text:
Bcom 1st year notes
Bcom 2nd Year notes
Bcom 3rd year notes
Dreamlife24.com
Home Bcom 2nd Year notes Industrial dispute act 1947
Industrial dispute act 1947
Industrial Conflict Act, 1947
Industrial dispute refers to industrial dispute. When a quarrel or differences arise between employers and workers or between employers and employers or between workers and workers, it takes the form of an industrial dispute. This is the result of production taking place on a large scale through the use of modern machines and techniques. According to Section 2 (K) of the Industrial Disputes Act, 1947, industrial dispute refers to any dispute or dispute between employers and employers or between employers and workers or between workers and workers that the appointment or service of a person- Relate to the conditions of emancipation or employment or the conditions of labor. "
Industrial disputes may be related to any of the following
(A) in relation to the appointment or discharge of a person, or
(B) In relation to the conditions of employment or
(C) Regarding conditions of labor
Case Law: Tremular Motors Ltd. In the dispute of the Mumbai Ottomobiles Employees Union, it has been decided that it is not necessary that the industrial dispute should be done by the person engaged in the work, but the workers freed from the work can also submit it under this Act.
Due to industrial disputes
Causes of Industrial Disputes
If indeed seen, the industrial dispute is a product of modern capitalism. As the size of production increased, capitalist practice flourished and the exploitation of workers increased, industrial disputes continued to arise when workers opposed it. For the convenience of the study, we can divide the causes of industrial dispute into the following four parts: (I) Economic reasons,
(II) Political reasons,
(Iii) Management related reasons and
(IV) Other reasons.
commercial purpose
Economic Causes
(1) Low waycs –
The industries where the wages of workers are so low that it is rare to meet even the minimum requirements of their lives are called the Industrial Conflict Act 1947 24, they resort to strike to increase their wage rate. As a result, industrial disputes arise.
(2) Fines and removal from work –
Sometimes employers improperly impose financial penalties on workers or expel them from their jobs. In protest against this, the workers go on strike. Due to this, industrial disputes arise.
(3) Demand of bonus and dearness allowances – Everyone knows that the prices of all commodities in India are increasing at a rapid pace. The most severe impact of this back-breaking inflation is on the workers, so they demand an increase in bonus and inflation. When the demand is not met, the workers resort to a strike. This increases industrial disputes. It is a matter of satisfaction that recently the Government of India has decided that 8.3% of the wages will be given to the workers as a bonus, irrespective of whether there is profit or loss in the factory. This is to prevent disputes.
(4) Unreasonable working conditions
On the basis of experience, it can be said that industrialists come and go in implementing the provisions of the Factories Act. Hence, workers resort to strike to improve working conditions and implement other provisions of the Factories Act.
(5) Protest of scintific management and pahialisation plans – opposition to scientific management and rationalization schemes.
It is natural for workers to be laid off initially due to the implementation of scientific management and rationalization schemes in factories. In protest, workers go on strike. For example, in 1955, in the cotton-textile mills of Kanpur, workers did an 80-day strike in protest against the implementation of the rationalization schemes.
(6) Defective policy of recrvitment of workers
Another important cause of the industrial dispute is the contaminated method of recruitment of workers in factories. Workers are recruited by contractors, masons, etc. intermediaries. They take bribe from the workers and exploit them as they wish. Hence, due to their behavior and tendency to exploit, the workers go on strike.
(7) Holidays and working hours
Many times industrial disputes also arise due to the employers not giving workers their holidays or taking work for more than the prescribed hours.
(8) छटनी (Retrenchmeat)-
Workers are laid off by the employer due to reduced work load, loss of industry, or any other reason, due to which industrial disputes also arise.
Political reasons
Political Causes
Politics –
It is a matter of great regret that the leadership of workers and labor unions in India is in the hands of non-workers or partisan political parties. Congress on some
The Industrial Act, 25, is dominated by Communists and some by Socialists. These parties seduce the workers for their selfishness and borrow their feelings and strike them arbitrarily.
Trade union movement –
History is a witness to the fact that industrial disputes have started since the establishment of labor unions in India. Earlier, industrial disputes were only nominal. Both the industrialist and the labor union run from the beginning considering themselves as enemies of each other.
Sometimes the workers of an industrial undertaking strike themselves in sympathy with the strike done by the workers of any other industrial undertaking or undertaking. Thus gradually it takes the form of a large industrial dispute.
In opposition to government policy (Agaisnt the govt. Policiyes) –
If workers consider any policy or rule declared by the government as adverse to their interests, they immediately resort to strikes to express their opposition, and thus industrial disputes arise.
Against the death or arrest of a labor leader.
Sometimes industrial disputes arise on the death or arrest of a major leader of the country's labor economy. The Indian labor-union movement is replete with such examples.
Affairs to trade union affiliation –
Labor unions established in industries pressurize industrialists to give recognition. Industrial disputes arise when industrialists refuse to recognize them. Not only this, sometimes more than one trade union is established in the same large industrial unit and pressurize the industrialist to give them recognition. Industrial disputes also arise when industrialists refuse to recognize them or give recognition to any one and deny the rest.
Reasons for management
Managerial Causes
(1) Under management of management
Managers harass and mistreat workers in various ways, resulting in industrial disputes.
(2) Unsafis factory concepts –
Sometimes employers take a number of steps (eg shortening of holidays, job instability, retrenchment of workers, lockouts and work longer than workers, etc.), which arouse a feeling of discontent among workers. is. Industrial disputes arise as a result.
The Industrial Conflict Act 1947 26 is more ignorant. They cannot think of their good or evil themselves. As a result, they become puppets in the hands of some selfish individuals who awaken their sense of bitterness and disharmony towards the mill owners and prove their selfishness by taking a strike.
(4) Get the share of management and profit
Today's labor is a vigilant labor, so he wants a share in the benefits of the industry in addition to his wages. When they are opposed by the industrialists, the working class gets organized and resorts to strikes, causing industrial disputes.
(5) Undue behavior of supervisior
The supervisors who are appointed to look after the work of the workers, treat the workers inhumanely, against which the workers resort to the strike.
(6) Defecive policy of recruitment
India has a corrupt system of labor recruitment in factories. Workers are recruited through javers and contractors, who exploit them arbitrarily, so in protest against this, workers resort to strike and thus industrial disputes arise.
Other Causes
In addition to the above reasons (i) the communist ideology stream spreading among the workers; (ii) Instability of cooperative policy and untimely announcements of cheap leaders; (iii) a constantly rising price level; (iv) conflict between labor unions; (v) Labor-unions not being recognized by the owners; (vi) Industrial disputes also arise due to the presence of labor unions among the labor unions competing for representation, and (vii) insulting the leaders of the labor unions, etc.
Question 2 Explain the Act in relation to preventing and compromising industrial conflicts in India.
Answer – One of the objectives of the Indian Industrial Disputes Act, 1947 is to set up appropriate mechanisms for settling industrial disputes. For this, it is necessary that a Working Committee, Inquiry Court, Labor Court, etc. should be constituted and proper rights should be given to them, so that they can carry out their work in an effective manner. Under the Indian Industrial Conflicts Act, 1947, a settlement mechanism has been made for the settlement of industrial conflicts, which has been divided into two parts.
1: To investigate the reasons
2. To provide justice (A) Equipment to check industrial conflicts
The following devices are used to check industrial conflicts.
(1) Establishment of workshop committee
According to Section 3 of the Act, in all those industrial institutions in which the Industrial Act / 27 or more workers are appointed or appointed on any day in the last 12 months, the employer of such institution shall be constituted by appropriate government general or special order to form a maritime committee. Can order A working committee is constituted in which there are equal number of representatives of the workers and workers. Tomorrow the maximum number of members will be 20. His Chairman is an impartial person. If there is any registered labor treaty under the Indian Labor Act, 1926 in that industry, the workers' representatives will be elected on its advice.
(2) Conciliation Officer-
As per Section 4 of the Act, "Appointment of Settlement Officer may publish as many number of Settlement Officers as may be required by the appropriate Government by publishing a notification in the Official Gazette and whose duty it is to promote industrial disputes and encourage arbitration.
(3) Board of Conciliation –
As per Section 5 of the Act, the appropriate government may form a Board of Conciliation on an ad-hoc basis by declaration in the Gazette to deal with mutual conflicts between the employer and the workers. This board consists of a chairman (independent person) and 2 and 4 other members. Individuals on both sides try to negotiate a settlement through mutual arguments and if agreement is not reached. So the board prepares a detailed report of its decision, and sends it to higher officials within 2 months.
(4) Court of Inquiry
Under Section 6 of the Act, the appropriate government may, if it considers necessary, establish a Court of Inquiry to inquire into the cause of the dispute. Courts of inquiry are usually one-member. After these investigations, these investigating courts send their reports along with the facts related to the investigation to the government within 6 months of the commencement of the investigation, on which the government takes further action.
Machinery to give Justice
The following mechanisms are used to provide justice
(1) Labor Court
According to Section 7 of the Act, the appropriate government can appoint the Labor Ministry to pass judgment on the industrial dispute related to the subjects mentioned in Schedule 2. Only one 15 to be appointed to the Labor Court are practicable. The following are the qualification conditions of a Judge of the Labor Court
(i) He is or has been a Judge of a High Court, or
(ii) He should have been working for the post of District Judge or Additional District Judge for at least 3 years.
(III) He has been the chairman or member of the Labor Appellate Tribunal or other tribunal for two years, has done, or
(iv) He has served as a Judge in any court in India for at least 7 years.
(4 ) He has been the Chairman of any Labor Court constituted under any State Act for at least 5 years for Industrial Conflict Act, 1947 28.
(2) Industrial Tribunal –
According to section 7 (a) of the Act, the appropriate government can establish an industrial tribunal by issuing a notification in the official gazette to give a decision in respect of the subjects mentioned in schedule 2 or 3. It will be a single member only. Its eligibility conditions are as follows
(i) He has been a Judge of the High Court, or
(ii) He should have been the Chairman of the Labor Appellate Tribunal appointed under the Industrial Disputes (Appellate Tribunal) Act, 1950 for at least two years.
(3) National Tribunal –
According to Section 7 (b) of the Act, the National Tribunal is set up by the Central Government to solve problems of national importance or to deal with problems which affect more than one state. Only one person is appointed in it. His qualification should be as follows.
(i) He is or has been a Judge of the High Court,
(ii) He has been the Chairman of the Labor Appellate Tribunal appointed under the Industrial Disputes (Appellate-Tribunal) Act, 1950 for at least 2 years.
(4) Arbitration
According to Section 10 (A) of the Act, wherever industrial disputes exist or are likely to arise and the servicemen and workers agree to refer them to the arbitrator, then they should refer such disputes to a Labor Court Tribunal or National Tribunal. The former can, at any time, by a written agreement, direct him to the arbitrator's decision. Such direction shall be made before the Panch or Panches as directed in the Panch Decision Agreement. According to the amended act 1964, if the number of punches in the arbitration agreement is even (2,4,6), such agreement provides for the appointment of an arbitrator (Umpire).
The Panch Decision Agreement shall be in the prescribed format and shall be signed by the parties in the prescribed manner. A copy of the Punch Decision Agreement will be sent to the appropriate government and conciliation officer. The government will publish it in the gazette within a month. After investigating the Panch dispute, they will sign their decision and present it to the appropriate government.
Rights of powers to settle disputes
According to Section 11 of the Industrial Disputes Act, 1947, the Settlement Officer, Board of Conciliation, Labor Court, Industrial Tribunal, National Tribunal etc.
Industrial Act / 29 rights have been given.
Powers of Authoritics for the Settlements of Disputes
According to Section 11 of the Industrial Disputes Act, the following rights have been given to the Board of Conciliation, Labor Court, Industrial Tribunal, National Tribunal etc.
(1) Powers to enter in the Institution
A conciliation officer, a member of a board or court and the president of a labor court, tribunal or national tribunal has the right to enter into any part of the institution related to the debate to provide information for the purpose of investigating an industrial dispute.
(2) Powers of Civil Court
He has all the rights of civil court in the following cases.
(i) To examine a person on oath and compel him to appear in person.
(ii) To force the submission of forms and other material.
(iii) Appointment of commission for taking statements of witnesses.
(iv) in other fixed cases for which they have been prescribed.
(3) Power to examine documents (Power to Examine the Documents) –
The conciliation officer has the right to ask for and see any document which he considers necessary for the implementation of the judgment or for other duties to be considered in relation to the industrial conflict or to see it. In this regard, he has all the rights of civil court. …
(4) Power to Appoint the Valuers –
A court, labor court, industrial tribunal or national tribunal has the power, if they deem necessary, to appoint one or more appraisers to consult in the matter under consideration.
(5) Power of Public Servant –
According to Section 21 of the Indian Penal Code, all conciliation officers, members of the Board or Court and the Chairmen of the Labor Court, Tribunal or National Tribunal shall be treated as public servants and hence have all the rights of public servants.
(6) Power of Imposing the Responsibility to Bear the Expenses
Who and under what conditions should bear the expenses of the proceedings carried out under the proposed Act, it will be decided by them.
Duties of powers to settle disputes
Duties of Authorities or Settlement of Disputes
Settlement of Disputes under the Industrial Disputes Act, 1947
The following duties of the Industrial Conflicts Act, 194730 powers have been explained:
(1) Duties of Conciliation Authorities —-
According to Section 12 of the Act, the following are the principal duties of the conciliation officer
(i) To take necessary action in the event of any industrial dispute arising or apprehension thereof.
(ii) To seek an agreement between the parties related to the dispute by conducting an immediate investigation into the dispute.
(iii) To send its report to the government with a memorandum of understanding (Memorandum) signed by both the parties when the agreement is reached.
(iv) If agreement is not reached, then send your report to the government, including the facts due to the dispute, the details of the efforts made for the settlement and the agreement. Reasons may have been highlighted.
(2) Duties of Conciliation Board
According to Section 13 of the Act, the following are the main duties of the Board of Conciliation
(i) Making efforts to reach a compromise between the parties involved in the industrial dispute.
(ii) To investigate and take appropriate action in relation to the dispute.
(iii) To send their report along with the signed MoU of both the parties once the agreement is reached.
(iv) Send a report to the government, if the agreement is not reached, which highlights the reasons for the dispute, the facts, the details of the efforts made for compromise and the reasons for the non-agreement.
The Settlement Board should submit its report within two months.
(3) Duties of Court of Inquiry
According to Section 14 of the Act, if a matter is directed to the Inquiry Court, the following duties of the Inquiry Court will be
(i) Intensive investigation of the subject presented.
(ii) To submit its report to the government within 6 months of handing over the dispute.
(4) Duties of Labor Court. Tribunal and National Tribunal – Labor Court, Tribunal and National Tribunal
As per section 15 of the Act. They will have the following duties
(i) To complete the proceedings at the earliest
(ii) To send their decision to the Government as soon as possible after their termination.
Meaning of strike
In simple terms, 'strike' means the working class employed in an industry to stop work together or refuse to accept work in a coordinated manner.
According to Section 2 (Q) of the Industrial Disputes Act – 'strike' means (1) the collective closure of employees employed in an industry or (ii) the refusal by the labor force to continue the work or collectively Refusal to accept employment is from refusal.
Signs of strike
Characteristics of Strikes
The following are the symptoms of a strike
Workers should strike in any industry.
Both parties should be workers and employers.
The strike should be done by all workers or their groups.
Work must be closed collectively or jointly.
There should be a definite purpose for the strike.
The strike should be under a simple agreement.
It is not necessary to be absent from work for the strike.
Work should be stopped.
The strike should be held in the same industrial institution where the workers have common purpose and are working.
Forms of Strike
The following forms of strike can be-
General strike
'Delay' strike,
'Work slow' strike,
hunger strike,
Sympathy strike,
Symbol strike.
Meaning of Lockout
In general terms, lockout refers to the closure of the place of work by an employer in an industry or not giving work to the working class.
According to Section 2 (L) of the Industrial Disputes Act, the lockout by a serviceman to close a place of employment or refuse to give work to any number of persons appointed for work is called lockout. Lockout is also called factory closure.
The following are not lockouts
Institution to be closed for ever.
(ii) Delay due to installation of new machines.
(iii) Work stoppage due to uncontrolled conditions.
(iv) Lockdown due to illegal strike
Conflict Act 19.1 34 Signs of inability to work
Characteristics of Lay-OFF
(i) The name of the concerned laborer is required to be mentioned in the attendance register of the industrial institute.
(ii) The concerned labor has not been retrenched.
(iii) Inability to deliver work is temporary, not permanent.
(iv) Inability to work is due to any specific reasons, such as lack of coal, lack of power, shortage of raw materials, excessive stock accumulation, breakdown of machine or any specific reason.
(v) The employer is unable or ineligible to give work to the worker.
Due to inability to work
Cause of Lay-Off
Work can be refused in the following cases
Lack of electricity, water and power,
Government intervention,
Lack of raw materials,
Occurrence of natural phenomena,
Machines damaged,
Excess collection of goods.
The inability to perform tasks is always temporary. According to an amendment 25 (M) in 1976, no laborer whose name is mentioned in the attendance register of the institute is returned from the work without the permission of such officer as specified by the above government by the memorandum in the official gazette, Provided that the reason for returning from work is not the natural calamity or lack of power.
Meaning of Retreachment
Retrenchment refers to termination of services of labor by the employer. As per Section 2 of the Industrial Disputes Amendment Act, 1984, 'retrenchment' means the termination of service by the employer of a worker in addition to the disciplinary penalty but termination of service is not retrenched in the following circumstances.
(i) Voluntary retirement by a worker.
(ii) Retirement at the end of the age limit under the employment contract made with the employer.
(iii) On termination of service from the end of that period, if the appointment is made under a contract for a fixed period and that period is not renewed.
(iv) Termination of service by termination of contract according to the terms of the contract.
(v) Termination of service of labor due to continuous bad health.
Industrial Acts 35. Causes of Retreachment
There may be the following reasons for retrenchment –
Excess employees
Shortage of raw materials.
Modernization of machines. . (iv) closure of a particular unit.
Take it
Continuous loss.
Lack of power tools.
Right to compensate workers in case of inability to work
Right of Workmen for Compensation in Case of Lay-off
According to Section 25 (C) of the Act, if the work, whose name is registered in the attendance register, is not given work, then the basic wages and dearness allowance for the days of non-employment to the employer (except for weekly holidays). 50% will be provided as compensation provided that the laborer has been working for that year for one year. However, the amount of compensation to the laborer will not be given more than 35 days in a period of 12 months.
According to Section 25 (E) of the Act, in the following cases the worker will not have the right to get compensation
(i) If a laborer refuses to accept other work assigned to him in the same industrial institution or in another institution of the same employer not located more than 5 miles from the first institution,
(ii) He does not appear at the Institute at least once a day during normal working hours, and
(iii) If workers of any part of it are forbidden to work due to strike or tendency to 'work slowly'. .
Provisions related to layoffs
Provisions Regarding Lay-off
According to Section 25 (F) of the Act, any worker who has been working continuously for at least one year under any employer in any industry, retrenchment
Can be done as per the following conditions
(i) The laborer should be given a written notice of one month or payment of wages should be made in advance for the notice period.
(ii) The employee should be paid a compensation of 15 days per full year for full year services. Industrial Conflict Act 1947 36
(iii) The notice of giving notice or payment to the laborer should be sent to the government within 3 days.
A worker who has worked for 40 days in a full year will be considered as one year of service.
Compensation to Workers in Case of Transfer to Undertaking in case of transfer of undertaking
According to section 25 (2F) of the Act, "in such institutions where ownership or management has been transferred, every person who is in continuous employment and has worked for one full year from this transfer, he shall inform and indemnify as per rules. Will be entitled to receive Worker will not receive compensation under the following conditions
If his services are broken somewhere in between.
(ii) Terms and conditions of his services are not bad in the present employment.
(iii) The employer receiving the transfer is liable to pay compensation at the time of retrenchment of the workers according to the terms of the transfer.
Institute of compensate workers in case of closure ( Co Mpensation T O Workers In Ca Se Of Windingup Of Undertaking)
According to Section 25 (2F) of the Act, if an institution is about to be closed, every worker who has worked for at least one year will be entitled to information and compensation as per Section 25 (F), but if the institute If this ceases due to mandatory reasons for which the employer has no control, then the compensation to the laborer will be equal to the average wage of more than 6 months.
Retrenchment compensation
Procedure of Retrenchment
According to Section 25 (G) of the Act, if there is no agreement between the workers and the employers regarding the retrenchment, the service person will first lay off the person who comes later. If the employer retrenches another person, he will have to give written reasons.
Reappointment of laid off workers
Re-employment of Retreached Workers
According to Section 25 (H) of the Act, whenever vacancies are declared after retrenchment, the servicemen will give priority to re-employing the laid off workers.
Industrial Act 37 Industrial Disputes Act,
In 1947, the Sogic Disputes (Amendment) Act, 1976 was passed by a significant amendment in 1976, which came into force from 16 February 1976 as a new chapter VB has been added to the Act which contains sections 25K. Under these sections, retrenchment and work-out allowances have been prohibited from giving work to workers in some specific institutions. In the present chapter, the DPS and the amendments given in 1983 have also been included in place. The amendments made in 1007 were implemented from August 1, 1984. As a result of this, the employer will no longer be unable to lay off, lay off and work in certain institutions without the prior permission of the appropriate government. And because of this, the morale of the workers will rise and the production will increase and industrial peace will be established in the country.
Where the Industrial Disputes (Amendment) Act will apply:
This provision will be applicable to those industrial institutions in which at least 100 workers have been employed daily in the last 12 months, but these provisions will not be applicable to the following institutions.
(A) Industrial Institutions of Seasonal Character: or (B) in which there is an internittently (ie, the work is not continuous).
In case of dispute, the decision of the appropriate government – where the dispute arises whether the institute is of seasonal nature or intermittent work or not. The decision of the appropriate government in this regard will be final there.
Prohibition of forced leave or pre-conditions
(1) Get the pre permission of sepeified officer
Any laborer working in an industrial institution whose name is written in the attendance register of the institute without the prior permission of the designated officer or inability to give the work will not be allowed to leave. But if it is to be done due to lack of power or due to natural distress or due to fire, flood or too much avalanche gas in relation to the mine, then this will be an exception. But if forcible discharge in the mine is due to lack of any existing power due to fire, flood. Highly flammable gas or material, then in this case it will be necessary to take prior written permission.
Depending on the format (Sepeified format) –
After receiving the permission, a letter will be given by the employer to the designated officer in a prescribed format and the reasons for the work will be clearly mentioned in it. A copy of this application (bimultaneouslv) will also be provided to the workers concerned.
Applied of time limit bar –
If a mine is left out of the workers' replacement or casual workers in the Industrial Conflicts Act, 19. 38) Sub-section (1) m77 Causes (gas or explosion after fire) Forced stick then forced stick start han. Fifth, within 5 days, an application may be made by the employer to the officer referred to in sub-section (i) to extend the period of forced leave. [Section 25-M (3)]
Set official authority (Right Of Sepcified Officer )
On receipt of the said application, the prescribed officer has the right to accept or reject the application for this permission, after giving due reasons in writing, after giving due inquiry. A copy of such order will have to be given to the employer and the employee concerned. [Section 25-M (4)]
On acceptance and not acceptanec under 60 days applied data within 60 days from the date of application.
If the specified officer does not give notice of acceptance or rejection to the employer within 60 days from the date of the above application, then after the 60-day period has passed, it will be presumed that permission has been given. [Section 25-M (5).
On refuse on probibition of lay-off
If the above government or designated officer has forcibly refused permission for leave, then this permission or denial will be binding on all the parties concerned and it
The order will remain in effect for one year from the date of such order. Section 25-M (6)]
Handover o judicial or rethink
The aforesaid government or designated officer either himself or the employer may reconsider the permission of forcible leave or the order of information on the application given by a laborer or submit it to the tribunal which will give its decision within 30 days. [Section 25-M (7)]
Forced leave invalid if not applied within the prescribed period (Applied is not due time prohibition lay off ilegal) –
If an application for prior permission of forced leave has not been made or for reasons specified in mining institutions, forced leave will be treated as illegal. In such a situation, the forcibly discharged worker shall have the right to receive all the benefits as if he was not forcibly discharged. Section 25-M (8)]
Right of discount given –
If the appropriate government is satisfied due to exceptional circumstances or due to accident in the institute or due to the death of the employer or for other similar reasons and it is considered appropriate to do so, it may, by its order, obtain prior permission to leave the institution for a certain period of time Can be exempted from following the relevant provisions. Section 25-M (9).
Provision of section 25-C to be applied (Provision follow to section 25 (c)) –
The provisions of Section 25: C (except for the provision of reducing the amount of compensation for denial of work from retrenchment) shall also apply to denial of award of work referenced in this section. [Section 25-M (10)]
Industrial Adinia: pre-conditions trimmed 39 workers ( Conditions Precedent To Retrenchment Of Workmen) [Section 25-N]
(1) A worker appointed in any industrial institution to which this chapter applies, who has been in continuous service for at least 1 year under an employer, shall be retrenched by the employer subject to the following conditions only. can be done
(A) the information has been given stating the reasons for retrenchment of the labor and the notice has passed, or the labor has been paid wages for the period of notice; And
(B) Prior permission of the appropriate government or designated officer has been obtained by the application form. (2) An application for permission under sub-section (1) shall be given by the employer clearly stating the reasons for retrenchment and a copy of the same shall be given to the concerned labor at the same time.
(3) Where an application for an order has been made under sub-section (1), after the appropriate Government or designated officer has been examined and given the opportunity to hear the parties concerned, the acceptance or rejection of such order by the order. Can provide
(4) Where an application for order has been given under sub-section (1) and the appropriate government or the designated officer does not conduct the order to the employer within 60 days from the date of application, the period shall pass. It will be assumed that the order has been accepted!
(5) The order of the appropriate government or designated officer shall be final under the provisions of sub-section (6) and shall be binding on all the parties concerned and shall remain in operation for one year from the date of the order.
(6) The appropriate government or designated officer may reconsider the order on the application given by himself or the employer, or direct the matter to the tribunal.
(7) Where an application for an order under sub-section (1) has not been given, or where such order has been refused, such retrenchment shall be deemed to be unlawful and shall be entitled to all benefits.
(8) The appropriate government may, if it is satisfied that it is required to do so on account of special circumstances in the institution, may direct by order that the provisions of sub-section (1) shall not apply for the period specified for such institution. .
Questions 1. What are the objectives of the Industrial Conflict Act, 1947.
The basic objective of the Post-Industrial Conflict Act, 1947 is to make the relations of workers and servicemen cozy and at the same time build a class system so that disputes can be resolved and differences do not arise between workers and managers. The basic objectives of this act are as follows:
(i) To establish a cordial and friendly relationship between the workers and the employer and try to maintain them. .
(ii) To create such a system by providing the right to form an organization between the worker and the worker, between the worker and the worker, between the worker and the worker, for the purpose of investigation, dispute resolution and compromise. To be fulfilled –
(iii) Prevention of industrial evils such as illegal strike and lockouts
(iv) To try to provide relief from the situation arising out of forced leave or retrenchment of workers.
(v) To provide workers with the right to collective bargaining and encourage them for this.
(vi) Do not let industrial production fall due to labor unrest.
(vii) To establish industrial peace in the country.
In India, the Labor Appellate Tribunal gave the following objectives of the Industrial Disputes Act while giving a 'decision' in a dispute.
To remove conflicts between employers and workers.
Do not allow strikes and locks.
To establish industrial power in the country.
(iv) Not to let the industrial production of the country decrease due to unrest among the workers.
Question 2. Explain the difference between the Working Committee and the Board of Conciliation.
Industrial Conflict Act 19.1 42 Hence industrial power gets dissolved, production starts decreasing, production expenditure continuously increases and poor labor has to face severe economic difficulties due to reduction in income. Not only this, due to lack of daily working commodities in the market, four markets are dominated, due to which consumers also face many difficulties. In short, industrial disputes resulted in the peace of the entire nation. There is a Bhaga, in which no one is benefited. Today our nation is moving rapidly towards industrialization. Industrial peace is most needed. This is possible only when industrial disputes do not arise. Therefore, to prevent these, the Industrial Disputes Act, 1947 was passed in our country.
Question 4. What are the persons who are bound by the Settlement under the Industrial Conflict Act, 1947, and the Panch decision?
Answer – Parties are bound by Settlement and Awards
(1) Mutual Agreement – Settlement under the agreement between the workers and workers, except for the stay during the settlement proceedings, will be binding on the reasons for the stay.
(2) Panch Decisions – A Panch Judgment which has become enforceable shall be binding for the parties who have made a stay and submit the Panch or Panchas for settlement of the dispute.
(3) Settlements and decisions – Settlement made by the Settlement Officer or the Board shall be binding on the following parties or persons if the decision made by the Labor Court or the Industrial or National Tribunal is enforceable.
(i) All parties to the industrial dispute.
(ii) All parties who have been ordered to be present as a party during the proceedings.
(iii) If the party is an employer, then his descendants, successors or. The mortgagor will also be binding.
(iv) If the party is a labor community, the dispute shall also be binding on the person to be appointed in the institute or any part thereof from the date of delivery. The benefit of the settlement or decision is not only the parties to the immediate dispute, but also the latter. All parties to be appointed are given.
Question 5. Give the definition of the term public utility service. What restrictions are put on strike and lockout in it.
According to Section 2 (N) of the Post-Industrial Disputes Act, 1947, public utility services means the following services.
(i) Railway service or air transport service that carries passengers or goods from one place to another.
(1) That experience of an industrial institution. The ability of which should be the security of the safety of the institute or the workers.
(ii) Postal telegraph and telephone services.
(iii) Any industry which caters to the water, power and electricity needs of the people.
(iv) Any sewage vehicle or cleaning system for public health.
(v) Any industry mentioned in the first list, which has been declared public utility, under such industry
(1) Transport, other than railways) which bring and carry passengers or goods by water or land route; (2) banking, (3) coal, (4) cement, (5) cotton textile industry, (6) food materials, (7) iron and steel, (8) immune institutions. (9) Services in hospitals and hospitals, (10) Fire fighting services, (11) Government mint, (12) Bharat Suraksha Prasad, (13) copper, lead, zinc, quarry, (14) oil field service, ( 15) Service or work related to the big port.
The government declares such industries in the gazette. According to Section 22 (1) of the Restriction on Strike in Public Utility Services Act, no person employed in a public utility service can strike unless the contract is dissolved unless
(i) The strike has not been communicated to the service planners 6 weeks before the strike,
(ii) 14 days have elapsed after giving such notice, or (iii) the date of commencement of strike specified in any such notice is not over;
(iv) Any conciliation proceeding before a conciliation officer is under consideration and at least 7 days shall not lapse after the conclusion of such conciliation proceedings.
Restriction on public service
Lockout in Public Utility Services)
According to Section 22 (2) of the Act – no person conducting public utility service shall lockout unless –
(i) The lockout has not been reported to the workers 6 months before the lockout,
(ii) 14 days have elapsed after giving such notice, or
(iii) The date of commencement of lockout specified in such notice has not expired, or
(iv) Any settlement proceeding before a conciliation officer is under consideration and at least 7 days shall not lapse after the conclusion of such conciliation proceeding .
Previous articleba 2nd year akbar notes
Next articleBcom 2nd Year The Indian Factories Act 1948
https://dreamlife24.com
BCom Books Notes PDF Download 1st 2nd 3rd Year
Bcom 2nd Year Notes in Hindi (Bachlor of commerce)
Bcom 2nd year Integrated Accounts notes
A Level Study Material
Auditing Notes in hindi
Autocad Study Material
B ed Notes Study Material
B.Arch Books notes
B.Arch books pdf download
B.Arch Study Material
B.Com 2nd Year
B.ed books & notes
B.ed Study Material pdf
B.Pharmacy Study Material
B.Sc Study Material
B.Tech Study Material
ba 1st year history Notes
Ba 2nd year Candida
Ba 2nd year english (Fiction)
ba 2nd year notes
ba 3rd year notes
Ba 3rd Year Polictical Science notes
BA Book Notes
BA books notes
Ba Question paper
BA Study Material Notes
BBA Book Notes
Bba Books Notes
BBA I Semester managerial Economics
BBA I Semester managerial Economics Archives
BBA Managerial Economics Notes
BBa Merginal Economics Notes
Bba Notes Study Materials
BCA effective technical communication
Bca notes
BCA PDF Download
BCom 1st Year Business Communication Notes
BCom 1st Year Business Economics Notes
BCom 1st year Business Environment Notes
BCom 1st Year Business Regulatory Framework Notes
BCom 2nd Year Corporate Laws
BCom 2nd Year Corporate Laws Notes
Bcom 2nd year cost accounts
BCom 2nd Year Income Tax Law Accounts Notes
bcom 2nd year income tax notes
BCom 3rd Year Corporate Accounting
Bcom Books
Bcom Books Notes
BCom ebooks
Bcom Question answer notes in Hindi
Bcom Question Paper
Bsc 1st year notes
Bsc 2nd year notes
Business communication in hindi
Business Communication Notes in Hindi
Business Economics Notes in Hindi
Business Environment Notes in Hindi
Business Organisation Books Notes
Business Organization Books
CCC Notes in Hindi
CCC pdf notes
Celebrity Phone Number
Computer Books and Notes
Corporate accounting notes
Corporate laws Notes in Hindi
Cost accounting notes in hindi
Ctet Math Science Paper
Ctet Model Paper in English
Ctet Model Paper in Hindi
CTET notes pdf download
CTET Study Material Notes
D Pharmacy
D.EL.Ed Books Notes study material
Financial Management notes
fundamentals entrepreneurship notes in hindi i
Fundamentals of Enterperneurship
IAS Studya Material
IIT JEE Study Material
Insurance & Loans
khan Sir Study material
LLB books notes
LLB Books Notes Study Material
Mba books notes
MBA Books Study Material
Mba Marketing Management
Mba pdf downlaod
MBA PDF Download
Mba Question Paper
Mcom Corporate Accounting
Motivational Books Notes pdf download
NIELIT O Level Books Notes PDF Download
O Level Books Notes Pdf Download
O level study material
Principles Business Management Notes in hindi
Principles of Public Administration
RRB admit card, result, dates
RRB Books
RRB Books Notes
RRB Books PDF Download
SSC Books Notes pdf Download
SSC MTS Study Material
TET books notes
TET Books Study Material
TET pdf download
TET Study Material
UP Board 12th time table 2022
UP Lekhpal Books Notes
UP lekhpal notes
UP Lekhpal PDF Download
UP Police Study Material
UP TGT PGT Study Material
UPSSSC Study Material
UPTET Books Notes
Vikas Divyakirti Study Material
dreamlife24.com is Education, entertainment website.
© Copyright - dreamlife24.com


Of course, we do not need an extra day to show our love and affection to our parents. Being children, we should make them feel special every day. But in every case time does matter. We may not celebrate every day as a special day due to the busy schedule. So we get a special day for whether it is a special person or a reason to make our loved one feel special. A special day means a lot and it can give us the opportunity to keep some lovely memories with us for the lifetime. Father's day is close to us. Spend your valuable time with your father and make him feel special on his day.
Father's day is celebrated in third Sunday of the June in India. So, the special day falls on 17th June in 2018.
How Can You Celebrate Father's Day?
You can celebrate the father's day in many ways. I have collected some unique ideas for you which can definitely make your dad feel special.
Express your love to your dad giving a unique gift to him on Father's day. There are so many online stores available where you can get varieties of customized gifts which are made as father's day special. Get a variety of fabulous gifts such as father's day greetings card, gift hamper, father's day special cake, father's day mug, father's day photo frame, father's day home decor gift and more. Moreover, you can get shirts, t-shirts, shoes at a reasonable price at online stores like Amazon.in etc.
In addition to these, fitness band or a smartwatch can be the best gift for a fitness lover. Get him a laptop, tablets or mobile phone if he is into it. Figure out which is useful for your father and buy it at your budget price.
You can make your father's day more special by preparing a fantastic dish for him. No matter how good a cook you are, try to cook something for him. Do not need to cook a luxurious dish. Make an easy recipe, cook it and enjoy it together with your father. I assure you that preparing a food yourself for your father is pretty good idea to make him special.
As I mentioned above father's day greetings card, you can make it yourself by writing something special for him. Father's day is an opportunity to appreciate him and make him special. So try to make a greeting card in a creative way and write just a few words for your dad. This word can make his day memorable for lifelong.
Above all else, there are so many different ways we can celebrate the father's day and make our fathers proud.


text:
GE freezes pensions in latest bid to save cash
Photo: Sebastien Bozon/AFP/Getty Images
General Electric said it will freeze pension plans covering about 20,000 U.S. employees and make other moves to help cut its debt and reduce its retirement fund deficit by $5 billion to $8 billion.
What it means: A pension freeze means employees no longer build up retirement benefits to reflect higher pay and additional years of employment. Employees stop earning some or all of their benefits from the point of the freeze onward.
However, a company "cannot take away any benefit that employees have already earned up to the point of the freeze," according to the Pension Rights Center.
U.S. employees facing the pension freeze will be moved to a defined-contribution retirement plan, such as a 401(k) plan, in 2021, the company said.
The big picture: The move is expected to help offset increases in GE's pension obligations — among its biggest liabilities and underfunded by about $27 billion as of the end of 2018, according to Reuters. It's the latest step by CEO Larry Culp to raise cash and reduce the company's $106 billion debt.
Culp, the first outsider to helm GE in its 127-year history, also cut GE's quarterly dividend to a penny and has sold off major assets to focus on a core of power plants, jet engines and windmills.

redpajama_set_name: RedPajamaCommonCrawl


text:
Gemma Toner
By Cablefax Staff | February 3, 2014
SVP, Broadband Product Management
Cablevision Systems
Product development and strategy are right in Toner's wheelhouse, as she oversees daily operations for Cablevision's IP-delivered services. Toner has seen Cablevision through its share of technology innovations, having clocked 24 years with the company, and she has been key to developing and launching some of its most groundbreaking products and services. Toner says she inherited the "dreamer gene" from her father, who always reminded her "anything is possible."


text:
Local Fire Department Captain Faces DUI Charges
It was to the dismay of an Orange County prosecutor that he had to charge a local fire department captain with felony DUI this month.
According to police reports, Capt. John Hines of Long Beach was driving on Westminster Avenue around 1 a.m. when he hit a bicyclist. He then fled the scene of the crime but was followed by eyewitnesses to his home, providing police with the identity of the suspect. He has since been charged with hit and run and felony drunken driving. If charged, he could face up to six years in prison.
Commenting on the case, Deputy District Attorney Andrew Katz said: "I consider this case rather egregious [...] Here we have a firefighter, a captain no less, someone with, no doubt, EMT training and whose job is to protect the community and render aid to those in need."
If you have been charged with felony DUI, contact us to secure representation from an Orange County DUI lawyer.


text:
By chrpa | October 31, 2018
Categories: amajeto, blog, browser, escape, escapemen, esklavos, free, halloween, japanese, minoto, no1game, pointandclick, puzzle, rating-g, usawanhouse, weekday-escape
Hi everybody, this is Halloween Special Weekday Escape 2!
BOO! It's Halloween time again! Only Halloween themed games are featured this week, starting with two Amajetos, as good as always with quality and solid puzzles, but different in their visual aspects. Usawanhouse mixes horror and humour to create funny game (successfully) and the same approach takes atmospheric Esklavos with lovely art on top. No1game entices you with the promise of a Halloween Party to a dark apartement...curiously enough, the promise is true, you just have to catch few green guys before the party begins. Minoto wants you to get ready poor hungry bear for trick or treating!
Have a good time and enjoy
Hello Win
Amajetos's latest game takes you to the room fully prepared for Halloween. Bowl with candies, box with candies, pumpkins, ghosts, spiders and also several full moons - yes several - behind each window brightly shines the moon, and one more in a picture!
The game is in their new clean style, it's purple and orange, and enjoyable.
The cursor is changing (its color), no save button, one ending.
Amajeto Halloween
This Amajetos's is older and you can compare how much their style has changed...you need to escape from a witch's hut crammed with magical objects, not talking about front courtyard, where you can't make a step without stumbling over some skull or pumpkin. You can see bats silhouettes looming against huge silver full moon, hoping that comings bats are smaller than they seem and if not, that you find way out before they reach you...
Monjiro! Escape 6
In Usawanhouse's nice small game you find yourself under the purple skies in the alley leading to Vampyre Castle, but before you can enter it and explore, there are some obstacles in your way. You meet magical creatures and appearances to the contrary, they are friendly and helpful, and even give you hints for solving codes. Well, not all of them...
The cursor is not changing, save button, one ending. The game is in Japanes only, but can be easily played without knowing any Japanese.
Halloween Tales Escape
You're the main ingredient in delicious soup. You have two options, wash your feet and get into the cauldron or find a way to escape...what?! Yes you read well, it's Esklavos' magical world (a bit different graphics this time, and lovely!) and beautiful but cruel witch wants to cook you in the large cauldron, where something is already boilig. Maybe unsuccessful escapers, who knows...these witches are unpredictable, pretty looks, innocent face and suddenly BOOM - you're the supper course. Can you get away?
Find the Escape-Men 193: Halloween 2018
You get an invitation to a Halloween party, probably from a friend (sender's name is unreadable). As a naive No1game player you go there without slightest suspicion, as many times before, and when you enter the apartement, the door slams shut behind you, and you're standing alone in the middle of a room. As many times before. What a surprise. You vaguely remember that the invitation said something about little green men...maybe you can try to find any? They are ten, and after you've found them, the party begins! It wasn't a trap after all!
Halloween (Minoto)
That swaying bear is longing for candy so much that he can't controll it, will you help him? You are in Minoto's poetic and charming game, so don't think much, or maybe stop thinking at all, click everywhere and see what happens.
The cursor is not changing, no save button, two ending (mistake end and candy end).
P.S. For more, see Weekday Escape N°160 (Halloween Special 2017)!
Also don't miss Escape from the Pumpkin Room by Tesshi-e or Three Cats in Halloween by Choko-Chai!
Or The Vault: Super Halloween Edition with so adorable Jinx: A Dark and Stormy Night!
kktkkr • November 6, 2018 11:32 AM
Amajeto has prepared a not-so-spooky room for you — even the pumpkin is smiling!
You immediately spot a square tile next to a bag of candy on the table. You can pull the light bulbs on the left to turn them on, and play with the scrambled image puzzle on the right.
Turn right to face a window looking out at the night sky. Beneath it, there's a small side table whose only working drawer has a lock with four pictures, and the lamp on top also lights up some other things on the same screen, including the grid device on the wall above the shelf (itself on the wall above the couch).
Turn right. A witch's hat dangles from the ceiling, filled with candy and decorated with spiders! There's also a picture which tilts when you click its corners, and the locked exit door.
Turn right. A sparkle outside the window draws your attention to the view of the other houses. Beneath that window, four large candy corns rest on a shelf which appears to have twelve colored drawers, none of which you can open. The desk on the right has a computer with a rectangular socket on its monitor and some colored balloons tied to one of its speakers. The locks on the four desk drawer have two brown buttons (one above the other), four shape buttons, a grid of buttons that turn orange, and four letter buttons.
Start by solving the (randomized) picture puzzle on the first screen, rotating its tiles until they align.
Once you're done, the picture slides down so you can take a square tile.
Use the clue from the balloons to unlock the colorful drawers.
From left to right, the balloons are orange, purple, yellow, pink.
So click the 2nd and 4th drawers in the right column, the 3rd drawer in the middle column, and then the 1st drawer in the left column. The yellow drawer opens so you can take a folded note, and unfolding the note gives a clue with three rows of boxes and numbers on some of them.
Use the clue from the folded note to unlock the bottom desk drawer.
The lengths of the rows of squares (5, 2, 5) match those of the words on the hat and bag: Trick Or Treat.
So each square represents a letter, and in particular the squares marked with the numbers 1, 2, 3, 4 represent the letters R, O, C, K.
Enter ROCK in the drawer, then open it to find a square tile.
Sixteen buttons
Use the clue from the grid device to open the third desk drawer.
When the lamp is lit up, only the squares around the outside of the grid turn orange.
So click the twelve outer buttons on the lock to turn them orange, then open the drawer to find another square tile.
Use the clue from the other houses to unlock the tilty picture.
The orange arrow indicates that you should look at the houses from right to left.
Those houses have orange window panes in the ⌟ ⌞⌜⌟⌝ positions, so click those corners of the picture to loosen it, then click it again to turn it over and find a square tile.
Four lights
You'll notice that the lightbulbs turn off if you pull them in the wrong order, so use the clue from the large candy corns to turn on all four lightbulbs correctly.
Since the clue involves patterns of 1, 3, 4, 2 triangles, you should turn on the lightbulbs in that order (leftmost, rightmost, second left, second right).
Doing so not only turns on all the light bulbs, it also makes spooky silhouettes appear.
Four pictures
Use the clue from the light bulbs to unlock the drawer of the side table under the window.
To enter the hat, bat, ghost, skull symbols, you need to click the buttons 4, 1, 2, 6 times.
Open the drawer to find a square tile.
Use the clue from the witch's hat to unlock the top desk drawer.
Looking at the spiders on the hat, you find that the 3rd and 4th spiders hang lower than the others.
So push the UUDDU buttons to open the drawer and find a USB stick.
Insert the USB stick in the computer, which displays a happy pumpkin with a witch's hat holding up some really orangey hand signals.
What could that be a clue for?
It's a clue for the second drawer! The hands held up show 4, 0, 3, 5 fingers, so you need to make the buttons show the shapes with 4, 0, 3, 5 sides.
Enter the code (square, circle, triangle, pentagon) by clicking the buttons 2, 0, 3, 4 times, then open the drawer and take the last square tile.
Place all 7 tiles in the grid device, and another randomized image puzzle appears.
So solve this one by swapping its tiles into the correct positions to make them align. (Hint: start with the orange tiles at the bottom of the gradient.)
Once you're done, the device opens up to give you a golden key. Use the key on the door to escape!
This room has more spooky decorations but less spooky colors, and if it feels more claustrophobic than the other one, you're not alone.
Looking past the huge variety of spooky stuff, you find a few things that aren't spooky: a book with two pages of clues, a set of colored bars in front of the skull, four colored hats below that, and four drawers whose locks have four bars, four letter buttons, four color buttons and two buttons (orange and red).
Turn around (left or right) to face the door, whose panel has a jumbled image with some parts missing. There's also four unlit candles, a row of hanging colored pumpkin lanterns, as well as drawers whose locks have four symbol buttons and a grid of buttons that turn white.
Use the clue from the lanterns to unlock the lower-right drawer on the first screen.
The lanterns are red, orange, red, red, red, orange, so click the RLRRRL buttons and open the drawer to find a square tile.
Use the clue from the hats to unlock the lower-left drawer on the first screen.
Turn the buttons yellow, blue, green, red, by clicking them 3, 1, 2, 0 times, then open the drawer to find a lighter.
Examine the lighter and click it to turn it on, then use it on each of the candles to light them.
Wasn't there another candle clue somewhere? Which drawer does it open?
The first page of the book tells you that each color (of candle) is associated with a letter.
Following that clue, the green, red, yellow, blue colored letters spell out FEAR, so enter that in the upper-right drawer and open it to find a square tile.
The changing cursor reveals that you can pick up the lit yellow candle.
Use the other clue from the book to unlock the right table drawer.
The second page of the book has a grid of sixteen pictures, and you can click and hold on the grid to zoom in. Which ones are different?
All of them are different, except for four which are identical! The pumpkins appear in the 2nd position of the top row, the 2nd and 4th positions of the third row, and the 1st position of the bottom row.
So click those buttons to turn them white, and open the drawer to find a square tile.
Place all three tiles in the door, and solve the randomized jumbled image puzzle by swapping its tiles into place. (Hint: Assemble the moon in the top middle first.)
Once done, you can open the door… to the backyard!
Bats cover the sky in front of the moon, or perhaps the decorations have gotten too realistic. You don't have to worry about them, just the locked gate, the skulls on poles to the left and woven mat on the red bench in front, and the pumpkin you can take from the right side.
Four pairs
One pair of eye sockets on each skull, and you can change the colors of the eyes from yellow to red.
So use a clue from inside the house to turn the correct eyes red.
The colored bars covering the blue skull on the first screen are all yellow except for the 2nd, 5th, 7th which are red.
So click the right, left, left eyes of the first, third, fourth skulls from the left. The skulls open their jaws menacingly.
Four bars
Use the clue from the four skulls to unlock the top-left drawer on the first screen.
Looking closely at the skulls, you see that the leftmost one has its jaw opened the widest, followed by the third, fourth and second.
So click the bars (from left to right) 3, 0, 2, 1 times to match, and then open the drawer to find a knife.
Place the pumpkin on the mat outside, then use the knife to carve it and then place the candle (which you took from the shelf earlier) inside.
Use the clue from this jack-o'-lantern to unlock the left table drawer.
Counting the shapes from least to most, you find that there's 1 upward triangle, 2 downward triangles, 3 circles and 4 squares.
So enter that code in the lock by clicking the buttons 0, 2, 5, 4 times, then open the drawer to find a golden key. Use that key on the gate to escape!
kktkkr • November 7, 2018 7:57 AM
Since Monjirou has something to say about literally everything (in the game and in the series), I'll ignore most of the text.
Monjiro Escape 6
(On the title screen, the top option in the speech bubble is Start, and the other is Load.)
Otoha appears to have dropped her hat on the way back from her friend's place. It's time for you (Monjirou, the dog) to retrieve it!
The path through the forest is lined with trees on both sides, and somebody on the left is dressed in rags, holding up a leaf and asking for a roll of paper. On the right, there's an unusual leaf pile next to a small door in a tree that you can't open.
Move forward by clicking the space in the middle. The sky darkens, and the trees gain some curious drapes in white on the left and more colors on the right, as well as some faces carved in their trunks.
Move forward. The sky is now an unsettling shade of purple, so cloudy you can't see the moon. Ahead, you see a castle but the path is blocked by a sleeping dog. There's only one row of trees on the left, and one of them has no leaves. Instead, it has a creepy face and a three-digit panel. The graveyard on the right is equally scary, but you notice a gravestone in front with a tiny circle marking, which tilts when you click any corner. If you look closer at the ground, you also see something white, which turns out to be the end of a long stick.
Use the stick to pull down the bandages from the trees on the left of the second screen.
(Instead of marking used items, the game won't let you select them and Monjirou will tell you they're no longer needed.)
Give them to the mummy on the first screen, who blushes(?) and drops the leaf on the ground. You can flip over the leaf to find a three-digit code.
Enter the code from the leaf (375) in the creepy tree. As you open the panel, the tree also seems to open its mouth.
Don't panic! Just grab that broom and read the clue with a letter in a heart shape.
Use the broom to clear out the leaf pile on the first screen, revealing a clue with some sort of drawing.
Use the drawing under the leaf pile to unlock the tilty gravestone.
The drawing is a single line, or rather an arrow starting from a circle. Since the circle on the gravestone is in the lower-right, you need to turn the clue upside-down before clicking the corners it passes through.
The corners you need to click are ⌟ ⌞⌜⌝ ⌞⌟⌝ .
Boo! A ghost pops out from the grave, with its own letter and shape clue.
(Monjirou: I hope it's only a dream!)
You're out of clues and items, but you can't give up just yet! Look around a bit more.
On the first screen, the door in the tree has opened with another ghost poking out from the doorway. Muster your courage and grab the red key from inside.
You haven't seen a keyhole anywhere, so it's time to look around again.
The dog blocking your way has vanished… wait, he's a werewolf wearing clothes and holding a welcome sign! The clouds must have moved while you were away.
Walk up to the castle gates, where you find a four-digit lock. The lanterns on both sides slowly flash yellow and white.
You don't seem to have seen any more numbers, but you do have several new clues.
The red color of the digits on the lock matches both the red letters on the welcome sign and the triangles on the werewolf's shirt.
The triangles on the sides point sideways, suggesting that you should rotate the first and last red letters (w and m). More specifically, you need to turn the left triangle anticlockwise and the right triangle clockwise to make them point up, and if you do that with the letters they both become the digit 3.
So the letters w, l, o, m become the code 3103, which you can enter in the gate to unlock it.
Oh look, we're welcome! Walking into the front yard, you see a large pumpkin which only appears to have outlines carved into its skin. The doors ahead are locked, with a red keyhole.
Go right. Beneath some really stealthy bats, you find a panel with four familiar and cute pumpkin faces which you can recolor. The door on the right is locked.
Use the red key to open the main door. An eerie red glow emanates from the doorway, but you decide to enter anyway.
The inside of this house is surprisingly well-lit. Some cards with card suits printed on them hang from the ceiling. The door on the right has a star-shaped hole and is labeled "Exit". Even Monjirou can read that!
Enter the doorway on the left to find a box which takes a password (halfwidth alphanumeric, which is an instruction you can safely ignore). The black sign above asks you not to open the box. Oh well, it's just a sign, right?
Use the clue from the colorful banners to unlock the colored pumpkin panel.
The faces on the panel appear on the trunks of trees with blue, yellow, green, red streamers.
So click the pumpkins 1, 0, 3, 2 times, then push the Open button to open the door.
Monjirou: Excuse me, is anyone here? I'd like to know the way home.
A monster with bolts in his head slowly pops up in the window and sticks out his tongue before going back down. He's wearing a letter clue in a heart.
The coffin on the ground both intimidates and intrigues you, but first you need to know which buttons to press.
Use the clue from the two lanterns to unlock the coffin.
Not including the times when both lanterns are the same color, they flash yellow in the order RLLRRL.
So push those buttons to open the coffin, releasing a vampire. He can't tell you much, but he can show you another letter clue on his cape.
Use all the card suit clues to unlock the password box.
Following the pattern on the banner, you find that the letters that appear in the spade, heart, club, club, diamond suits spell out HAPPY.
So type that in the box (either all uppercase or all lowercase) and open it to find the hat. Oh no, taking it has awakened the Reaper himself!
Oh well, it had to be done. The grim reaper's upset but doesn't seem too eager to attack you. Here's your chance to salvage the situation.
Pull that sharp scythe right out of his hands.
You're not just holding on to it for safekeeping. What else can you do with it?
Use the scythe to cut up the large pumpkin in the front yard. The halves fall apart and you can take the star plate from it.
Place the star in the exit door, whose sign changes to Open. It's time to go home!
You leap out the door and quickly return home (which was really nearby). After returning the hat, you get to enjoy Mom's tasty cookies!
All that messing around with spooky stuff has gotten you in trouble with this witch. Thankfully, the cauldron's not the only way out.
The witch refuses to boil you until you wash your feet, as if that little bit of dirt would ruin her excessively oily soup. While you're making her wait, read the clues on the tree behind her, and talk to the skull to find out what it's missing.
Turn left to find a tombstone covered in spiders that rotate when clicked. You see a bone and a dirt mound to its right, and a vase, an urn with a stuck lid, some sort of stand with a small hole, and a pair of skulls that's actually a puzzle with five skulls. Before you go, take the cobweb from the tree.
Turn left to find another grave marker in the shape of a Celtic cross. It has a pile of dirt in front of it, as well as a raven who tells you about poor Willy. And of course, there's a floating hat that just moves away when you click it.
Turn left to find a ring of candles (actually a symbol puzzle) and a cat who asks you to repair an orange cube (actually an orb puzzle). The hat from before is now on this screen, and if you click it it just flies back. You can also speak to the jack-o'-lantern, read the clues on the right tree, pick up a stick from the lower left, and pick up a shovel from the background (directly beneath the hat).
Solve the candle/symbol puzzle using the clues from the tree behind it.
The six symbols that appear on the left match those on the lower row of the clue, and the arrow on the puzzle screen tells you to place them accordingly in clockwise order.
Labeling the symbols (from top to bottom) 1 to 6, you need to place them in the order
-4-5-
6---2
-3-1-.
Once done, a crystal falls out to the side.
Use a clue on the note behind the witch to "repair" the orange cube.
Once you realize that the large, medium, small orbs beside the cube are worth 15, 10, 5 points, it's easy to make them add up to 25, 35 and 30 (the numbers on the bottom of the note), for example as 15+10, 15+10+10, 15+5+5+5.
One minor detail that you have to pay attention to the order: 25 goes on the top, 35 on the left and 30 on the right.
Once you're done, the puzzle goes away and you notice a candy key beside the cat.
Five skulls
Use a clue on the note behind the witch to solve the skull puzzle.
You'll notice that the skulls only respond to being tapped with the stick, so the main question is what order to tap them in.
In the skull clue, the shapes that appear with each skull are made of a different number of lines: 4, 3, 5, 1, 2.
In the puzzle, the left skull appears with one white line, suggesting that similar shapes are missing from the others…
If you assume that the left skull has one line because it's the first, then the skull clue simply tells you to hit the 4th, 3rd, 5th, 1st, 2nd skulls.
Do so, and a bone appears.
Four spiders
Use the remaining clue behind the candle ring to solve the spider puzzle.
In order to make the spiders face the ↓↗←←↘ directions, you need to click the spiders 4, 1, 6, 6, 3 times.
Then push the small button on the right, and a scepter appears.
Combine the crystal and scepter, and place the empowered scepter in the stand to make another candy key appear.
Use the shovel to dig up both dirt mounds. One of them contains the last bone, and the other just becomes a hole in the ground.
So return all three bones to Willy by placing them in the hole, and he returns your favor with thanks and a candy key.
Fill the vase with oil from the cauldron.
Then use it on the jar lid, which comes off easily. Click the jar again to pull out a pair of glasses.
The hat just won't stop floating back and forth, unless you can block its path.
Place the web in the right tree on the screen with the candles.
Now the hat gets stuck in it when flying to the right, and you can simply pick it up.
Give the skull on the first screen its hat and glasses, and it drops the last candy key on the ground.
Use all four candy keys on the lantern, which creates a portal for you to escape!
Celebrate one of your favorite days of the year in classic Escape-Men style, by simply accepting anonymous invitations to creepy mansions!
Don't fear the ghost, it's just a little squishy. The door is locked and this time the keypad lock is extra secure, requiring eight digits. There's a wall box on the right which requires a key to open.
The carpet has a bump in the lower-left corner.
Also, you can look above the wall box at the ceiling and (turned-off) lights.
Also, you can look above the keypad to find a clue.
Turn right to find four carved pumpkins on a white table in front of a geometric picture. You can press each of the pumpkin stems, as well as lift the tablecloth in two places to find a boomerang on the right.
Turn right to face some zombie heads beneath a window you can unlock and open. Outside, some bats hang from a tree and as you wait a green witch flies overhead on a broomstick.
Click the space under the tree to look down at a parade of trick-or-treaters. One of them seems a little weird…
Back in the room, check behind the shelf to find two more zombies and a green stool.
Turn right. Aargh, this screen has been overrun by black cats! They've even gotten under the table. Of the three boxes, the left one has a lock with digits in colored squares, the right one has a lock with four black and red digits, and the middle one holds a fruit knife.
Lacerate
The edges of the box you found the knife in appear to be stitched, so unsheath the knife and use it to cut out the false bottom. Beneath, there's a fluorescent light bulb.
Since you can still use the knife, you should look around for other places to cut.
Cut the carpet bump on the first screen to find a key.
While you're on the first screen, squish the ghost again. While squished, a stitch line appears, and it vanishes again when the ghost bounces back. Can you get it to stay down?
After a total of twelve clicks on the ghost, it finally remains in the squashed state, and you can slit its throat to find an Escape-Man.
Turn the stool over and use the knife to cut the bottom of the cushion and find another Escape-Man.
Finally, your slashing spree has come to an end.
Use the key to unlock the wall box on the first screen. It contains a switch that doesn't work yet, so maybe you should investigate further.
First, close the door of the switch box to find an Escape-Man hiding on the wall.
Still on the first screen, place the stool in the middle of the floor, then look at the ceiling again.
Now that you're standing on the stool, you have a closer view of the light fixture and can easily swap out the old, used fluorescent light bulb (click it 12 times until it unscrews) for the new one you have.
Now you can turn the lights on! The walls are no longer gray, so the room is slightly less spooky.
Check the old light bulb to find a green dot on the inside — another Escape-Man!
Colors and numbers
Use the clue from the lit room to unlock the left box.
The number and color buttons are outlines with fixed colors that match the walls of the room.
So which numbers and colors do the walls have?
The black wall has 4 orange pumpkins.
The light green one has 8 black cats (three of them under the table).
The white one has 5 light green zombies (two of them behind the shelf).
The orange wall has only 1 white ghost.
So click the color buttons 2, 5, 3, 0 times, then the digit buttons 4, 8, 5, 1 times. Open the box to find another Escape-Man!
Use the boomerang to take down the witch, which turns out to be an Escape-Man.
While watching the "parade", you find that one of them (in a green cat suit) has an unusually green face. If you try to pick him up, the game tells you that he's too far to reach.
The text popup has a picture of that costumed guy on the left side, and all you have to do is click that. One more Escape-Man down!
Watch the bats for a while, and you'll notice their eyes flash red.
So use that clue to unlock the right box.
Hint: there's one other detail to look out for before you start counting.
The tree trunk splits into four groups, which have different numbers of:
branches: 3, 4, 1, 2
black bats: 4, 2, 3, 3
red eyes: 6, 1, 2, 5
Rearranging these numbers in order from least branches to most gives the code:
Open the box to find another Escape-Man.
Solve the pumpkin puzzle using the clue from the picture behind it.
The downward-pointing arrow passes through shapes that match the eyes on the pumpkins. Including the black square frame, those shapes are (from outside in) square, circle, square, diamond, square, circle, triangle.
So push the buttons on the 1st, 3rd, 1st, 4th, 1st, 3rd, 2nd pumpkins from the left. The exclamation mark that appears hints that something has changed, so look under the table again to find another Escape-Man.
Use the clue on the top of the keypad to unlock it.
Enter 1234 followed by 5678 (i.e. just 12345678), and after pushing the ENTER button an Escape-Man appears briefly on the screen.
The chime confirms that you have all 10 Escape-men:
In walkthrough order:
In ghost
In bottom of stool
Beside switch box
In old light bulb
In left box
As witch
In right box
Under white table (from pumpkin puzzle)
From keypad
Watch as they transform before your eyes… nope, they're still the same, except that they hold up signs that you can move your mouse over to read.
Put together, the signs read 20181031, which is the date of Halloween. (If you try to enter this earlier in the game, the keypad won't accept it.)
Enter that in the lock to open the door. You choose not to leave, because 10 green people come in to party!
Last game for the Halloween special!
What do you do when the candy craving gets unbearable?
The game starts with a drooling bear in front of a house. Clicking the bear makes it approach the house… and immediately get chased out, for a Mistake End. (But you get to undo that mistake without any penalty.) After picking up the shovel and flower from the ground, all that remains is a group of black cats fighting over something and a single white cat left out of the action.
Go right. A pink-haired witch stands in front of a horse-driven pumpkin cart, except that the horse is smaller than usual. There's also a dirt mound with a hand extending out of it.
Go right to find a zombie chained to a machine with a lightbulb and two levers, with a hole for a third. There's a long plank of white wood and another flower next to a tree with a pointy hat that you can get by clicking the tree twice.
Go right. A coffin stands upright, but it's chained shut. Beside it, a dog has a collar chained to nothing at all. Take the wide plank of white wood.
Give the hat to the witch, who transforms the pumpkin carriage into a small carved pumpkin you can take.
Use the shovel to dig up the dirt mound. Out pops a guy who looks like he's trying to wear three costumes at once, and he gives you a can of black paint.
After you take the paint, combine the wooden planks to form a cross, and place it on the ground behind the hole to send him back.
Finally, put him to rest with both flowers. As a ghost escapes, it drops some garlic on the ground.
Use the paint on the white cat to turn it black. It draws the attention of the others, allowing you to pick up the lever.
Replace the lever in the zombie machine, then flip the correct levers to activate it.
(I'm not sure about the reasoning for this one.)
Looking at either the house roof or castle roof suggests that the middle lever should be up and the others down. So flip the 1st and 3rd levers to turn the machine on.
The zombie wakes up and throws its chain to the ground.
Use the chain to connect the dog to the coffin. Once it's linked, the dog pulls the chain off the coffin, and a vampire steps out!
Use the garlic to defeat the vampire, who turns into a bat and flies away, leaving its mantle behind.
Give the bear the mantle and pumpkin, and then send him into the house to receive sweet treats in a Candy End. Game clear!


This Spring, choreographer Joe Moran discusses worldwide dance relations and alternate at Dance4's NottDance festival (9 Mar) and joins choreographers Jonathan Burrows and Dan Daw and theorist Bojana Kunst to discuss dance and politics for Inventur 2 at Tanzhaus NRW, Dusselford (1-3 June). But even in the most practical dances, movements that make up the dance aren't reducible to these of easy labour; rather, they contain some additional qualities corresponding to self-expression, aesthetic pleasure, and leisure.
Dance is a powerful impulse, but the artwork of dance is that impulse channeled by skillful performers into one thing that becomes intensely expressive and which will delight spectators who really feel no want to dance themselves. Unlike the movements carried out in everyday living, dance actions aren't immediately associated to work, journey, or survival.
The Aurora Dance Arts (ADA) gained the 2013 Aurora Macaroni Child Household Choice award for Greatest Dance Classes! Enrol them now in our Child's Tap class where they'll learn the fundamental foundations of Faucet dance. These concerts are held in conjunctiion with the 2nd High College Dance Pageant, held with the concerts.
People also dance for the pleasure of experiencing the body and the surrounding environment in new and particular ways. Civic Dance Arts program offers yr spherical efficiency alternatives to its four performing level firms and three,000 recreational level students.
Protection of the royal palace of artwork and tradition generally inspired by the royal establishment as guardians and protectors of their custom. Such actions also could also be accompanied by highly theatrical elements, corresponding to colourful costumes, props, and music, that often accompany dance.


Media Studies is a testing ground for exploring the processes and methods involved in making architecture. Operating a diverse multidisciplinary programme where unexpected collisions and obsessive attention to detail expose rich seams of creative potential. It encourages students to interrogate the tools with which we speculate and play; compute and test; communicate, seduce, and provoke. By actively testing modes of production through focused acts of doing and making, Media Studies presents a range of opportunities for students to develop an experimental practice and hone dexterity with both established and progressive media. As techniques and concepts in fabrication, computation, and representation continue to undergo radical change, the course deploys a range of tools, aimed at both reinforcing and reinventing the methods with which students approach design and architecture.
First and Second Year students are required to enrol in studio-based courses, while Intermediate Media Studies courses are open to any Third Year or Diploma School student. The department staff possess a breadth of expertise encompassing architecture, the arts and technology and this year's courses address a wide range of creative media including hand drawing, digital modelling, video, photography, analogue and digital fabrication, code, immersive and interactive media and 3D scanning.
The Media Studies department offers a range of extra-curricular, weekend workshops and courses for students to develop new skills in working methods to support their studio work.
In addition, a range of one-off events, short introductions, tasters or demonstrations which explore a wide array of media are scheduled throughout the year. These are open to any student keen to explore working processes across the school.
Working with the AA Computer Lab, Media Studies offers a range of one-day software courses that allow students to quickly grasp fundamental techniques in major digital applications for architecture.
Kate Davies is Head of Media Studies and is an artist and architect. She holds a BSc, Diploma and MArch from the Bartlett and is co-founder of nomadic design studio Unknown Fields, art practice LiquidFactory and field robotics group RAVEN. She undertakes site-specific and expedition-based work and operates between writing, drawing, film and photography. Kate was Unit Master of Diploma 6, taught MArch at the Bartlett and is now director of the Unknown Fields Research Studio at the AA.
Miraj Ahmed is a painter and architect. He has taught at the AA since 2000 and is an associate lecturer at Camberwell College of Art. He was a design fellow at the University of Cambridge (2006?14).
Sebastián Andía Sebastian holds a March II from the AADRL. He studied at Universidad de Mendoza in Argentina where he received his degree as an Architect with honours. During his studies, he participated in exchanges with Universidad Anahuac in Mexico City and Washington DC at WACC (Virginia Tech), USA. He has taught at several schools including AA School with Diploma 17 and Intermedia 16 and at the Bartlett.
Charles Arsène-Henry founded the speculative research agency White Box Black Box (2009). He is conceiving The Library is on Fire with the Luma foundation and writing Read Drift Deramer Revir. Sue Barr holds a PhD from RCA and is head of Photography at the AA. She works and exhibits internationally, most recently as part of the AutoPhoto exhibition at the Fondation Cartier (Paris).
Frederique Barchelard is an architect and painter. Her work aims to picture the contemporary strangeness of everyday beauty through large format paintings, sculptures and architecture projects. She often collaborateswith Faye Toogood Studio (London).
Eleonor Dodman is an architect who graduated from the AA and has worked for Wilkinson Eyre Architects. Her work has been exhibited in the RA, RSA and London Festival of Architecture. In 2014 and 2018 she taught a the AA's Summer School.
Shin Egashira is an architect and artist working on installations, drawings and sculptures. Shin has taught at the AA since 1990 and has been Unit Master of Diploma 11 since 1997. He also conducts landscape workshops in rural communities around the world, with a focus on designing by making. He is founder and director of the Koshirakura Landscape Workshop, an annual event in the mountains of Niigata in which participants from all over the world join the Koshirakura village community to design, build and enjoy meals together.
Marko Gligorov is an architect and a designer born and raised in Belgrade who eats and rarely sleeps in London. Marko works at Zaha Hadid Architects, where his projects span four continents and teaches at the AA, where he explores with students how alternative, societal decision making can improve architecture as a whole.
Raluca Grada-Emandi graduated from the AA Interprofessional Studio and the RCA, with a previous degree in social psychology. She now works as an independent designer and creative consultant in the field of performance art. Her work focuses on bridging materiality with its absence, manipulating distortions across both physical and virtual realities. Her work has been exhibited at the V&A, Sir John Soane Museum, National Theatre of Iceland and featured in Vogue, Designboom, Arts Thread and i-D magazine.
Juliet Haysom trained in Fine Art at The Ruskin School, University of Oxford and the RCA. Her interest in working on site-specific projects led to her completion of RIBA Part-1 at the AA in 2013. She has worked as an associate artist at Muf architechts and is currently developing a solo artist?s commission built into the site of a ninteenth century prison in Bristol, and is lead artist for a new park in Bristol and a new public garden in Amesbury.
Anderson Inge has combined architectural practice with teaching for nearly 30 years, in both the UK and the USA. He initially completed training in Architecture and Structures at MIT, and trained in painting and sculpture at Boston?s Museum of Fine Arts School and at Central Saint Martins, London. He has delivered courses and workshops at numerous institutions including the RCA and the Rural Studio.
Alex Kaiser studied architecture at Oxford Brookes University and at the AA. His practice Different, is a studio focused on investigations at the intersection of architecture, visualisation and digital fabrication.
Harry Kay is an architect who works across set design, art installation and architecture. His projects range from stage sets for the Palais Garnier in Paris to a concert hall in a medieval castle in the Czech Republic. Harry was awarded AA Honours for his thesis on the international cultural impacts of consumerism.


ESCO will be exhibiting at the 2018 Latin Tyre Expo in Panama located at Booth #G336!
Come stop by to see what is new and exciting at ESCO!
2018 marks the 9th Edition of the Latin American & Caribbean Tyre Expo which has grown beyond our expectations every year!
Panama offers a geographical strategic and economical location where exhibitors can present their products to the Latin American & Caribbean tire markets. Panama is a business and tourist destination visited by thousands of business professionals from the region due to its Colon Duty Free Zone and the Panama Canal. Panama has become an international air hub making it easy for travelers to reach.


Creativity — making art — is another way to find that aliveness and spiritual connection often sought through drugs and alcohol. The creative process can be transformative for people with addiction.
It felt very important to tell a different story than the celebrity story. So many films, TV shows, memoirs have been put out that tell the dramatic story of famous people struggling with addiction. Image via "The Creative High"
Recovery that consists of meetings, step work, and an unfulfilling job makes for a very black-and-white life — at least for me it did. That wasn't the recovery I wanted. I was bored. When I got involved in creative endeavors, however, it was like adding color back into my world. For some people, creative expression becomes a new high.
As I started to explore creativity and art, I realized that I'd opened a door to a part of me that had been closed since I started using drugs. As a child, I loved painting and crafting. I reignited that passion and began expressing myself in new ways: blogging, writing and journaling; painting and drawing; making art and attending craft classes; and creating new recipes. My world feels so much more livable with art in it.
A big stumbling block for many of us is that we don't know where to start, and, like Jules says, we have insecurity about our work. That's where artist Tammi Salas comes in. Over the past few years, Tammi has been sharing her creative journey in recovery. Through Instagram, the #RecoveryGalsArtExchange, her podcast The Unruffled, and other ventures, Tammi gives us a starting point and inspires us to play.
San Francisco-based filmmaker, educator, and arts therapist Adriana Marchione finds her creative outlet in film. For the last 20 years, she has been dedicated to supporting people struggling with substance use disorder and other addictions. Recently, she directed a new a documentary feature-length film, The Creative High.
The Creative High Footage Teaser, Spring 2018 from Adriana Marchione on Vimeo.
Andriana Marchione took some time out of her schedule to discuss her creative process with The Fix.
The Fix: How has art and creativity influenced your own journey in recovery?
Adriana: I came into recovery 25 years ago as a photographer/visual artist, and at that time I didn't see a lot of creative role models in recovery. To be safe and away from triggers around my addiction that mainly stemmed from alcohol abuse and unhealthy relationships, I felt that I needed to move away from my creative life and artist connections. Life slowly became manageable. I started to heal, I found peace of mind, but I missed the excitement and vibrancy that my art making gave me. I found more internal ways to express myself (art journaling, poetry, small collages) versus making art to exhibit or be in environments where I mingled with other creatives and had to confront drinking and social life — galleries, parties, bars. This led me to study expressive arts therapy after several years into recovery, and then I made a career out of this. This has been incredibly rewarding to me, giving me a life of purpose, and also finding a focus where I specialize in working with addiction recovery, and artists who face addictions and eating disorders.
Along the way, I have found new ways to express myself: improv performance, Argentine tango, being an art curator for many years, and coming back to my love of media through filmmaking over the last five years. It also took a while (and continues to challenge me) to find the balance with creating art and being public in art making, taking risks but still being grounded in recovery.
What motivated you to create this film, and what does it represent to you?
Being dedicated to a creative project of substance and collaborating with the film team has been one of my hopes and visions in recovery. For the last 18 years, I have focused on art therapy and supporting people one-on-one or in a teaching setting, but when I started making documentaries I felt a strong calling to tell stories and make a larger statement through my art. Films have the power to do that.
My first documentary film, When the Fall Comes, was released in 2014 and was about my personal journey with grief and using the arts to heal. This film gave me the inspiration to do more films because I realized how many people a film can reach and what a rich experience it is to be involved in the making of a film. It is also a passion project since the topic of creativity and addiction is so close to my heart. This is something I have lived and watched others struggle with in my work — how to have a creative life successful in recovery. I wanted to tell the artist's story from a new perspective, with many voices. I wanted to give hope to artists in recovery and artists who are still caught in addictive cycles, but I also wanted to show how the arts can be an important vehicle for healing in recovery.
In what ways do you think the film will speak to both people in recovery and to those seeking it?
I hope this film will give people a window into the real challenges and successes that artists who have suffered from substance use disorders face. I also think it is important for people to speak publicly about their addictions, so the public can see that recovery happens and so that we can continue to combat stigma that comes along with the disease of addictions.
Some of the artists in the film have had to go through a process with this, and I applaud their courage and willingness to reveal their stories with the public. I hope that people viewing the film will have a deeper sense of the highs and lows that accompany the creative process and take the risk to create. I also want to convey the fact that seeking an alternative "high" through making art gives another channel to find that aliveness and spiritual connection often sought through drugs and alcohol. Art can be the new medicine, one that is productive and meaningful rather than destructive and life-diminishing.
You chose nine working artists from diverse backgrounds to feature in the film, rather than choosing celebrities. What unique qualities do you think that will bring to the overall production?
It felt very important to tell a different story than the celebrity story. So many films, TV shows, memoirs have been put out that tell the dramatic story of famous people struggling with addiction. Addiction affects us all in some way, and there are so many artists who live ordinary lives (and extraordinary as well) who are trying to be successful with their art without falling into addictive behaviors. Documenting a variety of stories, from musicians to dancers to visual artists, shows all different sides of life. We wanted to show many recovery perspectives and how each one is unique but they all experience the power of the arts practice.
Conceptualizing and producing a film is a huge task. What other challenges have you faced making a film that was funded through donations?
Making a feature-length documentary is a huge feat that requires endless determination. We have been making The Creative High and are now in post-production, which is the most expensive part of making a film. We have pursued many avenues for funding including applying to grants, crowdfunding, reaching out to private foundations, and seeking investors, sponsors and executive producers. In general, funding is not easy to procure for independent films, and we have found that the most effective way to gather the funds has been through individuals making small donations that add up. We are very open at this completion stage to have sponsors and executive producers join us with larger donations to help us get to the finish line!
Last, how can we support your fundraising?
You can support our fundraising by making a donation here. The sooner we gather our remaining funding, the faster we can complete the film and get its message to the public. All donations are tax-deductible.
How do you express yourself in recovery? Tell us below.
Located in Portland, OR, Olivia Pennelle (Liv) is an experienced writer, journalist, and coach. She is the founder of the popular site Liv's Recovery Kitchen, a site dedicated to helping people flourish in their recovery. Liv is passionate about challenging limiting mentalities and empowering others to direct their own lives, health, and recovery. You can find her articles across the web on podcasts and addiction recovery websites, including Recovery.org, Workit Health, Ravishly, Recovery Campus, and The Recovery Village. Liv was recently featured in VICE. Find Liv on Twitter, Facebook, and LinkedIn.


Through Space World, our vision is to take Space India's and Trukon Housing's journey of life refinement onto the next level with an unparalleled portfolio of world-class amenities that range from passive to active recreation and from landscapes to streetscapes.
We aim to offer families shifting into Space World's pristine environs, the kiss of nature within the inviting ambience of a 'Green' project. It symbolizes the perfect synergy of luxury, wellness and economy at the foothills of the scenic Matheran hills offering Space Worlders a home, that's a holiday experience for life.
We are focused on guaranteeing that our offerings are progressive, in front of the circumstances, benchmarked against best worldwide patterns and rehearses and worked around our recognizing clients' needs. We guarantee that the biological community we work in, the society around and all individuals who encounter, draw in or line up with any part of the spaces we create, really feel the separation and positive effect on personal satisfaction.
Our Mission is to make integrated townships and lifestyle that gives something other than spaces to live and work out of. Keeping this vision near our heart, we have turned into the physical face of another era. We have turned into the aggregate mind of an energetic India's vitality, drive and imperativeness. We have turned into the dialect of new energy, of prosperity, of satisfaction that starts with an individual, and comes full circle into the prosperity of a whole society.
Welcome to the Space, you're World for life.