corning's headline figures (according to GAAP) are as follows:
Sales totaled $2.4 billion; core sales were $2.5 billion
Earnings per share was $(0.16); core EPS was $0.20
Net loss was $96 million; core net income was $177 million
The company stated, "In response to the pandemic, the company has been and will continue focusing actions on three core priorities: preserving the financial strength of the company, protecting employees and communities, and delivering on customer commitments."
Wendell P. Weeks, chairman and CEO, said: "We, like all companies, are being impacted by the escalating global economic and health consequences of the pandemic. In the first quarter we took actions to navigate through these unprecedented times and will take additional actions in the second quarter."
Tony Tripeny, executive VP and CFO added, "In the first quarter, our businesses held up well, as we effectively executed our strategy despite the growing impact of Covid-19. Anticipating lower sales, we are adjusting our operating plan to reduce costs and capital spending. We have essentially no debt coming due over the next two years, and we plan to maintain our dividend and have paused share buybacks. We are committed to preserving the financial strength of the company."
"2020 outlook includes $10 million of Covid-19-related impact."
NeoPhotonics, a developer of PIC-based modules and subsystems for optical communications networks, has announced financial results for Q1, 2020.
Revenue of $97.4 million for the quarter, up 23% YoY
Gross margin was 30.5%, up 11% YoY
"We are pleased to deliver another profitable quarter, notably through our seasonally low first quarter, in spite of supply chain risks related to the pandemic," said Tim Jenks, Chairman and CEO. "The industry continues to move in our direction with ever higher speed over distance requirements, which are satisfied by our narrow linewidth lasers, high baud rate coherent components. We are optimistic about our future."
Considering the outlook for the quarter ending June 30, Neophotonics forecasts revenue of $94 to $102 million, a gross margin of 29% to 33%; and operating expenses of $27 to $28 million (all figures GAAP). This outlook includes approximately $10 million of Covid-19 pandemic-related impact to the expected Q2 revenue, reflecting identified supply chain risks.
More from Photonics World
Covid update: 14 January 2021
SPIE announces its 2021 society awards
Optical chip on a card to detect Covid-19 antibodies 'in a minute'
Rochester Laser Lab lands $82M
SPIE and Photonics Media announce finalists for 2021 Prism Awards
Nano Letters article on ICFO's high color purity 3D printing
Seoul Viosys
UK Photonics Leadership Group
Business update: latest industry responses to Covid-19
Business update: photonics industry rises to Covid-19 challenge
Combating Covid-19 pandemic: photonics industry worldwide rallies round
Combating Covid-19: photonics industry keeps innovating
CONVAT project aims for point-of-care Covid-19 diagnosis
Covid-19 impacts business – but some positive signs
Covid-19 update: 30 April 2020
IPG bounces back despite Covid-19 complications


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2021 Best Stockbridge, Georgia Online Accounting Degrees & Colleges
Are you looking for a school near Stockbridge, Georgia where you can earn an online accounting degree? Start your search for the best online accounting colleges and universities near Stockbridge, Georgia here.
The Best Adult Colleges & Careers Guide makes it easy to find information about the schools offering online accounting degree programs near Stockbridge, Georgia. Get detailed information about colleges and universities located within 30 miles of Stockbridge with 100% online accounting programs, including the number of distance-offered accounting degree completions, student type and more. In the end, you'll have an understanding of which college or university may be right for you.
Stockbridge, Georgia Online Accounting Degrees by the Numbers
Online accounting degrees in Stockbridge, Georgia have been at institutions over the past 5 years. In 2020, students completed 147 accounting-related degree programs that were offered 100% online by Stockbridge colleges and universities. That was of % from completions reported in 2016.
16:103 17:107 18:104 19:74 20:147
Best Nonprofit Online Colleges in Stockbridge, Georgia for Online Accounting Degrees
According to 2020 data from the National Center for Education Statistics (NCES), there were 2 nonprofit 4-year schools near Stockbridge, Georgia where students completed 223 distance education Accounting degree programs. Of those schools, 1 was a private nonprofit institution and 1 was a public school. Browse through the listing below to learn more about each of the nonprofit colleges in Stockbridge offering online Accounting programs. Tuition shown reflects in-state rates.
Franklin offers more than 50 online bachelor's degrees, master's degrees and doctoral programs in Georgia. Franklin University is an accredited nonprofit 4-year school where most students attend classes part-time. Most of the students are adults and all accounting programs completed were offered online. Bachelor's degrees are the most popular at Franklin University. In 2020, 165 distance education accounting bachelor's degrees were completed. In addition, 2 associate degrees, 19 master's degrees, and 0 doctoral degrees were completed as distance education programs.
Clayton State University is an accredited public 4-year school where most students attend classes full-time. Most of the students are a mixture of traditional and adult aged and all accounting programs completed were offered online. Bachelor's degrees are the most popular at Clayton State University. In 2020, 37 distance education accounting bachelor's degrees were completed. In addition, 0 associate degrees, 0 master's degrees, and 0 doctoral degrees were completed as distance education programs.
For-Profit Online Accounting Colleges & Degrees in Stockbridge, Georgia
Get a list of four-year for-profit online colleges and universities offering Accounting degree programs in Stockbridge here. According to 2020 data from the National Center for Education Statistics (NCES), there were 4 for-profit 4-year schools in Stockbridge where students completed 68 distance education degree programs.
Herzing University-Atlanta
Herzing University-Atlanta is an accredited for profit 4-year school where most students attend classes full-time. Most of the students are adults and all accounting programs completed were offered online. Associate degrees are the most popular at Herzing University-Atlanta. In 2020, 2 distance education accounting associate degrees were completed. In addition, 2 bachelor's degrees, 0 master's degrees, and 0 doctoral degrees were completed as distance education programs.
DeVry University-Georgia
DeVry University-Georgia is an accredited for profit 4-year school where most students attend classes full-time. Most of the students are adults and minimal accounting programs completed were offered online. Bachelor's degrees are the most popular at DeVry University-Georgia. In 2020, 1 distance education accounting bachelor's degreewas completed. In addition, 0 associate degrees, 0 master's degrees, and 0 doctoral degrees were completed as distance education programs.
American InterContinental University-Atlanta
American InterContinental University-Atlanta is an accredited for profit 4-year school where most students attend classes full-time. Most of the students are adults and all accounting programs completed were offered online. Bachelor's degrees are the most popular at American InterContinental University-Atlanta. In 2020, 9 distance education accounting bachelor's degrees were completed. In addition, 0 associate degrees, 0 master's degrees, and 0 doctoral degrees were completed as distance education programs.
Strayer University-Georgia
Strayer University-Georgia is an accredited for profit 4-year school where most students attend classes part-time. Most of the students are adults and all accounting programs completed were offered online. Bachelor's degrees are the most popular at Strayer University-Georgia. In 2020, 30 distance education accounting bachelor's degrees were completed. In addition, 6 associate degrees, 18 master's degrees, and 0 doctoral degrees were completed as distance education programs.
Best Colleges for Online Accounting Associate Degrees in Stockbridge, Georgia
Looking for a 2-year school or community college in Stockbridge where you can earn an accounting degree online? According to 2020 data from the National Center for Education Statistics (NCES), there were 3 two-year schools where students completed 42 distance education degree programs in accounting. Browse through the listing below to learn more about each of the online community colleges in Stockbridge offering online accounting associate degrees and courses. Tuition shown reflects in-state rates.
Southern Crescent Technical College
Southern Crescent Technical College is an accredited for profit 2-year school where most students attend classes part-time. Most of the students are a mixture of traditional and adult aged and all accounting programs completed were offered online.
Georgia Piedmont Technical College
Georgia Piedmont Technical College is an accredited for profit 2-year school where most students attend classes part-time. Most of the students are a mixture of traditional and adult aged and all accounting programs completed were offered online.
Atlanta Technical College
Atlanta Technical College is an accredited for profit 2-year school where most students attend classes part-time. Most of the students are a mixture of traditional and adult aged and all accounting programs completed were offered online.
Affordable Online Accounting Degree Programs near Stockbridge, Georgia
Wondering what you can expect to pay for an online accounting degree in Stockbridge, or which online Georgia schools have the most affordable options? According to undergraduate tuition data from the National Center for Education Statistics (NCES), the average tuition at Stockbridge-area 4-year nonprofit schools is $7,558. The average tuition at 4-year for-profit schools in Stockbridge is $14,576, while tuition at 2-year online colleges and universities is $3,133.
Accredited Online Colleges for Accounting in Stockbridge
Wondering if a certain Stockbridge college or university is accredited? View a list of accredited online Accounting colleges and universities in Stockbridge here. We've made it easy to find your school by breaking down the list by school type.
Accredited Online Nonprofit Colleges in Stockbridge, Georgia
Accredited Online Community Colleges in Georgia
Accredited Online For-Profit Colleges in Georgia
Find More Colleges with Online Degree Programs near Stockbridge, Georgia
Interested in another degree? Find other online degrees near Stockbridge, Georgia by selecting a category below.
Business Administration Computer Science Criminal Justice Administration Cybersecurity Finance Health Information Healthcare Management Homeland Security Human Resources Management Information Technology Marketing Psychology Public Administration Supply Chain Web Development


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Murray kicks off general election campaign in Spokane
Thu., Aug. 19, 2010
U.S. Sen. Patty Murray waves after speaking to a crowd of about 200 supporters at the West Central Community Center in Spokane on Thursday, Aug. 19, 2010. On Tuesday, Murray came in first in her race in the Washington's primary. She faces Repubilcan Dino Rossi, who placed second in the election. (Jonathan Brunt / Spokesman-Review)
Sen. Patty Murray on Thursday stressed her support for programs in Eastern Washington and new financial regulations approved by Congress as she opened her general election campaign on Thursday with a stump speech in Spokane.
"I'm here to tell you Wall Street's and big bank's money cannot buy my vote now or any day ever. I will always fight for you," she said in her 20-minute speech.
Murray criticized her Republican opponent Dino Rossi for his stance on the financial overhaul law. Last month, Rossi told The Washington Post and ABC News that the rules should be repealed, in part, because he said they will hurt small business.
Murray's campaign has heavily criticized Rossi's position since his announcement and has featured the issue in a campaign ad on TV.
"He is promising to repeal Wall Street reform," Murray said in her Spokane speech. "Maybe he thinks we should reward those who recklessly put our country in peril ... but I say not on my watch."
About 200 supporters attended the rally in West Central Community Center's courtyard.
Murray also criticized Rossi's stance on the extension of tax cuts that are set to expire this year. Murray has taken a stance similar to President Obama, arguing that the tax cuts should expire only on the wealthy.
"it really concerns me that Mr. Rossi says he wants us to take us back to the days of President Bush's unpaid-for tax cuts. Unpaid for for the rich. We've seen where that got us before -- into a huge whole," Murray told the crowd.
Posted Aug. 19, 2010, 11:34 a.m.
By Jonathan Brunt
jonathanb@spokesman.com
Jonathan Brunt joined The Spokesman-Review in 2004. He is the government editor. He previously was a reporter who covered Spokane City Hall, Spokane County government and public safety.
Follow Jonathan online:


All the biggest names in motoring will be present and over 100 new cars are expected to be on show for the very first time. Whether you're a Ferrari fan or a Lamborghini lover, you'll find the manufacturers of some of the world's most powerful motors at the event. Workshops and hands on exhibits offer something for the whole family to enjoy, so why not enjoy a heart Vice Versa Hotel breakfast and make a day of it?
Take a test ride in one of your favourite cars, or try driving one of the new electric and hybrid cars on a specially constructed test circuit at Pavilion 2/1. Some of the brands who will be taking part in this unique concept include BMW, Eon, Renault, Courb, Kia, Nissan, Mercedes, Tesla and Smart in partnership with RL2.
One of the most exciting highlights of this year's show is sure to be the 'Automobiles & Fashion' retrospective in Pavilion 8. From the pre-war years to post-war and the automobile dream, the impact of cars on fashion is explored in a magnificent showcase that will feature over 40 cars.
Be sure to book your stay at Hotel Vice Versa soon to ensure that you don't miss out on all the fun and glamour of Paris Motor Show this October.


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World of Blue - Twin Peaks - David Lynch
a Twin Peaks and David Lynch Electrical Resource
Board index World of Blue Twin Peaks Movie, TV, Books Season 3 (2017) The Return
What would a Season 4 be about?
Moderators: Annie, BookhouseBoyBob, Ross, Jerry Horne, Brad D
Re: What would a Season 4 be about?
Postby Rhodes » Fri Feb 15, 2019 5:48 am
Mordeen wrote: I'm not giving IE any more of my time. I watched it with someone involved and got the whole painful analysis of it scene by scene. A movie that was about 3hrs long took 6 to analyze and I still hated it for its improvised absurdity. Yet another "Hollywood Devours Women" film that he didn't need to make. My opinion.
- Mordeen
Another film he didn't need to make? So you didn't like MD either?
If so, I don't understand how you can call yourself a Lynch-fan (as you did yesterday). Those two movies are the ones that differentiate him the most from any other director. They are the prototypical examples and endstages of his vision and his approach to storytelling.
Dislking IE to me personally, is incomprehensible, but in that case there is the aspect of the digital camera. But disliking IE AND MD excludes you from the category of Lynch-fans. You're still entitled to your opinion of course. But you're not a Lynch-fan.
When you don't like Wild of Heart or The Straight Story or The Elephant Man, that's a different story. They are also a part of who Lynch is, but they could also have been filmed by other directors. They are not anti-Lynch movies, but they are not the most representative of who he is as a film-maker.
mtwentz
Postby mtwentz » Fri Feb 15, 2019 6:24 am
You can be a fan of any director but not like all their works.
"Dougie is COOPER? How the Hell is this!?"
Mordeen
Location: Near Mr. Gerard's Cabin
Postby Mordeen » Fri Feb 15, 2019 6:32 am
Hahah slow down, cowboy. You assumed I didn't like Mulholland Drive and then had your rant of judgment toward me.
I loved Mulholland Drive. Because it exists, I felt Inland Empire was a waste of his creativity and wished he had made something else on different subject matter.
You can be dumbfounded that people don't like Inland Empire, and quite a few Lynch fans don't. Disliking some of his work doesn't make you a non-fan. I don't subscribe to the idea that if you're a fan of somebody you have to love everything they do. I actually think that is absurd. I'm a huge Slayer fan. They have a couple really atrocious albums that I won't listen to. By your definition, should I just throw them all away and stop listening to them because I don't appreciate them as much as I should?
My favorite quote in the world: "You're entitled to your opinion, but..."
Nice chatting with you, but if you have more angst toward my opinions let's take it into PM so we don't clutter up this thread with tension and off-topic bickering.
Moving Through Time. . .
bosguy1981
Contact bosguy1981
Postby bosguy1981 » Fri Feb 15, 2019 6:51 am
If there is a fourth season (or Showtime film or whatever else), my personal predictions are:
- Lynch will write it by himself, without Mark Frost this time.
- Cast members from old Twin Peaks (aside from Kyle, Sheryl Lee, and a couple others) will have minor appearances, if they're shown at all.
- Audrey will NOT have a large role. Fenn will not have a large role in anything Lynch does again in the future after his problems working with her during season 3. (I know, I know, "it all worked out in the end with Sherilyn in season 3" but still).
TwinsPeak
Postby TwinsPeak » Fri Feb 15, 2019 8:21 am
Frost would be involved....
eyeboogers
Location: Copenhagen, Denmark
Contact eyeboogers
Postby eyeboogers » Fri Feb 15, 2019 10:35 am
[quote="bosguy1981"]If there is a fourth season (or Showtime film or whatever else), my personal predictions are:
No Frost no Peaks.
LateReg
Postby LateReg » Fri Feb 15, 2019 11:14 am
A few things, most of which I've said before.
But first, I just want to say how much I love Jerry Horne's idea that Cooper entered into Laura's dream in Part 18. I had never heard that before, but it totally fits with the theory of her mother's voice calling to her, and her waking up in bed the morning she should have died. Also, Reindeer's thoughts on how Season 4 could be are uncanny and seem right to me.
Things I've probably said before:
1. I've always been a big fan of INLAND EMPIRE. It is the most extreme and free use of digital in "mainstream" narrative cinema and therefore must be held in high regard. I know that it's a harsh film and not everyone's cup of tea; see Mordeen's opinion on it, for example. What bothers me is the fact that across the internet, in random articles about Lynch, the film is more or less viewed as some experimental misfire that nobody cared about. That's simply a fallacy, regardless of personal taste. The thing barely had a release yet placed highly on year-end polls (Film Comment, Indiewire, Cahiers) as well as decade-end polls. It also scored five votes in Sight and Sound's 2012 edition of the Best Films of All Time. This doesn't apply to Mordeen's comments at all, btw. That's just a general overview of how I feel INLAND EMPIRE is misunderstood by the larger community.
That said, I waver on where I rank it in Lynch's filmography. I usually rank it 4th, behind Eraserhead, as those remarkably (used to) bookend his career and show an artist at his most uncompromised. But I went through a five year phase in which I suddenly preferred Lost Highway, Fire Walk With Me, The Straight Story and The Elephant Man to it. But, and here's all I really wanted to say, after watching The Return and then revisiting Lynch's films, the two that I had the best experience with were those that sit alongside The Return as what are his purest works: INLAND EMPIRE and Eraserhead. After absorbing the slower pacing and narrative structure of The Return, I had arguably my greatest viewing of INLAND EMPIRE; Lynch's latest film always ends up clarifying his previous, just as the previous always ends up guiding you through the next. I've always thought of it as Lynch's "corrective" to Mulholland Drive, wherein he creates something purely based on feeling rather than something that sleuths could simply solve and be done with. And for the record I think it's about a lot more than a woman being devoured by Hollywood, though that is certainly a large part of it and what has also made so many people think of it as a retread of Mulholland Drive. Even granting that it has some of the same story, it has totally fresh grooves, imo.
2. I would agree with people who say that The Return is not as scary as some of Lynch's other works. It only occasionally taps into the heightened viscera of his scariest films, such as the first hour of Lost Highway, the end of Mulholland Drive or portions of INLAND EMPIRE, and it certainly doesn't equal the final hour of Fire Walk With Me, which I've said is a nearly impossible task since that accounts for some of the most intense pure horror cinema in history. But, there are caveats. The Return maintains a sustained feeling of dread for 18 hours, while at the same time being about so much more than dread. There is more sheer humanity in it than in any of Lynch's other avant-garde films; ie, The Return possesses all the humanism of The Elephant Man or The Straight Story. That doesn't mean that he still couldn't have made "poo flow" better during the scarier moments, of course. But I will say that the examples that MT listed are all wonderfully effective moments, if not quite at the level of what we've come to expect. I think The Return is better "art" rather than better horror, and that emphasis on the art is a tradeoff.
All that said, the entirety of Part 18 is pure unease on a level that both feels different and possibly surpasses anything Lynch has previously conjured. He does more with less than he's ever worked with, and that's why it's so effective. As far as individual moments, that sex scene is the scariest I've ever seen. And the one place I disagree with everyone about Lynch never equaling the poo-flow moments of his previous works - and I'm surprised no one else has brought this up - is in the final 20 seconds of the series. The atmosphere aided by the way the wind is subtly blowing through Laura's hair, Cooper stumbling about, Laura gearing her face up for her scream and then unleashing it...sure, that's a subtler brand of horror and the intensity of it doesn't last very long, but it is in my opinion the single most chilling and lingering moment of Lynch's career.
3. Neither here nor there but kind of bouncing off those two points and other things said throughout Dugpa, but I find it interesting that there has always been less gushing praise on Dugpa for The Return than almost anywhere else I look. Sure, almost all of those who are still here truly love it, and with a thing like The Return you want to absorb every corner of it and that takes time and it's hard to compare to 2-hour films and there's no point making concrete declarations, but there's very few here who seem to consider that it just may be Lynch's greatest work, as evidenced in a few posts on this thread alone. I just find that kind of interesting, both because of the way it has been received in other pockets of the 'net as well as from my own personal experience with it. I just think it's a deeper and more layered, more philosophically and politically powerful, truer and more original, more ambitious and simply more a-r-t than pretty much anything made in recent history, and serves an actual historical purpose, coming at the time it does as film and TV continue to merge and all that that entails and implies for the future. I think it's a towering achievement, a career summation and culmination, that is impossible not to at least consider putting at the top of Lynch's filmography.
And all that said, I do sometimes worry about a Season 4 coming out. Oh, I want it, and I want it bad. Whether its more streamlined and visceral and immediately pleasurable, whether its better at certain things but less ambitious overall, that's all good with me, and I'd love for it to somehow be "better," or to win fans that The Return lost. But what I totally irrationally worry about is that a new season will somehow lessen the impact (the feeling of time slipping away, actors aging and passing away, the theme of being unable to ever truly return, etc.) and overall importance of The Return, which right now seems like both the most unlikely (a once in a lifetime event, pulled off in unexpected fashion to surpass the hype) and the most important thing to happen in years (since Sopranos?) in terms of the advancement of the art form (artistic freedom, personal expression, experimentation, etc.) and also through the convoluted means in which it is predicated on fighting nostalgic impulses in the corporate age of the remake/sequel. Will all of this within and surrounding The Return feel as special or ring as true in the event of a Season 4? I suppose if they went through with it they'd be acutely aware of what needs to be done, and my worrying is even more senseless than it appears.
Last edited by LateReg on Fri Feb 15, 2019 11:26 am, edited 1 time in total.
Agent Earle
Postby Agent Earle » Fri Feb 15, 2019 11:26 am
There's simply no way of telling if this will be as impactful and influential as The Sopranos were this soon. I'd say at least a decade must pass after the airing to be able to make such a judgement. And when you look at how quickly it was put away - if not downright forgotten - in the mainstream since it went off the air, things are not looking encouraging in this regard - if anything, I'd say the general attitude towards TP has been the one of cooling off, not heating up. No-one, apart from the diehards (and I count us, the original fans turned naysayers by S 3, among the diehards ), seems to care anymore.
Postby LateReg » Fri Feb 15, 2019 12:09 pm
Agent Earle wrote: There's simply no way of telling if this will be as impactful and influential as The Sopranos were this soon. I'd say at least a decade must pass after the airing to be able to make such a judgement. And when you look at how quickly it was put away - if not downright forgotten - in the mainstream since it went off the air, things are not looking encouraging in this regard - if anything, I'd say the general attitude towards TP has been the one of cooling off, not heating up. No-one, apart from the diehards (and I count us, the original fans turned naysayers by S 3, among the diehards ), seems to care anymore.
I agree with the first half of what you said, though that's not quite what I meant. I never used the word influence, which indeed comes later. By "impact," I mean the impact of The Return on the viewer; I mean the story's impact, the themes, etc. I did use the word "importance," by which I mean how important it feels in how it was made and the fact that it aired. If no one follows it or nothing changes, I would still consider it just as important because it represents a new level of artistic freedom and experimentation in dramatic television while shaking up the formula of Prestige TV at a time when it most needs to be shaken up. I don't think its importance, hypothetical, practical or otherwise, in those regards can be overstated.
As for the second part, I also got the sense after The Return ended that it all too quickly went away from the conversation. But that's the way things are nowadays. Even something as popular as Stranger Things seems like an afterthought other than some of the merchandising; Season 2 was barely ever talked about after everybody watched it the first week it aired. In general, I think this is all very disappointing and part of the culture at large. Too much content. Very few things - Game of Thrones, for example - are continuously talked about. So I agree with your impression but I don't think it's necessarily true. Every day new reviews keep posting on Letterboxd, and they're mostly not from diehard Twin Peaks fans, but rather cinephiles. That's where I think The Return is continuing to live and breathe. Maybe that's not the mainstream, but never once have I considered the mainstream in my analysis of The Return, or as a necessity of something proving to be important. I've accepted that The Return is not mainstream, nor is it the original series, which I believe had more mainstream success before going through its own period of only belonging to the diehards. I just think The Return, like so many important films, will be important to other filmmakers, their artforms and critics/scholars rather than the industry at large. I think it means a lot to a lot of people who care about film, but those aren't necessarily the masses.
Postby Agent Earle » Fri Feb 15, 2019 1:29 pm
Fair enough. I have no objections with your writing. I'm only curious, why do you think is it that the present time is ripe for the formula of the so-called Prestige TV to be shaken up, as you put it?
Postby LateReg » Fri Feb 15, 2019 3:34 pm
Agent Earle wrote: Fair enough. I have no objections with your writing. I'm only curious, why do you think is it that the present time is ripe for the formula of the so-called Prestige TV to be shaken up, as you put it?
Thanks for reading and considering it!
Shoot, man. That's a long story and I've been writing a lot about it for my own purposes, and the basis of it has a lot to do with why I value The Return. In other words, my thoughts regarding the decline of Prestige TV began BEFORE watching The Return. Simply put, I started to get very bored by the samey qualities of nearly all dramatic TV. This is just my opinion, but I feel it very truthfully. For the record, I think of Twin Peaks in its entirety as the bookends of Prestige TV, the Alpha and Omega. Twin Peaks set everything up, while The Return strikes me as a reaction to everything that it helped build and now delights in tearing down. Though there are some holdovers, I consider the era of Prestige TV to essentially be over; it has simply become regular TV at this point.
The slightly longer but still short-ish version is that I believe, like many have, that TV was on the verge of potentially overtaking film. Sopranos, The Wire, Deadwood, etc, in the first half of the 2000s. That was a remarkable period of artistic growth for cinematic TV. And then HBO gave up the crown to AMC: Mad Men and Breaking Bad in the late 2000s. And then somewhere along the way FX became the network to beat, while all three networks as well as others continued to put out remarkable programming. But at a certain point I think Prestige TV (or Peak TV, or The Golden Age) became very comfortable existing at a higher level than TV was accustomed to (and I think TV critics did as well, as they were just happy that the medium they love was being taken seriously). And I think that comfort level has reached an all time high in the past few years. I feel as though TV was always chasing film, which is literally a more mature artform. And I feel that after a while, TV that felt like film just started to emulate other TV that felt like film, resulting in a copy of a copy of a copy. I think most modern TV - which I recognize is considered a writers' medium even as much of it now strives to be deemed cinematic - is content to emulate a certain look and style of film rather than forging its own path, while disregarding film's penchant for experimentation, emphasis on tone and primarily visual storytelling where ideas are embedded within the pauses. This therefore results in a lot of TV that looks the same, moves the same, and feels the same. Before The Return aired, I longed for a program that focused on having a genuine visual aesthetic, and I realized that was why I preferred Hannibal to most of the programs of the past ten years, and why watching Mr. Robot was such a delight even if I didn't care/couldn't follow its storyline. I enjoyed the rise of the Limited Series, but they started showing diminishing returns as well; perhaps the Limited Series more closely resembled film than any other TV form before it, which in some perverse way is what may have eventually damned its potential. Netflix series almost always suffer from bloat, and they're rarely profound; their animated series Bojack and Big Mouth are clear exceptions that come to mind, but animation is generally a wilder and freer form than drama. All these things kind of dovetail and influence one another and everybody seems to be making the same really good TV show - albeit with a different storyline and characters - because that's what works and it feels prestigious but really it's a very basic form of filmmaking.
So basically over the past few years, as Breaking Bad and Mad Men came to an end, and as The Americans felt like the last show of the Prestige era and Game of Thrones increased its status as the most popular series of its time and more and more puzzlebox narratives emerged at the expense of actual depth, I just really felt the diminishing returns of a slightly shifting landscape growing more formulaic. The big case in point is that in 2018, there was more scripted TV than ever before, and yet the consensus states that the year was also TV's weakest in recent memory. Specifically, there was more GOOD TV than ever before, but less GREAT TV than we've grown accustomed to. And yet, on Metacritic's tally of year-end lists, Killing Eve somehow beats both Atlanta and The Americans. If Killing Eve is either the best show of the year or the show that most critics cite as such, then I think TV is in trouble and still stuck in some infantile stage that was somehow enabled by its successes. And I say this as someone who watched Killing Eve twice and thinks its probably the most purely entertaining show of the year and recognizes some of its value as pointedly feminist entertainment.
And I'm well aware that you can say the same thing about the film industry, and I see the damning formula there as well, and sadly not only in Blockbusters. But you still have a plethora of superior art, indie and foreign films infiltrating the near-mainstream. Plus, I can probably think of ten films this year that might be masterpieces, but only a few series.
Anyway, sorry if I've rambled way off topic.
kitty666cats
Postby kitty666cats » Fri Feb 15, 2019 4:25 pm
I'm kinda surprised so many people find parts of Twin Peaks scary. None of the seasons scared me, there's 1 scene in FWWM that jump scared me (BOB behind the dresser), but besides that I've never felt "scared". My first viewing of TP ever, the only thing that remotely came close to scaring me was the apparition of BOB at the Hayward house climbing over the couch towards Maddy
Now, "unsettled"? That's a whole other story
So yeah, the only things that have given me feelings of fear were the brilliant work of Frank Silva. Such a gentle-seeming man, turned into one of the freakiest characters in TV history. Must be the fashion crime of double denim! (kidding, heh)
LateReg wrote: Anyway, sorry if I've rambled way off topic.
NOT AT ALL, I find stuff such as this fascinating to read, especially if it's written as well as yours just now. TV products have been preocuppying me for the past five years, after approximately two decades of avoiding them as I just couldn't get into anything long-form without hopelessly comparing it to TP - that's how infected I was with the TP virus (needless to say anything I tried fell well short in comparison with it). In all these years I spent "in the desert", so to speak, the only TV products I watched in their entirety were Northern Exposure, The Sopranos, von Trier's The Kingdom, British sitcom You Rang, M'Lord and Aussie sitcom Mother and Son (loved them all). But since 2014 or so, after reading Brett Martin's stellar book about the modern Golden Age of TV titled Difficult Men, I embarked on the odyssey of catching up with all of the shows referenced in various places as constituting the so-called prestige TV. During this time, I've seen The Wire, The Shield, Breaking Bad, Six Feet Under, Oz, Fargo, Boardwalk Empire, Deadwood, and I'm currently on the third season of Game of Thrones. Needless to say I'm flabbergasted what with the amount of quality material and I've completely dropped out of movie watching - charms of continuing narratives have swallowed me whole. As I watch, I try to read everything about the evolution of television, the process of creating a long-term narrative, and the genesis of the above mentioned series that I can get my hands on. I also love exchanging views on the phenomenon with fellow viewers - that's why your remark about the crisis of modern TV has caught my eye. You certainly make some very thought-provoking points!
P.S.: So you'd recommend The Americans, would you? I've heard a number of good things about that show. Also Bojack Horseman, which is also on my to-view list. God, I'm desperate that there's only so much hours in the day, and one also has to lead a kind of life besides watching the telly!
Last edited by Agent Earle on Fri Feb 15, 2019 5:21 pm, edited 1 time in total.
kitty666cats wrote: I'm kinda surprised so many people find parts of Twin Peaks scary. None of the seasons scared me, there's 1 scene in FWWM that jump scared me (BOB behind the dresser), but besides that I've never felt "scared". My first viewing of TP ever, the only thing that remotely came close to scaring me was the apparition of BOB at the Hayward house climbing over the couch towards Maddy
Come on, you're saying Maddie's murder didn't scare you?! Man, that's the very fabric nightmares are made of!.. To this day, I shudder to even think of it.
Postby mtwentz » Fri Feb 15, 2019 5:40 pm
For some reason I wasn't scared back in 1990 but the Maddie death scene scares the heck out of me 28 years later.
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Nearly 70% of SMB's aren't backing up their data – even though they think they are!
Businesses rely more on their IT systems than ever before and will only become more reliant in the future so it is vital to protect your business from data loss.
Typically an organisation would have a central file server where all employees store their data. Just because your files are stored on a file server it doesn't mean it's safe from data loss.
The server hardware could fail or your files could be deleted/overwritten. To protect your data against hardware failure it is important to perform regular backups of the server to external media such as tape/portable hard disk or over the network to a NAS /SAN.
If backing up to external media you should have at least one copy offsite at all times for disaster recovery.
For backups stored on a network device such as a NAS or SAN it is also important to keep a copy offsite, so you should either have the network storage in a different location to your file server or create an additional backup to external media.
If you have a Windows Server I would recommend you take advantage of the shadow copies feature. With shadow copies enabled on a drive a snapshot is taken of all its data on a specified schedule. The snapshot data is stored on the same partition so this does not protect your data from hardware failure. The convenient thing about shadow copies is that the user can restore their own files within Windows Explorer which saves time for the user and IT staff.
Plan your backups. It obviously depends on your business needs but as a minimum I would run a daily file server backup (out of business hours) and 2 shadow copy snapshots a day, the first just before the business day starts and one in the middle of business hours, preferably at lunchtime when there is less load on the server.
As well as planning when your backups run you need to consider how long you are going to keep your backup data for. This will again depend on your business needs and the amount of data you backup. I would recommend as a minimum to keep daily backups for a week, weekly backups for a month, monthly backups for a year and yearly backups for indefinite.
The combination of full server backups and shadows copies with a well-planned backup schedule is the key to protect your organisation against data loss.


This policy is designed to assist individuals in reporting expenses incurred while conducting Association of Bankruptcy Judicial Assistants ("ABJA") business activities.
The ABJA expects individuals to act responsibly and professionally when incurring and submitting costs. The organization will reimburse individuals for reasonable expenses, for example: photocopying, travel fares, accommodations, meals, tips and approved purchases.
Allowable expenses are reimbursable if they are necessary, reasonable and appropriate expenses incurred for the primary benefit of the ABJA.
In order for expenses to be approved and reimbursed, they must be properly substantiated by submitting the merchant receipt or invoice issued by the supplier or service provider.
Receipts for all expenditures greater than or equal to $25 are required.
1. Individuals are to fly coach class with the lowest available airfare.
2. Per Diem rates for meal and incidentals will be provided; no receipts are required. Per Diem rates will not be paid where other meal arrangements are provided. For example, a luncheon included with an event.
3. The following travel expenses will be reimbursed. Receipts are required for reimbursement of all expenses except for per diem and should be attached to the Reimbursement Request.
- sporting activities, shows, etc.
Complete the Expense Reimbursement Request online and upload legible scanned receipts. The ABJA president will review/approve the request and forward it to the treasurer for payment.
To record expenses on a timely basis, an Expense Reimbursement Request and any receipt(s) should be submitted within 30 days after the expense is incurred or after the end of the conference. Requests for reimbursement submitted without proper documentation will not be paid until the proper documentation is provided.
Any questions related to the content of this policy or its interpretation should be directed to the President.


text:
Medi ambient es un programa de televisión especializado en la información ambiental del Comunidad Valenciana en España, la conservación de la natura los espacios protegidos. Se emite por Canal Nou Dos y está presentado por la periodista Xelo Miralles. Se emitió por primera vez en 1998 hasta 2013 cierre del canal.

El programa ha recibido varios premios, tanto a los reportajes emitidos como a sus periodistas. Así, en 2007 recibió el Premio Rey Jaime I de periodismo, y en 2009 el premio Fundación Biodiversidad, dependiente del Ministerio de Medio Ambiente y Medio Rural y Marino español, por el reportaje «Per la pell del visó».

Referencias

Enlaces externos
 Web del programa en RTVV.es

Medios de comunicación medioambiental
Programas de televisión de Canal Nou
Programas de televisión de España iniciados en 1998

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