text:
Special Edition World Trade News: global digital partnerships of 2022
Trade deals around the world: A recap of 2022's digital agreements
Digital Customs
Trade Deals Around the World is our periodic update, which gives you a quick and easy overview of what has been happening in the many trade deal negotiations worldwide. In this month's edition, we'll be giving you an overview of the digital trade deals of 2022 and what you might see in 2023.
The UK continued to strengthen their post-Brexit relationships around the world in 2022. Here are some of their highlights:
In February, the UK and South Korea began talks over improving their free trade deal in order to deepen the ties between the two countries.
In December, an eight-week consultation period began that asked businesses to comment on the current trade deal and how it can be improved, so their feedback could be incorporated into negotiations.
The minister for trade policy, Gregg Hands, commented on the deal's progress in a government press release:
"South Korea is a growing market for top-quality British products and services and forms a key part of the UK's renewed focus on the Indo-Pacific region, securing stronger ties with economies of the future."
"The opportunities presented by increasing our trade with South Korea are significant, not least in digitally delivered trade, which accounted for 79% of UK services exports to South Korea in 2020."
In 2021, UK exports of financial and business services were worth £1.4 billion. The new deal will aim to increase exports in these areas, and for the UK's growing technology sector.
The UK is Canada's third largest trading partner, with a trading relationship worth over £19 billion in 2020. Over 48% of the UK's exports to Canada were service based.
The two countries met in March to discuss improvements to their trade deals, aiming to build on the existing UK-Canada Continuity Agreement. The new free trade deal will look to simplify trade with the adoption of digital trading systems. This will allow over 10,000 small- and medium-sized businesses to benefit from lower barriers to trade.
A new deal between the UK and Canada could bring the following benefits:
Easier provision of services such as research, legal, finance, and IT.
Better access for SMEs that export goods due to simpler administration and processes.
More investment in the UK from Canadian employers.
Improved opportunities for women-led businesses.
Enhanced climate cooperation through green trade promotion.
One third of members of the Federation of Small Businesses in the UK see Canada as an important market, and exports to Canada are expected to grow by 45% by 2035. Over 100,000 people are also employed by Canadian businesses in the UK, and the improvement of the trade deal could lead to more investment and better wages as part of the UK Levelling Up scheme.
The UK's first ever Digital Economy Agreement (DEA) was created with Singapore in June, covering services and digital goods across both economies.
The DEA focuses on six key areas:
Open digital markets.
Data and information flows.
Consumer and business safeguards.
Digital trading systems.
Financial services.
Tech partnerships.
As the first of its kind, further deals will be modelled on the DEA.
Ukraine have been provided with tariff-free agreements from several countries to support them during their war.
In September, the UK and Ukraine launched talks to create a digital trade deal that further supported Ukrainian businesses. On Wednesday 30th November, the Digital Trade Agreement (DTA) was agreed, cutting red tape to allow more efficient trade with the UK using electronic transactions, e-contracts, and e-signatures to simplify customs.
The DTA covers the same key areas that the Digital Economy Agreement with Singapore does:
This deal makes it easier for companies on both sides of the agreement to support Ukraine's economic recovery and provide services during their rebuilding. In 2020, 73% of all exports from the UK to Ukraine were service based, so it is expected that the deal will allow further cooperation with Ukraine during their trying times.
The EU signed two major digital trade agreements with Asia in 2022:
In May, the European Union and Japan launched their digital partnership, which aims to enable cooperation in several areas of digital trade:
Free, safe, and secure data flows.
Artificial Intelligence (AI) advancements.
Green data infrastructures.
Regulation of the digital economy.
Encouraged digitalisation of SMEs.
Digital skills development.
Digital services.
The two countries have agreed to review the agreement annually, collecting data against its performance.
The European Union and Korea signed a digital partnership in November which mimicked the one agreed with Japan. This was a big milestone for the EU, as it confirmed the model can be used to save time when agreeing deals in future.
In the case of the EU-Korea partnership, high-tech sectors such as semiconductors, 6G, cloud software, AI, and high-performance computers are the target sectors for advancement.
USA and Kenya
The United States and Kenya agreed a Strategic Trade and Investment Partnership in July, which focused on 10 key areas for development.
Area three is digital trade, with both countries looking to generate trust in the digital economy by:
Ensuring access to information.
Prioritising inclusion and addressing discrimination.
Protecting online consumer protection.
Encouraging competition from SMEs.
Developing a secure digital infrastructure.
This deal is only the beginning, with the aim to improve on it in the coming years.
Egypt and Brazil
The Egyptian Customs Authority was presented with a proposal by the Arab Brazilian Chamber of Commerce (ABCC) for the implementation of its digital customs system.
Egypt is already undergoing a technological revolution, adopting single-window systems, and migrating to digital documents.
Brazil is a strong trading partner with Egypt, from whom they import meat, maize, soybeans and sugar from Brazil, and to whom they export chemicals, fertilizers, foodstuffs, and agricultural goods.
The Egyptian Customs Authority has welcomed the initiative from the ABCC for the deal, and it is currently being evaluated by a third party.
Are you ready for future digital trade deals around the world?
As countries and companies around the world look to develop digital solutions to make trading easier, cheaper, and more secure, your business needs to evolve with them to receive the benefits.
If you'd like help assessing where your business can benefit from digitalisation, book a quick scan with one of Customs Support's consultants today.


On arrival at Delhi airport you will be meet and great by our representative and transfer to the hotel.
Overnight stay at hotel, Delhi.
After morning breakfast we will go for full day city tour, visiting Red fort, Jama masjid, India gate, Qutub Minar etc. Later in evening you can for shopping.
In morning after having breakfast we will check out the hotel and start driving for Corbett. On arrival you will check in to hotel.
After having a breakfast we will visit the Corbett National Park, named after the famous naturalist Mr. Jim Corbett. The national park was set up in 1973 and project tiger set up for the total environment preservation of the Tiger. At Corbett National park there are 600 species have been identified here.
After an early breakfast we will check out the hotel and transfer to Dudhwa national Park. On arrival check in to hotel.
After having breakfast we will checkout the hotel and start driving for Lucknow. On arrival transfer to the hotel.
After an early breakfast, check out the hotel. Later start driving for Agra if you want to go through flight or the train than we can also arrange the same. On arrival check into the hotel.
In morning after having breakfast we will go for city tour visiting the world famous Taj Mahal, later on visit Red Fort etc.
After having breakfast, check out the hotel and start driving for Delhi. On arrival check in to the hotel. In evening you can go for shopping etc.
AftAfter having breakfast, day at leisure. Later we will transfer you to the airport for your onward journey.


that grab by turns of logic.
I wouldn't say that I seek inspiration, exactly, but I do try to find kernels in texts, ideas, situations, that I can explore and engage with through my writing. My practice is research-based in the early stages, so often I look to old texts or those in the public domain for a sense of their use of language. I then try to twist this in a way that often becomes lyrical, without shutting down the potential of these words or offering any closure. I try to open up textual moments through acts of rewriting and recontextualizing.
This poem comes from a longer series, titled "Of Matter Diverse and Confused" that employs the language of 17th and 18th century anatomies and medical indexes to think through the many contemporary contexts of the idea of pressure and depression—personal, emotional, social, economic, or physical. Through writing through the language of these old texts I found a lyric mode of critical thinking. This particular piece works with the logical connections of malady in personal and political realms.
I write by transcribing fragments of language I find in source material, and then going through a process of re-writing and editing. I try to write through research material to sculpt poetry that maintains the ideas, sound, and feelings of the original context of the words, but also presents new connections in the poetic context.
This poem "Cause Effect." originally appeared in Agency & Affect. Spec. issue of Canadian Literature 223 (Winter 2014): 101.


text:
Category: Merlin
Ancient Sites / Early Christianity / Folklore / Folktales / Merlin / Welsh Folktales
by Ian · Published July 29, 2013 · Last modified January 1, 2019
Llech Lafar, St Davids
Llech Lafar, a speaking slab of marble by the River Alun is referred to by Wirt Sykes in his 'British Goblins' (1881). 'The Talking Stone Llechlafar, or stone of loquacity, served as a bridge over the river Alyn, bounding the churchyard of St. David s in Pembrokeshire, on the northern side.
Articles / Folklore / King Arthur / Legends / Merlin
by Ian · Published March 12, 2012 · Last modified November 23, 2018
The Thirteen Treasures of the Island of Britain
These treasures are ancient magical items of Welsh tradition that are mentioned in 15th and 16th Century manuscripts. Most of the treasures are from and in 'The North' of the Island of Britain.
Articles / King Arthur / Legends / Merlin
Geoffrey of Monmouth's Arthur
A brief run through of Geoffrey of Monmouth's version of the Arthurian legend from 'The History of the Kings of Britain'.
Legends / Merlin
Ogaf Myrddin
Ogaf Myrddin means Merlin's Cave, and this is one of the locations where he is said to sleep awaiting his release. The cave is hidden behind a waterfall.
Directions: Northwest of Brechfa
Ancient Sites / Apparitions / Buried Treasure / Early Christianity / Hauntings / Legends / Merlin / Wells
Bardsey Island
The island is also known as the island of the currents and the saints. There are said to be the graves of 20,000 saints interred on the island, and legend suggests that anybody buried here will not go to hell no matter how wicked his deeds.
Buried Treasure / Legends / Merlin
Bryn Myrddin (Merlin's Hill)
The hill is one of many places in Britain reputed to be the prison of Merlin, where Merlin lies asleep in a cave awaiting the call to return and help his fellow countrymen. According to tradition it is possible to hear his groans from under the hill if you listen hard enough. In legend Merlin was born in Carmarthen 2 miles away from the hill.
Ancient Sites / Dragons / Legends / Merlin
Dinas Emrys
The legendary stronghold of Vortigern, and the place where the young prophet Merlin revealed the fighting dragons. In legend there are two characters associated with the same story with slight variations. One is Vortigern, the Dark Age ruler who let the Saxons into the country, and was responsible in part for their later invasions.
by Ian · Published August 6, 2008 · Last modified November 20, 2018
Glastonbury Arthur's Avalon
Beside the main roads leading into the dreamy Somerset town of Glastonbury, are a series of signboards welcoming all to 'The Ancient Avalon', and causing a nationwide controversy. Glastonbury claims to be Avalon, to be the final resting place of King Arthur, and the site to which the Holy Grail was borne to by Joseph of Arimethea.
The Wizard of Alderley Edge
Alderley Edge may have been a sacred site for many thousands of years; the area is steeped in folklore and legend. King Arthur and his men are said to sleep somewhere beneath the sandstone cliffs, and the area is associated with the wizard Merlin.
Ancient Sites / King Arthur / Legends / Merlin / Wells
Alderley Edge has been a sacred site for many thousands of years and has many legends attached to it. King Arthur and his men are said to sleep somewhere beneath the sandstone cliffs.

redpajama_set_name: RedPajamaCommonCrawl


text:
Study Finds Rising Levels of Plastics in Oceans
Some eight million metric tons of plastic waste makes its way into the world's oceans each year, and the amount of the debris is likely to increase greatly over the next decade unless nations take strong measures to dispose of their trash responsibly, new research suggests.
The report, which appeared in the journal Science on Thursday, is the most ambitious effort yet to estimate how much plastic debris ends up in the sea.
Jenna Jambeck, an assistant professor of environmental engineering at the University of Georgia and lead author of the study, said the amount of plastic that entered the oceans in the year measured, 2010, might be as little as 4.8 million metric tons or as much as 12.7 million.
The paper's middle figure of eight million, she said, is the equivalent of "five plastic grocery bags filled with plastic for every foot of coastline in the world" – a visualization that, she said, "sort of blew my mind."
Plastic debris washed up on a beach in Azores, Portugal. Study Gauges Plastic Levels in Oceans DEC. 10, 2014
A dead whale in Rotterdam, the Netherlands, in 2011. As container ships multiply, more whales are being harmed, a study said. Matter: Ocean Life Faces Mass Extinction, Broad Study Says JAN. 15, 2015
By 2025, she said, the amount of plastic projected to be entering the oceans would constitute the equivalent of 10 bags per foot of coastline.
The researchers, from the United States and Australia, derived their estimates through a complex calculation that began with the overall mass of waste produced per person annually in 192 nations that have coastlines, worked through the proportion of that waste likely to be plastic, and how much of the plastic could end up in the ocean because of each nation's waste management practices. The researchers then projected the amount of waste going forward based on population growth estimates.
"This is a significant study," said Nancy Wallace, director of the marine debris program at the National Oceanic and Atmospheric Administration, who saw the paper before it was published.
Ms. Wallace applauded what she considered the sophisticated use of available data to estimate the amount of plastic entering the marine environment, both collectively and country by country. "Of course we know these aren't absolute numbers, but it gives us an idea of the magnitude, and where we might need to focus our efforts to affect the issue," she said.
The research also lists the world's 20 worst plastic polluters, from China to the United States, based on such factors as size of coastal population and national plastic production.
According to the estimate, China tops the list, producing as much as 3.5 million metric tons of marine debris each year. The United States, which generates as much as 110,000 metric tons of marine debris a year, came in at No. 20.
While Americans generate 2.6 kilograms of waste per person per day, or 5.7 pounds, to China's 1.10 kilograms, the United States ranked lower on the list because of its more efficient waste management, Professor Jambeck said.
Plastics have been spotted in the oceans since the 1970s. In the intervening decades, masses of junk have been observed floating where ocean currents come together, and debris can be found on the remotest beaches and in arctic sea ice.
Continue reading the main story Continue reading the main story Continue reading the main story
The problem is more than an aesthetic one: Exposed to saltwater and sun, and the jostling of the surf, the debris shreds into tiny pieces that become coated with toxic substances like PCBs and other pollutants.
Research into the marine food chain suggests that fish and other organisms consume the bite-size particles and may reabsorb the toxic substances. Those fish are eaten by other fish, and by people.
Cleaning up the plastic once it is in the oceans is impractical; only a portion of it floats, while most disappears, and presumably what does not wash ashore settles to the bottom.
Any collection system fine enough to capture the smaller particles would also pick up enormous amounts of marine life. So the best option, Professor Jambeck and others suggest, is to improve waste management ashore.
But prodding developing countries to spend money on waste management is difficult, she acknowledged. "You've got critical infrastructure needs first, like clean drinking water," she said. "It's kind of easy to push waste to the side."
Over the years she has pursued this line of research, Professor Jambeck said, she has seen a strong, even visceral response from the public.
"You can see waste," she said. "Not that people want to."
The article source: http://www.nytimes.com/2015/02/13/science/earth/plastic-ocean-waste-levels-going-up-study-says.html?_r=0
How to tackle discarded plastic bags along Iowa roads
Ag plastic disposal poses challenge
The menace of plastic waste
How to Turn Plastic Trash Into Fuel
KNUST students manufacture machine that converts plastic waste into bio-diesel
How much oil is used to make plastic?
Mixing plant waste and plastic to obtain building materials


text:
Teacher knowledge, Information and Communications Technology and the teaching of Chinese-as-a-Second-language in Singapore
Si Hui Lim
The study reported in this thesis aimed to generate an understanding of the perspectives of Chinese language teachers in Singapore on the use or TPACK in their teaching or Chinese-as-a-Second-Language at the secondary school level, with particular reference to the use of information and communications technology (ICT). It is an interpretive study which adopted semi-structured interviews to address this aim. Steps were taken lo explore as diverse a range of perspectives as possible within clearly-defined sailings. Results revealed that necessity, situated context, adaptations or technologies, and variations in teachers' levels or competence in TPACK influence the planning of ICT-use lessons.
The University of Western Australia
Oakley, Grace, Supervisor
Pegrum, Mark, Supervisor
https://doi.org/10.4225/23/59cdf9df5d6cd
Unpublished - 2016
10.4225/23/59cdf9df5d6cd
THESIS - DOCTOR OF EDUCATION - LIM Si Hui - 2016
This work is protected by Copyright. You may print or download ONE copy of this document for the purpose of your own non-commercial research or study. Any other use requires permission from the copyright owner. The Copyright Act requires you to attribute any copyright works you quote or paraphrase.
Dive into the research topics of 'Teacher knowledge, Information and Communications Technology and the teaching of Chinese-as-a-Second-language in Singapore'. Together they form a unique fingerprint.
Information Technology Social Sciences 100%
Communication Technology Social Sciences 100%
Information and Communication Technologies Computer Science 100%
Foreign Languages Social Sciences 66%
Secondary Schools Social Sciences 33%
Competence Social Sciences 33%
Teacher Knowledge Social Sciences 33%
Lim, S. H. (2016). Teacher knowledge, Information and Communications Technology and the teaching of Chinese-as-a-Second-language in Singapore. [Doctoral Thesis, The University of Western Australia].
Lim, Si Hui. / Teacher knowledge, Information and Communications Technology and the teaching of Chinese-as-a-Second-language in Singapore. 2016.
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Teacher knowledge, Information and Communications Technology and the teaching of Chinese-as-a-Second-language in Singapore. / Lim, Si Hui.
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Signup Keys is a pretty versatile feature. Simply put; you can generate as many signup keys you'd like and link each to a member group. This enables you to assign specific member groups to users on signup.
Signup keys are used by adding an element named "signup_key" to your form.
You want to limit registrations to users who know the secret signup code.
Then in EE's Members -> Preferences set "Default Member Group Assigned to New Members" to "Pending" for instance and generate one or more keys that you hand out to people you would like to invite.
This option decides when the member group assignment should happen. As a general rule; if you have activation enabled you should use the trigger "Activation". This means that members will be assinged to the selected member group once they activate their membership. If you do not use activation, it should be set to "Signup". Note that Simple Registration will default to the value you should use when you add a new key.


Conor Grennan, author of Otterbein University's 2013 Common Book, Little Princes: One Man's Promise to Bring Home the Lost Children of Nepal, will visit the Westerville campus Oct. 1 through 3, to discuss his book and attend events related to the book and its theme.
Grennan will speak at 3 p.m. Tuesday, Oct. 1, at Cowan Hall, 30 S. Grove St. He will sign books after the program. The Department of Theatre and Dance will present scenes from Little Princes at 3:30 p.m. Wednesday, Oct. 3, in the Campus Center Theatre, 100 W. Home St., and the Friends of the Courtright Memorial Library will host a small book signing and a lecture at 7 p.m. Oct. 3.
Grennan spent eight years at the EastWest Institute (EWI), both in Prague and the EU office in Brussels. During that time, he developed a variety of projects focusing on issues such as peace and reconciliation in the Balkans and harmonizing anti-trafficking policy. In 2001, he was made deputy director of EWI's Security and Good Governance program and served as the adviser on EU Affairs to EWI's Worldwide Security Program.
He left EWI in 2004 on an around the world trip, during which he volunteered in the Little Princes Children's Home in Nepal. When Grennan learned that the children in the home were not orphans, but were in fact trafficked, he moved to Kathmandu, Nepal, and started Next Generation Nepal, a nonprofit organization dedicated to reconnecting trafficked children with their families. Little Princes, a memoir chronicling his experiences, has been translated into 12 languages and is a New York Times bestseller.
This is the 19th year of Otterbein's Common Book program. For more information, call 614-823-3202.


Alters (alternate personalities) are something people with dissociative identity disorder (DID) may have. Alters are separate identities. Some of these alters may communicate with each other and some of them may not. When I was first diagnosed with DID, my alters did not communicate with each other at all. I was only aware of the current personality state that I was in. I wasn't aware of any other alters in my dissociative identity disorder.
I began having suspicions that I may have alternate personalities when I started noticing that I had voices in my head who argued with each other but who didn't sound like they were my own voice. I also noticed that people who were close to me would accuse me of doing things that I didn't feel like I had done. Eventually, I called a suicide hotline while I was in an emotional crisis, and finally admitted to the woman that I thought I had multiple personalities. She said, "You might." Hearing her say that changed my life. She believed me and it gave me the courage to tell my therapist.
I told my therapist that I thought I had multiple personalities. I learned that a dissociative identity disorder "system" refers to the individual person who has DID, and all of the separate alters that make him or her up. My therapist began doing work with me to help me communicate with my alters. She had me focus, and try to gather all of my alters at a roundtable. There we had discussions and I got to know my system.
Some of my alters wouldn't come to the table, and some of them wouldn't stay. It was still a helpful tool to begin the reintegration process. Communication between the alters is an important part of getting better with DID. Having communication helps the whole situation to be less scary and painful. It also helps a person to be aware and conscious of who he or she is when he or she splits from one alter to the next.
A person's system can be made up of few or many alters. The more a person can learn about each of the alters in DID, the better. At the roundtable, I asked for the alters' names and how they felt that day. I told my therapist what they said. Together, my therapist and I gained information and awareness about each alter. This has been very helpful in my journey with DID.
Watch this video for more on alters in dissociative identity disorder.
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Hey there ^^ I'm doing a presentation on DID at college and I'd like to ask a question: When do the alters appear for the first time? Like are they "created" during the phase of severe abuse or do the kid go through that then have a split of personnality resulting in very distinctives alters? Also I was wondering if you were aware of the difference with Europe, I'm not sure anymore if it's just France who consider DID as non exitant and claims it to be a symptom of Schizophrenia or if it's the whole Europe.
I know for sure that it is not all of Europe that considers DID non-existent. There are treatment centers especially for DID and dissociative disorders throughout Europe, and I have several friends in Europe that are treated for their DID. I am not entirely sure about France, but I can tell you that in any country, even in the US where I am based, there are people in the psychological/psychiatric community who do not believe in DID.
As far as alters, they can exist for a long time before the host becomes aware that they are even there. It really depends on the person. It is most believed that alters are "created" at the time of the abuse to hold the trauma, that is why people with DID have difficulty with memory.
I am doing a presentation on DID and i was wondering as the dominant personality age do the alters age as well? For example does an alter who is a three year old child remain the same age or does he/she age.
There is no definitive answer to that - it can vary from person to person. In some systems, alters age along with the host. Other systems, alters can stay the same age forever. Then there are age sliders, which are alters whose age can change back and forth.
Several years later, but yes, in my experience the different personalities do age. It may require that they are recognized and have some chance to express themselves. I know an alter that was kind of wild when unrecognized. But know that he has a name and received acceptance he seems to grow up. His contribution to the full person has been helpful because he is very attentive to detail and the main personality is not.
Question: I'm doing a project on Dissociative Identity Disorder and was wondering if people with DID ever "lose" alters. Like do they ever "die" in a way and never come back?
They do not disappear. The reintegrate to help make a stronger healthier you, It is like when you finally can deal with the issue that alter controls then they become a part of you again.
I am not tecky so is this a blog? I have alters. I know some of them. I am 56 and just learned of them. Wow. After years of therapy several hospitalization and a long term psychologists of which non of them mentioned any of this. I like my alters. I have had a lot of abuse in my life. I have also been a very successful RN as a profession. The diagnosis that I've been with for 30 years is bi polar. Do you know if any therapists that nonwhat the hell they are doing in the Spokane WA area to help people with alters?
Hello im doing a project on DID and I was confused on how do the alters develop the different accent and languages ?
There's not much study surrounding this. Some believe they were exposed to the other language at an earlier time, and the alter retained that language.
I have an alter who wants me dead, if I was to die, is it possible for her to fully live and dominate my body, without me?
I believe I have D.I.D But I've been told by every doctor I see that I can't because alters can't know each other or the host. Is this true? I hardly ever have amnesia but I do dissociate from it. I feel an alter take over a situation and they won't let me handle it and push me out. Is that possible to be aware of being pushed out too?
Hello! I'm writing a play on a man with DID. I have a few questions so I don't misrepresent the illness.
1) Would the main personality (the DID sufferer) actually recognise their alters by name? As in would they recognise if someone who had meet them as a different personality called them by the name of that personality and realise that they had taken over. Or would it just be like he wouldn't know his alters by name at all?
2) Would it be okay if a persecutor alter killed the person that caused emotional distress to them? I'm not saying that this will be an evil alter of course not. But rather an Alter that believed that this was the only possible way to end the abuse as well as thinking it was the right way.
3) How long will a alter remain in control for? In the plan, an alter called Markus is in control of the sufferer body for two years. Is this too long?
4) Linking to this other question, would the sufferer remember what Markus had gotten up to since they share the same memories? Would the sufferer eventually remember what had occurred or not at all?
Iv. Been diagnosed n 2017..i didnt believe it..


text:
Q: What Devices are Selected in a Xcode Managed Provisioning Profile? Is there I way where I can see what devices are included in an Provisioning Profile Managed by Xcode? I've added some devices to my account, and when I refreshed the provisioning profiles in Xcode Preferences, I saw that it created a new Provisioning Profile with the same, but with a new expiration date (even though the previous one was removed from the management portal, it is still listed in Xcode).
Then, when I come back to check the Profile in the Portal, I see that it lists the total number of devices that I actually have registered on my Account. I would like to know if this is the default behaviour, if in all Provisioning Profiles managed by Xcode it will include all registered devices. If so, is there some way to change what devices are included, or for this I'll need to create the provision manually?
Update:
I just realized that my question just make senses because I was thinking of distribution (ad-hoc), and Xcode Managed Provisioning Profiles are used in Development provisions, which makes senses for the actual developers working on it. When exporting an App archive, we need to actually select a distribution Provision Profile, which will then be managed in the developer portal and allow device selection.
Thanks.

A: There are two ways view which devices are provisioned with a particular provisioning profile:

*

*iPhone Configuration Utility, just select the provision profile and it will list the provisioned devices. http://support.apple.com/downloads/#iphone configuration utility

*In terminal type in security cms -D -i <path to the provisioning profile> this will print out all the details of the provisioning profile including the devices.

A: I don't have enough reputation to comment you. So i'm saying here.You can manage devices in xcode.
 Select windows >organizer.
source:https://developer.apple.com/library/ios/recipes/xcode_help-devices_organizer/articles/provision_device_for_development-generic.html

A: Well all devices you added are available.
Otherwise as mentioned go to Organizer -> Devices, you there see on the left side all devices you used for development / which are activated.

redpajama_set_name: RedPajamaStackExchange


text:
Browse: Home / 2007 / September / StargateProps launches new auctions
StargateProps launches new auctions
David Read
General | September 25, 2007
Stargate fans scouring the Internet for rare, one-of-a-kind goods from the Bridge Studios vaults have been watching the Legends Memorabilia Web site, StargateProps.com, for new items, but were coming up short. Now there has been an explosion of new features with promises of much more to come!
"In an exciting new development, we have installed our own auction software on our website at www.stargateprops.com, and this will be the new venue for all of our auctions in the future," said Legends Memorabilia in a press release. The company had previously been using eBay. "It's easy, it works great and it's fun!
Items are now available in the new auction house, including costumes worn by Michael Shanks, Claudia Black, Gary Jones and Peter Williams. In addition to wardrobe, several props are now available as well, including panels of Replicator blocks from Fifth's ship, and props featured in Stargate: Continuum.
The Web site includes more updates to other hotly anticipated items, including good news about cost cuts for artist James Robbins' coffee table book, the can't-be-missed Art of Stargate.
Head on over to StargateProps.com for a look!
(Thanks to Morjana for the tip)
Posted in General | Tagged Imported
David Read is the host of "Dial the Gate" and formerly GateWorld's co-editor. He lives in Phoenix, Arizona, and has been with the site since 2003. From 2017 to 2019 he co-hosted "Dialing Home" for Stargate Command.
Gero: Environment order influenced 'Brain Storm'→
Ratings stay steady for 'Inquisition,' 'Prodigal'→
Stargate Worlds merges game genres→
'Centigrade' now available on iTunes→


My favourite thing about this post is that all the doors are nicley shut when you descend. Orlit is also in good condition. I have the bramble scars as proof of ascent!
Thanks to bobblehead for tidying up - good work fella!


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text:
Johann Baptist Eichelsdörfer (geboren am 20. Januar 1890; hingerichtet am 29. Mai 1946 in Landsberg am Lech) war als Hauptmann der Wehrmacht letzter Lagerführer des KZ-Außenlagers Kaufering IV – Hurlach des KZ Dachau, das sich bei Hurlach befand.

Biografie
Eichelsdörfer, verheiratet und Vater dreier Kinder, arbeitete bis zum Beginn seiner militärischen Laufbahn in einer Fabrik.

Während des Ersten Weltkrieges war er als Feldwebel des 5. Infanterie-Regiments "Großherzog Ernst Ludwig von Hessen" der Bayerischen Armee eingesetzt. Nach Kriegsende gehörte Eichelsdörfer weiterhin dem Militär an und verließ die Reichswehr 1924 im Rang eines Leutnants.

Während des Zweiten Weltkrieges wurde Eichelsdörfer im November 1940 zur Wehrmacht eingezogen und als Leutnant zu einer Ausbildungseinheit für Schwerlasttransporte nach Bamberg versetzt. Nach Einsätzen in Frankreich, Polen und in der Sowjetunion wurde er ab August 1943 wegen Rheumatismus in einem Krankenhaus behandelt. Nach einem kurzen Aufenthalt in Oranienburg, möglicherweise bei der Inspektion der Konzentrationslager, wurde er am 15. Juli 1944 vom KZ Dachau aus zur Ausbildung für den Lagerdienst zum KZ-Außenlager Augsburg-Pfersee gesandt. Ende August 1944 wurde Eichelsdörfer zum KZ-Außenlagerkomplex Kaufering des KZ Dachau versetzt, wo er im Oktober 1944 Leiter des KZ-Außenlagers Kaufering VIII – Seestall und anschließend von Kaufering VII – Erpfting wurde.

Als Eichelsdörfer das KZ-Außenlager Kaufering IV – Hurlach am 12. Januar 1945 übernahm, war es als "Krankenlager" ausgewiesen worden. Tatsächlich war es nur ein Sammellager für Häftlinge, die aufgrund der schlechten Lebens- und Arbeitsbedingungen entkräftet, erkrankt und arbeitsunfähig geworden waren. Es gab dort keine ausreichende medizinische Versorgung, sondern Ärzte, die die Häftlinge für medizinische Versuche missbrauchten. Nach amerikanischen Angaben kamen in diesem KZ insgesamt 4.000 Menschen um.

Das KZ Dachau wurde von amerikanischen Truppen am 29. April 1945 befreit. Kaufering IV wurde von der 12th Armored Division am 27. April 1945 erreicht, Soldaten der 101st Airborne Division kamen zur Unterstützung am 28. April 1945 hinzu. Sie fanden auch in diesem Lager Hunderte von Toten vor, die durch Seuchen umgekommen, erschossen oder durch Niederbrennen der Baracken umgebracht worden waren, wie der Armeearzt Dr. Charles P. Larson feststellte. In den Güterwaggons eines Zuges befanden sich weitere Häftlinge, die man darin einfach hatte umkommen lassen. Es gab im Lager nur noch etwa zwölf Überlebende, die sich hatten verstecken können.

Colonel Edward F. Seiller aus Louisville, Kentucky, zuständig für die Militärverwaltung der 12. Division, ordnete an, etwa 250 Bürger, insbesondere Amtsträger, der umliegenden Ortschaften mit vorgehaltener Waffe zur Bestattung der Opfer zu zwingen. Das Foto Eichelsdörfers wurde auf Veranlassung von Seiller gemacht, der Eichelsdörfer aufforderte, sich für diese Aufnahme zwischen die Toten seines Lagers zu stellen. Die Zuschauer dieser Szene durften Eichelsdörfer beschimpfen.

Louis P. Lochner, ein Auslandskorrespondent der Associated Press und später mit dem Pulitzer-Preis für seine Deutschlandreportagen ausgezeichnet, war an diesem Tag im Lager und suchte ein Gespräch mit Eichelsdörfer. Dieser erklärte, er habe ja gar nicht gewusst, was im Inneren des Lagers vor sich ginge, da er das Lager nicht betreten habe. Angesichts der Tatsache, dass in dem Lager Typhus grassierte, ist diese verblüffende Angabe des Lagerleiters zwar nicht völlig abwegig; die zahlreichen Todesfälle – oft Dutzende täglich – konnten aber seiner Aufmerksamkeit kaum entgangen sein.

In dem Dachau-Hauptprozess, der im Rahmen der Dachauer Prozesse stattfand, wurde Eichelsdorfer am 15. November 1945 zusammen mit 39 anderen Personen des KZ Dachau angeklagt (Case No. 000-50-2: US vs. Martin Gottfried Weiss et al.). Eine Einsicht bestand bei den Angeklagten kaum, sie plädierten sämtlich auf "nicht schuldig".

Eichelsdörfer wurde von Captain Dalwin Niles verteidigt, der argumentierte, dass sein Mandant nach einer Erkrankung von der Wehrmacht in die Leitung des Lagers versetzt worden sei, ohne darauf Einfluss gehabt zu haben. Als kranker, alter Mann habe er nicht die Kraft besessen, das Lager ordentlich zu führen. Überlebende Häftlinge bezeugten hingegen, dass Eichelsdörfer auch selbst Gefangene misshandelt und sie zum Beispiel bis zur Bewusstlosigkeit geschlagen habe.

Am 13. Dezember 1945 wurde Eichelsdörfer als Kriegsverbrecher verurteilt und am 29. Mai 1946 um 14:14 Uhr durch den Strang im Kriegsverbrechergefängnis Landsberg hingerichtet. Insgesamt 28 der im Dachau-Hauptprozess verhängten 36 Todesurteile wurden durch den Henker John C. Woods vollstreckt, die acht anderen Todesurteile wurden in Gefängnisstrafen umgewandelt.

Literatur
 Case No. 000-50-2 (US vs. Martin Gottfried Weiss et al.) Tried 13 Dec. 45 in eng. Sprache (PDF-Datei; 39,0 MB)
 Holger Lessing: Der erste Dachauer Prozess (1945/46). Nomos Verlagsgesellschaft, Baden-Baden 1993, ISBN 3-7890-2933-5

Weblinks
 Bericht von Edward F. Seiller ()
 Bericht von Louis P. Lochner ()

Einzelnachweise

Hingerichtete Person (Dachauer Prozesse)
Personal im KZ Dachau
Person im Ersten Weltkrieg (Deutsches Reich)
Militärperson (Bayern)
Leutnant (Reichswehr)
Hauptmann (Heer der Wehrmacht)
Deutscher
Geboren 1890
Gestorben 1946
Mann

redpajama_set_name: RedPajamaWikipedia


text:
A Conversation with Janice Honeyman and Anna-Mart van der Merwe
Theatre legends Janice Honeyman and Anna-Mart van der Merwe have joined forces once again, this time tackling Florian Zeller's The Mother, which opened at The Fugard Theatre last week. Directed by Ms. Honeyman and starring Ms. van der Merwe as the title character, The Mother tells the story of Anne, a woman losing her grip on reality as her life spins out of control. The Mother follows its companion piece, The Father, which had a sold-out run at The Fugard last year.
For the Afrikaans translation of this article, please click here.
Who or what inspired you to pursue a career in the arts?
Anna-Mart van der Merwe: If I have to be honest I think maybe it's the way I grew up. I grew up in a platteland and I was a laatlam of five so I was pretty much an only child to a certain extent. I had many days and hours of playing on my own and being able to daydream and fantasize. I think that thing of imagination and storytelling and other worlds became a place in which I felt comfortable and not scared to go into. My father and mother were open to music. I think all of that prepared a landscape for me but it was only in matric where I decided to pursue acting, because I wanted a job that could function in society and I thought ok I'd like it to be in the arts but I didn't do writing, I didn't do singing so I thought acting was like storytelling and that could be functional. I went to Stellenbosch University, I did two years of languages but in that time I wanted to study drama and I couldn't get in. So Babs Laker who was from the Akademie vir Dramakuns, used to come through Stellenbosch and she gave classes and I secretly went there. My dad didn't know. I would say that in the end what gave me the confidence or catapulted me to go into acting was Babs Laker. And then I went to UCT and I studied Drama.
Janice Honeyman: I've got a very interesting story. I went to Milnerton Primary School and we didn't have any speech or drama at all and then suddenly when I was in about standard one, this woman with blonde hair in a big bun arrived at the school and she was going to be the speech teacher. This lady, Mrs. Vos, was the drama teacher and we all had to get a speech book and this was so unimportant to me that I used to tear out the back page of the speech book and write or draw and do my own thing but you know when you have those exercise books and you tear the back page, the front page comes loose. I was doing this and she came around and she picked up my book and as she picked it up, the whole book fell apart and she said "Look at this! This is such disrespect for the arts. If you respected the arts as a person, you would not have done this, you would have treasured this speech book. And I refuse to teach you anymore unless you start to focus on the arts!" [To Anna-Mart:] Do you remember Barbs Laker's husband's name was Mr. Vos? It was Babs Laker! And Babs became an absolute inspiration for me for my whole career after that. She made feel very appreciative but then I got to know her when I was at varsity. She played Hecuba in The Trojan Women and I was a troll or something. Babs played a part in my life from the very beginning of my drama life 'til now.
Anna-Mart van der Merwe: When were you in that because I finished UCT and then I got a contract at The Windybrow Theatre in Hillbrow and the first production I was in, flip this is incredible synchronicity of cycle, was Dieter Reible directing Women of Troy and Babs Laker played Hecuba! I was not a troll but in the chorus.
Janice Honeyman. Photo Credit: Jesse Kramer
What was it about The Mother that attracted you to the production?
Janice Honeyman: I was offered it. I hadn't seen The Father but I had heard of the Afrikaans version, Die Pa with Chris van Niekerk and I heard it was a very good play and he was very good in it. Then they did The Father here and I was overseas and at the time Daniel (Galloway) phoned me and said, "We have a piece and it's called The Mother and we think a woman should direct The Mother. Are you interested?" I hadn't read the play. I just said yes before I read the play. Then I read the play [and thought], "Oh hell, now we've got a something on our plate here." And then obviously I just worked and worked and worked. The first thing I did after I read it was I phoned Daniel and said, "There's only one person who can play this and it's Anna-Mart and I don't want to do it without her." Then I researched and read until I really knew the play and found amazing identity points everywhere and it really became integrated into my whole being. Out of all the serious plays I've done, and I've done many, this is one of them that is just like a gogga inside of you, infested.
Anna-Mart van der Merwe: I think my journey is pretty much the same. As a performer, you know that thing of that insecurity or worry anytime a project comes, even though it's an incredible gift. You never feel like a grownup actor. Every production is new and fresh. You have to start from zero again. For me, a story works for a storyteller. Whether the director is male or female, that is the main storyteller and we journey with the play together. But I do find with women, and specifically with Janice, you start to know yourself and the things in yourself that inhibit you from things that you have fear or you struggle with, to be able to let your instrument just be able to play. It's a constant struggle, but I do know that Janice throughout my life, as a director but also as a human being, she just pushes me off very high places. I always say, "Sy skop my onder my gat." Of course she always catches you but it's in the process, I know, and that's why I understand. For all of us doing this play, it is quite an excruciating journey and still is and will be. This is the kind of play that we do one at a time. You cannot think about the run. We said to each other, "It's one life at a time." In terms of why I jumped at it was that I knew, not only about the wonderful gift of work and the play, in this play specifically is you also know as an artist that sometimes you need the masters to come in and you still have to be on your learning journey. We don't get adult education as actors in South Africa. You only get your adult education by doing. Then what is great, if you have constant directors in your life that you know are the ones that say "push push push" so you try to struggle through that which is actually holding you back.
Janice Honeyman: As a director, one knows what a journey you have to go through. When you are reading the play you know it is a particularly difficult journey. All of them are challenging. Everything that I have done with Anna-Mart has been work that is a challenge to me, even Twelfth Night in Afrikaans. But it is knowing that the people you are going with, in the show, are going to hold their noses and jump. That's what Anna-Mart has always done. We have always done pieces, and I have about eight more in my mind that I want to use her in because I need actors who are brave and I need actors who are thinking and I need actors who are feeling. And Anna-Mart is all those. She is so prepared to be honest and unzip and open. It's about looking inside. It's about finding when you can say to yourself that vulnerabilities are very often what make a performance good. We are textured.
Anna-Mart van der Merwe in The Mother. Photo credit: Daniel Rutland Manners
I've now seen both pieces but I've found that this piece hits you on a different level. With The Father, you watch his journey and he gets progressively worse as the play goes on. With The Mother, it's full throttle from the beginning. Because of the way the play is structured, did your process have to change?
Anna-Mart van der Merwe: In what way change?
I guess, how you approach the material. From what I gather, not having read the play, it must be hard to find the throughline of the journey.
Anna-Mart van der Merwe: Yes, we had to pretty much understand and respect that Zeller's style of writing will be confusing. As it is confusing for us to read and say, "that's ok" because that is what he is saying. Life is confusing. People are confusing. We go, "You are supposed to be my mother. Why are you behaving like that? It confuses me. It's leaves me feeling disturbed." But for her, there's a logic even if it's just emotional and unexplainable. If it's emotional it's probably not a cognitive logic, it is an emotional logic. For all of us, we really have to go right through so I know exactly where or what are the dots and how it connects for Anne and how it connects, if it doesn't connect, and to know that is the moment and there is no connection. Yes, we really had to work very hard because in the beginning we thought, "What is this first scene?" It's not like you start and then you build. At the end of the day we try to hear Zeller's music.
Janice Honeyman: And it's interesting because with this play, you can't use those old techniques. As a director one of my big things is to orchestrate the piece so that it starts and it builds and it dips and I try to get that from the actors through notes and through questions and through finding how we pull the set up. This one, you start it and all that stuff that we have to build through just gets turned on its head because the first scene, it's focused in and it scares them. The first time that they did it without scripts and it finished, I looked at Birrie [le Roux] and her mouth was open and I realised that mine was too. The stunning emotional charge in the first scene sets it up so that from then on, it doesn't matter if the scene is refined and played almost like a drawing room comedy in the second scene, we've experienced the razor blades that have been slashing. As they say the words that we have heard before, we associate the rest of them with what was said but isn't being said in the scene. It's a look at someone who spends a lot of time alone in the midst of anti-depressants and alcohol and loneliness and despair and loss and grieving and all those things and that is what we have to integrate into the whole play. Between each scene, I have the visuals of Anna-Mart's face and her wandering around in the dark kind of doing the same thing that she has done before. Those three big Anna-Mart faces are about what is happening in this world that I am used to? You have been the mother, the holder, the carrier and now she needs carrying and nobody is carrying her. When you are disturbed in the first scene of the play, you as an audience member can't be undisturbed after that. You have to continue on the journey that we are going on. It was a wonderful opening night but it was also a very strange opening night, people afterwards were standing there not looking at me and one woman said, excuse my language, "What the fuck do you think you are doing to us? Why did you do that? We didn't need to see all of that." You did, you know. Did you recognise any of it? "Yes we recognize it all!" So I said "exactly." That is what Zeller does. He is astounding.
Anna-Mart van der Merwe. Photo Credit: Jesse Kramer
Anna-Mart van der Merwe: Zeller wrote this before he wrote The Father and for me, apart from the thing that he said about you being able to have a 'sympathetic in' to a person with Alzheimer's because it is terrible to see that happen and then the family around being so impatient with this person's journey or with his experience. But I found that he was more logical and precise whereas here I thought, "Why is it so disturbing?" I realised that Zeller is saying that it is the dangerous world of emotions that we don't want to admit. With a physical illness, you are uncomfortable and you are disturbed by it and then you can take a pill or have an operation or something and hopefully in a few months' time that will be resolved and you will stop having that problem. We often find with emotions, even if you are not struggling with a mental illness, we all know the power and the intensity of emotions and sometimes you can't stop feeling them.
Janice Honeyman: There is no one in the whole wide world that hasn't come from a mother. There is a blood connection and yes, there is an umbilical cord that gets cut but there is that thread that links you to your mother that is one of the most precious relationships to be in and one of the most horrifically difficult relationships. Every single mother has to give up her child and it is a really difficult thing. As Anna-Mart said Alzheimer's is a terrible thing, it happens and there will be death but you can prepare for it. Somehow with women and depression, the greatest phrase that everyone uses is, "Oh come on, pull yourself together." And the father says it in the play. Of course, it is a very unsympathetic medical state, I suppose. When I first read the play, I thought, "Shit, this woman irritates me." And that was only for the very first read and then as I got to the end of the play, I got a rawness in here that has never gone away since then. There are lines in this play that as they are said set off alarm bells and compute the meanings. You go, "Oh I know this. That is what my mother has said to me." There is a line in the last scene that is actually the last sentence that my mother ever said, "I want to go home. Let's go home." And Zeller got it. It's in the play. I think that happens to anyone who's been through that sort of situation with their mother.
Anna-Mart van der Merwe: And I agree with that. We see our mothers or the concept of mothers as a whole [like] the Mother Mary, the archetype of mothers, this nurturing, all-loving, unconditional loving, beautiful person who is always just there solid as a rock. You forget it's a human being exactly like all of us. The moment you become a mother, there is no looking back. You will give your life for this child. It just never goes away until you die. But you don't not become that person anymore. You are still that girl who was born maybe 20 years ago with all the fears and all the problems in your personality or whatever and that might still happen to you. I think for me, the reaction from women and the shame that they talk about is that thing of, "I know I am supposed to be a mother but fuck." And that's part of the shame that they deal with, the secret lives of mothers and not feeling competent. I think Zeller is unlocking unbelievable conversations in the foyer that women have with me about womanhood and their motherhood.
Photo Credit: Jesse Kramer
Janice Honeyman: Last night was opening night and opening nights are usually quite superficial and, "Oh darling, lovely show." My sister-in-law said to me "Jan, I'm completely shocked and I can't talk to you. I can't talk. It touched every single part of me because I am a mother and because I have a mother." But then what is happening with this play, post-menopausal empty nest syndrome, is that with women, you don't give up your world, your world gets taken away from you by society. It holds you in chains for the first half of your life of being a mother and then it snaps the chains and goes off somewhere and leaves you in this bloody desert with nothing to feed you after that because everybody is getting on with their lives. If you take the mother as seriously as Anne does take the mother in this play, she is left with nothing. She is left completely empty.
Anna-Mart van der Merwe: It's interesting with the research I've done, empty nest syndrome inevitably coincides with your hormonal changes that will happen that bring on depression.
Janice Honeyman: There's a redundancy factor that is terrifying for women particularly if they have committed themselves so completely to it. Suddenly your hormones are gone, your sexiness is gone, your libido is gone, your attractiveness is gone, your womanhood is gone, and your children are gone. And usually your husband buggers off as well. What are you left with?
Graham Hopkins and Anna-Mart van der Merwe in The Mother. Photo Credit: Daniel Rutland Manners
(To Janice) I think one of the things that I found so special about seeing the show was that I was seated in front of you. As engrossed as I was in the play, I would catch moments when I heard you laughing or having an experience towards it. You have been working on it for so long and already seen it, that it's quite incredible to see you still experiencing very visceral reactions to what is going on onstage.
Janice Honeyman: It's because I do love actors very much and when they do it right and they do it well it does touch me. It's also that this play starts over and over. If they start doing the play as a run and they don't deal with the immediacy of it in the moment, in the second, it is not going to work in the same way. It'll work but people might get a little bit impatient with it. It's got to be as serial as it might have been in the process.
I wanted to touch on individual projects of each of yours. Anna-Mart, I saw The Painted Rocks last year. Why the decision to come back and work with The Fugard again?
Anna-Mart van der Merwe: I think firstly, it's because it feels like real theatre, the building, the people, the way they do things, etc. In that way, The Fugard is an incredible space to work in and it comes from top management, what they create and all of that. You have a solid rehearsal period and a run, but for me it is often about more than just the place or the time, it is about the story and the people. The connection, like I mentioned with the play and with Janice but the added thing is that it is at The Fugard. As an actor, it really is such a wonderful space to work in.
Janice Honeyman: It is completely supported. There is a team there who is not egotistical. They are there for the theatre and for the survival of that theatre and for the survival of theatre itself. I think the gift that Eric Abraham has given to Cape Town is astounding. He has crafted a little place in theatre heaven for himself because he has made sure that the place stays top-notch and that it stays with the atmosphere that it has got and it is a gift to Cape Town and we should be really thankful. It really is a pleasure.
And for you, Janice, I remember seeing your production of The Tempest when I was young and it changing my entire perception of Shakespeare. I know that for a lot of children, their first experience of theatre is through your pantos and through your work. Is there any pressure around what you do next because you have influenced so many people and changed the face of theatre in South Africa for the better?
Janice Honeyman: There is a pressure, always. And this play is about time passing and time watching as the world goes on. It is terribly important to me to do plays like this. I will be doing more pantos and I am doing The Color Purple which I'm really looking forward to. It's a book that has always been close to my heart and we've managed to get together, what I think, is a fantastic, young and fresh cast. I am really looking forward to that happening this time next year. I am going to England to do a production directly after this. It's something a little different. It's a wild, Roman romp, ribald and rude and naughty and my composer keeps sending me the next song and they are all rumpy-pumpy we are doing it with sousaphones and bagpipes and cymbals. It's a lovely, fantastic play and I am also using a fair amount of my panto experience in an adult way in a RSC production. It's not a usual RSC production. I am also going to force myself, and it's not a bad thing, but I have also written many children's books and I am going to illustrate them and somehow get them published. I'm really wanting to take a little time off of directing to start illustrating.
Is there anything still on either of your professional bucket lists that you would still like to do?
Anna-Mart van der Merwe: I've always said that a story looks for a storyteller so I am open. No, I can't say that I have ever thought, "I still want to play that role." I think there's a part of me that then you jinx it. I feel I am open and the older I get now, I think you get to a place where the sum total of your life is much more than just the work that you do. There are other areas that you need to go and explore and the clock is ticking. No, I can't say there's something that I want to do. I just think that this life is incredible and I'll keep walking and see what is around the next corner.
Janice Honeyman: I mean I still do have a few secret desires. I just find that with everything I have done in my career, it's really strange that I have never done The Magic Flute and I have never done A Midsummer Night's Dream. Those are the two shows that I absolutely know are inside me. Those are two on the wish list but for the rest I really just want to snorkel. I want to go around the world, never touching a continent and going from island to island with my head in the water. That is what I would love to do.
What is the best piece of advice you've ever been given?
Janice Honeyman: Only do what you really want to do. Because if you are doing something that you don't want to do then your heart isn't in it and so you have to be really willing to do it. You do it with passion and with love and commitment and preoccupation. Only do what you really want to do. The times when I have done what I didn't want to do, I have messed up royally. It has to be a feeling that you love it.
Anna-Mart van der Merwe: Two things. The one, Athol Fugard once said in a rehearsal process and he said, "No man, a good performance doesn't come from a hernia." I thought that was quite funny.
Janice Honeyman: Ja.
Anna-Mart van der Merwe: But also, someone also said to me, "Don't ever fear anyone in your life." When I say fear I think it means that we often get into scenarios with people where you fear the scenario or you fear the person but it's to try to never ever do that. Take a deep breath and relax. Just be.
Janice Honeyman: Because you'll have a tainted response that you fear. My dad always used to say to me, he used to start everything, "Well Jan," he said, "Well Jan, why are you getting so stressed about things? Why are you sweating like a pig and getting red in the face?" Which, I still do every opening night. He said, "It just takes away your energy." It's true; fear is a waste of time.
Anna-Mart van der Merwe: And I think the thing is that if it comes your way, what I try to do is just walk through it. I might get a fear burn mark but I just need to walk through it.
Who are some South African women in the arts that inspire you?
Janice Honeyman: Anna-Mart van der Merwe.
Anna-Mart van der Merwe: Janice Honeyman!
Great, and we're done!
Anna-Mart van der Merwe: In a landscape of just actors, there are people that when you start out, and that's what I miss about being in companies, there are so many young actors that I go, "I love the young generation and what they are doing now." I love The Mechanicals and Tinarie van Wyk-Loots and young male actors as well in the Afrikaans and English set-up. It's just extraordinary and how kids sing and dance nowadays. What I remember, when I was part of a company, is that you work with all the generations and you could learn at the knees of a Marius Weyers, a Sandra Prinsloo, a Louis van Niekerk, Antoinette Kellerman, Babs Laker, Graham Hopkins, Michael Richard, Robert Whitehead and Fiona Ramsey. That love of actors that we can grow up and see their work, I think in terms of artists in terms of acting, it's quite extraordinary.
Janice Honeyman: There are brilliant women in the arts in South Africa and they range right the way through the actual arts doing to organizing the arts. There is a whole host of women directors who I've always admired. Ilse van Hemert, she's one of them. As is Lucille Gillwald, and they teach you so much but then so did Athol Fugard, so did Barney Simon. The great thing about theatre, and it might not be totally true about age, but with gender, it is not sexist. I have never struggled in the theatre because I am a woman. Everybody has helped me as much as I need and with as much generosity as I need. That is the wonderful thing. For the main part, theatre can be non-ageist and you can have a younger person who is your friend playing with you on stage and a 70-year-old actress playing the lead and all of us talk together, eat together, laugh together, and it is so lovely that can happen. We have two lovely young people in this that I really sort of value what they have to contribute to me and stuff that I don't understand.
The Mother runs at The Fugard Theatre until March 4th 2017. For tickets or more information, click here.
Afrikaans translation by Maria Vos.
With sincere thanks and gratitude to Ms. Honeyman and Ms. van der Merwe.
Special thanks to Maria Vos, Jesse Kramer, Hannah Baker, Georgia Lahusen and Christine Skinner.
All production photos taken by Daniel Rutland Manners and given with permission.
All black and white photos were taken on February 10th 2017 in The Fugard Theatre Annex by Jesse Kramer.
Sarafina Magazine and Jesse Kramer maintain copyrights over all images. For inquiries or usage please contact us.
February 14, 2017 April 10, 2019 by Sarafina Magazine Categories: Actor, Actress, Advice, Art, Arts, Cape Town, Conversation, Culture, Director, Interview, Now Playing, Photography, Sarafina, Sarafina Magazine, South Africa, The Father, The Fugard, The Mother, Theater, Theatre, Uncategorized, WomenTags: Actor, Actress, Anna-Mart van der Merwe, Art, Arts, Cape Town, Conversation, Director, Florian Zeller, Janice Honeyman, Performance, South Africa, The Father, The Fugard, The Mother, Theater, Theatre, Women 30 Comments
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text:
import pytest
import os, inspect

# pytest_plugins = ['pytest_profiling']

def pytest_addoption(parser):
    parser.addoption("--user", action="store", default="versa", help="Postgres user")
    parser.addoption("--pass", action="store", help="Postgres password")
    parser.addoption("--host", action="store", default="localhost", help="Postgres host")

def module_path(local_function):
    '''
    returns the module path without the use of __file__.  Requires a function defined
    locally in the module.
    from http://stackoverflow.com/questions/729583/getting-file-path-of-imported-module
    '''
    return os.path.abspath(inspect.getsourcefile(local_function))

# Hack to locate test resource (data) files regardless of from where nose was run
@pytest.fixture
def testresourcepath():
    return os.path.normpath(os.path.join(
        module_path(lambda _: None), '../../resource/'))

@pytest.fixture
def user(request):
    return request.config.getoption("--user")

@pytest.fixture
def passwd(request):
    return request.config.getoption("--pass")

@pytest.fixture
def host(request):
    return request.config.getoption("--host")

@pytest.fixture()
def pgdb(request):
    "set up test fixtures"
    from versa.driver import postgres
    user = request.config.getoption("--user")
    passwd = request.config.getoption("--pass")
    host = request.config.getoption("--host")
    conn = postgres.connection("host={0} dbname=versa_test user={1} password={2}".format(host, user, passwd))
    conn.create_space()
    def teardown():
        "tear down test fixture"
        #conn.drop_space()
        conn.close()
        return
    request.addfinalizer(teardown)
    return conn

redpajama_set_name: RedPajamaGithub


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Denver police: We have not located a suspect or any victims at Rose Medical Center - Denverite, the Denver site!
Sep. 16, 2016, 4:49 p.m.
A zone by zone search of Rose Medical Center Friday evening did not turn up a suspect or any victims after scores of police descended on the campus in response to reports of an active shooter.
Denver police tweeted a little before 10 p.m. that their search of the hospital campus was complete.
Denver police spokesman Tyrone Campbell said earlier Friday evening that police officers would continue to search the campus for "as long as it takes" to make sure every room had been checked.
Police would still like to speak to a person of interest, described as a white man in his mid-30s, around 130 pounds, wearing a flannel shirt and a hat.
Campbell would not say whether there was any evidence of shots ever being fired, such as bullet holes or shell casings.
But as the evening stretched on, it seemed that early reports were mistaken.
Employees were allowed to leave the building and go to their cars as each zone was cleared. The hospital reopened around 8 p.m.
Campbell said that the first call came in at 4:17 p.m. and that the police were on the scene three minutes later.
"Right now, we are responding on multiple calls that came into our dispatch center," he said earlier in evening.
"This is a very fluid situation, an ongoing situation, and we are open and ready for however this turns out," he said.
Anna Degraaf, a medical support assistant at the Veterans Affairs Eastern Colorado Health Care building, waited outside while Denver police searched for a suspect.
"I'm concerned just because it's so close to where I work, and I'm concerned because the population of who we treat is very knowledgable about weapons," she said, as she waited to be allowed back to her car, which was inside the area police had blocked off.
George Moloney said his wife was feeling faint on her way home this afternoon and, as they had moved to Denver recently and did not yet have a regular doctor's office, decided to go to the emergency room. She went into Rose Medical Center around 4 p.m. and was there when the building was locked down.
This story has been updated throughout to reflect changing news.
Denverite reporters Adrian Garcia and Ashley Dean contributed to this report.


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At STX, we pride ourselves on never settling for the status quo. We aim to break the mold. One-size-fits-most equipment? Not on our watch. Innovation and customization drive our design process as we work to create top-of-the-line equipment.
The Stallion HPR stick is no exception.
Our Surgeon Rx3 sticks are built for precision, but with the Stallion HPR our R&D team set out to create a stick for the Power Player — a stick for players seeking performance and durability, wrapped neatly into one practically weightless package.
The strength of the Stallion HPR is in the details of the design. Getting there, however, was an exhaustive process.
STX Mechanical Engineer Pat Toal recruited athletes of all ages and skills, including the NHL, for help in the design and testing of the stick. When our NHL athletes picked up the finished product for the first time, they felt an immediate performance impact.
How does the Stallion HPR get to the point? See the new tech and design for yourself.
Take full advantage of the custom STX Stallion line. Watch this #GearHack for the Stallion HPR Shin Guard.


This package is abandoned and no longer maintained. The author suggests using the neos/nodetypes package instead.
This repository is a read-only subsplit of a package that is part of the Neos project (learn more on www.neos.io).
This package contains common node type configuration for Neos.
If you want to contribute to Neos, please have a look at https://github.com/neos/neos-development-collection - it is the repository used for development and all pull requests should go into it.


text:
News archive from 2 August 2013
Who's next? New Doctor Who to be unveiled on Sunday
Matt Smith, who has played Doctor Who since 2010, will bow out in the Christmas special. Photograph: Andrew Matthews/PA The BBC will exterminate weeks of fevered speculation on Sunday when it reveals the identity of the next Doctor Who in a live Time...
Guardian, 00:02 in Showbiz
Bank of America expects civil charges over mortgage bonds
The filing did not specify what the cases were about. A Bank of America spokesman did not immediately return a call seeking comment. The new charges, disclosed in a quarterly filing, underscore the extent of the second-largest U.S. bank's hangover...
Financial struggles with bills and debts 'worsen'
More than half of UK adults are struggling to keep up with bills and debt repayments, a major survey of people's finances has suggested. Some 52% of those asked said they were struggling, compared with just 35% in a similar study in 2006, the Money...
Illegal Immigration Raids: 140 Arrested
Nearly 140 people have been arrested after a series of raids to tackle people working illegally in the UK. It comes as the Home Office faces criticism over its tactics, its fine collection success rate, and its data collection accuracy. Immigration...
Orange News, 00:08 in Science &Technology
Moto X: Google's Custom Phone Has 250 Styles
Motorola says its latest smartphone - the first to be assembled in America - will be custom built in more than 250 different styles. The Moto X, which is expected to go on sale in the US next month, is the first flagship device unveiled by the company...
NIESR raises UK growth forecasts as consumers spend more
After posting meagre growth of just 0.2 percent in 2012, Britain's economy expanded by 0.3 percent in the first three months of this year from the previous three months, and by 0.6 percent in the second quarter. "The main cause of the improvement...
Traditional technology looms large for luxury companies
It's a tall order to be best dressed at the launch of a tailor in Savile Row, the home of bespoke tailoring in London for almost 200 years. Continue reading the main story Special Report: The Technology of Business Using tech to save our water supply...
Most MPs going abroad for holidays
Britain may be enjoying its best summer for years but most MPs are heading abroad for their holidays. As many as 67% of members of Parliament are likely to have a break overseas this summer, according to a survey conducted for travel organisation...
Harborough Mail, 00:15 in Regional East
U.S. to close some embassies Sunday for security reasons
Harf declined to detail the "security considerations" or name the embassies and consulates that would be closed but a senior State Department official later told reporters they were those that would normally have been open on Sunday. A quick...
Pair found dead at luxury hotel
A man and woman have been found dead following a suspected chemical incident at a luxury hotel. Their bodies were discovered in a room at the five-star Scotsman Hotel in Edinburgh at about 12.15pm on Thursday, Police Scotland said. "Inquiries are...
Bakewell Today, 00:17 in Regional East
Glasgow 2014 delivers sport and regeneration
Glasgow is rightly proud about being in the UK sporting spotlight with less than a year to go before the start of the 2014 Commonwealth Games. But event chief executive David Grevemberg says that in many ways the Games have a more important role - as...
Bourne Local, 00:23 in Regional East
Gainsborough Standard, 00:23 in Regional East
Melton Times, 00:25 in Regional East
Staff help out at animal sanctuary
Volunteers have helped get work underway for a new education centre at an animal sanctuary. Volunteers from Pets At Home's Swan Valley distribution centre in Northampton went out to Anniemals at Badby to carry out some much needed work. Annie...
Daventry Express, 00:25 in Regional East
17:26 'Maths whisperer': Cardiff teacher gets A* grades for entire class
16:35 Acoustic duo the Blue Moon Travellers ready for Rutherglen gig


text:
Fantasia Film Festival 2020: Lucky
A woman's fight to gain independence is a constant one. In Natasha Kermani's Lucky, we see a motivational writer struggle to take her own advice within an endless loop fighting an unknown assailant.
May (Brea Grant) is a successful self-help author, but her latest book isn't doing so well. She's also trying to reconnect with her husband Ted (Dhruv Uday Singh), but for several nights in a row, May suffers nightly attacks by a masked man. His relentless pursuits always end in his demise, but he seems to escape every time.
When Ted seems relaxed about the attacks seemingly already aware that the stalker will keep coming back, May argues with him, and he leaves her alone to deal with this masked stalker. She calls the police, tells friends and family about her ordeal, and searches for Ted on her own since help from those around her seems unavailable. This passive atmosphere makes her situation worse, and it's only a matter of time before the stalker will finally get to her. May must figure out why these seemingly supernatural attacks keep happening before she loses everything.
The film's star Grant wrote Lucky and, together with Kermani, they create a frustrating world of obstacles for women who seek out their own paths. It's a fantastical allegory for the constant negative feedback women get time and time again as we attempt to gain access to equality in many situations. What I liked the most was the pat responses cataloged in the script; answers that women receive all the time to pacify our supposed "hysteria" over gender injustice taken as the norm. The ending is an interesting concept that has to sink in well after the film ends, but it's as realistic as it gets in this fantasy world.
Grant does an excellent job as the confused May, and the cast brilliantly befuddles her with their pat answers of consolation and so-called support. It's also nice to see diversity within the cast accurately representing the world at large.
For a mind-bending twist on gender tropes, check out Lucky at Fantasia Film Festival, streaming until Sep 2. (Playing with the short Smiley Death Face).
Fantasia Film Festival 2020, Reviews
Brea Grant, Dhruv Uday Singh, diversity, Fantasia Film Festival, Fantasia Film Festival 2020, fantasy, gender tropes, Horror, Lucky, Natash Kermani, slasher, thriller, women in horror
Fantasia Film Festival 2020: Lapsis
Fantasia Film Festival 2020: The Columnist


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text:
Rapid communication Open Access
http://instance.metastore.ingenta.com/content/10.2807/1560-7917.ES.2017.22.28.30574
A cluster of invasive meningococcal disease (IMD) caused by Neisseria meningitidis serogroup W among university students, France, February to May 2017
Clément Bassi1 , Muhamed-Kheir Taha2 , Christian Merle3 , Eva Hong2 , Daniel Lévy-Bruhl4 , Anne-Sophie Barret4,5 , Ibrahim Mounchetrou Njoya1,5
Affiliations: 1 Santé publique France, French National Public Health Agency, Regional Unit (Cire) Ile-de-France, Paris, France 2 National Reference Centre for Meningococci and Haemophilus influenzae, Institut Pasteur, Paris, France 3 Regional Health Agency in the Ile-de-France region (Agence régionale de santé d'Ile-de-France), Paris, France 4 Santé publique France, French National Public Health Agency, Saint-Maurice, France 5 These authors contributed equally to this work.
Clément Bassi
clement.bassi ars.sante.fr
Citation style for this article: Bassi Clément, Taha Muhamed-Kheir, Merle Christian, Hong Eva, Lévy-Bruhl Daniel, Barret Anne-Sophie, Mounchetrou Njoya Ibrahim . A cluster of invasive meningococcal disease (IMD) caused by Neisseria meningitidis serogroup W among university students, France, February to May 2017. Euro Surveill. 2017;22(28):pii=30574. https://doi.org/10.2807/1560-7917.ES.2017.22.28.30574 Received: 09 Jun 2017; Accepted: 10 Jul 2017
Between February and May 2017, two cases of invasive meningococcal disease caused by a new, rapidly expanding serogroup W meningococci variant were reported among students of an international university in Paris. Bacteriological investigations showed that isolates shared identical genotypic formula (W:P1.5,2:F1–1:cc11) and belonged to the South American/UK lineage. A vaccination campaign was organised that aimed at preventing new cases linked to potential persistence of the circulation of the bacteria in the students.
/content/10.2807/1560-7917.ES.2017.22.28.30574
Muhamed-Kheir Taha
/deliver/fulltext/eurosurveillance/22/28/eurosurv-22-28-1.html?itemId=/content/10.2807/1560-7917.ES.2017.22.28.30574&mimeType=html&fmt=ahah
Direction générale de la santé. Instruction n° DGS/RI1/2011/33 du 27 janvier 2011 relative à la prophylaxie des infections invasives à méningocoque. 2011. Available from: http://social-sante.gouv.fr/IMG/pdf/Instruction_noDGS-RI1-2011-33_du_27_janvier_2011_relative_a_la_prophylaxie_des_infections_invasives_a_meningocoque.pdf.
Jolley KA, Maiden MC. BIGSdb: Scalable analysis of bacterial genome variation at the population level. BMC Bioinformatics. 2010;11(1):595. https://doi.org/10.1186/1471-2105-11-595 PMID: 21143983
Huson DH, Bryant D. Application of phylogenetic networks in evolutionary studies. Mol Biol Evol. 2006;23(2):254-67. https://doi.org/10.1093/molbev/msj030 PMID: 16221896
Lucidarme J, Hill DM, Bratcher HB, Gray SJ, du Plessis M, Tsang RS, et al. Genomic resolution of an aggressive, widespread, diverse and expanding meningococcal serogroup B, C and W lineage. J Infect. 2015;71(5):544-52. https://doi.org/10.1016/j.jinf.2015.07.007 PMID: 26226598
Lucidarme J, Scott KJ, Ure R, Smith A, Lindsay D, Stenmark B, et al. An international invasive meningococcal disease outbreak due to a novel and rapidly expanding serogroup W strain, Scotland and Sweden, July to August 2015. Euro Surveill. 2016;21(45):30395. https://doi.org/10.2807/1560-7917.ES.2016.21.45.30395 PMID: 27918265
Harrison LH, Trotter CL, Ramsay ME. Global epidemiology of meningococcal disease. Vaccine. 2009;27(Suppl 2):B51-63. . Available from: http://www.sciencedirect.com/science/article/pii/S0264410X09006173 https://doi.org/10.1016/j.vaccine.2009.04.063 PMID: 19477562
Hubert B, Caugant DA. Recent changes in meningococcal disease in Europe. Euro Surveill. 1997;2(10):69-71. Available from: http://www.eurosurveillance.org/ViewArticle.aspx?ArticleId=145 PMID: 12631793
Taha MK, Giorgini D, Ducos-Galand M, Alonso JM. Continuing diversification of Neisseria meningitidis W135 as a primary cause of meningococcal disease after emergence of the serogroup in 2000. J Clin Microbiol. 2004;42(9):4158-63. https://doi.org/10.1128/JCM.42.9.4158-4163.2004 PMID: 15365005
Taha MK, Achtman M, Alonso JM, Greenwood B, Ramsay M, Fox A, et al. Serogroup W135 meningococcal disease in Hajj pilgrims. Lancet. 2000;356(9248):2159. https://doi.org/10.1016/S0140-6736(00)03502-9 PMID: 11191548
Mayer LW, Reeves MW, Al-Hamdan N, Sacchi CT, Taha MK, Ajello GW, et al. Outbreak of W135 meningococcal disease in 2000: not emergence of a new W135 strain but clonal expansion within the electophoretic type-37 complex. J Infect Dis. 2002;185(11):1596-605. https://doi.org/10.1086/340414 PMID: 12023765
Aguilera JF, Perrocheau A, Meffre C, Hahné SW135 Working Group. Outbreak of serogroup W135 meningococcal disease after the Hajj pilgrimage, Europe, 2000. Emerg Infect Dis. 2002;8(8):761-7. https://doi.org/10.3201/eid0808.010422 PMID: 12141959
Sáfadi MA, O'Ryan M, Valenzuela Bravo MT, Brandileone MC, Gorla MC, de Lemos AP, et al. Global Meningococcal Initiative. The current situation of meningococcal disease in Latin America and updated Global Meningococcal Initiative (GMI) recommendations. Vaccine. 2015;33(48):6529-36. https://doi.org/10.1016/j.vaccine.2015.10.055 PMID: 26597036
Ladhani SN, Beebeejaun K, Lucidarme J, Campbell H, Gray S, Kaczmarski E, et al. Increase in endemic Neisseria meningitidis capsular group W sequence type 11 complex associated with severe invasive disease in England and Wales. Clin Infect Dis. 2015;60(4):578-85. https://doi.org/10.1093/cid/ciu881 PMID: 25389259
Abad R, Vázquez JA. Early evidence of expanding W ST-11 CC meningococcal incidence in Spain. J Infect. 2016;73(3):296-7. https://doi.org/10.1016/j.jinf.2016.06.010 PMID: 27387450
Carville KS, Stevens K, Sohail A, Franklin LJ, Bond KA, Brahmi A, et al. Increase in Meningococcal Serogroup W Disease, Victoria, Australia, 2013-2015. Emerg Infect Dis. 2016;22(10):1785-7. https://doi.org/10.3201/eid2210.151935 PMID: 27648521
Russcher A, Fanoy E, van Olden GDJ, Graafland AD, van der Ende A, Knol MJ. Necrotising fasciitis as atypical presentation of infection with emerging Neisseria meningitidis serogroup W (MenW) clonal complex 11, the Netherlands, March 2017. Euro Surveill. 2017;22(23):30549. https://doi.org/10.2807/1560-7917.ES.2017.22.23.30549 PMID: 28661395
Edwards EA, Devine LF, Sengbusch GH, Ward HWBrevity of Group C Acquisition Prior to Disease Occurrence. Immunological investigations of meningococcal disease. III. Brevity of group C acquisition prior to disease occurrence. Scand J Infect Dis. 1977;9(2):105-10. https://doi.org/10.3109/inf.1977.9.issue-2.09 PMID: 408918
Bruce MG, Rosenstein NE, Capparella JM, Shutt KA, Perkins BA, Collins M. Risk factors for meningococcal disease in college students. JAMA. 2001;286(6):688-93. https://doi.org/10.1001/jama.286.6.688 PMID: 11495618
Neal KR, Nguyen-Van-Tam J, Monk P, O'Brien SJ, Stuart J, Ramsay M. Invasive meningococcal disease among university undergraduates: association with universities providing relatively large amounts of catered hall accommodation. Epidemiol Infect. 1999;122(3):351-7. https://doi.org/10.1017/S0950268899002368 PMID: 10459636
Nelson SJ, Charlett A, Orr HJ, Barker RM, Neal KR, Taylor C, et al. Risk factors for meningococcal disease in university halls of residence. Epidemiol Infect. 2001;126(02):211-7. https://doi.org/10.1017/S0950268801005301 PMID: 11349971
Campbell H, Parikh SR, Borrow R, Kaczmarski E, Ramsay ME, Ladhani SN. Presentation with gastrointestinal symptoms and high case fatality associated with group W meningococcal disease (MenW) in teenagers, England, July 2015 to January 2016. Euro Surveill. 2016;21(12):30175. https://doi.org/10.2807/1560-7917.ES.2016.21.12.30175 PMID: 27035055

 Citation style for this article:  Bassi Clément, Taha Muhamed-Kheir, Merle Christian, Hong Eva, Lévy-Bruhl Daniel, Barret Anne-Sophie, Mounchetrou Njoya Ibrahim . A cluster of invasive meningococcal disease (IMD) caused by Neisseria meningitidis serogroup W among university students, France, February to May 2017. Euro Surveill. 2017;22(28):pii=30574. https://doi.org/10.2807/1560-7917.ES.2017.22.28.30574  Received: 09 Jun 2017;   Accepted: 10 Jul 2017

10.2807/1560-7917.ES.2017.22.28.30574


text:
Home/Latest News/Tax/Personal/OTS considering shifting tax year end to 31 December
OTS considering shifting tax year end to 31 December
The tax body's review will examine the implications of moving the tax year end date from 5 April to 31 March
Patrick O'Donnell Send an email Monday, 7 June 2021, 12:36
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The Office of Tax Simplification (OTS) is considering shifting 2021's tax year to 31 December.
The tax body's review will examine the implications of moving the tax year end date from 5 April to 31 March.
As part of the review, OTS published a document setting out the scope of a new high-level exploration of the benefits, costs and wider implications of changing the date of the end of the tax year for individuals.
Scottish FY21 income taxes rise £900m
Friday, 13 August 2021, 15:10
Almost 800,000 claim tax relief from WFH
Wednesday, 30 June 2021, 9:56
In a statement, the government organisation said: "As well as considering the implications of changing the tax year end to 31 March, the review will also consider potential alternative approaches to addressing practical issues connected with the UK's tax year running to 5 April.
"In addition, the OTS will outline the main additional broader issues, costs and benefits that would need to be considered if the end of the tax year were moved to 31 December."
Office of Tax Simplification (OTS)
Tuesday, 13 July 2021, 10:01
EU suspends digital tax plan
Monday, 12 July 2021, 12:28
IMA names chair of global board of directors
Monday, 12 July 2021, 9:53
FRC updates quality management standards for audit firms
Friday, 9 July 2021, 9:37
IIA names new board chair
Thursday, 8 July 2021, 11:36
Role of accountants in risk management changing, says ACCA
OTS calls for overhaul of CGT rules
Friday, 21 May 2021, 11:29
IFS: Scottish tax laws are 'unnecessarily complicated'
Thursday, 15 April 2021, 12:43
HMRC self-assessment tax reaches deadline in one week
Friday, 26 March 2021, 15:38
OTS to reduce red tape on IHT forms
Wednesday, 24 March 2021, 16:54
Council tax bills to rise by 4.3%
Jonathan Yeomans joins Untied as tax technical officer


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As the restaurant experience continues to evolve, Trend Hunter has identified countless trends in the Experiential Cuisine Trend Report. This report will showcase some of the world's most innovative restaurants where the experience of food is taken to the next level with examples of themed-restaurants and sensory-altering eateries. Rather than a simple sit-down restaurant, these examples engage patrons in ways that appeal to more than just their taste buds.
The Experiential Cuisine Trend Report will be a great resource for those working in the food and beverage industry. As patterns in experiential dining continue to evolve, restauranteurs, marketers and advertisers can use this report to gain insight into this shift towards sensory dining. Featuring the latest trends in experiential cuisine, this report will provide insight into how some of the world's most successful experience-based eateries are changing the restaurant industry.