text:
Pratt & Whitney GTF™ Engine MRO Network Expanding to Eight Engine Centers by 2020
FARNBOROUGH, England, July 16, 2018 /PRNewswire/ -- The world-class, global network of maintenance, repair and overhaul (MRO) facilities that service Pratt & Whitney's GTF engines will expand to eight engine centers by 2020. Pratt & Whitney is a division of United Technologies Corp. (NYSE: UTX).
GTF engines are currently maintained by a network of the industry's leading MRO companies, including Pratt & Whitney, MTU Aero Engines (MTU), Japanese Aero Engines Corporation (JAEC) and Lufthansa Technik (LHT). As engine volume grows, the network will continue to expand to include other worldwide airline and MRO facilities, most recently with the addition of Delta TechOps.
"The goal of the network is to provide the highest quality maintenance support for GTF engine customers, and we are excited to see the network continue to grow and include other world-class MRO facilities," said Eva Azoulay, vice president, Engine Services, Pratt & Whitney. "Today, the growing GTF network spans three continents, ensuring world-class service for every GTF customer, regardless of their location."
Current and future (marked by *) GTF MRO facilities include:
Pratt & Whitney Columbus Engine Center, Columbus, Georgia: PW1100G-JM, PW1500G, PW1900G
MTU Maintenance Hannover, Germany: PW1100G-JM
IHI, Mizuho, Japan: PW1100G-JM
LHT, Hamburg, Germany: PW1100G-JM
LHT, Alzey, Germany: PW1500G
Pratt & Whitney Eagle Services Asia, Singapore: PW1100G-JM*
Delta TechOps, Atlanta, Georgia: PW1100G-JM*, PW1500G*
EME Aero (Engine Maintenance Europe), Jasionka, Poland: PW1100G-JM*, PW1500G*, PW1900G*
"The existing facilities are strategically located around the globe and they are tooled, staff is trained and our teams are ready to support airlines with a variety of aftermarket services," Azoulay said. "We are focused on ensuring that the GTF engine operates at the highest level of performance and reliability throughout the life of the engine."
The GTF MRO network is part of Pratt & Whitney's EngineWise™ service portfolio, which provides engine operators with a variety of aftermarket services resulting in long-term, sustainable value. Visit http://www.EngineWise.com/contact for an interactive map of GTF MRO network providers and respective locations.
About Pratt & Whitney
Pratt & Whitney is a world leader in the design, manufacture and service of aircraft and helicopter engines, and auxiliary power units. United Technologies Corp., based in Farmington, Connecticut, provides high-technology systems and services to the building and aerospace industries. To learn more about UTC, visit its website at www.utc.com, or follow the company on Twitter: @UTC. To receive press releases and other news directly, please sign up here.
This press release contains forward-looking statements concerning future business opportunities. Actual results may differ materially from those projected as a result of certain risks and uncertainties, including but not limited to changes in levels of demand in the aerospace industry, in levels of air travel, and in the number of aircraft to be built; challenges in the design, development, production support, performance and realization of the anticipated benefits of advanced technologies; as well as other risks and uncertainties, including but not limited to those detailed from time to time in United Technologies Corp.'s Securities and Exchange Commission filings.
SOURCE Pratt & Whitney
Pratt & WhitneyAir Show
Pratt & Whitney GTF™ Engine Fuel Savings Exceed $270M
Pratt & Whitney et Avianca S. A. signent des contrats d'entretien pour 46 GAP APS3200 et APS5000 équipant les flottes d'A320…
Pratt & Whitney and Avianca S. A. Sign Maintenance Agreements for 46 APS3200 and APS5000 APUs on Airbus A320 family and Boeing…


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Is this a snug fit?
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text:
But we've always done it this way!
By Kit Eglinton, Saltshakers
As a younger Christian I served with Open Doors in the Middle East which was an amazing privilege both to serve and engage with believers from cultures vastly different to my own. However my greatest surprise was to find how many evangelical Christians in countries like Syria, Egypt and Turkey had adopted a western church culture. For example at my first visit to a small evangelical fellowship I was astounded to see all the men had discarded their very practical daily clothing in favour of western suits and ties - in 40' C. No wonder local Muslims viewed Christianity as a western religion. Where did they get the idea that to do church properly you have wear a suit and tie? It is not my place to challenge anyone else's 'norms' but it did and does make me think about my own. What do I consider to be necessary, what can be changed; why do I do what I do, and, by implication, expect others to do?
Can man change Gods mind? As in the conversation between Moses and GOD on Mt. Sinai after the golden calf incident.
RABBI GUTMANN answers ...
Changing Times
It's not just Brexit, but with the rise of religious persecution and attacks on our freedoms, we need to respond in prayer and action like never before
MPs voted by a majority of 230 to reject the Withdrawal Agreement from the European Union that Theresa May had struck with the EU. The defeat on January 15 put Brexit in doubt. However, it could also be seen as strengthening the case for Brexit without a deal. After all, the majority of UK voters voted for Brexit, with no condition that it should be tied to any deal.
Chanukah Drama
by Steve Maltz (many, many years ago!)
This should take about 20-30 minutes and is suitable for a mixed audience (Jew/Gentile, adults/kids). There's drama, comedy and action.
King Antiochus - complete madman
Herald's assistant (non speaking)
General Al
Soldier (non speaking)
Mattatias (adult) - sensible person
Judas (child) - main speaking part
Simon (child)
Jonathan (child)
Eleazar (child)
John (child)
Jew (with greasy hair)
Appolonius (non speaking)
Greek soldier (non speaking)
Children: Abused by the law
Either side of birth, Britain's children are paying the price of Britain's godlessness. Watchman reports
A bill to end abortions on the grounds of disability had its second reading in the House of Lords, the Christian Institute reported on 28 October 2016.
The Abortion (Disability Equality) Bill, sponsored by disabled Peer, Lord Kevin Shinkwin, aims to amend the Abortion Act 1967. Lord Shinkwin, who suffers from brittle bone disease, first introduced the Bill in May. The Bill would remove a provision that allows women to have an abortion if there is "substantial risk that if the child was born it would suffer from such physical or mental abnormalities as to be seriously handicapped" .
Christ as Protector
Satan's final kingdom will be used to separate the righteous from the wicked. But who are the 144,000 standing with the Lamb on Mount Zion?
This is the seventh article in the series '12 Revelations of Jesus Christ' from the book of Revelation. In the previous instalment we looked at Christ and Israel. He still loves the Jews and will protect those who obey Him in these last days. We also saw how that the martyrs for Christ directly contribute to the downfall of Satan.
Christ the reaper and His wrath
The final warnings are given to an unrepentant world followed by wrath. When will the wheat and tares be harvested?
Jesus opened His ministry with a quotation from Isaiah. It started with the words "The Spirit of the Lord is upon me" and ended with, "to proclaim the favourable year of the Lord" (Luke 4: 18 – 19). The prophecy in Isaiah 61: 2 continues with the words "And the day of vengeance of our God".
Christian missionaries in Aleppo crucified and beheaded
"At several steps on their path to death by beheading and crucifixion last month, 11 indigenous Christian workers near Aleppo, Syria had the option to leave the area and live. The 12-year-old son of a ministry team leader also could have spared his life by denying Christ…"
The Christian Aid Mission account of the fate of Aleppo's indigenous Christian missionaries is harrowing and humbling. While Western politicians debate whether or not to risk World War III by creating a safe haven in northern Syria and imposing a no-fly zone over Aleppo – with the expectation (/certainty) of US/European forces, sooner or later, having to shoot down a Russian bomber or Syrian fighter jet – we're hearing a lot about Assad's (lesser) evil, ISIS barbarism and the pervasive demonic contempt for the human spirit. Women are stoned, men burned alive, girls raped and gays hurled from tall buildings. It is an image of hell.
We're not hearing much about Aleppo's Christians: the mainstream media don't care very much what happens to them:
by Derek White
Christian support for the restoration of the Jewish people to the land of Israel has a sound Biblical basis. Despite this it suffers from two levels of attack. The first is that of extremism in which Christian support becomes politically aligned, every action of Israel is seen to carry a Divine sanction, and there is an associated disregard for the wellbeing of the Palestinian Arab and other inhabitants of the land.
Christians Who Demonize Israel: Kairos
Last September, during the World Week for Peace in Palestine Israel -- an initiative of the Palestine Israel Ecumenical Forum (PIEF) of the World Council of Churches, St. Thomas' Church in Newcastle upon Tyne, UK, hosted an event titled "Wall Will Fall". For anyone unfamiliar with the history, legal issues, and distortions of the Israeli-Arab and Jewish-Muslim conflicts, the deeply one-sided presentations and literature of the event may seem reasonable in the lack of such a context, and this report will, therefore, attempt to rebalance the narrative.
Christian Ethics
Greek v Hebrew
Israel, History
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redpajama_set_name: RedPajamaCommonCrawl


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FUJIKO NAKAYA
中谷芙二子
fog sculptures
ok-offenens kulturhaus linz
In 1970 Nakaya created her first fog sculpture when commissioned by the group Experiments in Art and Technology (E.A.T) to make a work for the Pepsi Pavillion of the Osaka World Exposition. In creating a work of white mist enclosing the building, Nakaya became the first artist to have used fog as a sculptural medium. E.A.T is an organisation devoted to facilitating working relationships between artists and engineers. Nakaya worked with American engineer Thomas Mee to create the fog for her Osaka commission, the technique for which she has continued to use, with minor moderations, for her subsequent fog sculptures since.Whilst Nakaya has also worked in film and video, it is her use of fog for which she is best known. Nakaya has used pure-water fog to create installations, performances, stage-sets and environmental park designs, often collaborating with other artists or with performers, choreographers and composers. Nakaya's interest in fog has developed from its relation to our visual sense. In a thick fog we become disorientated, frustrated at our inability to see. In this way, Nakaya's sculptures activate our other senses, to compensate for our loss of sight.
Alex Ekman
Ekman talents extend to the lighting and stage design and his eye for structuring an environment is unerring. There is no set as such, excepting the plaster cow which dangles overhead, but the stage surface has its share of movement as little island-blocks rise up and pits sink down. The extreme tilting of the stage at one point causes unfortunate Bauch to roll, cow-like, almost into the pit. COW has its iconic Ekman moment in the scene that opens on a stage full of swirling dancers in white skirts set in a magical silvery mist. Mikael Karlsson, whose music partners the piece provides a subtle and evocative soundscape. He offers a hint of percussive rhythm picked up by the dancers who launch into an ecstatic dance: a stage full of whirling dervishes, until they collapse exhausted.
Ekmans Talente erstrecken sich auf die Beleuchtung und das Bühnenbild, und sein Auge für die Strukturierung einer Umgebung ist unfehlbar. Es gibt kein Set als solches, außer der Gipskuh, die über ihnen baumelt, aber die Bühnenoberfläche hat ihren Anteil an Bewegung, wenn kleine Inselblöcke aufsteigen und Gruben sinken. Das extreme Kippen der Bühne an einer Stelle führt dazu, dass der unglückliche Bauch kuhartig fast in die Grube rollt. COW hat seinen legendären Ekman-Moment in der Szene, die auf einer Bühne voller wirbelnder Tänzer in weißen Röcken in einem magischen silbernen Nebel beginnt. Mikael Karlsson, dessen Musikpartner das Stück ist, bietet eine subtile und eindrucksvolle Klanglandschaft. Er bietet einen Hauch von perkussivem Rhythmus, der von den Tänzern aufgenommen wurde, die einen ekstatischen Tanz beginnen: eine Bühne voller wirbelnder Derwische, bis sie erschöpft zusammenbrechen.
cellule No. 5
Absalon's best known works, the Cellules, rewrite Cezanne's "treat nature as the cylinder, the sphere and the cone" to read "treat architecture as the cell, the bunker and the turret." Not that the Cellules are straightforwardly architecture: they equally evoke Minimalist sculpture, Matt Mullican's maquettes, Kurt Schwitters' Merzbauen and the Concrete sculptures of George Vantongerloo. But the model that the Cellules most overtly evoke is the monastic cell. The Cellules were fabricated in wood, cardboard and plaster, and painted entirely white; their average proportions are roughly those of a caravan, and the catalogue informs us that there is always an area in which one can stand up. Their interiors are fitted–fitted rather than furnished–with unobtrusive minimal representations of desks, seats, beds, etc.
carsten holler
Decimal Clock
dans Decimal Clock (White and Pink), les instincts rationalistes de Höller se tournent vers la division du temps. L'horloge fonctionnelle, qui représente 10 heures, 100 minutes et 100 secondes, nous rappelle que l'homogénéisation globale du temps n'a eu lieu que récemment en réponse au degré sans précédent d'interconnexion planétaire. Decimal Clock (White and Pink) fait signe aux expériences avec le temps décimal pendant la Révolution française et rend hommage aux efforts visant à la comparabilité et à la régularité temporelles. Pourtant, il reconnaît également diverses manières non occidentales de mesurer le temps et, plutôt que de les voir comme une menace pour l'empire de la raison , les célèbre comme une expression enrichissante de la diversité de notre existence dans le temps.
Schweigman & en Cocky Eek
How intensely can you experience colour? Colour as a phenomenon which you don't just see, but which totally absorbs… Spectrum is a spatial installation that makes colour tactile and tangible.
Fall backwards into a black hole and reawaken in an infinite spectrum. An immersive experience which will give you a whole new perspective on the coloured cycles of our everyday light. Following Blaas and Curve, Spectrum completes a triptych centred on white space, each piece created with spatial designer Cocky Eek in collabaration with Schweigman&. In Blaas you crawl through an inflatable balloon; in Curve you enter an endlessly spiralling tunnel. Spectrum starts by asking: how can we make the colour physically tangible?
Matt Roberts
Dazzle Camouflage is a mode of camouflage that uses confusion rather than concealment as its method. Developed in the early 20th century, Dazzle Camouflage was often added to naval ships, which were painted to feature perplexing black and white patterns. In these uncertain times with access to immense amounts of information and when terms such as fake news, deep fakes, alternative facts are becoming part of our lexicon, we often find that the true meaning of our inquiries as with all our desires is concealed by confusion. To participate a user can enter a search word or hashtag to search Twitter. The frequency of the word on Twitter is used to generate black and white patterns. The software will continue to search for the word on twitter and create more complex patterns as the frequency of the word increases.
Emmanuel Van Der Auwera
Videosculpture XXI
Van der Auwera's VideoSculptures take a new position to explore the intersections of digital and physical life and how the filtering of images in production, dissemination, and digestion alter both individual perception and consensual experience. Using the screen as sculptural material, these works break images out of the frame in a low-tech manner. They start with an act of destruction as the artist literally takes a knife to a screen to carve away physical layers. Unbeknown to most, these layers are filters that are adhered to every LCD screen. Without the mediation of these filters, images become impossible to see with the naked eye and white noise fills the space.
SANKAI JUKU
山海塾
TOBARI
"Over the 90 minute performance, I feel no less than transported. There are eight male performers, including Ushio Amagatsu himself. The dancers often move slowly, with incredible muscular control, fluidity and elegance. And suddenly the spell will be broken and they'll run across the stage, their painted bodies leaving clouds of white powder hanging in the air like a shadow or ghost. Slow sustained movements are countered with tiny, minute gestures of the fingers. Hands are often gnarled, the joints contorted with incredible tension. It is mysterious, hypnotic and strange. The countenance of the performers is most arresting – behind the white paint, their faces reveal the fragility, humility, vulnerability and truth of their humanity."Day Helesic
ASTRID KROGH
Mare Tranquilitatis
Mare Tranquillitatis – the title of this optical fibre sculpture of cosmic dimensions refers to a lunar mare that is situated within the Tranquillitatis basin on the moon. Very slowly and barely perceptible, this work takes on varying hues of yellow and white, creating the strange and poetic impression that the work is actually breathing,imitating the sensation that the moon is actually alive in the night sky.
NILS VÖLKER
Two Hundred and Seventy
Through the combination of an everyday material with precise technology the mixed media installation fills the whole columned hall from the 19th century with its fluid movement and peculiar sound. Concavely arranged and floating above the spectators heads the form of the artwork seems to pass the skylight like the sun's rays. Subdivided into nine columns, the nearly 70 square metres large piece of art follows a site-specific choreography determined by a program. Its moving surface is made from 270 white garbage bags, being inflated and deflated. In this way shapes and the boundaries of the installation itself start to dissolve. "Two Hundred and Seventy" is the first installation with an undisguised view behind the scenes and onto the origin of the wavelike and organic movement: 1080 fans, lots of cables and 45 circuit boards
Daniel Jolliffe
FILE SÃO PAULO 2017
the viewer encounters a badly damaged Cloisonné vase, mounted on a white plinth. When the viewer comes within a few meters of the piece, the vase begins to turn silently, adjusting its position so as to always show the viewer a perfect view of its undamaged side.
László Moholy-Nagy
Light Space Modulator
"This piece of lighting equipment is a device used for demonstrating both plays of light and manifestations of movement. The model consists of a cube-like body or box, 120 x 120 cm in size, with a circular opening (stage opening) at its front side. On the back of the panel, mounted around the opening are a number of yellow, green, blue, rot, and white-toned electric bulbs (approximately 70 illuminating bulbs of 15 watts each, and 5 headlamps of 100 watts). Located inside the body, parallel to its front side, is a second panel; this panel too, bears a circular opening about which are mounted electric lightbulbs of different colors. In accordance with a predetermined plan, individual bulbs glow at different points. They illuminate a continually moving mechanism built of partly translucent, partly transparent, and partly fretted materials, in order to cause the best possible play of shadow formations on the back wall of the closed box". László Moholy-Nagy
Roy Andersson
World of Glory
World of Glory is a 1991 Swedish short film written and directed by Roy Andersson. Its original Swedish title is Härlig är jorden, which means "Lovely is the Earth", and is the Swedish title of the hymn "Fairest Lord Jesus". The narrative portrays a man in white make-up who guides the viewer through his life in a bleakly stylised world. The film was Andersson's critical comeback to cinema, after many years in advertising
Shifting Intimacies
An interactive/media artwork for one person at a time. Each participant enters a large, dark space containing two circles of projected film imagery presented within an immersive sound environment. One image floats upon a disc of white sand and the other on a circle of white dust. Participants' movements direct and affect the filmic image and spatialised audio experience. Throughout the work a layer of dust (an artificial life form) slowly eats away and infuses itself deep into the imagery and sound. Each person has 10 minutes alone with the work. Their movement through the space continually affects speed, quality, balance and flow within the work. At the end of the experience they are invited to climb a lit platform and cast dust back onto the images below.
FRANCK SORBIER
On stage, the ample white strapless dress of a still model serves as a screen for all kinds of projections that echo those of a big screen in the background. "Mixing 3D video with certified fairy tale stories and tailoring tradition" is the idea of the atypical Mountain Ash. Intel technology brings to life on the fabric all kinds of patterns simulating embroidery or painting on silk: stripes of neon lights, butterflies flapping their wings, "mapping" of crystal tassels or the northern lights …
Cocolab
"CoCoLab engages in the area of programming languages. We provide frameworks for the analysis and the transformation of programs. Our technology is based on know-how from compiler construction. The frameworks contain parsers and preprocessors which convert source code to abstract syntax trees and symbol tables. These data structures are the foundation of program analysis and program transformation."
Jeppe Hein
杰普·海因
ЙЕППЕ ХАЙН
ЈЕПЕ ХЕИН
An immense circuit, conceived as a graphic composition, is extended across a forest of fine metal pillars. Arabesques, spirals and nodal interconnections support a track for a hundred or so white balls, razing the ground or very high up in the air. An infrared sensor detecting the arrival of each visitor triggers the propulsion of a ball, which then journeys through the vast visual and sonic landscape. The installation draws on different sources evoking a primitive industrial imaginary, such as the machines of Fritz Lang's Metropolis and Tinguely's assemblages, and the fairground universe of roller coasters and pinballs.
James Whitaker
Joshua Tree Residence
Whitaker has envisioned an "exoskeleton" made of shipping containers painted bright white. The containers appear like a starburst, with cuboid forms pushing out in all directions.The home is intended to offer a connection to the sun-baked landscape, while concurrently providing a sense of protection and privacy. Square windows frame views of the blue sky and rugged terrain. In some areas, faceted ceilings give the effect of being inside a crystalline form.
ФИЛИПП ПАРРЕНО
فيليب بارينو
菲利普·帕雷诺
H {N)Y P N(Y} OSIS
H {N)Y P N(Y} OSIS includes a vast collection of sculptural lighting that suspends from the cavernous ceiling. glowing white shapes informed by the design of movie marquees hang above visitors in bundles and as single geometries, casting dynamic patterns on the ground. as a participant walks through the site, they meet video installations, projections, pianos, chairs, speakers and sounds, all which have been carefully orchestrated to produce an immersive, sensory, and constantly-unfolding creative environment.
简宁汉
מרס קנינגהם
マース·カニングハム
머시 디스 커닝햄
МЕРС КАННИНГЕМ
« Scenario » de Merce Cunningham
Rei Kawakubo's humorous costumes toy with the idea of physical distortions, such as humps and big rear ends. They are in mostly vertical blue stripes on white, or in pale green and white-checkered patterns. For much of the dance, five or six dancers twist and pose, each in his or her own space, with a rush of additional dancers to the stage toward the end of the performance. The bold electronic musical score is by Takehisa Kosugi.
توماس ساراسينو
托马斯·萨拉切诺
トマスサラセーノ
Aerocene
In the desert of New Mexico, artist Tomás Saraceno realized the very first human flight in a zero carbon solar-powered hot air balloon, propelled by Studio Tomás Saraceno and curated by Rob La Frenais. For three hours without touching the ground, the balloon rose into the air without the usual burner, its black fabric heated by the sun and the infrared rays reflected by the white dunes.
池田亮司
이케다 료지
Редзи Икеда
Transfinite
test pattern [n˚2] presents flickering black and white imagery that floats and convulses in darkness on two screens, one on the floor and another floor to ceiling, in time with a stark and powerful, highly synchronised soundtrack. Through a real–time computer programme, Ikeda's audio signal patterns are converted into tightly synchronised barcode patterns on the screens. Viewers are literally immersed in the work, and the velocity of the moving images is ultra–fast, some hundreds of frames per second, providing a totally immersive and powerful experience. The work provides a performance test for the audio and visual devices, as well as a response test for the audience's perceptions.
The Light – The Shade
FILE ANIMA+ 2016 | WINNERS FILE ANIMA+ AWARD | 2nd Place
"The Light – The Shade" is a poem by Robert Lax that plays with the contrasts and opposites light and shade, with bright and dark, black and white, red and blue. The film becomes a journey through the realm of imagination, through spaces and pictures, through letters and words.
Ralf Baecker
Putting The Pieces Back Together Again
The kinetic installation "Putting the Pieces Back Together Again" is a complex system with self-organizing and emergent behaviour, at the same time it is an artistic inquiry and meditation on contemporary scientific methodology. The installation investigates non-hierarchical communication and collective behaviour by implementing such a system physically through many electro-mechanical actors.
The Installation consists of 1250 stepper motors arranged in a two dimensional grid of two by two meters. Each motor is equipped with a pointer made from white acrylic glass. The radii of the pointers are chosen to intersect with the pointers of its neighbours. All motors are excited with the same alternating current that let them move initially in a random direction. Each actor is at the same time sensing its environment. In the event of a collision the pointers reverse their turning direction. This is achieved through a custom motor control circuit. Through the interplay of many entities a complex behaviour emerges on the surface of the installation. By manipulating the signals during runtime the system will form spontaneous pattern on its surface. It seems like they are negotiating it's position with nearby actors. By this the system is showing behaviour of self-organization. The installation drifts through various activation levels during its run time by this it constantly evolves new formations and constellations (crystallization).
KARINA SMIGLA-BOBINSKI
"SIMULACRA" is an optophysical experimental arrangement. At its heart are four LCD monitor panels, which are assembled in the form of a hollow square, and installed at eye level in the middle of the room. The ensemble appears internally gutted, overgrown and embraced. A tangle of cables and control devices pours out of the middle of the square. All around it several magnifying lenses dangle from chains. The imageless glaring ray of the monitors looks as if the images had fallen out of them. What remains is the essence of the medium: Light.It is an impressive, wondrous experience when images suddenly appear from the pure white by the mere glance through a seemingly transparent film. But if you turn the lens in front of your eyes, the polarizing structure of the film creates wild color shifts or even complementary negative images.
Ballet Preljocaj
AND THEN, ONE THOUSAND YEARS OF PEACE
And Then, One Thousand Years of Peace is a huge, ambitious monolith of a work. First created by Angelin Preljocaj for the Bolshoi Ballet in 2010, it takes inspiration from the vision of apocalypse conjured by St John in the biblical Book of Revelation.There are no horses galloping across the stage or horned beasts. But Preljocaj sets himself a barely less daunting task: choreographing the essential meaning of apocalypse, as a cataclysm so profound it lays bare the very essence and history of human nature.Preljocaj launches his work with a shattering opening sequence. Ten women drive through hard, slicing, geometric formations; lights flash, electro-percussive music reverberates; and the air becomes as thick and swarming as a tropical thunderstorm as the movement accelerates towards its convulsive climax.Out of this intensity emerges a Garden of Eden tranquillity, where men lope and flutter in delicately animalistic moves, and two women in white tunics play like lazy cherubs.
DILLER + SCOFIDIO
The Blur Building (an architecture of atmosphere)
The Blur Building is a media pavilion for Swiss EXPO 2002 at the base of Lake Neuchatel in Yverdon-les-Bains, Switzerland.From piles in the water, a tensegrity system of rectilinear struts and diagonal rods cantilevers out over the lake. Ramps and walkways weave through the tensegrity system, some of them providing a counterweight for the structure. The form is based on the work of Buckminster Fuller.The pavilion is made of filtered lake water shot as a fine mist through 13,000 fog nozzles creating an artificial cloud that measures 300 feet wide by 200 feet deep by 65 feet high. A built-in weather station controls fog output in response to shifting climatic conditions such as temperature, humidity, wind direction, and wind speed.The public can approach Blur via a ramped bridge. The 400 foot long ramp deposits visitors at the center of the fog mass onto a large open-air platform where movement is unregulated. Visual and acoustical references are erased along the journey toward the fog leaving only an optical "white-out" and the "white-noise" of pulsing water nozzles. Prior to entering the cloud, each visitor responds to a questionnaire/character profile and receives a "braincoat" (smart raincoat). The coat is used as protection from the wet environment and storage of the personality data for communication with the cloud's computer network. Using tracking and location technologies, each visitor's position can be identified and their character profiles compared to any other visitor.In the Glass Box, a space surrounded by glass on six sides, visitors experience a "sense of physical suspension only heightened by an occasional opening in the fog." As visitors pass one another, their coats compare profiles and change color indicating the degree of attraction or repulsion, much like an involuntary blush – red for affinity, green for antipathy. The system allows interaction among 400 visitors at any time.Visitors can climb another level to the Angel Bar at the summit. The final ascent resembles the sensation of flight as one pierces through the cloud layer to the open sky. Here, visitors relax, take in the view, and choose from a large selection of commercial waters, municipal waters from world capitals, and glacial waters. At night, the fog will function as a dynamic and thick video screen.
JENNIFER RUBELL
جنيفر روبل
제니퍼 루벨
ジェニファールベル
Jennifer Rubell, the American artist and niece of Studio 54 co-founder Steve Rubell, brings a maternal touch to this year's Frieze Art Fair with her autobiographical piece Portrait of the Artist. The pristine white nude, cast from steel-reinforced fibreglass, reclines like an odalisque at the Stephen Friedman Gallery stand. The sculpture is a replica of Rubell's own eight-months-pregnant body, except it is eight metres high: the large belly, which is carved out to leave an egg-shaped void, can accommodate a fully grown adult. Spectators are able to clamber into the artwork and curl up inside as if they are the artist's unborn child.Rubell's intention was to create a monumental gesture of unconditional motherly love. There is a feminist statement here, too: Rubell has appropriated a style and scale historically reserved for male leaders to show, she says, "an emotion that is intensely personal and un-heroic". The artist adds that watching members of the Frieze audience enter in the sculpture's womb is "tremendously satisfying" – in her eyes the enlarged form was "incomplete until the first viewer entered". Amid the hustle of Frieze's mini-city there is something undeniably appealing about the opportunity to put your feet up in the foetal position in the name of art. Not to mention the comfort factor.
The Hobbit An Unexpected Journey Soundtrack
00:00:00 – My Dear Frodo
00:06:58 – Old Friends
00:12:18 – An Unexpected Party
00:16:00 – Axe or Sword?
00:21:56 – Misty Mountains
00:23:30 – The Adventure Begins
00:25:28 – The World is Ahead
00:27:37 – An Ancient Enemy
00:32:28 – Radagast the Brown
00:37:13 – Roast Mutton
00:40:50 – A Troll-hoard
00:43:43 – The Hill of Sorcery
00:47:28 – Warg-scouts
00:50:25 – The Hidden Valley
00:54:10 – Moon Runes
00:57:24 – The Defiler
00:58:32 – The White Council
01:05:48 – Over Hill
01:09:22 – A Thunder Battle
01:13:11 – Under Hill
01:15:00 – Riddles in the Dark
01:20:15 – Brass Buttons
01:27:50 – Out of the Frying-Pan
01:33:40 – A Good Omen
01:39:20 – Song of the Lonely Mountain
01:43:22 – Dreaming of Bag End


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Home > National Historical Publications and Records Commission (NHPRC) > Grants Organized by State and Territory > New Mexico
Access to Historical Records
Digital Editions Publishing Cooperatives
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State Boards
Publishing Projects Catalog
Sorted By States & Territories
These New Mexico grants span 1978 - 2019
Records Projects
University of New Mexico, Albuquerque, NM
$349,988 to support a project to digitize and create metadata for 30,000 aerial photographs of the Grants Mineral Belt taken between 1934 and 1987. Managed by the Earth Data Analysis Center, these photographs document the changing landscape in the northwest region of New Mexico, the site of uranium extraction and production from the 1930s until 1998. The records demonstrate the impact of uranium mining on the ecology of the area. The project will then develop a web application and tools to enable researchers to accurately discover and use data from the photographs. (RM102733-19)
New Mexico Commission of Public Records, Albuquerque, NM
$65,000 to support work of the New Mexico State Historical Records Advisory Board, including regrants for implementing professional archival standards, rehousing collections, creating online content, and other activities; regrant application workshops and site visits to monitor regrant projects; workshops that increase the skills of archivists and the level of public awareness about how to care for historical records; and to continue to update its database of the state's archival, historical, and cultural institutions. (RC102708-19)
New Mexico Commission of Public Records, Santa Fe, NM
$65,000 to support two years of the New Mexico Historical Records Advisory Board's programs, including regrants; workshops addressing archival issues, the preservation of family papers, and applying for the regrant program; and updates to the Historical Information Network and Tracking System. (RC100008-17)
$50,000 to support basic funding for the state historical records advisory board, a statewide regrant program, workshops on basic archival practices and preserving family histories, and the maintenance of an online database of the state's archival repositories. (RC10242-15)
$50,000 to support basic funding, including workshops for those responsible for historical records, a strategic planning consultant to assist the state board with the development of a new plan, a statewide regrant program, and participation in a national archival organization for two years. (RC10173-13)
$100,000 to support the work of the New Mexico Historical Records Advisory Board, including workshops, and a statewide regrants program. (RC10112-11)
$70,000 to support a regrants program of at least 21 grants to local government, educational institutions, historical societies, community libraries, and museums throughout the state. (RC10063-09)
University of New Mexico Regents, Albuquerque, NM
$50,175 to support, on behalf of the Center for Southwest Research, an 18-month project to arrange and describe 350 linear feet of records and papers from LaDonna Harris and the organization she founded in 1970, Americans for Indian Opportunity. Harris served on the National Women's Advisory Council of the War on Poverty and the National Council on Indian Opportunity. (RP50017-09)
New Mexico Commission on Public Records, Santa Fe, NM
$9,803 to support basic state historical records advisory board activities through a State and National Archives Partnership grant. (RC10040-08)
$86,257 to support a statewide regrant program. (RC10001-08)
New Mexico State Historical Records Advisory Board, Santa Fe, NM
$10,000 in partial support of the board's administrative expenses. (RS100012-07)
$9,998 in partial support of the board's administrative expenses. (RS05687-06)
$19,779 in partial support of the board's administrative expenses. (2005-007)
$58,979 for a Phase II project to implement the board's strategic plan. (2002-033)
$14,800 in partial support of the board's administrative expenses for two years. (2001-034)
County of Santa Fe, Santa Fe, NM
$27,911 to microfilm historic deed books and indexes covering the period from ca. 1859 to 1950. (99-067, 2000-075)
New Mexico State Records Center and Archives, Santa Fe, NM
$25,000 to complete the New Mexico Historical Records Advisory Board's Plan Implementation and Regrant Project begun under NHPRC grant no. 99-026. (2000-060)
Clerk's Office, County of Santa Fe, Santa Fe, NM
$9,157 to microfilm 73 deed books dating from the American occupation in 1847 to around 1893. (99-067)
$156,499 for the New Mexico Historical Records Advisory Board's Plan Implementation and Regrant Project to implement the board's strategic plan, develop and conduct a training program to address the needs of repositories throughout the state, and support projects to improve preservation and access to historical records in New Mexico's repositories. (99-026)
$39,007 for an 18-month, strategic planning project to address key issues in the identification, preservation, and access to the state's historical records. The project will assess the board's mission and authority, develop strategies to increase its effectiveness, create a network of repositories and institutions, assess the historical records environment, and develop a statewide plan to guide the board in its work. (97-010)
$9,403 to support the travel and meeting expenses of the board. (92-085)
Ramah Navajo School Board, Pine Hill, NM
$5,000 to hire a consultant to assist the Ramah Band of Navajos with the development of an archives and records management program and to provide training for records creators and an archivist. (92-073)
Pueblo of Zuni, Zuni, NM
$2,862 for a consultant to assist in developing a plan for the archival preservation of Zuni Pueblo tribal records and other historical materials. (89-048)
$4,783 to produce tonal microfiche and guides to the Henry A. Schmidt and Cobb Memorial photograph collections. The two collections contain unique images, ca. 1885-1942, of miners and ranchers and document both rural and town life. (88-112)
$25,000 to analyze the current condition of historical records in the state, identify problems, frame potential solutions, and outline actions that can be taken. (88-050)
$16,000 to microfilm the Surveyor General/Court of Private Land Claims records, 1854-1912, for preservation purposes. (86-052)
New Mexico State University, Las Cruces, NM
$21,260 to survey and accession records relating to the history and agriculture of New Mexico. (78-080)
Subtotal (Records Projects) $1,371,404
Publications Projects
Richard and Shirley Cushing Flint, Villanueva, NM
$88,989 for a dual-language edition of documents relating to the Coronado Expedition. (2000-2002)
Project In Progress
$662,081 for the Journals of don Diego de Vargas. (1981-99)
University of New Mexico Press, Albuquerque, NM
$47,267 for subvention support for the Journals of don Diego de Vargas. (1990-98)
Wheelwright Museum, Santa Fe, NM
$20,400 for the Washington Matthews Papers. (1981-83)
Subtotal (Publications Projects) $ 818,737
TOTAL $ 2,190,141
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Entries span the dates of projects funded in that state since 1976.
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This page was last reviewed on April 3, 2019.


Oranmore Maree became the first ever Galway intermediate club to be crowned All Ireland champions following their six-point win over Charleville of Cork yesterday.
County star, Niall Burke was in sensational form for his club, finishing with a tally of 1-11 as Oranmore overturned a six-point deficit to win by six in Croke Park, despite the best efforts of Darragh Fitzgibbon who registered 10 points.
Oranmore's fortunes majorly changed in the final 10 minutes, during which Charleville received two red cards and also conceded a penalty, which Burke dispatched.
However, Oranmore manager, Gerry McInerney refused to credit the dismissals for aiding their recovery as he maintained that his side were unfairly judged by the referee in the opening half. His opinion improved in the second half, however, when Charleville goalkeeper, Cian Collins was yellow carded for using an unauthorised sliotar.
"We got nothing in first-half. We got no frees, they were allowed quick puck-outs and he called them back on our side. In the second half we changed, we made it change.
"Ah yeah, Cork. C'mon, they did it in our day so no big deal there", McInerney quipped.
Instead, the Galway legend maintained that their increased work-rate was the key to their victory.
McInerney's two sons also had a major impact on the result, Sean won the penalty before scoring a goal in the final minute while Gearóid came roaring into the game in the second half, and also ended up on the scoresheet.
Gearóid, who lifted the cup alongside joint-captain, Burke, has plenty of experience of Croke Park on All Ireland final day with Galway, and admitted that winning the title with his club was another "special" moment.
"The two of them are very special, very special moments in I suppose a small bit different ways. Having grown up with a lot of the lads there makes it special. It will be a lot tighter now going back home but winning an All-Ireland is massive too.


Checking in on February 15th. Hotel phone number 816-474-4400.
Team will be riding a tram to and from the playing site.
Checking in on March 14th. Hotel phone number 303-867-8100.
Team will be walking to and from the playing site.
Team rooms are booked at Philadelphia 201 Hotel (formerly Sheraton).
Checking in on April 18th. Hotel phone number 877-433-5180.
Parents can book rooms by clicking on this link: https://www.advancedeventsystems.com/reservations/create/events/16017/hotels. You can view the hotels that are available to book through the housing authority. You can also choose to book any hotel you wish. The team rooms are complete.
Transportation to and from playing site will be determined once the housing is finalized.


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Watches and sex
What do watches have in common with sex? A semi-serious look at the different levels of watch sexiness, from the virtuous modesty of Rolex to the full-frontal nudity of Roger Dubuis.
Mechanical attraction
A watch is more than a pretty face. In addition to the dial, hands, numbers and case, it has the fascination of an intricate mechanism that can exert the same fascination as steam locomotives or the engines of high-powered cars. I suspect that mechanical attraction is very much a man thing, and after all, mechanical watches are generally for men.
No sex, we're Rolex
Rolex is absolute sobriety. Perhaps because it was founded in London by Hans Wilsdorf, it's approach could be described as "No sex, we're British," though he moved his company to Switzerland in 1915 and Rolex is now entirely Swiss. The beauty of a Rolex is its mechanical perfection, its reliability. No trace of the movement either on the dial or the reverse. Rolex's casebacks are always solid. For Rolex, this virtuous Victorian English modesty pays dividends: it is the number one watch brand in the world. Read more about the history of Rolex here.
For your eyes only: the display caseback
A. Lange & Söhne makes watches that are absolutely chaste when seen from the front, and then a feast for the eyes when you turn them over. The sight of a Lange movement seen through the sapphire crystal display caseback is pure potent sexy watch attraction. Turning over a Lange watch and peering into the intricacies of the movement is like that magical moment when for the first time your girlfriend, wife-to-be, wife or whoever grips the hem of her T-shirt and lifts it up and over her head, leaving you gaping, grateful, enchanted. Most brands use display casebacks to make their watches sexier. But it all depends on the movement. Many watches are a disappointment when you see their industrial-finish calibre, with most of the space taken by the oscillating weight. Read about the Lange Triple Split here.
Open-heart watches: the allure of a glimpse
You know the ones I mean, the watches that have a hole on the dial that provides a view of the balance. Personally I've never been attracted to these watches, and it's only recently that I have asked myself why. For me an open-heart watch is like those girls who wear distressed jeans, with holes torn in them revealing flashes of leg. I prefer the sight of a well-proportioned pair of legs below the hemline of a skirt, or shapely legs in a pair of intact jeans, rather than the ripped compromise. In addition, open-heart watches are like the poor man's tourbillon. But a lot of brands make them, and there are a lot of cheap Asian-made watches like this. I would guess that it's a popular format in China.
A bit more, seen through a veil
Another category of mechanical allure comprises those watches in which you can see something of the movement through the dial, but only a suggestion, because it is hidden by a mesh or a grid of some sort. Panerai makes some watches like this, and Rado. It's comparable to Miss Wet T-Shirt competitions, but in the case of watches, you can't see much at all. Sometimes they do it to create an automotive feel, with the mesh recalling the radiator grilles of cars. Very often for the cheaper watches it's a way of showing that it's a mechanical watch without having to bother too much about how simple the movement is, and its finish.
Just the good bit: the tourbillon well
If a watchmaker makes a tourbillon, he generally wants it seen. It becomes the focus of the watch, and so most tourbillon watches have a circular hole on the dial. It's like dresses with a plunging neckline that reveal more than you would normally expect. Sometimes watchmakers have a sense of guilt or impropriety about this, and so (for example) Laurent Ferrier presented his first watch with a tourbillon visible dialside only a year or so ago, after a lot of soul-searching. This piece is shown in the photo below, and it is described here.
Skeleton watches leave nothing to the imagination. Everything is there to behold, through the dial and through the caseback. For brands such as Roger Dubuis, naked perfection has become a hallmark of their watches. It's Always a delight to stare at a watch like this and see the way in which the movement designer has been able to distribute the gears around the star shaped bridges. And some genius watchmakers such as Vincent Calabrese have an uncanny brilliance at being able to mould movements in any shape he wants, whether the straight line of his Golden Bridge for Corum, or the letters of his watches personalized to match his customers' names.
The subtle art of striptease
The gradual removal of a watch movement from its case, stripping it down to its bare essentials, is a pleasure available only to watchmakers. But you can get an idea of this form of mechanical striptease from a website like The Naked Watchmaker in which Peter Speake-Marin reveals the inner marvels of the watches that he analyses. Oh, yes, watchmaking is definitely a sexy business.
1st July 2018 in Top five. Tags: skeleton, skeletoni
Top 5 twisted dial watches
Top five highlights at Salon QP 2017
Top five regatta chronograph watches
← Top ten hand-wound watches under €1,500
Gareth Southgate and his watch at the World Cup →


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Panera shareholders approve sale to JAB Holding
$7.5B deal expected to close this month
Ron Ruggless | Jul 12, 2017
Panera Bread Co. shareholders approved Tuesday the previously announced $7.5 billion sale to JAB Holding Co.
St. Louis-based Panera said the deal is expected to close this month. JAB agreed to pay $315 per share, a 30-percent premium over Panera's 30-day trading average as of March 31.
The deal was announced on April 5 and included JAB's assumption of about $340 million in debt.
For the first quarter ended March 28, Panera reported that net income rose 21.1 percent, to $42.5 million, or $1.88 per share, from $35 million, or $1.45 per share, the previous year. Revenue rose $727.6 million, from $685.2 million the previous year.
Same-store sales at company-owned bakery-cafés rose 5.3 percent in the quarter.
"Over the last five years, we have developed and executed a powerful strategic plan to be a better competitive alternative with expanded runways for growth," said Ron Shaich, Panera chairman and CEO, said with the first-quarter earnings release.
Shaich said 26 percent of Panera's sales are now digital. The chain has also been expanding delivery, which is available in 24 percent of the system. Panera said in April that it would expand delivery to 35 to 40 percent of restaurants by the end of the year, and add more than 10,000 in-store and delivery driver jobs.
Panera has 2,043 bakery-cafés in 46 states and Ontario. The locations operate under the Panera Bread, St. Louis Bread Co. and Paradise Bakery & Cafe names.
TAGS: Fast Casual Sales Trends Technology Operations


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OpinionSummariesCase details
Rock v. Reed-Prentice
Orsini v. Kugel
The district court granted the Rooses' motion in an opinion and order dated November 30, 1992 which addresses…
Chase Manhattan Bank v. Akin, Gump, Strauss, Hauer & Feld L.L.P.
This appeal presents the issue of whether GOL § 15-108(b) applies (and thus extinguishes the contribution…
Full title:DAVID G. ROCK, Plaintiff, v. REED-PRENTICE DIVISION OF PACKAGE MACHINERY…
Court:Court of Appeals of the State of New York
Date published: Feb 24, 1976
39 N.Y.2d 34 (N.Y. 1976)
382 N.Y.S.2d 720
Court of Appeals of the State of New York
In Rock v. Reed-Prentice Division of Package Machinery, 39 N Y2d 34, 40-41, 346 N.E.2d 520, 523, 382 N.Y.S.2d 720, 723 (1976), the Court of Appeals explained that "[t]he general purpose of section 15-108 is to encourage settlements by altering or eliminating certain rules of prior law which had an inhibiting effect on the settlement process."
Summary of this case from In re E. and S. Dist. Asbestos Lit.
See 2 Summaries
Argued January 14, 1976
Decided February 24, 1976
Appeal from the Appellate Division of the Supreme Court in the First Judicial Department, HORTENSE W. GABEL, J.
Raymond C. Green, Herbert Lasky, Francis Hugh McDermott and Leonard M. Schnitzer for third-party defendant-appellant.
William F. McNulty and Anthony J. McNulty for defendant and third-party plaintiff-respondent.
WACHTLER, J.
Plaintiff David Rock was injured while operating a plastic molding machine at his place of employment. He sued the manufacturer of the machine, Reed-Prentice Division of Package Machinery Company, claiming (1) negligence in the manufacture of the machine and (2) breach of implied warranty. Reed-Prentice in turn brought a third-party action against plaintiff's employer, Westbury Plastics, seeking "judgment over" on the ground that the injury was caused "solely as a result of the primary, active and affirmative negligence of the third party defendant."
At the trial, held in November of 1973, the jury was charged, without objection, that if they found both defendants were negligent they should "then determine, on a percentage basis the proportionate share of liability." The jury returned a verdict of $400,000 for plaintiff against Reed-Prentice and, on the cross complaint, awarded Reed-Prentice $50,000 against Westbury. Both defendants appealed to the Appellate Division.
In September, 1974, before the case was argued at the Appellate Division, plaintiff settled with Reed-Prentice for $250,000. The appeal from the judgment in favor of the plaintiff was discontinued. However, since Westbury had declined to join in the settlement, both defendants proceeded with the appeal from the judgment on the third-party complaint. Westbury argued that the judgment should be set aside, and Reed-Prentice urged that it be enlarged to provide for full indemnification. The Appellate Division unanimously affirmed and we granted Westbury's motion for leave to appeal to this court.
The primary question is whether the settlement between the plaintiff and Reed-Prentice precludes Reed-Prentice from enforcing the judgment against Westbury. Westbury argues that there are two reasons why the settlement should have this effect.
First it is urged, that by settling with plaintiff for $250,000, Reed-Prentice has not paid, and never will pay, more than its $350,000 share of plaintiff's judgment and thus is not entitled to contribution pursuant to CPLR 1402.
Secondly, Westbury argues that after settling with plaintiff, Reed-Prentice's right to seek contribution from Westbury was extinguished by subdivision (c) of section 15-108 of the General Obligations Law.
Both of the statutes cited and relied upon by Westbury came into effect on September 1, 1974 (L 1974, ch 742, §§ 3, 4) sometime prior to the date of the settlement. Nevertheless Reed-Prentice contends that they are not applicable here for the reason that its judgment against Westbury is one for "partial indemnity", not contribution. There is no merit to this argument. It is true, of course, that these statutes have no application to a claim for indemnity (CPLR 1404, subd [b]; McLaughlin, Practice Commentary, McKinney's Cons Laws of NY, Book 23A, General Obligations Law, § 15-108; see, also, Rogers v Dorchester Assoc., 32 N.Y.2d 553, 564-566), but Reed-Prentice's judgment against Westbury is founded on contribution within the meaning of the statutes.
"There is", we have noted, "a fundamental distinction between contribution and indemnity" (McFall v Compaignie Mar. Belge, 304 N.Y. 314, 327). In an action for contribution "ratable or proportional reimbursement is sought" (see, also, Prosser, Torts [4th ed], p 310; Note, 47 St John's L Rev 185, 186). However, for policy reasons, the courts generally refused to "make relative value judgments of degrees of culpability among wrongdoers" (Dole v Dow Chem. Co., 30 N.Y.2d 143, 147) and thus refused to recognize or allow any right to contribution. By statute a limited contribution was permitted in cases where the plaintiff obtained a joint money judgment against several tort-feasors and one defendant had paid more than his pro rata share (see former Civ Prac Act, § 211-a; former CPLR 1401; Fox v Western N.Y. Motor Lines, 257 N.Y. 305). But that, of course, is not the case here.
Indemnity, on the other hand, "is not dependent upon the legislative will. It springs from contract, express or implied, and full, not partial, reimbursement is sought" (McFall v Compaignie Mar. Belge, supra, at p 328). Since indemnity involved a shifting rather than an apportionment "of culpability among wrongdoers" (Dole v Dow Chem. Co., supra, at p 147) the policy objections to contribution posed no bar to a suit for indemnity. Thus the courts would enforce a defendant's right to indemnity if it could be shown that the entire loss should be borne by another. In the absence of an express contractual agreement the courts recognized "an implied contract of indemnity * * * in favor of the wrongdoer who has been guilty of passive negligence * * * against the one who has been actively negligent. The actively negligent tort-feasor is considered the primary or principal wrongdoer and is held responsible for his negligent act not only to the person directly injured thereby, but also to any other person indirectly harmed by being cast in damages by operation of law for the wrongful act" (McFall, supra, at p 328). But when, as here, the party seeking indemnification was himself partially at fault, the courts of this State, and throughout the Nation generally, refused to imply a right to partial indemnification against "another who played an effective role in causing the damage" (Dole v Dow Chem. Co., supra, at p 148).
Under the traditional rules then Reed-Prentice would have no right to recover against Westbury by way of contribution or indemnity since it had been found guilty of negligence in the manufacture of the machine which caused the plaintiff's injury. The claim in fact is based entirely on the right to apportionment announced in Dole v Dow Chem. Co. (supra, pp 148-149) in which we held that "where a third party is found to have been responsible for a part, but not all, of the negligence for which a defendant is cast in damages, the responsibility for that part is recoverable by the prime defendant against the third party". There we suggested, analogically at most, that this was "in effect a partial indemnification" (p 147). However when the Legislature codified the apportionment rule announced in Dole they did so by expanding the statutory right to "contribution" allowed by CPLR article 14 (see CPLR 1402 and McLaughlin, Summary Practice Commentary, McKinney's Cons Laws of NY, Book 7B). The standards governing settlements in these cases are found in section 15-108 of the General Obligations Law which was specifically attuned to the apportionment rights created by Dole (see McLaughlin, Practice Commentary, McKinney's Cons Laws of NY, Book 23A, General Obligations Law, § 15-108).
In sum, the type of "contribution" referred to in CPLR 1402 and section 15-108 of the General Obligations Law includes the Dole apportionment. Reed-Prentice's judgment against Westbury is certainly based on a right to "contribution" within the meaning of the cited statutes. The question then is whether they preclude Reed-Prentice from enforcing the third-party judgment. In our view they do not.
CPLR 1402 provides that "[t]he amount of contribution to which a person is entitled shall be the excess paid by him over and above his equitable share of the judgment recovered by the injured party". As indicated, Westbury urges that Reed-Prentice has not paid, and in view of the settlement will never pay, its equitable share of the plaintiff's judgment.
This is Westbury's point. The plaintiff's judgment was for $400,000 and Reed-Prentice's share was "judicially fixed" at $350,000. Since Reed-Prentice has settled or satisfied the judgment by paying $250,000, "an amount $100,000 less than Reed-Prentice's own $350,000 apportioned share of liability", the settlement "renders it an impossibility that Reed-Prentice will ever have to pay to plaintiff any part of Westbury's share of liability".
The point would be well taken if Reed-Prentice had simply paid $250,000 in partial satisfaction of the judgment and left the remainder unsatisfied. Then it would be proper to say that Reed-Prentice had not paid its equitable share and thus was not entitled to contribution. But that is not what happened here. The $250,000 paid pursuant to the settlement was a final payment in full satisfaction of the judgment.
In other words the plaintiff's judgment has been completely discharged and Reed-Prentice is entitled to contribution from Westbury for the amount paid "in excess of its equitable share" — unless, of course, as Westbury urges, section 15-108 of the General Obligations Law extinguishes the right to recover contribution after settlement. The general purpose of section 15-108 of the General Obligations Law is to encourage settlements by altering or eliminating certain rules of prior law which had an inhibiting effect on the settlement process.
Subdivision (a) permits a plaintiff to settle with a defendant without risking the discharge of other tort-feasors who might be liable for the injury. Under prior law this had been subject to some "uncertainty" (see Report of Law Revision Commission, NY Legis Doc, 1972, No. 65[K]).
Subdivision (b) permits a defendant to settle with plaintiff without fear of being brought back into the action by another defendant seeking contribution. Under prior law this "had become troublesome after the decision in Dole v Dow Chemical Co." (McLaughlin, Practice Commentary, McKinneys Cons Laws of NY, Book 23A, General Obligations Law, § 15-108).
Subdivision (c) provides that a "tortfeasor who has obtained his own release from liability shall not be entitled to contribution from any other person". There is no indication what problem this subdivision was intended to eliminate (see McLaughlin, Practice Commentary, McKinney's Cons Laws of NY, Book 23A, General Obligations Law, § 15-108). Apparently the Legislature felt that surrender of the right to contribution is a small price to ask of a defendant who is intent on avoiding litigation. In our view, however, it has no application to a claim for contribution which has been litigated and reduced to judgment.
The overall scheme and purpose of the section is to promote settlements in multiple-party tort cases by clearly defining the effect the settlement will have on collateral rights and liabilities in future litigation. There is nothing at all to suggest that this statute was ever intended to nullify a pre-existing judgment.
In short, the settlement between plaintiff and Reed-Prentice does not preclude Reed-Prentice from enforcing the judgment for contribution previously obtained against Westbury. And, as indicated above, Reed-Prentice is now entitled to contribution for the amount paid in excess of its equitable share.
This does not mean, however, that Westbury is obligated to pay the full $50,000. Since the jury was instructed to determine the "proportionate share of liability", their finding that Westbury must pay $50,000 of the $400,000 verdict established that Westbury was responsible for 12 1/2% of the loss. This is Westbury's equitable share of the judgment. In view of the fact that following the settlement, the judgment was fully satisfied for $250,000 Reed-Prentice is only entitled to be reimbursed for $31,250 — 12 1/2% of the total amount actually paid to plaintiff in satisfaction of the judgment.
The order of the Appellate Division should be modified accordingly.
Chief Judge BREITEL and Judges JASEN, GABRIELLI, JONES, FUCHSBERG and COOKE concur.
Order modified, with costs, in accordance with opinion herein and, as so modified, affirmed.
In Rock v Reed-Prentice (39 N.Y.2d 34, supra), we were asked to enforce a settlement agreement between plaintiff and one defendant reached after judgment had been entered against the remaining defendant.
Summary of this case from Mitchell v. New York Hosp


Cataracts – AREDS also addressed the benefits of antioxidants on cataracts as did the cross-sectional Blue Mountains Eye Study, Physicians' Health Study and Beaver Dam Eye Study.
Results – Lutein, zeaxanthin, and B vitamins may decrease the risk for cataracts. Large, randomized trials found no benefit to taking vitamins C and E, beta-carotene, or selenium. The results are mixed regarding the potential benefit of a multivitamin. Sunlight exposure likely plays a role in the pathogenesis of cataracts, although knowledge of their exact pathogenesis is not fully understood.
Dry Eye Disease – The Tear Film & Ocular Surface Society International Dry Eye Workshop II (TFOS DEWS II) and Dry Eye Assessment and Management Study (DREAM) investigated the effects of supplementation on DED.
Results – Systemic dehydration may contribute to the severity of dry eye as can alteration of environmental factors. In DREAM, omega-3 supplements were no better than the placebo olive oil decreasing the signs and symptoms of dry eye. Antioxidant supplementation has shown some promise in the treatment of dry eye, but the trials have been relatively brief.
I know the data presented above is fairly dry as is often the case in these large studies. I can be more specific about dietary recommendations. Fruits and vegetables that are yellow, red, or orange are the most effective foods for the prevention and treatment of cataracts. They are probably of benefit for AMD and Dry Eye as well. Avoid the use of Gingko biloba in wet macular degeneration.
The omega-3 fatty acids have so many health benefits that I recommend you take them daily in spite of the evidence in these studies. By the way, the use of olive oil (an omega-6 fatty acid) does not constitute a placebo. It provides vital anti-inflammatory prostaglandin 1 compounds for the human body.
If you have eye health issues, consider the AREDS2 formulation. It contains lutein, zeaxanthin, omega-3 fatty acids, and a small amount of zinc. The AREDS formula is vitamin C, vitamin E, beta-carotene and a high dose of zinc with a little copper. However, without a diet high in red, yellow and orange fruits and vegetables, regular exercise and no smoking, the supplementation is of limited value. Finally, drink plenty of clean water daily to avoid dehydration.


Thanks for the support of Avenues: The World School, Keystone Academy and Harvard East Asia Society.
The theme of the 2015 Annual Conference is Reimagine: Better Education for All. Distinguished scholars, policy makers and entrepreneurs will also share their insights from the perspectives of Education Equity, Arts Education, International Education, Education Technology, and Education Policy.
Vision and Mission: Keystone Academy is a new model of education in China. It blends distinctive traditions in Chinese, Western and international education, creating a new world school that is academically outstanding. AtKeystone, we embrace a world that is dynamic and ever-changing. We learn from and we learn for this enterprising, global community.
Aim of Service: Keystone brings to China a world school that parents and students have yearned for, and draws on the most talented students from around China and the world. We aim to produce graduates who will possess the intellectual, cultural, and ecological fluency to navigate gracefully in any university, city, and profession of their choosing. They will know how to apply their emotional intelligence, character, and zest for learning to help develop and improve the communities in which they live.
Vision: Exploring talents, dreams, and pursuits with Youth.
Mission:EduRunner strives to enhance leadership and overall development of youth through providing capacity building trainings, summer camp and consulting services.
Six practitioners are invited to share their insights and inspiring experiences from the perspective of better education for all. Each speaker will be given twelve minutes to discuss practice-based ideas that will have a big impact on the field.


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sofs.org.ua › About us › Archive › 2019 › 2019, 4(106) › 1.9
ACADEMICIAN OF THE NATIONAL ACADEMY OF UkrSSR K.K. KHRENOV: A SCIENTIST IN THE FIELD OF ELECTRIC WELDING AND SCIENCE AND TECHNOLOGY HISTORY (dedicated to the 125th anniversary of the birthday)
1 О.М. КORNIENKO
https://orcid.org/0000-0001-8671-1652,
2 А.S. LYTVYNKO
2 О.H. LUHOVSKYI
1 Paton Electric Welding Institute of the NAS of Ukraine
2 Dobrov Institute for Scientific and Technological Potential and Science History Studies of the NAS of Ukraine
Nauka naukozn. 2019, 4(106): 116-131
Section: Science and technology history
Abstract: The main events of life and work of Kostiantyn K. Khrenov are discussed. He was a prominent scientist and organizer of science in the field of metallurgy and welding production, as well as the history of science and technology, academician of the Academy of Sciences of the UkrSSR (1945), a member of the Presidium of the Academy of Sciences of the UkrSSR (1953‑1961), chairman of the Department of the UkrSSR Academy of Sciences (1954‑1964), Corresponding Member of the USSR Academy of Sciences (1953), the author of more than two hundred scientific works and twenty inventions. February 25, 2019 is the 125 years anniversary since his birth. The scientific work of K.K. Khrenov, who has developed a number of technologies and means of electric welding, in particular arc welding and cutting of metals under water, applicable for bridge restoration and repair of ships, cold pressure welding, gas welding, plasma cutting, welding of iron and flaw welding of electric welding joints and contact welding, ceramic fluxes, electrode coatings. Scientist known for developing innovative technologies ‑ cold, magnetic, microcapacitor welding, gas and plasma cutting of metals. Of particular importance for scientific and technological progress is the creation of underwater welding. Underwater electric welding during the war and in the post-war period thousands of ships, bridges, and port structures were repaired. In 1945 E.O. Paton invited K.K. Hrenov at the Institute of Electric Welding for the post of his Deputy on Science. In 1945‑1948 and 1963‑1975 he was the head of the department of the Institute of Electric Welding of the Academy of Sciences of the USSR, 1948‑1952 ‑ Institute of Structural Mechanics of the Academy of Sciences of the Ukrainian SSR, 1952‑1963 ‑ Professor of the Kiev Polytechnic Institute. K.K. Khrenov was also one of the founders of welding education, an educator of engineering and scientific personnel, among his pupils there are 50 doctors and candidates of sciences. Discovered archival documents are used to show the role of academician K.K. Khrenov in the formation and development of science and technology history studies in Ukraine and the USSR, and in creation of professional associations of science and technology historians, the Ukrainian branch of the Soviet National Association of historians of science and technology in particular, of which he became the chairman.
Keywords: welding production, innovative technologies, history of science and technology, Ukrainian branch of the Soviet national association of historians of science and technology.
Serpilin, L. (1956). The road of creative search. Ukraine, 5, 17 [in Ukrainian].
K.K. Khrenov's personal file. Institute of Archival Studies of V.I. Vernadsky National Library of Ukraine, form 184, register 1, case 13 [in Ukrainian].
Autobiography. Institute of Archival Studies of V.I. Vernadsky National Library of Ukraine, form 184, register 1, case 25, sheets 1-2 [in Ukrainian].
The personal file of academician of the Academy of Sciences of Ukrainian SSR K.K. Khrenov. Scientific Archive of the Presidium of NAS of Ukraine, form 251-R [in Ukrainian].
Matiyko, M.M. (1963). Kostyantyn Kostyantynovych Khrenov. Kyiv: Edition of the Academy of Sciences of Ukraine, 69 [in Ukrainian].
Kornienko, A.N. (2019). Outstanding scientist, engineer, teacher. Automatic welding, 3, 9–11 [in Russian].
Khrenov, K.K. (1929). Machines and equipment SET for electric welding and possibilities for supplying Ukrainian industry with them (report and final word). The First All-Ukrainian Congress on Electric Welding (22/X-25/X 1928), (pp. 3-14). Kharkov [in Russian].
Khrenov, K.K. (1928). Application of electric arc welding. News of State Electrotechnical Trust. Moscow: 7, 108-114 [in Russian].
Khrenov, K.K. (1928). CT-2 transformer for electric arc welding. News of State Electrotechnical Trust. Moscow: 7, 123-125 [in Russian].
Khrenov, K.K., Yarho, V.I. (1940). Technology of electric arc welding. Moscow: National Commissariat of Transport Engineering of USSR, 495 [in Russian].
Khrenov, K.K. (1949). Electric welding arc. Мoscow; Leningrad: Mashgiz, 492 [in Russian].
Khrenov, K.K. (1933). Electric arc welding under water. Welder, 1-2, 23-24 [in Russian].
Hrenov, K.K., Livshiz M.Z. (1934) Electric Arc Welding under Water. Journal of the American Welding. Society, 3, 15-18 [in English].
Khrenov, K.K. (1943). Instructions for underwater welding and metal cutting. Мoscow; Leningrad: Voenmortzdat, 97 [in Russian].
Khrenov, K.K. (1946). Underwater electric welding and metal cutting. Moscow: Voenizdat, 160 [in Russian].
Khrenov, K.K. (1949). News on welding equipment. Kiev: Publishing House of the Academy of Sciences of the Ukrainian SSR, 87 [in Russian].
Khrenov, K.K., Nazarov, S.T. (1949). Automatic arc welding. Moscow: Mashgiz, 274 [in Russian].
Khrenov. K.K. (1959). Welding, cutting and soldering of metals. Kiev; Moscow: Mechanical Engineering, 408 [in Russian].
Paton, B.E. (Eds.). (1974). Technology of fusion electric welding of metals and alloys. Moscow: Mechanical Engineering, 768 [in Russian].
Khrenov, K.K., Kushnarev, D.M. (1961). Fired fluxes for automatic welding and surfacing. Kiev: Gostekhizdat of the Ukrainian SSR, 263 [in Russian].
Khrenov, K.K. (1972). Cold metal welding. Moscow: Mashgiz, 31 [in Russian].
Khrenov's biographical note. Institute of Archival Studies of V.I. Vernadsky National Library of Ukraine, form 184, register 1, case 19, sheet 1 [in Ukrainian].
Khrenov, K.K. (1936). Nikolai Nikolaevich Benardos, inventor of arc welding. Autogenous welding, 1, 1–7 [in Russian].
Khrenov, K.K. (1938). Nikolay Gavrilovich Slavyanov: 50th anniversary of Slavyanov's invention (1888–1938). Autogenous welding, 3, 5-8 [in Russian].
Khrenov, K.K. (1947). Nikolay Gavrilovich Slavyanov (1854-1897). Bulletin of mechanical engineering, 12, 1-9 [in Russian].
Khrenov, K.K. (1949). Electric welding arc. Moscow; Leningrad: Mashgiz, 204 [in Russian].
Matiyko, N.M., Radunsky, L.D. (1960). Development of electric arc welding in the USSR. (1917–1960). K.K. Khrenov (Ed.). (302 p.). Moscow; Leningrad: Gosenergoizdat [in Russian].
Khrenov, K.K. (1979). Welding engineer. Introduction to the specialty: manual for universities. Kiev: Vyshcha shkola, 127 [in Russian].
Khrenov, K.K., Kornienko, A.N. (1981). Metal welding in pre-revolutionary Russia. Welding in the USSR (Vols. 1), (pp. 19-35). Moscow: Nauka [in Russian].
Khrenov, K.K., Matiyko, N.M., Chekanov, A.A. (1981). Welding in the USSR during building and strengthening of socialist society (1917-1941). Welding in the USSR (Vols. 1), (pp. 60-77). Moscow: Nauka [in Russian].
Report No. 11 from 11 March 1949. Archive of the Presidium of the NAS of Ukraine, form 251, register 1, case 311, sheets 173-189 [in Ukrainian].
Report No. 52 from 26 September 1956. Archive of the Presidium of the NAS of Ukraine, form 251, register 1, case 810, sheets 113-175 [in Ukrainian].
Khrenov, K.K., Dobrov, G.M. (1963). International congress of historians of natural sciences and engineering. Essays on the History of Engineering and Natural Sciences, 3, 3–7 [in Ukrainian].
Khrenov K.K. (1974). Dictionary-guide on welding. Kiev: Naukova dumka, 195 [in Russian].


In the late afternoon in the nat-mandir, Srila Govinda Maharaj listened while Sripad Paramahamsa Maharaj read from Srimad-Bhagavatam about the lila of Prahlad Maharaj and Lord Nrsimhadev. Earlier in the day, Srila Gurudev spoke on his veranda about this special day.
At dusk, Srila Govinda Maharaj led kirttan in remembrance of Lord Nrsimha's appearance at that time.
Srila Govinda Maharaj then returned to his quarters as the programme continued with enthusiasm into the night.


Planning to shop & choosing stores to visit.
Understanding what motivates shoppers to open their wallets, write a check or flash some plastic is every furniture retailer's dream. As the entire industry seeks to continuously breathe new life into marketing, advertising and promotion, understanding the key drivers of consumers' furniture purchasing decisions is critical to building market share and enhancing revenue.
In this first of two articles, the findings of a recent national study are presented in which furniture buyers were asked how they made decisions about furniture purchases. There are four critical stages in the purchase process. Delivering against consumer needs at these four stages will greatly enhance advertising effectiveness.
At the initial stage of the buying process, there are several key findings to consider. First, it comes as no surprise that the furniture purchase process begins when a consumer identifies a need or desire for an item. Our study revealed that most furniture purchases are planned (91 percent) – not surprising when considering the few instances of a furniture emergency (chart 1). The largest percentage of consumers purchased furniture 'to replace worn items' (37 percent), followed by 'recently moved to a new residence' (18 percent), and 'wanted a new model or style' (12 percent) (chart 2).
Interestingly we found the amount of time a consumer spent on a furniture purchase is relatively short for some shoppers: 43 percent made a purchase in a week or less. One in five shoppers took only one day to purchase their furniture from the time they started looking (chart 4).
Consumers appear to be buying furniture more often. In our 1999 study we found that, on average, people bought furniture once every four years. In our 2001 survey, the average time between purchases has decreased to once every 3 years. In fact, 51 percent of consumers surveyed in 2001 made a furniture purchase totaling more than $200 at least once every two to three years, with 16 percent purchasing furniture once a year or more (chart 5).
Respondents were also asked which types of furniture they bought in the past year, how much they paid for each type, and which furniture purchase was most expensive. No discrimination was made between high-end and low-end furniture stores or discount stores, etc.; therefore the average amount spent is across all store types. Living/family room furniture was purchased by 59 percent of consumers, who spent on average $1,172. At a distant second, 28 percent of consumers purchased bedroom furniture, spending an average of $976. For 40 percent of shoppers' living/family room furniture was the most expensive purchase they had made that year (chart 6).
In summary, the findings show consumers' furniture purchases are largely planned, and most are preceded by some form of research. This would strongly argue for retailers to frequently advertise to consumers to remain top-of-mind. Moreover, marketing and advertising material should be designed to help consumers with their research by providing information that will help drive them to your store.
The second stage in the furniture purchase process is deciding where to shop. When shopping for furniture, most consumers included multiple stores in their "solution set" – visiting an average of 3.2 stores. Of those surveyed, 76 percent visited three or more stores, and 10 percent visited two stores. Only 14 percent visited just one store before making their purchase.
Consumers also visited the store where they made their purchase an average of two times prior to making their purchase: 22 percent made four or more visits, 32 percent three visits, 29 percent two visits, and 17 percent made one visit to the store to make their final purchase (chart 7).
Familiarity with a store is paramount to a furniture shopper. When asked how they had learned about the store where they made their purchase, 55 percent of respondents had previously bought items from the store, 46 percent had known about the store for some time, and 29 percent had seen advertising (chart 8).
We also asked about store uniqueness. While the majority of consumers described furniture stores as at least somewhat different from each other, only one in five described them as very different from each other (chart 9).
Given the fact that consumers are most likely to purchase from stores they have shopped at previously or are already familiar with, relationships with existing customers are critical. In order to bolster those relationships retailers should consider creating loyalty programs to keep customers informed of new items and sales and encourage repeat business.
There is a significant opportunity to create awareness among consumers who have never visited your store by clearly communicating overall style and quality of products offered and available price ranges in your advertising.
Finally, because consumers generally view furniture stores as similar to each other, it is essential to differentiate your store from your competitors. Retailers should first evaluate the competition and see how they can set themselves apart on services, in-store experience, price, location and variety of products or services offered, then leverage these selling points in your advertising.
Read next month's issue of Furniture World for information on item selection and in-store experience – stages three and four of the furniture purchasing process and the related implications for retailers.
Research Background: The ADVO study was conducted by NFO WorldGroup, one of the world's leading providers of research-based marketing information. The study was conducted using a panel, a nationally representative group of households that have agreed to participate in research studies and are replenished routinely to maintain the integrity of the panel. In July 2001, a Consumer Panel Screener survey was used to identify U.S. households that had purchased furniture in the past six months. Follow-up questionnaires were mailed in September 2001 to approximately 750 past six-month furniture purchasers who had spent at least $100 on a new item of furniture. The questionnaire was completed by the primary or co-decision maker for the furniture purchases in the household. Seventy-three percent of the primary or co-decision makers were female. While typical response rates for panel studies range from 65 percent to 70 percent, the ADVO study saw a 79 percent return rate for this study.
About the Author: Joella Roy is Senior Marketing Research Manager at ADVO, Inc. ADVO is the largest full-service targeted direct mail marketing services company in the United States. The company's shared mail advertising programs are distributed to over 100 million U.S. households. Questions can be sent to Ms. Roy care of FURNITURE WORLD Magazine at editor@furninfo.com.


When you call (215) 822-1888, ask for Pat McMenamin. Pat is admitted to the Pennsylvania Bar and has practiced law since 1990.
Pat attended LaSalle College High School, in Springfield Township, Montgomery County, Washington College, In Chestertown, Maryland, and the Widener University School of Law, in Wilmington, Delaware.
Pat has substantial courtroom and litigation experience serving previously as an Assistant District Attorney in Montgomery County, Pennsylvania, and as a medical malpractice lawyer in the early 1990's.
Pat has practiced Divorce and Family Law since 1993, in Bucks, Montgomery and Lehigh Counties. He has experience in all aspects of Family Law, and he also has a significant Criminal Defense and Litigation Law practice.
Pat understands the value of community and community service. He is a member of the North Penn Rotary Club, Boy Scouts of America and he serves as a child advocate for the Montgomery Child Advocacy Project.
For more information email, call or log on to www.buxmontlaw.com.
The breakup of a marriage or relationship is traumatic enough. You need an experienced lawyer to help you through this difficult time. You also need someone who will listen to you, not argue with you or guide you down the wrong path.
Call Pat McMenamin for a free and confidential consultation.


Jason Isbell grabbed nominations in three categories to emerge as the top contender when the nominees were announced Wednesday (May 11) for the 15th annual Americana Music Association's Honors and Awards.
In addition to a performance by the Milk Carton Kids, who announced the nominations during an event at the Mansion on O Street in Washington, D.C., the press conference also featured songs from Margo Price, Lucinda Williams and the duo of mandolinist Sierra Hull and bassist Ethan Jodziewicz. The event was streamed live on NPR Music's Facebook page.


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EDF Energies Nouvelles Partners with Canadian Solar for a 92.5MW PV Project
Canadian Solar Inc. and EDF Energies Nouvelles announced a partnership in the 92.5MWp Pirapora III photovoltaic project in Brazil. The Pirapora III project has started construction and is expected to reach commercial operation in the fourth quarter of 2017.
Canadian Solar is supplying modules for the Project from its 380MWp modules factory established in Brazil to support the local market. EDF EN do Brasil will manage both the construction and operations phases of the Project.
"We are proud to be working with EDF EN on a third project in Brazil. We have now partnered with EDF EN on all three of our projects in Brazil that were awarded long-term PPAs, totaling close to 400 MWp. We value our strategic partnership with EDF EN and look forward to continuing our successful collaboration on other opportunities in the future, as we expand our quality solar project pipeline globally", said Dr. Shawn Qu, Chairman and Chief Executive Officer of Canadian Solar.
Antoine Cahuzac, EDF Group's Senior Executive Vice President, Renewable Energies and CEO of EDF Energies Nouvelles, added: "This acquisition constitutes further evidence of our growth ambitions in Brazil, a key renewable energy market for the EDF Group. It represents a new step toward the EDF Group's goal of doubling its renewable capacity in France, and worldwide, by 2030 under its CAP 2030 company plan."
Source: Canadian Solar Inc.
CSI Solar (Solar Materials): https://www.enfsolar.com/csi-solar
CSI Solar (Solar Panels): https://www.enfsolar.com/csi-solar
CSI Solar (Solar Components): https://www.enfsolar.com/csi-solar
CSI Solar (Solar System Installers): https://www.enfsolar.com/csi-solar
EDF Renouvelables (Solar System Installers): https://www.enfsolar.com/edf-renouvelables


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Nigel Cuff
I am a singer/songwriter/guitarist/producer from England and my songs cover all areas of rock music from heavy rock to commercial rock to acoustic guitar music.
All I See
#guitarRockMusicHeavyR
I Die Again
Somewhere On Down The Line
Changed Man
Carolina Summer Nights
Hi, My name is Nigel Cuff and I have been playing guitar since 1980 when I was 16. For the past 5 years I have been honing my songwriting and recording skills and have recorded an album ans set up my own recording and songwriting business. My songs cover all areas of rock music from heavy to commercial to acoustic guitar.
I started playing guitar on my 16th birthday in 1980 and played in various heavy rock bands eventually switching to bass (because nobody else wanted to play it). I gave playing in bands up in the mid-eighties because it became a chore and completely unproductive. I then only dabbled in music for the next few years and didn't play much guitar. This changed almost 4 years ago when I decided to finally have a serious crack at songwriting which eventually led (thanks to the acquisition of a PC) to recording. And that's where I am today.
I don't play live. I write and record which is what I always wanted to do.
My influences include Rush, Yes, Magnum, The Beatles, Def Leppard, Neal Morse (Spock's Beard) and Neil Finn (Crowded House).
Silvertone Shredder Electric Guitar Epiphone Les Paul Electric Guitar Rikter Acoustic Guitar Zambra Classical Guitar Westone Spectrum DX Bass Laney Guitar Amplifier Bass 100 Bass Guitar Amplifier Shure SM57 Instrument Microphone Shure SM58 Vocal Microphone T-Bone 450 Large Diaphragm Condenser Microphone Behringer V-Amp Pro Virtual Amplification Processor Behringer MX802A Mixer Behringer MDX 2600 Dynamics Processor Cakewalk GTPro Recording Software T-Racks Mastering Software.
I like to drink cold beer. Lots of cold beer.


What are your chickens fed?
All chickens are farm rasied cage free and fed a diet that is predominantly corn and soy-based and supplemented with vitamins and minerals.
Specifically designed environmental management and disease prevention programs help ensure the health and well-being of our chickens. Should the use of antibiotics become necessary, they are used under the direction and supervision of a licensed and accredited Case Farms Veterinarian. We do not use any antibiotics that are not licensed and approved for use in food animals by the FDA or USDA.
Do you use Steroids or Growth Hormones?
No. Despite what you may hear, no artificial or added hormones are used in the production of any poultry in the United States. FDA regulations prohibit the use of such hormones.
How can I be sure the Case Farms Poultry I buy is Healthy?
Our producers, flock supervisors, and poultry veterinarians monitor the health of every flock. Our monitoring system assures the detection of any disease affecting the birds' health. In addition to our many quality and food safety checks, USDA inspectors in every Case Farms plant ensure the wholesomeness of every Case Farms product.
Why are chicken bones dark in color? Does darkening around the bones mean the cooked chicken meat is spoiled?
Darkening around bones occurs primarily in young chickens. Since their bones have not calcified completely, pigment from the bone marrow can seep through the porous bones. Freezing can also contribute to this seepage. When the chicken is cooked, the pigment turns dark. It is perfectly safe to eat chicken meat that turns dark during cooking.
What color should the chicken skin be?
The skin color of chicken varies from cream-colored to yellow. The color is simply a result of the type of feed given the chicken and is not a measure of wholesomeness, nutritional value, flavor, tenderness or fat content. Various areas of the country have different color preferences; therefore, growers in a particular area feed chickens a diet to produce a desired color.
Is white meat chicken healthier than dark meat? Which chicken parts are white meat and which are dark meat?
White meat chicken is not healthier than dark meat. Chicken breast, white meat, is generally lower in calories than dark meat, but all chicken has a high nutritional value. It is one of the best sources of low-fat meat protein. It is low in calories, sodium and cholesterol and a good source of iron and other key vitamins and minerals. Chicken breasts and wings are white meat while drumsticks and thighs are dark meat. The wishbone (or keel) and tenderloins (or tenders) are part of the breast; therefore, they are white meat.
How can I be sure chicken is done?
Should I be concerned about eating poultry products?
Absolutely not, because avian influenza is not a food safety issue. No one has been known to be infected by eating poultry meat, even in Asia. Furthermore, proper cooking kills any germs that may be present, including avian influenza. Of course, we always recommend you follow proper handling and cooking methods, including washing your hands, avoiding cross-contamination, cooking thoroughly and refrigerating leftovers promptly.
What's being done to protect U.S. flocks?
The U.S. has multiple lines of defense to prevent the introduction of Avian Influenza here, including bans on the importation of bird and bird products from affected areas and aggressive surveillance of migratory birds and domestic flocks. U.S. poultry from companies like Case Farms are raised in environmentally controlled houses, which protects them from contact with potential disease carriers. Strict biosecurity procedures for all aspects of live production are designed to prevent the introduction of disease onto a farm. Our producers, flock supervisors and poultry veterinarians monitor the health of every flock. In addition, 100% of Case Farms flocks are being tested for key strains of avian influenza before processing. These tests are conducted on the farm using National Poultry Improvement Plan protocols established through state and federal partnerships. Any flock found to have avian influenza in the H5 or H7 types will be promptly and humanely destroyed on the farm and disposed of in an environmentally acceptable manner. None of the birds will be sent to the processing plant or otherwise enter the food chain.


Our function room is known as the KINGFISHER SUITE and is available free of charge to members for functions.
i.e. family celebrations, organisation meetings, charity nights etc. The room holds 100 people.
Guests who are not members will be charged a small booking fee.
We can provide information on catering, DJs, to help you plan your function but you are able to use your own caterers and provide your own entertainment if you wish to. We do not have any kitchen facilities that you can use.
To book or for any further information please contact Maria Morris on 07889 203325 after 4pm (Mon-Fri) or weekends.
If not available, please leave a message with the date you are looking to book, function type and she will get back to you as soon as possible.