Sark is the smallest of the four main Channel Islands and offers a holiday that will provide memories for years to come. Strictly a car free zone you can really loose yourself in the beauty and the 40 miles of dramatic coastline that this island has to offer. With stunning views and abundant wildlife you really can get away form busy life here. Recognised as an area that is equally splendid at night with a "dark sky award" you can really lose yourself in what is a truly special holiday destination.
Le Vieux Clos Guest House can be found on the beautiful island of Sark and is known locally as 'The Doctor's House'. The Georgian style house dates back to around 1860 and now offers elegant and comfortable guest accommodation.
All of our guest rooms are comfortably furnished and have colour televisions and coffee/tea making facilities. Families are welcome and guests can have access to their rooms at any time. We have two family rooms and children are welcome.
The front garden of our licensed guest house is sunny and secluded with the lawn divided into "secret" places surrounded by bushes and shrubs. Perfect for a glass of wine on a summer evening or an afternoon cup of tea. During spring and summer, the secluded garden is ablaze with colour. A favourite place for guests to sit, relax and enjoy the unique Sark atmosphere.


Very young children below the age of 18 months learn a lot by using their senses. The first few months of life are dedicated to the collection of sensory information as an attempt of babies to make sense of their world. It is also during this time that they start developing mastery of their gross and fine motor skills. It starts with their ability to control head movements until the time they can start with their small steps. This is also the period where they begin to socialize with their primary caregivers. We understand the unique requirements of babies.
As such we made sure that the toys and gift suggestions we have listed here are not only of the highest possible quality in terms of design and safety but also developmentally appropriate for the different psychomotor and cognitive needs of babies. We also made sure that these toys are also highly recommended by child care and child developmental psychology experts as well as by the countless of parents who have babies of their own.


HPI: Got up quickly to go to the bathroom, fell and couldn't get up. She's had diarrhea for several days. Last seen normal at 9:30 last night, called out for help to family around 4:30am. Right side of her body feels "quiet". No pain, but can not walk.
Exam; 4/5 strength LLE, 3/5 strength RLE, upper extremity strength is intact bilaterally. Decreased sensation to light and sharp touch throughout R leg. Toes down going bilaterally.
Critical limb ischemia is denoted from PAD by presence of pain at rest and tissue loss or destruction. Acute limb ischemia is most likely due to thromboembolism, with dissection another consideration. The American College of Chest Physicians recommends immediate weight-based IV heparin bolus and drip for anyone with critical limb ischemia.
Sn >90% Sp >95% in diagnosing >/= 50% stenosis of lower extremity arteries.
CTA has generally been found to have equal sensitivity and possibly better specificity than MRA or doppler.
Case 1: Young male with history of IVDU and chronic low back pain presents with 1 week of progressively worsening nausea, vomiting, generalized malaise. Exam notable for scleral icterus and mild RUQ/epigastric tenderness without rebound.
Q1) What factors might lead you to send hepatitis serology on this patient?
Q2) You decide to send hepatitis exposure panel. Results from 4 possible patients are given below. What is your interpretation of each?
Patient 1: Infected with HBV, but yet unclear if this is acute or chronic. Will require repeat testing in 3 months to further delineate.
Patient 2: This patient is immune. Core antibody indicates a prior infection.
Patient 3: This patient is susceptible. They either are not infected or have a very early infection.
Case 2: Inspired by recent data that suggests hepatitis C is highly prevalent in ED patients, you consider offering screening to patients in your pod. Would current guidelines support testing in the following patients?
Screening is based on age and personal risk factors. If born between 1945-1965, patients should have 1 lifetime screening. Patients who are IVDU, HIV+, with transaminitis of unknown origin, on hemodialysis, received clotting factor concentrate prior to 1987, received blood transfusion prior to 1992 should be screened.
32yoF works as scrub nurse in OR, c/o syncope - no recommendation to screen health care providers.
Case 1 - Middle aged male c/o 1 day left lower abdominal pain, worse with movement, and when riding in the car. No n/v/d, no pelvic or urinary complaints.
She ambulated to the room. Clear lungs, heart is regular without murmurs. She has some mild LLQ tenderness on abdominal palpation, no CVA tenderness, rebound, or guarding.
Labs - normal including WBC and urine. CT a/p with diverticulosis but no evidence of diverticulitis.
Dispo - home on cipro/flagyl, and strict return precautions.
Case 2 - Another middle aged male with L hip pain. Worsening over 2 days. No prior ED visits, has been taking ibuprofen with some relief. Denies trauma.
He ambulated to the room. Clear lungs, heart is regular without murmurs. L hip is mildly tender to palpation, but full ROM, sensation intact. No warmth or overlying skin changes. Lower leg is normal.
Hip X-ray is normal. CT non-con of the hip shows only mild OA with mild joint effusion.
Labs - Unremarkable except for mild CRP elevation to 19.
Dispo - home on with PO pain control, ortho f/u in 3 days.
Case 1 Return Visit - 4 days after initial visit. Persistent LLQ pain despite antibiotics. Can not ambulate pain is so bad. No other new symptoms.
Exam: L groin and hip tenderness to palpation, without significant abdominal tenderness. pain with internal and external rotation at the hip, but not knee. No overlying skin changes. Pulse and sensation intact.
Patient admitted, MRI concerning for infectious process in joint, tap by orthopedics grows out Group A Strep (GAS). Patient got PICC for IV antibiotics, and is doing well.
Case 2 Return Visit - 4 days after initial visit, patient returns in a wheelchair unable to bear weight on his L hip. Now with low grade temps. Had seen ortho who ordered some labs, they called him today and said his labs were "abnormal" and to go to ED.
No external changes to hip, but now with significant discomfort with ROM.
Consider non-abdominal causes of "abdominal pain," especially the hip!
One study quoted a mean CRP in patients with septic joint diagnosis at 13 (compared to 6 in normal patients) and a mean ESR in septic joint patients as 57 (compared to 43 in normal patients.
Q1: Why do we document?
Q2: What is required to lose a lawsuit?
Q3: What is the deal with the MDM section?
Your MDM should reflect your decision making. It should not be redundant with the rest of the chart. It should record a differential diagnosis, as well as pros and cons for diagnoses considered. It should also be used as a mental "hard stop" for you to reflect on the progression/logic of the case and whether it makes sense.
Address the nursing chief complaint in your note, especially if it differs from the history you gather!
Document a good neuro exam (especially for any HA, dizziness, weakness, LOC, incontinence, or numbness chief complaint)!
Be descriptive in your encounter (ex. "the patient exhibited facial wincing with chest palpated" is better than "reproducible chest pain," and "soft/nontender" is not an acceptable abdominal exam!
Perform repeat exams (especially abdominal) and document them in your MDM!
Document a plan if the patient condition changes (remember the 3 "R's": revisit your patient, record the revisit in your MDM, and recruit follow up help for your patient)!


Discussion in 'Collectables, Literature, & Models' started by F1tommy, Apr 13, 2019 at 10:38 AM.
This show was just held in Japan and has to be one of the best I have ever seen there. A lot of super rare Zagato and Italian coachbuilder automobiles. Several of my Japanese friends went and have published photos on facebook.
4re308, gt4me, jpsf1uk and 1 other person like this.
Some very rare machines there! Is that a red 348 conversion by Zagato? 3th picture from below. How many of those are known?
Here is a full coverage of the event.


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frank talks
Chelsea legend Frank Lampard 'interviewed twice for vacant Ipswich job' to replace Mick McCarthy
Tractor Boys are looking to replace McCarthy who left in April and former England international is a leading candidate alongside Shrewsbury boss Paul Hurst
By Warren Haughton
FRANK LAMPARD is a candidate for the vacant Ipswich job, according to reports.
The Championship side are without a manager since the departure of Mick McCarthy who walked out of Portman Road in April.
Frank Lampard in the running for Ipswich jobCredit: PA:Press Association
The former England and Chelsea midfielder is one of over 100 applicants vying for the gig with the East Anglian outfit looking to name their new boss this month, say Sky Sports.
Lampard, who has made no secret of his desire to become a manager was linked with the Oxford job earlier this year.
The 37-year-old has already been interviewed twice by Ipswich owner Marcus Evans, which suggests he is one of the front-runners.
Shrewsbury manager Paul Hurst is also on the shortlist of candidates but still has a League One play-off final against Rotherham to contest at Wembley.
Mick McCarthy left Ipswich after six years in chargeCredit: PA:Empics Sport
Ipswich owner Marcus Evans has spoken to Frank Lampard twice about taking over at Portman RoadCredit: Rex Features
St Mirren manager Jack Ross is also in the mix for the role at Portman Road.
The 41-year-old recently confirmed that talks had commenced between his current club and Ipswich regarding his future.
UP FOR GRABS Championship play-off final: WIN tickets to watch Wembley showpiece between Aston Villa and Fulham
He told Sky Sports News:"I think there has been communication between the clubs, but at the moment I don't know anything more than that.
Shrewsbury boss Paul Hurst is also on Ipswich candidate listCredit: Action Images
"At the moment my work and my focus is very much on trying to build a squad that will be progressive here and until that changes it will remain the case.
"This club has been great for me because it has offered me that chance to prove myself in the last 18 months and I want to try and get better.
"For as long as I'm here, hopefully, that will be the case."
Watch the best showboats in the Premier League in May

redpajama_set_name: RedPajamaCommonCrawl


S.Pellegrino, Serax, David Martin and Charles Kaisin join forces. Unique 'modular' tableware collection in four colours and textures. For the restaurant industry, but also exclusively available for the semi-professional home chef.
Belgian architect and designer Charles Kaisin trained in Brussels, Paris, London and Kyoto. He has a strong predilection for recycling, geometry and movement. The objects created display a contemporary design and a unique identity.
The work of Charles Kaisin revolves around three axes: object design, architecture and scenography. This makes him versatile and enables him to keep expanding his creative spectrum. Charles Kaisin works with exclusive brands such as Hermès, Rolls-Royce, Delvaux, Ice-Watch, Vange and Pierre Marcolini. He has realised numerous projects in Europe, the US, Asia and Morocco, where he designed the Almaha hotel. Charles is known for his surrealistic dinners, which assume an international dimension in the world of luxury and art. With his tableware creation for S.Pellegrino and Serax he pays homage to creativity in the field of food and design. This tableware creation will also be used for his surrealistic dinners to guarantee a total food experience.
David Martin is the chef and owner of Michelin-starred restaurant La Paix* in Brussels. His style encompasses the Belgian microcosm: warm and undoubtedly daring, generous and refined, subtle and powerful, deeply local and open to the world.
David Martin is a true S.Pellegrino ambassador. In 2016, for example, he mentored Andrea Miacola, winner of S.Pellegrino Young Chef Benelux, during the S.Pellegrino Young Chef world finals in Milan. David Martin has been working with Serax for more than ten years. His dishes have already been served on the Serax tableware collections by, among others, Roos Van de Velde and Pascale Naessens. And starting in June 2018, you will be able to admire, feel, and experience the S.Pellegrino tableware at La Paix*.
S.Pellegrino is an icon of style and sophistication on the best tables in the world. The source for the mineral water is a spring in the heart of the Orobic Alps in Italy. The properties of the water were known as far back as the thirteenth century. Even Leonardo da Vinci visited the source. In the late 1800s, the springs of the village of San Pellegrino in northern Italy became a popular tourist attraction. The demand for water rose, which led to water being bottled for the first time in 1899. The Sanpellegrino company was born. Today, S.Pellegrino water represents superb food, convivial dining, Italian finesse and, of course, the good life.
Appreciation for its light minerals and balance has not diminished with the years. Enriched by its history and complementary properties, S.Pellegrino is the preferred mineral water in the world of fine dining.
S.Pellegrino is the preferred water for the most renowned sommeliers, chefs and food experts as the water to enjoy next to wine, and to enhance specific culinary combinations. This decision shows that water also has a characteristic task, partly due to its organoleptic identity and the journey it takes during its life span. And last but not least, thanks to the care with which it is stored, bottled and offered.
Serax extends to your guests a warm and special welcome by adding individuality and a convivial atmosphere to your entrance hall and rooms, and by ensuring unforgettable moments at the dining table.
To enhance your guests' customer experience, we rely only on the most passionate designers and artists from all over the world who put their heart and soul into their creations.
From Vietnam through Antwerp to Portugal, our tableware collections and accessories are manufactured by skilled craftsmen who respect the basic idea of each design. All of our collections are unique for their shapes, materials and style. Serax … to experience, to share, and to discover.


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Location: VIFF's Vancity Theatre Production Room, 1181 Seymour Street, Vancouver BC
A pitch session is a 10-minute one-on-one non-public session that is conducted in an open room in a "speed dating" style.
PITCH SESSION PROTOCOL
Please ensure that the person to whom you are pitching relates to your project. Before signing up, do your research, both on the company to whom you want to pitch and on the pitch professional associated with that company. Make sure it's a good fit.
To sign up for a pitch session, click on Register now above where you will be able to select one of the companies below to whom to pitch your project. Once you have submitted your first request you may select another company by clicking on the Register now button again under Purchase another ticket - or Scroll forward to "Finish Registration".
Prior to the pitching day, you will receive a confirmation email indicating the exact time of your pitch session(s) between 2:00pm and 5:00pm on Thursday, March 7th.
Pitch Professionals:
Mélanie Lê Phan, CBC Scripted Digital Originals - FULL
Eric. Y. Lapointe, And Now Global - FULL
Teri Snelgrove, The National Film Board of Canada (NFB)
Nicholas Klassen, The National Film Board of Canada (NFB)
Patrice Ramsey, Knowledge Network - FULL
Matthew Cervi, Mad Samurai Productions - FULL
Elizabeth Schofield, Omnifilm Entertainment - FULL
Lynn Booth, Make Believe Media - FULL
Raymond Massey, Massey Productions
Susan Curran, A71 and V71
PITCH PROFESSIONALS + WHAT THEY'RE LOOKING FOR
FULL - Mélanie Lê Phan, CBC Scripted Digital Originals
What Are We Looking For? For the CBC Gem, we are primarily focusing on Comedy, Drama and Youth series composed of 10-15 minute episodes at around 6-10 episodes per season. We are prioritizing midform Digital Original series that complement the lean-back experience of watching TV at home, while still giving viewers mobile-friendly content that they can easily enjoy on their phones and mobile devices. These exciting short-form and midform titles come from a wide range of talent, emerging and established alike. No matter the genre, these programs embrace daring, unexpected and niche content for young and diverse audiences.
Mélanie Lê Phan has worked for CBC Television in both Scripted and Unscripted programming since 2013. She is currently an Executive in Charge of Production for Scripted Digital Originals for CBC, overseeing production and development of mid-length series for CBC Gem and of social video series for CBC Comedy. She has worked on the most recent seasons of True Dating Stories, How to Buy A Baby and My 90-Year-Old Roommate in addition to other digital scripted series. Mélanie has also worked on digital unscripted content, including the doc series Farm Crime and The Artists as well as several CBC Docs: Shorts one-offs.
FULL - Eric. Y. Lapointe, And Now Global
We are looking for by priority:
All projects must have a global appeal.
1) Finished TV series
2) Finished movies
3) Finished documentaries (definitely needs to have a global appeal)
4) Open to taking a look at TV concepts in development (comedy, dramedy are our strengths)
Eric Y. Lapointe is the founder of Western Canada's newest international TV distribution company And Now Global. Lapointe brings over 15 years of content sales experience with major brands Just For Laughs and Cirque du Soleil. In the past 10 years, Lapointe focused on Foreign TV sales and licensed over 4000 TV hours in over 100 countries. His work has resulted in 250+ transactions.
Eric was also responsible for the digital expansion of Cirque du Soleil onto platforms such as Tou.tv, Hulu and iTunes. This work continued at Just For Laughs where Lapointe headed up the digital monetization team responsible for the company's various YouTube channels that reached of over 6.5 million subscribers.
The National Film Board of Canada (NFB) creates social-issue documentaries, auteur animation, and digital content from a uniquely Canadian perspective. The NFB's Digital Studio works with a wide range of artists and media-makers interested in experimenting with the creative application of digital technologies and interactivity as it relates to story, expression and community. In practice, this includes digital video shorts, interactive documentaries, augmented/virtual reality and 360 video, mobile and locative media, interactive animations, photographic art and essays, data visualizations, physical installations, community media, interactive video, user-generated media, etc.
NFB Programming Criteria: Talent and vision of the creator/director; Originality of concept and approach; Creative excellence; Great storytelling; Clearly articulated sense of the intended audience; Viability of project (in terms of access, timeframe and budget); Reflecting Canada back to Canadians and the world; Innovation in form.
Teri Snelgrove is the Associate Producer at the BC & Yukon Studio of The National Film Board of Canada where she has worked on many documentaries including the acclaimed The Road Forward (Marie Clements), Debris (John Bolton), Beauty (Christina Willings), and the interactive project, Bread (Mariette Sluyter). She is proud to have worked on two soon-to-be-released NFB films, Highway to Heaven (Sandra Ignagni), and Because We Are Girls (Baljit Sangra). Teri has also worked on a number of animated projects, including The Mountain of SGaana (Christopher Auchter), Shop Class (Hart Snider) and The Zoo (Julia Kwan). Currently she has a number of projects in development including the documentaries Out of Darkness (Sheona McDonald), Never Going Back (Steve Adams and Sean Horlor) and the animated shorts Zeb's Spider (Alicia Eisen and Sophie Jarvis) and Two Apples (Bahram Javahery). Teri Snelgrove is a Newfoundlander and a graduate of the film/video program at Emily Carr Institute (now University). She is currently pursuing her Master's Degree through the GLS program at SFU.
Nicholas Klassen is an Interactive Producer with the NFB's Digital Studio. Drawing from over a decade of experience creating and producing online content for the social and cultural sector, he works with filmmakers, writers and artists to produce interactive storytelling projects that push the boundaries of story, form and platform.
Prior to his work at the NFB, he co-founded the creative and online strategy agency Biro Creative, where he advised leading movement-building organizations like Greenpeace, WWF, and Avaaz.org on a number of Webby-award winning and -nominated projects. He has also served as Senior Editor at Adbusters, overseeing editorial and online content for the acclaimed and globally-recognized magazine.
FULL - Patrice Ramsey, Knowledge Network
Knowledge Network is British Columbia's public educational broadcaster. We commission, acquire, and pre-buy documentaries and limited series on social issues, culture, and environment – films that stand the test of time. An engaging story is paramount, as is a strong filmmaker point of view, and a distinct aesthetic approach. Our priority is for filmmaker-driven creative documentaries and limited series that entertain, enlighten and challenge our viewers.
Before you pitch us, please spend time watching Knowledge on-air or online and make sure you are familiar with our programming. You can find our guidelines for independent producers at www.knowledge.ca/producers. We also have a new initiative to mark the 150th anniversary of British Columbia's entry into Confederation. To find out more check out: www.knowledge.ca/bchistory.
Patrice Ramsay is the Coordinator of Independent Production at Knowledge Network. She helps bring original Knowledge Network commissions to a BC audience. Recent examples include "This Mountain Life", "Paramedics: Life on the Line", and "Shut Up and Say Something". She is also responsible for the budget of all independent production at Knowledge and manages Knowledge's Broadcaster Performance Envelope from the Canada Media Fund. She has a Bachelor of Business Administration and recently earned The Osgood Certificate in Entertainment Law from Osgood Hall Law School of York University.
FULL - Matthew Cervi, Mad Samurai Productions
Mad Samurai Productions is seeking original genre projects in film and TV that tell interesting and compelling stories. Specific looking for crime/gangster, thrillers, supernatural/ghost stories, sci-fi, contained action, and smart horror projects.
A Vancouver native, Matthew Cervi has worked for several film companies over the years including Valhalla Motion Pictures (Terminator, The Walking Dead), Lighthouse Productions (The Sting, Taxi Driver, Mimic), Peace Arch Entertainment and Avrio Filmworks (Mindstorm, Chaos) before starting Mad Samurai Productions and producing the Genie and Leo award-winning short MILO 55160 starring Patrick McKenna.
Matthew followed that success with his first feature THE COLONY starring Laurence Fishburne, Bill Paxton, and Kevin Zegers, and produced his second feature CRUEL & UNUSUAL in partnership with the Canadian Film Centre and Entertainment One. Matthew's latest feature JUGGERNAUT, starring Jack Kesy, Amanda Crew, David Cubitt and Peter McRobbie was produced in partnership with Canadian distributor levelFILM and sales agent Spotlight Pictures, with financing from Telefilm Canada and The Harold Greenberg Fund.
Matthew continues to develop engaging genre fare for the feature film and television landscape. He holds a bachelor's degree from the USC School of Cinema/Television and attended the Producer's Lab at the Canadian Film Centre. www.madsamurai.ca
FULL - Elizabeth Schofield, Omnifilm Entertainment
What Omni scripted is looking for:
Necessary requirements: The scripted team are looking for television series pitches (no features), live-action (no animation), and creators must have an agent or manager. For junior writers, the material should include a pitch document, short is fine, and a pilot script. If a pilot script is not available, a sample in a similar genre must be available as an alternative. Hard copies of the material don't necessarily need to be brought in person to the pitch, it can be sent afterwards electronically – unless of course, it is a look book which helps illustrate the pitch conversation.
Not necessary but preferred: Because it is rare for one financier to be able to solely finance a show, we are looking for projects that can sell in more than one territory and are suitable for multiple targets so that we are not limited in pitching. If a project can only work in Canada, it most likely won't work for us. Returnable series are ideal (limited can work but less preferred), drama as opposed to straight comedy is preferred, projects that are based on IP with an already established built-in audience helps a great deal. If you are pitching something based on IP, the person pitching should ideally know already if the rights are available.
Elizabeth Schofield is the Director of Scripted Development at Omnifilm Entertainment Ltd.
Omnifilm Entertainment is one of Canada's leading independent content companies. For nearly forty years, Omnifilm has produced and distributed hundreds of hours of award-winning programming including drama, comedy, factual and lifestyle series, documentaries, and children's programming.
Current non-scripted productions include Season 3 of Wild Bear Rescue, for Animal Planet Canada, and Season 5 of Jade Fever for Discovery Canada. On the adult scripted side, Omnifilm has started writing for season 2 of The Bletchley Circle: San Francisco, a spin-off of the hit ITV period mystery series. Season 1 aired on ITV and Citytv, can still be found on BritBox, and will soon air on Netflix. In the live-action kids space, in 2018 the company completed Season 2 of Mech-X4 for Disney XD, the Disney Channel Original Movie Possibility (releasing February 2019), and is now in prep on the Disney Channel Series Gabby Duran, and Season 2 of the Disney Channel Series Fast Layne (season 1 releasing February 2019). All of our new programmings is available in 4K format, including Season 3 and 4 of Namaste Yoga and Season 4 of Jade Fever.
Based in Vancouver, Canada, Omnifilm Entertainment is a vertically-integrated content company handling development, production and post-production, delivery, and distribution of our brands on both traditional television and digital/VOD platforms.
FULL - Lynn Booth, Make Believe Media
Lynn has been making documentaries and factual series for global audiences since 1995. Her series can be found on Netflix, her docs on CBC and she has films in distribution with EntOne, Filmoption, Off the Fence among others. Lynn is a former DOC BC Co-chair, a former HOT DOCS Board Member and remains a member of the Academy, CMPA and WIFTV.
Focused on one-offs and series, Lynn is currently developing her third film about orphaned elephants in Kenya, THE WILD ORPHANS OF ITHUMBA which she successfully pitched at Sunnyside of the Doc 2018. In 2017 Lynn won the WildScreen Award for her presentation of THE SECRET LIFE OF OWLS which was subsequently produced with CBC and airs internationally. She is acting as a consulting EP on WILD SEASONS a blue-chip 4 part series for Blue Ant Love Nature and Smithsonian.
Lynn is actively developing nature and wildlife series, true crime series and specials with a social impact, and is currently looking for collaborations with strong women creatives for feature documentaries and series.
Lynn is an active member of a co-production alliance of 20 companies representing 10 countries who are developing and creating documentary and series for global audiences with shared financing strategies. To that end, Lynn attends markets including Sunnyside, MIPCOM, WildScreen, Hot Docs, World Science Congress, Jackson Hole, and other key co-production and distribution markets.
Make Believe Media is a creative media agency celebrating 20 years in May 2019. We have created series such as Very Bad Men and Devil You Know, as well as social and culture docs, Secrets, Pretty Boys, Paris Stories and more. We launched the award-winning indigenous music platform in 2011 RPM.fm with the music documentary Music is the Medicine. We have been making wildlife specials and limited series including How to be a Wild Elephant and The Secret Life of Owls. We are a boutique agency focused on developing, packaging, financing to bring inspiring stories to the world.
We are actively looking for feature-length material we feel could be of interest to Chinese audiences, directors, actors and investors. These would be films that resonate culturally with China, as broad as that may be interpreted. Scripts potentially for China do not need to be set there, necessarily. We are also treading carefully into India and are in active discussions with a handful of the hundreds of busy companies there. Again, a film for any audience in India must resonate culturally with them. We are not limited to any genre. We will look at other material but it has to be astonishingly original and a great vehicle for a bankable actor. We are not developing or pursuing anything for half-hour or one-hour television. We are not developing anything intended strictly for web release unless it was viable for a Chinese audience.
MASSEY PRODUCTIONS LTD. is a Canadian production company creating and collaborating on theatrical motion pictures and television/cable movies. MPL was incorporated in 1983 and has produced in a variety of media and formats for theatrical, television/cable/DVD and radio. Today, MPL is focused mainly on larger scale feature films with an emphasis on formal co-productions and including a slate with partners in China. Past films include the China-Canada co-production IRON ROAD. Massey Productions also provides full production services from Immigration and prep through to delivery as required. Massey Productions was incorporated in 1983 and is wholly-owned by Raymond Massey. Massey is credited as Executive Producer, Producer or Supervising Producer on some 35 feature films, documentaries and movies for television. The company keeps offices in Vancouver, Canada.
Susan Curran, VP of Marketing and Acquisitions at A71 and V71
Currently, A71 is looking for both finished films and projects at packaging phase to acquire either for Canada or World Wide via their international sales division V71.
Over the last two decades, Susan has worked as a marketing executive for BMG, Sony Wonder, Tower Records, Universal Music and Anchor Bay. During her 12-year run as Executive Director of Marketing/Acquisitions for Anchor Bay Entertainment Canada, notable accomplishments include the release of over 1000 titles into the Canadian retail marketplace, over 100 of which were Canadian acquisitions. Susan was responsible for the Canadian marketing and retail sales strategy for various TV series, including notable hits like The Walking Dead, Three's Company and Sesame Street. Film successes include the festival favourite Spring, the cult hit Battle Royale, Tales of Halloween, the 40th Anniversary Edition of Black Christmas and the Halloween complete Box Set. Her innovative marketing and advertising strategies built Anchor Bay's company profile, and consistently delivered results that exceeded expectations.
In her latest position of VP of Marketing and Acquisitions at A71 and V71 Susan continues to be a champion of new talent, enjoying the energy and ingenuity of the creative people she meets in the independent film community while successfully bringing their projects to the marketplace.
Add VIWFF 2019 PITCH SESSIONS to my calendar.


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News | Governance
Recycler Clarifies That It's Not a Charity
9 December 2010 at 11:22 am
A commercial clothing recycler has been forced to make it clear that it is not a charity by the consumer watchdog, the ACCC.
Staff Reporter | 9 December 2010 at 11:22 am
Allround Recycling Pty Ltd has replaced the signage on more than 150 collection bins as part of a response to concerns raised by the Australian Competition and Consumer Commission about the potentially misleading impression created by the bins and other promotional materials.
Allround Recycling is a commercial organisation that collects second-hand clothing which it then exports and sells to people in third-world countries.
Allround Recycling acted quickly to address the ACCC's concerns that its signage was misleading.
It collects clothing using bags that are left at and later collected from homes, and also from collection bins. Some bins are placed in schoolyards by arrangement with schools. Allround Recycling also buys unwanted clothing from charities and other commercial organisations. Allround Recycling collects its material throughout Victoria.
The ACCC was concerned that the words, images and logos of registered charities used by Allround Recycling on its collection bins and on the flyer accompanying its collection bags, together with the methods of collection, created a potentially misleading overall impression that Allround Recycling is a charitable organisation rather than a for-profit business.
The ACCC says that after it raised the matter with Allround Recycling it cooperated to promptly address the concerns.
The ACCC says Allround Recycling's marketing materials now state clearly that it is a commercial organisation. The text, images and logos used have been changed or re sized to avoid confusion with a charity.
ACCC chairman Graeme Samuel says Australians have shown great generosity in supporting charities with clothing donations and commercial recyclers must ensure the way they promote their business does not mislead anyone into believing they are donating goods to a charity when they are not.
He says companies must remember that when determining whether conduct is misleading a court will not only consider any positive statements made but also the impression created by images and the omission of relevant information.
The ACCC says it has the option to take companies to court for misleading and deceptive practices, however Allround Recycling acted quickly to address the ACCC's concerns.
Tags : ACCC, Allround Recycling, Australian Competition and Consumer Commission, Recycling,
Calls for civil society COVID Rapid Response Group
Thursday, 13th January 2022 at 4:05 pm
Can the Cashless Debit Card evolve from being a blunt compliance tool?
Wednesday, 12th January 2022 at 12:26 pm
Does your charity need to develop a vaccination policy?


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Peter Lyne
Music must engage, wake a whole gamut of feelings, stimulate the intellect. Music does not tolerate indifference. I believe a composer´s main objective must be to communicate and communication can be on an emotional or an intellectual plane, or preferably a combination of both.
It is my hope that the music I write will give you, the listener, such an enriching experience.
In attempting to reach this goal, I have to lay bare my innermost feelings, hoping that you will be able to identify yourself in some way with the content of my compositions.
PETER LYNE ( b. 1946 in Northampton, England) has studied composition for Edmund Rubbra, Kenneth Leighton, Ingvar Lidholm and Witold Lutoslawski. He has been a member of the Swedish Society of Composers (FST) since 1975.
He has written over 150 works and many have received radio broadcasts including his Symphony no 1 (1988), the Concerto for Recorder and String Orchestra (1991), the Clarinet Concerto (2000), written for Martin Fröst, and the song cycle The Swallows in the Cathedral (Svalorna i katedralen) (2006). His latest works are a piano quintet (2011), Symphony no 2 and 5 Portraits and Finale for Wind Quintet both completed in 2012, 6 Songs to texts of John Clare for voice and piano 2013, and the cantata Oh, Galuppi! ( text: Robert Browning) for counter-tenor, recorder, baroque violin, gamba and theorbo 2014.
© Copyright 2015 Peter Lyne - peterlynecomposer@gmail.com


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Home | Articles | Feature Lists | Top 10 Best 70's Horror Films
Top 10 Best 70's Horror Films
Niina Doherty 07/27/2019	Feature Lists
It can easily be said that the 1970's were the golden age of cinema. It saw the birth of various successful film franchises and was a starting point in the careers of many esteemed filmmakers. Directors like Francis For Coppola and Martin Scorsese made themselves known with some of the most memorable films in film history, and at the same time abundance of great actors such as Dustin Hoffman, Al Pacino and Jack Nicholson where making headway in their careers and laying the foundations of becoming the acting legends that they are today.
The 1970's was especially interesting time for the horror genre. The commercial success of films like Rosemary's baby (1968) had paved the way for horror becoming accepted as more than just a trash genre, and that same trend continued in the following decade. Film such as The Exorcist (1973), Jaws (1975) and Alien (1979) certainly helped to cement horror as a serious film genre of real substance.
Meanwhile in Europe, the Italians were going through their own renaissance of horror with directors like Dario Argento, Lucio Fulci and Mario Bava producing some of the best genre films of the decade. In Britain, Hammer, Amicus and Tigon were delivering their own style of scares varying from classic gothic thrills to deliciously atmospheric folk horror.
With all that in mind, it is incredibly difficult to pick only ten films from this wonderous decade. You could easily put together a list of the top 10 British or Italian films alone and even that would be a hard task. However, I have done my best to try to pick the best of the bunch and tried to find representatives of different sub-genres and different countries. There are many deserving films that are sadly not on this list (like the aforementioned The Exorcist for example), but they were never far from my mind while writing this list.
Blood on Satan's Claw (1971)
Not only one the best horror films of the 1970's, The Blood on Satan's Claw is quite possibly the best folk horror film ever made. Directed by Piers Haggard and produced by the legendary British production company Tigon, it's a fantastic tale of 17th century satanic panic. It might have its campy moments, but overall Blood on Satan's Claw is genuinely creepy experience. With stellar performances by Linda Hayden as the possessed ringleader of Satan worshiping youngsters and Patrick Wymark as The Judge, together with Dick Bush's fantastic cinematography and Mark Wilkinson's atmospheric musical score, it offers moody, claustrophobic scares with palpable suspense.
The Wicker Man (1973)
Continuing in the same sub-genre, The Wicker Man is another strong contender for the title of best folk horror. An undeniable classic that has won the hearts of horror fans everywhere for four decades. Its unique approach to the themes of Christianity and paganism is one of the key elements to it's allure (I mean, is there anyone out there who truly roots for Edward Woodward?). It's not a horror film that gets you with cheap jumps scares or graphic violence. Instead it unfolds the mystery slowly and steadily, keeping the audience hooked till the very last frame.
Zombie Flesh Eaters (1979)
Zombie Flesh Eaters, also know as Zombie and Zombi 2, is a classic of the zombie genre by none other than the legendary director Lucio Fulci. It's an outstanding representative of its genre full of great special effects, genuine suspense and of course a supreme musical score by Fabio Frizzi. Of all things, the film is possibly best remembered by the famous underwater fight scene between a shark and a zombie, featuring an actual actor (Ramon Bravo: a shark trainer, filmmaker and an underwater photographer) and a real, live tiger shark! While Zombie Flesh Eaters has many things going for it, that particular scene alone is enough to make it a cut above rest when it comes to zombie films.
What would any 70's horror listing be without Suspiria? While it's not the only noteworthy film by the great Dario Argento, it certainly is one that is pretty impossible to skip over. A dazzling spectacle of violence and beauty, it is without a doubt Argento's most memorable film. It's stunning to look at, but surprisingly brutal at the same time; elements that come together beautifully and help to make it the legend that it is. It's a supernatural nightmare with a first-rate soundtrack (Goblin, who else?) and some of the greatest visuals of recorded horror history.
Bay of Blood (1971)
Still continuing with the Italian theme, Bay of Blood comes from the genius mind of Mario Bava. It's a non-stop murder fest with great variety of kill scenes and not only that, it's all wrapped up in a whodunit-type mystery in the style of Agatha Christie. It's one of Bava's more violent pieces, but also great bit of fun. All the characters are dislikeable in their own special way and seeing them getting killed one by one in numerous different manners is very enjoyable indeed. Many slashers, perhaps most notably Friday the 13th, owe a lot to this film and without its influence the face of slasher cinema would not be the same.
House (Hausu) (1977)
If you want to see 70's psychedelic horror at its finest, you have to look no further than House. Directed by Nobuhiko Obayashi and based on ideas given to him by his pre-teen daughter, it features (among other things) vomiting cat paintings, carnivorous pianos, floating heads and tons of bizarre special effects, making it undoubtedly one the weirdest horror films ever made. It's an off-the-wall thrill ride of things that you could never predict and thoroughly original piece of horror cinema. Best watched with couple of beers and some like minded friends.
This macabre tale inspired by ghastly crimes of the serial killer Ed Gein, was not only director Tobe Hooper's breakthrough film, but a genre defining piece which still continues to influence and inspire the horror genre today. It's a film that has stood the test of time in a remarkable manner; despite being over 40 years old, still manages to be one of the most shocking, gruesome and intimidating films of all time. Its claustrophobic tension will literally keep you on the edge of your seat and the scenes of brutal violence are sure to make your blood run cold (meat hook in the back, anyone?). A definite must see of 1970's cinema.
When thinking of 1970's horror, the first film that pops to most peoples mind is Jaws. And for a good reason; it was not only a tremendously successful horror film, bringing in audiences in their masses everywhere, but it also started the trend of summer blockbusters and is still considered to be one the greatest films ever made. While the filming process of Jaws was famously riddled with all manner of production issues (including, but not limited to, continuously malfunctioning mechanical shark and unwanted boats sailing into the frame), none of that is apparent in the end result. Jaws is not only scary, but an incredibly well-built film with solid characters and a well-paced storyline. It keeps the tension going all throughout the film and will make you think twice before taking a trip to the beach.
The Legend of Hell House (1973)
Often forgotten little haunted house horror The Legend of Hell House is a truly wonderful representative of its sub-genre. It's a moody supernatural tale with neat little twist in the end. While it's not a continuous parade of jumps scares that many modern films of the same ilk tend to be, it offers steady suspense and ever-increasing madness, that more than make up for it. With beautifully colourful set design, decent performances all around and its wonderfully gloomy atmosphere, The Legend of Hell House easily surpasses similar films of the same era and is a film worth making a note of.
The film that every teenager everywhere should watch! Based on the Stephen King eponymous book, Carrie brought the supernatural scares into the suburban lives of average teenagers. Brian De Palma made horror history by doing a creditable job in adapting King's literary work into the film format, but also by helping two of his leading ladies (Sissy Spacek and Piper Laurie) earn Academy Award nominations for their respective roles (something quite unheard of for horror films at the time). It's mournfully beautiful depiction of the horrors of being a teenager and its universal themes of acceptance and struggles with one's identity are something that keep on captivating audiences for decades to come.
Tags Bay of Blood Blood on Satan's Claw Hausu Jaws Suspiria The Legend of Hell House The Texas Chainsaw Massacre. The wicker man zombie flesh eaters
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At the Local back-woods Truck-Specialty Ford Dealer. Apparently the buyer backed out.
This is not money I was planing to spend... we'll see if they're throwing markup at it and if it really *is* unsold (It's on the ship right now).
RS2 Package, moonroof, 19" Forged Wheels/Sport Cup 2 option.


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Open Register of Patent Ownership Launched
Posted by Joachim Bartels | Jul 13, 2015 | Industry Dynamics, ORoPO Patent Database, Patent Information, United States, Users of Information | 0 |
The Open Register of Patent Ownership (ORoPO) was launched, with the objective of creating a user-friendly and freely accessible database with information about which companies own which patents. Oropo is committed to assembling the first global database of who owns which patents.
A report from the ORoPO Foundation stated that as much as 25% of the world's patent ownership data may be inaccurate. Many of these inaccuracies may well be typographical errors and/or unregistered address changes, rather than changes of ownership per se, but such errors can still make it difficult to establish who to contact if wanting to license or buy a patent, for example. For some patents, however, ownership is not updated after a patent has been bought or sold. These inaccuracies can make it hard to approach patent holders, understand who owns rights that might be relevant to your business, etc.
If the database is successful life may become much easier in determining who owns what when considering patent strategy. However, it is highly unlikely that the database will ever replace the official registers at national patent offices which will reflect the true ownership position, but which are known to contain errors and are expensive to keep updated for the patent owners.
The ORoPO Foundation hopes that the proposed database will make licensing patents easier, and so encourage innovation. The Open Register has the backing of many leading companies, including IBM, Microsoft, ARM and BAE Systems, showing that a currently unfulfilled need has been identified. However, the level of uptake of ORoPO will determine its success – the Open Register will only become a useful tool if a large enough number of companies use it and keep it updated.
ORoPO is voluntary, open and non-profit. Participation in ORoPO is voluntary and free. ORoPO works alongside many of the world's leading patent offices to complement their work around improvements in openness, transparency and data quality. All data uploaded into ORoPO is free of intellectual property restrictions and is made available to the public as open data. ORoPO is a non-profit corporation. It is managed by a board of directors with the support of an Advisory Board. The ORoPO database includes verified details of patents owned by organizations. Its mission is to improve transparency and openness around patent ownership data. This is an essential and necessary step towards the evolution of patents as a functional asset class. ORoPO is based in California USA.
Source: Barker Brettell & Oropo
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Joachim C Bartels is a co-founder, managing director and Editor-in-Chief of BIIA. In his capacity as Editor-in-Chief he is responsible for the selection of relevant information content concerning industry insights, trends, technological developments, standards and policies impacting BIIA members in particular and the business information industry in general.
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White Collar Crime Criminology Criminal Justice Pdf - The types of crime committed are a function of what is available to the potential offender. Thus, those employed in relatively unskilled environments and living in inner-city areas have fewer opportunities to exploit than those who work in situations where large financial transactions occur and live in areas where there is relative prosperity. Blue-collar crime tends to be more obvious and. This article is written like a personal reflection, personal essay, or argumentative essay that states a Wikipedia editor's personal feelings or presents an original argument about a topic. Please help improve it by rewriting it in an encyclopedic style. (September 2011) (Learn how and when to remove this template message)(Learn how and when to remove this template message). This page is for people who want to deepen their understanding of crime policies and search for real solutions to criminal justice problems -- ones that promote social justice and a just peace; it's for people who want to reclaim their mind, privacy & freedom..
The Department of Criminal Justice offers a Bachelor of Arts (B.A.) degree which provides the opportunity for comprehensive study of criminal justice, and a Minor in Criminal Justice.. Bachelor's in Criminal Justice Degree. A criminal justice bachelor's degree, whether earned on-campus or through an online criminal justice program, not only shows potential employers your willingness to work hard, but it is also the minimum requirement for many criminal justice professions.In addition to law enforcement careers, bachelor's degree holders can also work as. Degree Program Overview. The College of Criminal Justice at Sam Houston State University is one of the oldest and most prestigious programs in the nation..
This paper outlines the factors (biological, psychological and social) that make juvenile offenders different from adult offenders and that necessitate unique responses to juvenile crime. Keiser University's Bachelor of Arts degree in Criminal Justice provides preparation in many areas of the criminal justice system. Topics include but are not limited to: deviant behavior, forensics, law enforcement and investigation, victimology, private security, corrections and juvenile justice and how components work together and are governed by our laws, the Supreme Court and the U.S. Sep 01, 2018 · How to Become an FBI Profiler. Despite common use of the term in media, the FBI does not have a job called "profiler." Instead, agents at the National Center for the Analysis of Violent Crime (NCAVC) at Quantico, Virginia, have job duties.
PDF) Recidivism Among a White-Collar Sample: Does Personality Matter? (PDF) Recidivism Among a White-Collar Sample: Does Personality Matter?


John Doe's height is listed at 6' 2." Mr. Gricar was six foot even, according to the flyers. John Doe's eyes are blue. Mr. Gricar's eyes are green. It makes me think that this probably is not Mr. Gricar, unless the information is incorrect. I'd still want to run the John Doe's prints, however.
Of course, if it is Mr. Gricar, and he got taller, his friend and fellow District Attorney Robert W. Buehner, Jr. will never be able to beat him at volleyball.
Late development: You can change "probably is not Mr. Gricar" to "definitely is not Mr. Gricar." The John Doe has been identified as Phillip T. Beavers, of New Mexico. The first public disclosure of this came from the current Centre County District Attorney, Stacy Parks Miller. The District Attorney's Office is still investigating the case, and looking at all possibilities.


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Galileo byla americká planetární sonda, určená k průzkumu planety Jupiter, jejího okolí a systému jejích měsíců, především čtyř velkých tzv. Galileových. Sonda byla pojmenována na počest renezančního italského vědce a technika Galilea Galileiho, který objevil čtyři největší měsíce Jupiteru.

Start sondy byl naplánován na 18. října 1989, tehdy sonda vzlétla společně s misí STS-34. K Jupiteru pak úspěšně dorazila 7. prosince 1995. Po následující léta zkoumala Jupiter a jeho měsíce. Ukončena byla až 21. září 2003, kdy vstoupila do atmosféry Jupiteru a shořela.

Popis sondy
Sondu postavila firma Hughes Aircraft Corp., Los Angeles, CA (USA), přístrojové vybavení koordinovala NASA Jet Propulsion Laboratory (JPL), Pasadena, CA (USA), která ji též provozovala pro NASA Headquarters, Office of Space Science and Applications (OSSA), Washington, DC (USA) a Deutsches Zentrum für Luft- und Raumfahrt (DLR), Köln am Rhein (Německo).

Během vzletu sestávala z družicové části, která později byla navedena na oběžnou dráhu kolem Jupiteru, a malé atmosférické sondy Galileo Atmosphery Probe (označení COSPAR 1989-084E), určené pro přímý průzkum vrchní atmosféry této planety.

Družicová část

Družicovou část tvořila rotací 3,25 až 10,5 obr/min nebo tříose stabilizovaná sonda typu HS-373 o maximální průměru 4,6 m a výšce 9 m. Sestávala ze dvou úseků spojených otočným propojovacím uzlem se servosystémem SBA (Spin-Bearing Assembly), a to:
 přístrojový úsek ve tvaru nízkého šestibokého hranolu, nad nímž byla posazena parabolická směrová anténa z tenké molybdenové síťky o průměru 4,6 m, se třemi výklopnými rameny;
 stabilizovaný úsek válcového tvaru s výklopnou směrovanou plošinou a směrovatelnou anténou o průměru 1,1 m pro spojení s atmosférickou sondou.
Na spodní straně stabilizovaného úseku byla usazena kuželovitá atmosférická sonda (popis viz dále). Na bocích přístrojového úseku byla zavěšena tři výklopná ramena. Nejdelší o délce 10,9 m neslo čidla magnetometrů umístěná na jejím konci a v jejím středu a antény detektoru plazmových vln, dvě kratší o délce 5 m pak nesla dva radioizotopové termoelektrické generátory RTG (Radioisotope Thermoelectric Generator) s celkem 25 kg oxidu plutoničitého 238PuO2 pro dodávku elektrické energie (příkon na počátku letu 570 W). Družicová část nesla tyto přístroje:

Přístroje pro optická a spektroskopická pozorování
 přístroje umístěné na otočné stabilizované plošině:
 televizní kamera SSI (Solid State Imaging System) s detektory typu CCD (Charge Coupled Device) (800×800 bodů, spektrální obor 300 až 650 a 700 až 1000 nm, expoziční časy od 4,167 ms do 51,2 s) připojená k dalekohledu Casesgrainova uspořádání (ohnisková délka 1500 mm, průměr 250 mm, stavební délka 900 mm, světelnost f/8,5, zorný úhel 0,46°, úhlové rozlišení 10,16 µrad/pixel) a vybavena osmipolohovým karuselem s barevnými filtry pro viditelnou a blízkou infračervenou oblast (středy pásem 404, 559, 671, 727, 756, 889 a 986 nm) a jeden bezbarvý filtr (610±220 nm);
 mapující infračervený mřížkový spektrometr NIMS (Near-Infrared Mapping Spectrometer) se 17 detektory (15 InSb a 2 Si) chlazenými na teplotu 64 K pro studium chemického složení atmosféry planety a povrchu měsíců připojený k dalekohledu Ritchey-Chretienova uspořádání (ohnisková délka 800 mm, průměr 228 mm, světelnost f/3,5, rozlišení 5 až 30 km);
 ultrafialový mřížkový Ebert-Fastieův spektrometr UVS (Ultra-Violet Spectrometer) se 3 fotonásobiči (spektrální oblast 113 až 432 nm, spektrální rozlišení 0,7 nm pod 190 nm, 1,3 nm nad 490 nm) připojená k dalekohledu Cassegrain-Dall-Kirkhamova uspořádání (ohnisková délka 250 mm, světelnost f/5) pro studium chemického složení atmosféry planety;
 integrovaný fotopolarimetr a radiometr PPR (Photopolarimeter-Radiometer) (spektrální obor 0,4 až 45 µm) připojený k dalekohledu uspořádání Cassegrain-Dall-Kirkham (průměr 100 mm, ohnisková délka 500 mm, zorný úhel 0,14°) určený pro zjišťování aerosolových částic v atmosféře Jupiteru, chemického složení atmosféry a oblaků planety a tepelné rovnováhy atmosféry planety, který tvořily:
 fotopolarimetr (v fotopolarimetrickém režimu 3 kanály v pásmech 410,0, 678,5, a 944,6 nm, ve fotometrickém režimu 7 kanálů v pásmech 618,7, 633,3, 648,0, 788,7, 829,3, 840,3 a 891,8 nm);
 radiometr (5 kanálů v pásmech 16,8, 21,0, 27,5, 35,5 a 45 µm);
 přístroj umístěný na rotujícím úseku:
 spektrometr pro oblast extrémního ultrafialového záření EUVS (Extreme UltraViolet Sprectrometer) (128 kanálů, spektrální rozsah 54 až 128 nm, šířka kanálu 0,59 nm, spektrální rozlišení 3,5 nm pro plošné, resp. 1,5 nm pro bodové zdroje, úhlové rozlišení 0.17×0.87°) určený především pro studium plazmového toroidu na dráze měsíce Io;

Přístroje pro studium magnetických polí a korpuskulárního záření
Přístroje pro studium magnetických polí a korpuskulárního záření byly umístěné na dlouhém výklopném rameni či na jeho základně, byly to:

 magnetometr MAG (Magnetometer) pro studium meziplanetárního a planetárních magnetických polí tvořený 6 cívkovými detektory (3 ve středu ramene s citlivostí ±512 nT resp. ±16 384 nT, 3 na jeho konci s citlivostí ±32 nT resp. ±512 nT) a kalibračními cívkami;
 spektrometr plazmových vln PWS (Plasma Wave Spectrometer) vybavený rozkládací dipólovou anténou o rozpětí 6,6 m, umístěnou příčně na konci ramene a 2 cívkovými anténami na stěžni velké parabolické antény (258 kanálů, frekvenční rozsah 5,62 Hz až 5,65 MHz u dipólové antény, 5 Hz až 3,5 kHz resp. 1 až 50 kHz u cívkových antén);
 analyzátor plazmatu PLS [=Plasma Instrument], který tvořily:
 čtyři elektrostatické analyzátory (64 kanálů v rozsahu od 0,9 eV do 52 keV, časové rozlišení 0,5 s);
 čtyři hmotové spektrometry (schopné detekovat ionty H+, H2+/He++, He+, O++, O+/S++, Na+, S+, K+ a SO2+);
 detektor mikrometeoroidů DDS (Dust Detector System) (efektivní účinná plocha 0,1 m2, citlivost od 0,1 fg do 1 µg);
 detektor energetických nabitých částic EPD [=Energetic Particles Detector], který tvořily:
 částicový teleskop s 8 křemíkovými polovodičovými detektory nízkoenergetických částic v magnetosféře LEMMS (Low-Energy Magnetospheric Measurements System) (32 kanálů, elektrony od 15 keV do >11 MeV, ionty od 22 keV do 55 MeV);
 analyzátor izotopového složení CMS (Composition Measurements System) tvořený dvěma dalekohledy:
 teleskop TOF (Time-of-Flight) (13 kanálů, jádra vodíku 80 keV až 1,25 MeV, jádra He od 27 keV/u až 1,0 MeV/u, jádra O od 12 do 522 keV/u, jádra S od 16 do 310 keV/u, jádra Fe od 20 do 200 keV/u);
 teleskop diferenciální energie (13 kanálů, jádra He od 0,19 do 1,4 MeV/u, jádra O od 0,16 do 10,7 MeV/u, jádra Na od 1,0 do 11,7 MeV/u a jádra Fe od 0,22 do 15,0 MeV/u);
 detektor těžkých iontů HIC (Heavy Ion Counter) tvořený dvěma teleskopy (rozsah protonových čísel od 6 (C) do 28 (Ni), energetický rozsah od 6 do >200 MeV/u) ;

Experimenty využívající rádiového vysílače sondy RS (Radio Science)
 vlastnosti plazmatu a nehomogenit slunečního větru v meziplanetárním prostředí;
 studium vlastností atmosféry a ionosféry planety a měsíců v průběhu rádiového zákrytu sondy;
 stanovení hmotností měsíců Jupiteru;
 hledání gravitačních vln o velmi nízkých frekvencích;
 studium sluneční koróny v průběhu konjunkce sondy se Sluncem.

Systémy sondy byly řízeny palubním počítačem s 16bitovým mikroprocesorem ATAC-16MS. Pro záznam naměřených vědeckých dat sloužila magnetopásková paměť s kapacitou 900 Mbit. Hlavní telemetrický systém pracující v pásmu X (8,422 GHz) měl pracovat přes velkou parabolickou anténu (typická rychlost přenosu od Jupiteru 134 kbit/s). Záložní telemetrický systém pracující v pásmu S (2,297 GHz) využíval dvě všesměrové antény, z nichž jedna byla umístěna na konci centrálního stěžně parabolické antény, druhá na jednom výklopném rameni s RTG. Povelový přijímač pracoval v pásmu S (2,115 GHz). Spojení s atmosférickou sondou se provozovalo v pásmu L. Pro navedení na dráhu kolem Jupiteru sloužil hlavní motor S400 o tahu 400 N na dvousložkové hypergolické kapalné pohonné látky (monomethylhydrazin a oxid dusičitý, celkem 925 kg) skladované ve čtyřech nádržích s přetlakovou dopravou stlačeným héliem. Pro běžné korekce dráhy sloužil systém 12 motorků o tahu 10 N zásobovaných ze stejných nádrží.

Pro spojení se sondou se využívaly pozemní stanice systému DSN (Deep Space Network). Hlavní řídicí středisko se nacházelo v areálu NASA Jet Propulsion Laboratory (JPL), Pasadena, CA (USA).

Atmosférická sonda

Atmosférická sonda měla tvar kužele o maximálním průměru 1,25 m a výšce 0,86 m. Z celkové hmotnosti připadalo 152 kg na ablativní tepelný štít z fenolové pryskyřice, který kryl větší část povrchu. Mohl vydržet krátkodobě teploty až 14 000 °C a izoloval 65× dokonaleji než domácí termoska. Na palubě byly umístěny následující experimenty, jako užitečné zatížení o celkové hmotnosti 28 kg:
 neutrální hmotnostní spektrometr pro studium chemického složení atmosféry NMS (Neutral Mass Spectrometer) (detekce He, H2O, CH4, NH3, dalších atomů a molekul s hmotností od 1 do 52 u a vybraných těžších atomů jako jsou Kr a Xe, tj. 84 u a 131 u, rozsah tlaku okolního prostředí 0,01 až 1 MPa);
 soubor čidel pro přímé měření teploty, tlaku a nepřímé stanovení hustoty a průměrné molekulové hmotnosti atmosféry v závislosti na výšce ASI (Atmospheric Structure Instrument), který tvořily:
 akcelerometry pro měření atmosférického brzdění;
 teploměr;
 tlakoměr;
 nefelometr NEP (Nephelometer) pro studium velikosti, distribuce a fyzikálních charakteristik částic v oblacích na základě rozptylu infračerveného záření (vlnová délka 900 nm, rozsah tlaku okolního prostředí 0,01 až 1 MPa);
 infračervený interferometr pro stanovení koncentrace hélia v atmosféře HAD (Helium Abundance Detector) (rozsah měření od 0,3 do 0,8 MPa, relativní přesnost 0,1 %);
 mnohakanálový radiometr pro měření tepelné energie v atmosféře NFR (Net-flux Radiometer) (0,3-3,0, 0,3-2000, 20-30, 30-40 a 40-60 µm, měření v rozsahu tlaků 0,01 až 1 MPa);
 detektor bouřkových elektrických výbojů LRD (Lightning and Radio Emission Detector), se dvěma detekčními systémy:
 elektromagnetický rádiový detektor (frekvenční pásma 3, 15 a 100 kHz) pro detekci rádiového šumu a změn magnetického pole;
 optický detektor s fotodiodou pro registraci světelných záblesků;
 osmikanálový detektor energetických částic EPI (Energetic Particle Investigation) (3 kanály pro elektrony, 3 kanály pro protony, 1 kanál pro částice alfa, 1 kanál pro těžší ionty).

Sestupový systém sestával z brzdícího a stabilizačního padáku a nosného padáku z dakronu a kevlaru o průměru 2,5 m. Elektrickou energii dodávaly lithiumsulfonylové akumulátory s celkovou kapacitou 21 Ah, vlastní raketový pohon nebyl instalován. Životnost pouzdra omezovaly:
 mechanická a tepelná odolnost (při pozemních zkouškách v r. 1983 do 60 °C vnitřní teploty a tlaku do 1,6 MPa, vypočtená odolnost do 2,0 MPa, k poškození neutrálního hmotnostního spektrometru došlo až při 2,1 MPa);
 kapacita akumulátorů (z výroby 21 Ah, při příletu k Jupiteru asi 20 Ah, tj. 74 min sestupu);
 družicová část sondy Galileo měla na příjem dat nejvýše 75 minut a pak se musela věnovat jiné aktivitě.

Přenos dat na mateřskou sondu se uskutečňoval na dvou frekvencích v pásmu L (1,3870 a 1,3871 GHz, rychlost přenosu 256 bit/s). Ultrastabilní oscilátor udržoval konstantní frekvenci signálů, takže z Dopplerova posuvu bylo možné odvodit data o rychlosti větru a směru pohybu pouzdra.

Průběh letu

Start

Kompletní sonda vzlétla z kosmodromu Kennedy Space Center na Floridě 18. října 1989 v 16:53:40 světového času (UT) na palubě raketoplánu Atlantis při letu STS-34. Ve 23:15:03 UT téhož dne byla společně s dvoustupňovou urychlovací raketou IUS vypuštěna z nákladového prostoru raketoplánu Atlantis na samostatnou dráhu. V 00:24 UT dne 19. října 1989 byla po devítiminutové práci IUS navedena na meziplanetární dráhu směrem k Venuši.

Meziplanetární přelet
Vzhledem k nepostačujícímu výkonu IUS bylo totiž nutno použít k přeletu k Jupiteru velmi komplikované dráhy, označované VEEGA (Venus-Earth-Earth Gravity Assist) s postupnými gravitačními manévry u Venuše a dvou u Země.

Gravitační manévr u Venuše
Dne 10. února 1990 v 05:58:48 UT, pouhých 18 sekund před plánovaným okamžikem, prolétla sonda ve vzdálenosti 21 493 km od středu planety Venuše (přibližně 16 000 km nad jejím povrchem). Chyba zacílení nepřevyšovala 5 km. Gravitačním manévrem se zvýšila rychlost sondy o 3,59 km/s (plán 2,2 km/s). Během průletu bylo pořízeno 81 snímků oblačnosti, které byly zaznamenány do palubní paměti. Tři z nich byly ve velmi zpomaleném módu odvysílány přes všesměrovou anténu ihned. Byly pořízeny též infračervené snímky Venuše přístrojem NIMS. Přístroj PWS detekoval elektromagnetické pulsy pocházející od Venuše.

První gravitační manévr u Země
Dne 8. prosince 1990 ve 20:34:34 UT sonda prolétla v minimální vzdálenosti 938 km (plán 949 km) kolem Země. Chyba v čase průletu byla přibližně 0,5 s. Gravitačním manévrem byla zvýšena o 5,2 km/s heliocentrická rychlost sondy. Přístroje PWS detekovaly radiační pásy Země, NIMS pozoroval oblaka v atmosféře a UVS stav ozónové vrstvy v oblasti jižního pólu.

Dne 11. dubna 1991 byl na sondu vyslán povel k rozevření velké parabolické antény. Telemetrická data však ukázala, že tři až pět z 18 žeber z grafitového laminátu zůstalo přichyceno k centrální tyči. To znamenalo omezení přenosové kapacity sondy a redukci především obrazových dat.

Setkání s planetkou Gaspra

Dne 29. října 1991 ve 22:36:40 UT sonda proletěla ve vzdálenosti 1 600 km od planetky (951) Gaspra, přičemž dosažená přesnost navigace byla lepší než 5 km a 1,5 s. Podařilo se pořídit celkem 150 fotografií, které byly uloženy do palubní paměti a byly později vyslány při přiblížení k Zemi v prosinci 1992. Ze snímků vyplynulo, že planetka má nepravidelný tvar o rozměrech 18×10×9 km a dobu rotace 7 h. Detektor mikrometeoroidů DDS nezaregistroval v okolí planetky zvýšení počtu prachových částic očekávané podle některých teorií. Tepelná setrvačnost povrchu stanovená z měření spektrometrem NIMS [=Near-Infrared Mapping Spectrometer] potvrdila přítomnost slabé, asi 1 m silné vrstvy regolitu. Největší z asi 600 pozorovaných kráterů má průměr 1,5 km. Magnetometr během průletu kolem planetky zaregistroval malé změny meziplanetárního magnetického pole.

Druhý gravitační manévr u Země
Dne 8. prosince 1992 v 15:09 UT sonda prolétla nad jižní částí Atlantského oceánu ve vzdálenosti jen 304 km od zemského povrchu. Tímto manévrem byla zvýšena její rychlost o 3,7 km/s (výsledná heliocentrická rychlost 38,99 km/s) a bylo tak zajištěno, že sonda dosáhne planety Jupiter. Průlet byl mimořádně přesný (odchylka jen 0,7 km), takže se podařilo ušetřit značné množství pohonných látek. Průletu bylo využito k vědeckému výzkumu Země, při kterém se uplatnila jak kamera SSI (70 snímků jihoamerických And a Kordiller mělo rozlišení až 10 m), tak spektrometr NIMS pro studium horních vrstev atmosféry. Nad Antarktidou byla zjištěna stratosférická oblaka s ledovými krystalky o rozměrech kolem 20 μm, katalyzující zřejmě destrukci ozónové vrstvy. Také pozorování spektrometrem UVS byla cenná pro studium problematiky ozónové díry.

Setkání s planetkou Ida

Dne 28. srpna 1993 v 16:52 UT sonda prolétla ve vzdálenosti 2 410 km (navigační odchylka pouhých 40 km, 4 s) od planetky (243) Ida relativní rychlostí 12,4 km/s. Podle získaných údajů má rozměry 56×54×21 km a periodu rotace 4 h 38 min. Celkem bylo získáno asi 150 snímků. Spektrometr NIMS potvrdil přítomnost vrstvy regolitu a skutečnost, že planetka je složena z více různých objektů. V únoru 1994 byl na snímcích identifikován malý satelit této planetky, předběžně označený 1993 (243) 1 a později pojmenovaný Dactyl. Má vejčitý tvar o rozměru 1,6×1,4×1,2 km a byl zaznamenán ve vzdálenosti kolem 90 km od mateřského tělesa. Detailní snímek s rozlišením 39 m, pořízený 4 min před průletem a vyslaný na Zemi 8. června 1994 na něm ukazuje desítky kráterů větších než 80 m (maximální průměr 300 m). Zajímavé bylo rovněž zjištění, že meziplanetární magnetické pole bylo v okolí planetky porušené, podobně jako u planetky (951) Gaspra.

Činnost u Jupiteru
Ve dnech 17. až 22. července 1994 se sonda, v té době vzdálená 238 mil. km od Jupiteru, podílela na snímkování pádu komety Shoemaker-Levy 9 do atmosféry Jupiteru společně s pozemními observatořemi a kosmickým dalekohledem HST.

Dne 13. července 1995 v 05:30 UT se od mateřské sondy oddělilo atmosférické pouzdro. V té době byla sonda na cestě 2 240 dní a nacházela se 82,5 mil. km od Jupiteru a 664 mil. km od Země.

Přílet k Jupiteru
Dne 7. prosince 1995 v 17:45:44 UT sonda prolétla ve vzdálenosti 892 km od povrchu měsíce Io. Šlo o kritický okamžik celé výpravy, protože gravitační manévr u tohoto měsíce byl nutný pro zbrzdění asi o pětinu potřebné změny rychlosti (175 m/s). Velmi záleželo na přesnosti průletu, protože při větší vzdálenosti by bylo zapotřebí příliš velké množství pohonných látek, které by při pozdější činnosti družicového modulu chybělo. Výsledek byl perfektní. Ve 21:53 UT sonda prolétla perijovem dráhy ve vzdálenosti 214 570 km nad horní hranicí oblačnosti Jupiteru, 285 590 km od středu planety. Ve 22:06 UT sonda přijala první signály z atmosférického pouzdra. Signál, předaný dále, letěl k Zemi 52 min.

Měření atmosférické sondy
Dne 7. prosince 1995 ve 22:04:05 UT vstoupila atmosférická sonda do atmosféry rychlostí 47 km/s nad terminátorem v rovníkové oblasti Jupiteru (6,57° s. š., 4,94° z. d.) pod úhlem 8,6° k horizontále (úhel o 1,5° menší by vedl k odrazu do prostoru, o 1,5° větší k předčasnému shoření).

Během první minuty dosáhlo přetížení asi 230 G a tepelný štít se rozžhavil na 14 000 °C. Během další minuty rychlost poklesla asi na 0,5 km/s, tj. pod hranici místní rychlosti zvuku. Maximální dynamické zatížení dosáhlo 5×105 N/m2, tepelné 42 kW/cm2. Odtavilo se 85 kg ablativního ochranného štítu z fenolových pryskyřic. Začátek měření byl o 53 s opožděn a začal na úrovni atmosférického tlaku 350 hPa místo 100 hPa. Ve 22:06 UT byl v hloubce asi 40 km uvolněn nejprve brzdicí a stabilizační padák a několik sekund poté i nosný padák. Pak se oddělil ohořelý tepelný štít, vyklopilo se rameno s nefelometrem a 3 minuty po vstupu do atmosféry se pouzdro zvolna kolébalo na padáku a zahájilo vysílání směrem k družicové části, nacházející se v té době ve výšce 215 000 km. Za místního večerního soumraku prolétalo hnědou mlhou, než se ponořilo do bílých oblaků ztuhlého čpavku. Konečně ve 22:58 UT byl na Zemi přijat s napětím očekávaný signál potvrzující zahájení vysílání atmosférického pouzdra. Kolem 22:45 UT se již sonda nacházela v hloubce kolem 80 km (okolní tlak asi 0,8 MPa), kde teplota dosahovala 37 °C a o deset minut později již v hloubce asi 95 km, svíráno tlakem 1 MPa.

Ve 23:04 UT atmosférická sonda ukončila vysílání. Maximální hloubka, kam se mohlo pouzdro dostat, byla 163 km, kde byla teplota asi 193 °C a tlak 3 MPa. Ve skutečnosti pouzdro vysílalo 57,6 minut, tzn. dosáhlo úrovně teploty 152 °C a tlaku 2,3 MPa, což odpovídalo hloubce kolem 130 km. Kolem 23:49 UT podle odhadů zanikl padák.

Technici odhadli, že asi v 00:30 UT následujícího dne zanikly části atmosférické sondy vyrobené z hliníkových slitin, později i kostra z titanových slitin a nejpozději kolem 07:00 UT pouzdro definitivně přestalo existovat.

Navedení na oběžnou dráhu
Bezprostředně poté začal manévr JOI (Jupiter Orbit Insertion), který se uskutečnil podle předem přijatých instrukcí a kterým mateřská sonda přešla na oběžnou dráhu kolem planety Jupiter. Dne 8. prosince 1995 od 00:27 do 01:16 UT byl zapojen hlavní motor sondy, který zajistil navedení na oběžnou dráhu kolem Jupiteru snížením rychlosti o 644,4 m/s. Sonda se po manévru JOI pohybovala po velmi protáhlé eliptické oběžné dráze se sklonem 5,30° k rovníku planety, s dobou oběhu 198,62 dne. Výška perijova činila 211 489 km a apojova 19 276 188 km. Během zákrytu sondy za planetou se pod dohledem stanice DSN u Madridu, vybavené pro přesné měření frekvence nosné vlny (pětitisícekrát za sekundu) uskutečnila sondáž Jupiterovy atmosféry (profil teploty a tlaku) průchodem rádiových signálů sondy. Nepřesnost v určení středu pásma nosné vlny o šířce 2,5 kHz byla pouhých 37 Hz.

Výzkumy z oběžné dráhy
V následujícím období 1996 až 2000 sonda kroužila kolem planety Jupiter po velmi výstředné dráze, přičemž opakovaně uskutečňovala blízké průlety kolem galileovských měsíců Io, Ganymed, Europa a Callisto, které podrobně zkoumala. Průlety byly využívány současně ke gravitačním manévrům, které zajišťovaly postupnou návštěvu dalších měsíců s minimální spotřebou pohonných látek. Vzhledem k dobré činnosti systémů sondy a velkému množství získávaných dat byla mise sondy mnohokrát prodlužována, naposledy koncem dubna 2001.

Celkem vykonala 34 oběhů kolem Jupiteru a během této doby sedmkrát navštívila měsíc Io, osmkrát Callisto, osmkrát Ganymed a dokonce jedenáctkrát měsíc Europa.

Ukončení mise
V roce 2002 se zásoby pohonných látek sondy téměř vyčerpaly. Současně se začaly množit poruchy palubního počítače, způsobené dlouhodobým působením pronikavé radiace v radiačních pásech Jupiteru, kterými sonda opakovaně prolétala, a proto bylo rozhodnuto sondu zlikvidovat jejím cíleným navedením do atmosféry planety, aby se zabránilo jejímu náhodnému pádu na měsíc Europa vzhledem k možnosti jeho kontaminace pozemskými mikroorganismy, což by zkomplikovalo budoucí hledání stop tamního předpokládaného života. Sebevražedného manévru bylo využito k souběžnému průzkumu měsíce Amalthea, který dříve nebyl navštíven, protože se pohybuje v oblasti s velmi vysokou úrovní radiace.

Průlet kolem měsíce Amalthea se uskutečnil 5. listopadu 2002 ve vzdálenosti 160 km. Během průletu sondy kolem měsíce hvězdné čidlo zaznamenalo 9 záblesků, které byly interpretovány jako možný odraz světla od 7 malých objektů, pohybujících se v blízkosti Amalthey.

Po dalším oběhu kolem planety, během něhož se sonda od ní vzdálila až na 26,4 mil. km, sonda 21. září 2003 v 18:57 UT vstoupila rychlostí 48,26 km/s do atmosféry Jupiteru a shořela. Od svého startu do zániku urazila dráhu 4 631 778 000 km.

Deset nejdůležitějších výsledků mise
 Přístroje ukázaly, že zastoupení chemických prvků, zejména poměr H:He, v atmosféře Jupitera je odlišné od Slunce, což dokazuje, že se planeta po vzniku z protosolární mlhoviny dále vyvíjela.
 Poprvé byla pozorována oblaka amoniaku v atmosféře jiné planety.
 Bylo zjištěno, že vulkanická činnost na měsíci Io je až stokrát intenzivnější než na Zemi a připomíná tak podmínky v dávné minulosti naší planety.
 Byly prozkoumány složité procesy v ionizované atmosféře Io a zjištěna jejich provázanost s atmosférou Jupiteru.
 Byly získány nepřímé důkazy podporující teorii o existenci kapalného oceánu pod ledovým příkrovem měsíce Europa.
 Bylo zjištěno, že Ganymed má vlastní magnetické pole.
 Měření magnetických polí potvrdila, že na Europě, Ganymedu a Kalisto se vyskytuje vrstva kapalné slané vody.
 Bylo zjištěno, že tyto tři měsíce mají těsně nad povrchem velmi řídkou atmosféru.
 Jupiterův systém prstenců je tvořen prachem vyráženým dopady meteoroidů na povrch čtyř vnitřních měsíců. Nejvzdálenější prstenec je ve skutečnosti dvojitý.
 Galileo jako první sonda důkladně prozkoumal strukturu a procesy probíhající v magnetosféře jiné planety než Země.

Odkazy

Reference

Externí odkazy

  1989-084B - Galileo. - Encyklopedie SPACE-40
  Press Kit - Jupiter Arrival
  Press Kit - End of Mission
  Past Missions - Galileo. - NASA-JPL
  Galileo Legacy site. - NASA-JPL

Sondy k Jupiteru
Sondy NASA
Kosmonautika v roce 1989
Zaniklo 2003

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2011 marked a year of major transformation for the Mifos project. We emerged out of the Grameen Foundation and set forth with some dramatic strategic changes to position our community to scale to meet the massive need for access to financial services.
From Microfinance to Financial Inclusion – The entire sector itself had evolved from support of microfinance alone and required technology that could fully support financial inclusion through a broader array of services and a much deeper focus on the client.
Community-Driven and Partner-Led – With this broader mission, we had to better utilize our most valuable asset – our community. We quickly restructured as a new non-profit with one unified team of staff, partners, and volunteers that guided the community and project collectively. Our small nimble core group of staff set out to establish a partner-driven open source business model and empower a widespread network of volunteers to contribute to and own the project.
From Product to Platform – Underscoring it all was the technology itself – to make possible the flexibility to support financial inclusion and enable a distributed community-driven development model, we needed a true platform that could easily be extended. Mifos X was launched and we rewrote the entire codebase from scratch, creating a brand new API-driven platform that allows any external contributor to quickly build their own financial inclusion solutions and apps.
Since transitioning from the Grameen Foundation as an independent non-profit, we've received our 501(c)3 designation and assembled a committed Board of Directors chaired by Paul Maritz. We've launched the platform and new Community App which already surpass our legacy Mifos 2 software. We've established our formal Mifos Partner program with more than twenty active partners implementing Mifos X as well as partners building their own solutions and contributing back. Our community continues to grow with increased volunteer participation and partnerships with strategic technology partners from the open source community. We are now poised for wide-scale adoption of Mifos X – nearly two dozen financial institutions are actively using or implementing the new software as our current userbase of 50+ MFIs serving 1.3 million clients readies to transition from Mifos 2 to Mifos X.
Project Origins
The Mifos project was formally launched by Grameen Foundation in 2006 to provide a cost-effective software system to operate microfinance institutions and help them more efficiently and effectively deliver financial services to the poor. As one of the initial projects of the Seattle-based Grameen Technology Center, Mifos was a crucial part of Grameen Foundation's dual vision of combating poverty through technology and microfinance. For five years, Mifos was at the intersection of these two programs, developing into an award-winning, industry-renowned software system for microfinance.
As the first open source project for microfinance, Grameen Foundation pioneered a new model for the development, delivery, and support of technology in this industry. They incubated a global community of users, specialists, and volunteers that collaborate online and in-person across multiple time zones to achieve our vision. This user base, contributor community, and support ecosystem lie at the heart of the community-driven movement that the Mifos Initiative took forward.
In 2011, the Grameen Foundation decided to return Mifos back to the community, transitioning it as an independent community-driven effort, fulfilling its original vision of creating a catalytic industry-owned solution. Ed Cable, after supporting the community for several years as community manager, was ready to help the community stand united in guiding Mifos in its next phase. Along with Craig Chelius and Keith Woodlock and active community members like SolDevelo, they formed the Community for Open Source Microfinance (COSM). In July 2013, after receiving our 501(c)3 designation, we assumed control over the Mifos trademarks and intellectual property from the Software Freedom Conservancy who had served as the projects fiscal sponsor during it's transition. We then united the Mifos and COSM brands formally as the Mifos Initiative.
As the past and current leader of the community, our mission is to lead the community and coordinate individuals worldwide to collectively achieve our vision of 3 Billion Maries. We will provide the leadership and resources to continue educating MFIs to effectively adopt technology, train local technology providers to support this technology adoption, and provide the infrastructure and mentorship for volunteers to contribute to extending this technology.


"But in all seriousness here, we haven't had a recessionthere is an economic slow down. I share your concern. Everybody I talk to is furious at $4.50 a gallon for gasoline, especially when they know we have more resources than the Middle East, but I want to know. I want to ask you this. I've met people that grew up in tyranny. I knew people that grew up in the former Soviet Union for fear of speaking out against their government. Never had an opportunity to pursue their dreams ... In this country, maybe we do, is there some truth to the fact, maybe we do whine too much. Maybe we don't to appreciate this gift we have of freedom. Maybe we don't take advantage of, maybe too many of us look to the government to solve every problem we have," - Sean Hannity.


A couple years ago, I was out at one of the WTHO's in Nevada gathering my equipment near my truck to begin hunting. As I turned on my MXT and started walking to my area to hunt, I got a signal from the detector. Looking down, I saw the outline of something round in the dirt. I picked it up and found it was the brass end to a shotgun shell. I flipped it over and had to look twice as there was a penny inside. A little shaking revealed a wheat penny from the 50's had become stuck inside. Looking down at the ground, I saw a bunch of other round trash and realized I was standing over the spot somebody dumped out the unwanted contents to their finds pouch, Too bad it wasn't a Seated dime or an IHC.
I Wonder if they ever figured out where that Wheat cent went to? Just as a note, I have separate pockets for trash and keepers to avoid throwing away goodies mixed in with trash.


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Метка : Plantagenet Saga
Охота на сокола (СИ)
Автор: Снежная Александра
Поиск по метке: "Plantagenet Saga"
The Queen From Provence
Автор: Plaidy Jean
Серия : Plantagenet Saga #6
Marguerite, eldest daughter of the Count of Provence, had married a king of France - and now her sister Eleanor is determined to make just as grand a match. Good fortune and wily cunning bring her Henry of England. A good and generous husband but a weak king, he rules a nation that still remembers his cruel and foolish father, King John. As Henry showers gifts on his new bride his extravagance forces him to levy ever greater taxation on the land, and the spectre of revolt soon looms against him. For Simon de Montfort, the adventurer who will give England its first true parliament, the house of destiny is at hand.
The Star of Lancaster
Richard the Second is losing his hold on the crown and Henry of Bolingbroke, previously exiled by the king, returns to England to claim it. Richard is deposed and dies mysteriously, murdered some say on the orders of Bolingbroke, now King Henry the Fourth. But Henry finds the crown harder to hold onto than it was to win. He is beset by enemies, hampered by disease, and concerned about the rebellious behaviour of his son. Dominating the court and with his eye on the crown is Harry of Monmouth, whose reckless conduct in low-class taverns with his crony Sir John Oldcastle causes scandal.When the king dies, Harry became King Henry the Fifth, and the change is dramatic for both him and Oldcastle. The licentious youth becomes a great king, and Oldcastle, the rake, turns into a religious reformer. Oldcastle dies a martyr and Harry becomes the conquering hero of Agincourt. The Star of Lancaster is in the ascendant. Harry has brought France to her knees and married her princess. It seems that the long war was at an end. But a greater enemy than the French awaits Harry...
The Prince of Darkness
The untimely death of Richard the Lionheart left his nephew Arthur and his younger brother John in contest for the throne of England. Reluctantly the barons chose John, and so began years of rule by a ruthless and greedy tyrant.Yet despite his reputation, John, still manages to seduce the young and beautiful Isabella of Angouleme. But in taking her as his bride he makes an enemy for life. And in the tempestuous years that follow many men come to believe that the House of Anjou was tainted by the Devil's blood, the loathsome monarch was himself Evil Incarnate, the very Prince of Darkness...
The Sun in Splendour
Reckoned by those about him to be the most handsome man in the country, Edward the fourth has risen to the throne with the help of Warwick, the kingmaker. But even Warwick's trusted advice cannot convince the King to ignore his passion for the beautiful widow, Elizabeth Woodville - and when she refuses to become his mistress the two are married. Beloved of the people, Edward proves himself to be a strong king, but his love of luxurious living soon begins to impact on his royal duties. Despite his mistresses, Elizabeth is loyal to the illustrious king, providing him with many children, among them Edward the fifth and Richard Duke of York. But Edward lived recklessly and on his death an incident from his past comes to light that will change the course of history.
The Red Rose of Anjou
When Henry VI becomes king, it is soon clear that he would be better suited to a quiet life than to ruling the country. Richard, Duke of York, is convinced that he would make a better king and has more right to the crown, and he will stop at nothing to claim it. But Margaret of Anjou, Henry's new French wife, is a formidable woman who is just as determined to keep Henry on the throne. Most powerful of all is the Earl of Warwick, the kingmaker, and with his support of Richard of York the War of the Roses begins. When Henry VI lapses into madness and eventually meets his mysterious end in the Wakefield Tower, Margaret directs all of her ambition towards her young son, Passionate and impulsive she begins scheming for him, and in doing so dashes headlong into disaster ...
The Plantagenet Prelude
A totally engrossing book, one which covers the Plantagenet years under Eleanor of Acquitaine and her husband, King Louis of France. Eleanor was a strong, forceful character, as different from her husband as oil and water. She created the courts of love, reviving the code of chivalry in the French nobility. Through her marriage to Louis, she virtually redrew the map of France. Eleanor was the epitome of the saying, "Behind every successful man is a strong woman." Here Jean Plaidy brings these characters and more to life with a sumptuous look at the way royalty lived in the 11th and 12th centuries.*** When William X dies, the duchy of Aquitaine is left to his fifteen year-old daughter, Eleanor. But such a position for an unmarried woman puts the whole kingdom at risk. So on his deathbed William made a will that would ensure his daughter's protection: he promised her hand in marriage to the future King of France. Eleanor grows into a romantic and beautiful queen, but she has inherited the will of a king, and determines to rule Aquitaine using her husband's power as King of France. Her resolve knows no limit and, in the years to follow she was to become one of history's most scandalous queens. 'Miss Plaidy, whose meticulous attention to historical detail can seldom, if ever, be faulted, has woven a vivid novel to launch the Plantagenet saga on what will, undoubtedly, be a top selling course.' South Wales Argus
The Revolt of the Eaglets
News of Thomas a Becket's martyrdom has spread throughout Christendom and the blame is laid at the feet of Henry Plantagenet, King of England. Two years later, with Becket canonised, Henry's position is precarious: punished at the Pope's insistence for his part in Becket's death, he now also has an enemy in his Queen, Eleanor of Aquitaine, after her discovery of his longstanding infidelity with Rosamund Clifford. Eleanor is determined to seek vengeance, so, with King Philip of France, she encourages her sons to conspire, both against their father and each other. Much embattled, the old eagle Henry struggles to fend off both rebellion and the plots of his aggressively circling offspring...
The Heart of the Lion
At the age of thirty-two, Richard the Lionheart has finally succeeded Henry II to the English throne. And, against his father's wishes, he intends to make Berengaria, daughter of the King of Navarre, his Queen. But first he must fulfil his vow to his country to win back Jerusalem for the Christian world. Leaving England to begin his crusade, Richard's kingdom is left in the hands of his brother, John, who casts covetous eyes on the crown, and his sister, Joanna, who is willing to defy even a king.