It's the unique combination of education and practical experience that makes the Chartered qualification different. If you're thinking about studying with us this year, but are unsure about how you'd go about getting the experience you need, we've put together some answers to the most frequently asked questions.
How much practical experience do I need to get to qualify as a Chartered Accountant?
This depends on your starting position. You will need three years if you are an accredited masters or postgraduate student, three-and-a-half years as a degree graduate and four years if you're joining us from Accounting Technicians.
I've heard that for Chartered Accountants Ireland, you need a training contract. Do I have to enter into one?
You don't have to enter into a training contract and there is no training contract for students under our Flexible Route. You need to get the same amount and type of experience as all Chartered Accountancy students, but you are free to choose your employer and job sector, and modify these as your circumstances change. Your experience does not have to be continuous, and you can gain your experience in more than one company. If you qualify through the Flexible Route, your Chartered qualification will be recognised the same as someone who went through a training contract – there is no distinction made.
You will need a mentor to supervise your experience. This can be a Chartered Accountants Ireland member or any IFAC accountant that works with you. And if you don't have access to a mentor where you work, we can assign you someone. If your manager or HR department have questions, we'll be happy to talk to them about any aspect of this, and we've also got information for employers on our website.
Can I get credit for prior work experience?
Yes, we will consider recognition of relevant prior work experience on a case-by-case basis. Naturally, certain conditions will apply and it will be necessary to detail your experience, and have it verified by your employer(s). It is important to note that prior experience must be comparable to the kind of experience that will be undertaken during your training.
You can apply to have your prior experience checked after you have enrolled on the programme.
My current role can't provide me with any accounting experience of the kind I'll need to generate in order to qualify – any ideas?
That's not a problem. The Flexible Route allows you to start your professional education, and then gain your relevant accounting experience at a later date. You don't have to be working in an accountancy environment to enrol with us and start your exams. In order to qualify, you'll need to record the same amount of practical experience as every other Chartered student. Chances are that once you start your Chartered studies you're going to be an attractive prospect for employers and many students quickly migrate to accounting-related roles. These roles are not restricted to the finance industry either – there are Chartered trainees in IT, telecoms, manufacturing, retail, and engineering companies.
Our Training Support Unit are on hand to assist you with any queries you have in this area, and can work with you (and your company) to find a solution to any problems you have around gaining experience.
I've heard that studying Chartered Accountancy is all about audit but I don't work in audit, and I don't see my future career involving audit.
That's no problem. While students will need to exhibit experience across financial reporting and regular exposure to books of accounts, there is no specific requirement to generate audit experience. Chartered Business Route students may not be working in audit, and they won't be required to do so either.
Many of our members often remark that an ability to understand audit and speak as an equal with external auditors sets them apart in the profession and has given them a real competitive edge. On that basis, you'll have exposure to audit through your education, and you can choose the audit elective in your FAE.
Pleas get in touch by email if you have any questions.
If you like the sound of a well-rewarded, challenging career in business with an internationally recognised, premium qualification, your next question may be: am I able to start? This is one of the most common questions we're asked, so here are some details.
Q: Who is able to start?
A: People are often surprised to learn that all graduates are eligible to start studying with Chartered Accountants Ireland, not just those with a degree with an accounting slant. All graduates, post-graduates, Accounting Technicians, and members of other accountancy bodies can start on the path to become a Chartered Accountant. The only difference between people who have an accountancy degree and those from other academic backgrounds is the number of exams you'll be asked to sit. In this regard, the approach of Chartered Accountants Ireland is no different to other professional accountancy bodies.
Graduates and members of bodies from outside Ireland are also welcome to join the programme – once you fulfil the entry requirements. You must be based on the island of Ireland for the duration of the programme.
Q: I've never studied accountancy before – ever!
A: That's ok, you don't need any previous accountancy knowledge as we'll start from the beginning with the basics. Each year a significant number of new students join us from a wide range of disciplines (arts, science, IT, law, engineering etc.) and consistently do very well in exams.
From our experience, employers are always keen to interview such candidates as they bring diverse skills and knowledge to their training firms and studies. The starting point for non-business grads is CAP1 (Chartered Accountants Proficiency 1 – first year exams) which provides the essential building blocks for more advanced study levels.
Q: How do students from non-accounting backgrounds tend to do in Chartered exams?
A: The results of our CAP1 exams show that trainees from non-accounting backgrounds can achieve very successful results. Over the years students have come from non-accounting degrees including engineering, arts and science. So don't let your degree subject hold you back!
Q: How can I find out if my course is recognised?
A: All holders of degrees from recognised institutions are eligible for entry onto the CAP1 programme. To see if your course is accredited, have a look at the list of degrees here.
Q: What is the deadline for checking if I'm able to start?
A: It's in your best interest to clear the applications process early and we're advising that people check their status as soon as possible. This year places will be allocated on a first-come, first served basis and places are genuinely limited for this year's Chartered intake. Courses start early October in study centres around the island or via a distance learning option.
The final date for applying to Chartered Accountants Ireland is 1 September. If you are awaiting exam results or have another reason why your application will take place after this date, please contact us and we will assist you.
Q: What about checking if I can claim exemptions from some Chartered exams?
A: It's easy to check exemptions with Chartered Accountants Ireland and what's more, you're not committing to anything at this stage. No payment is required as it's a completely free service. You can apply for exemptions online and free of charge.
A minimum of a 2.ii honours degree is required to claim exemptions. All exemptions granted from CAP1 are offered on the understanding that the students awarded them have taken the relevant options in their degree programme and have, at a minimum, met the requirements as set out on the website. Accounting Technicians Ireland (ATI) students can also claim exemptions.
Degrees awarded over 10 years ago will not qualify for exemptions.
Q: Where do I get proof of my college degree?
A: Contact the records office of your college/university, or Accounting Technicians Ireland directly. We'll need written and original proof in the post, not a scan or photocopy. Your college should be able to issue this confirmation within a couple of weeks. Then you just need to send this in the post with a completed enrolment form. More information on where to get your college transcripts is available here.
A: Simply create an account on our website, and you'll get access to the applications portal.
Please get in touch by email if you have any questions.
Am I able to start?
The 'Chartered' title is an internationally recognised professional designation that shows the highest standards of ethical, professional and technical expertise.
Chartered Accountants are Ireland's leading business professionals, recognised around the world as experts in finance, accountancy, audit and tax. Currently, we have 1,860 members working overseas (*2017 Annual Report).
Around the globe and across every industry sector, from tech to finance, Chartered Accountants have become core players when it comes to driving the future of business. Bringing together skills of strategic forecasting with expertise in finance, accountancy, auditing and taxation.
Your global passport. What does it mean?
USA – The Irish Chartered Accountancy qualification is fully recognised by the dominant accountancy body in the US (AICPA), one of the few finance and accountancy qualifications to have such valuable recognition.
UK – 23% of members are based in UK or NI.
Continental Europe – Chartered Accountants Ireland qualification has European recognition.
Australia – 1,000 Irish Chartered Accountants work in Australia.
New Zealand/Canada/Hong Kong/South Africa – Mutual Recognition Agreements.
England, Wales and Scotland – Reciprocity Agreements.
Chartered Accountants Ireland is part of Chartered Accountants Worldwide, a family of 11 chartered accountancy institutes from around the world. It brings together the leading chartered accountancy institutes to support, develop and promote the vital role that Chartered Accountants play throughout the global economy. It creates a community of more than 640,000 members and over 1 million students with a presence in more than 200 countries.
"Knowing that my 'Chartered' title would be recognised and respected globally and open up great opportunities for me, I planned to travel the world for a year or so after qualifying. Having finished my training contract with PwC and coming away with invaluable experience, I took a so-called temp job in compliance with the Dublin-based, international humanitarian aid agency, GOAL, while I figured out my travel plans. 'So called' temp because seven and a half years later I was still working with them. I never did take that 'year out' to travel. However, travel became an integral part of my role within GOAL.
There's so much more to being a Chartered Accountant than just 'accountancy'. The qualification opens up so many doors, some that you might not know even exist. So don't pigeon-hole accountancy like I did in my early years - think beyond just number crunching. All industries, not least the international aid sector, have a need for finance and governance professionals and the Chartered Accountancy qualification makes you just that – professional. With this qualification you will have the opportunity to build a rewarding career, one that can really make a difference in the world. Chartered Accountancy can take you anywhere."
Get in touch if you any questions.
The average salary package (including base salary, car or car allowance, plus bonus) for a Chartered Accountant in Leinster is €109,146, reflecting the significant demand for Chartered Accountants at all levels in the local market.
The survey of more than 1,100 Chartered Accountants, published today by Chartered Accountants Leinster Society in association with Barden, provides a definitive guide to Chartered Accountant salaries in Leinster. The research reveals that 83% of Chartered Accountants have received a significant salary increase within the last three years, with more than half obtaining an increase of over 10%.
The average salary package for a Chartered Accountant working in industry in their first year post-qualification now stands at €61,044. The average salary package for those working in industry who are now five years qualified is €74,706.
The survey also indicates a healthy level of career progression within the Chartered Accountancy profession, with 46% of those surveyed having been promoted in the last three years, a similar figure to the same period in 2017 (45%).
The survey finds that most Chartered Accountants in Leinster work in business (69%), with 18% working in an accountancy practice and 13% working in not-for profit, public service or in government. 25% of those surveyed reported moving to a new job in the last 12 months.
The survey also points to the other benefits enjoyed by Chartered Accountants. 23% of respondents either have a company car or receive a car allowance. 18% of respondents receive share options. Almost half are enrolled in a workplace health insurance scheme (48%).
Most Chartered Accountants in Leinster work in industry, business and financial services (69%), with 18% working in an accountancy practice and 13% working in not-for profit, public service or in government.
46% of respondents have been promoted in the last three years (2017: 45%).
"How was your bonus calculated?" 1,121 members responded to this question with personal performance being a criterion for 55% of respondents; company performance was a criterion for a 54%, with 16% of respondents citing team performance as a criterion.
"What value do you place on work / life balance and flexible working arrangements?" 84% place a strong value on better work life balance and flexible working. (50% said they would give up 10% of their salary, such was the importance of flexibility to them).


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Bishop of London
The Bishop of London blesses the bells at St Paul's Cathedral
The Blessing of the Bells at St Paul's Cathedral
Last week the Bishop of London, the Rt Revd and Rt Hon Dame Sarah Mullally DBE, joined clergy from St Paul's Cathedral to bless its bells. Cast in 1878, the 12 change ringing bells which hang in the north west tower of St Paul's form the second largest ring of bells in the world.
Categories GalleryNews
For media enquiries call 02076189106 or email us here
Diocese of London
To visit the Diocese of London website, please go to london.anglican.org
New Bishop of Stepney consecrated at St Paul's
Diocese welcomes 49 new clergy for London churches
Bishop of London strengthens ties with Lutheran community in the City of London
2015 © +Bishop of London

redpajama_set_name: RedPajamaCommonCrawl


1. Preheat oven to 350 degrees F. Melt vegan butter in a medium-sized saucepan. Whisk in flour; cook over medium heat for 1 minute.
2. Slowly whisk in nondairy milk. Add salt, pepper, nutmeg, and hot-pepper sauce. Cook until mixture is very thick. Let cool, stirring occasionally.
3. Pulse artichoke hearts, spinach, and garlic in a food processor until very smooth. Stir into cooled nondairy milk mixture.
Optionally, add 2 cups vegan cheese to the mixture when you combine the artichoke and nondairy milk mixtures, then sprinkle 3 tablespoons over the top before baking.
This exceeded my expectations - it was awesome! I cut the reciep in half (it makes a lot!), and I included 2 TBS of vegan sour cream. I'm not sure that was necessary, and I will try it without the sour cream next time. I also included 1 TBS of onion dip/onion soup mix. I added 1/4 cup of nutritional yeast, but I ended up wishing I hadn't, and I will try it without the nut. yeast next time. GREAT recipe. I will bring this to holiday gatherings. I kept it mostly chunky, and the texture was perfect. I used almond flour, so it was a gluten-free dip.
yes ,yes! This is the greatest!
This was good and I liked that it didn't require any fake cheeses, but I will add more seasoning next time. More garlic, some onion, and someone suggested tamari- that sounds better.
This stuff is crazy good. I got boyfriend approval, which is impressive considering he's stuck by his dairy-laden recipe for years now. Plus, he loves that this version is so much healthier. I feel so accomplished! 8) I think it would be even better with almond milk instead of soy, so I'll try that next time. I might also add tamari next time because I think it will give it more depth.
So, in a nutshell, for me, I like a LOT more of the spices and added vegan Parmesan to taste when hot!!! It is currently lunch time and I am thoroughly enjoying this on a piece of Earth Balance Margerined toast!!! YUM!!!
More hot sauce, and whatever you do, do not use vanilla soy milk..!
This was good, but I wouldnt call it insanely good.
I added the nutritional yeast too, though I couldnt really taste it.
Also I think when I blended it, I blended a bit too much. There were no nice long threads of spinach in there by the time I was done.
This recipe was good! And really simple without too many ingredients (which is perfect in my book) I put the artichoke hearts in the food processor without the spinach and THEN mixed them together by hand, the consistency was perfect! I also added some veganaise and nutritional yeast as some had suggested in the comments as well as a handful of daiya cheese. It did taste more "vegetable-y" than other artichoke dips you might be served in a restaurant but I noticed the left overs tasted creamier the next day. So maybe next time I'll make it the day before (sans baking) and leave it in the fridge til I need to pop it in the oven. Definitely going to make next time I have guests over!
Oh my gosh this stuff was awesome. I kept the spinach chunky, and added some daiya. I made this for my brother's birthday party and the omnis LOVED it.


New Australian Prime Minister Mr. Scott Morrison has got a first press scandal on his hands. Whereas his predecessor Mr. Turnbull had to deal with the aftermath of Sky News being abolished from public transport over a Blair Cottrell interview (see our related coverage), for Mr. Morrison it is ABC News and his government's claimed 'journalist hit list'.
The Australian press says it has proof that former PM Mr. Malcolm Turnbull had asked ABC chairman Mr. Justin Milne (who has by now resigned) to get rid of senior journalists which were critical of his government's plans.
Related coverage:  Australia - Sky News Banned From Trains After Cottrell Interview (Video).
Mr. Milne allegedly told ABC's managing director Ms. Michelle Guthrie to 'shoot' political editor Mr. Andrew Probyn after a conversation with then Prime Minister Mr. Turnbull for being too critical of his liberal government. Afterward, the same happened with economics journalist Ms. Emma Alberici.
During an angry exchange with Ms. Guthrie, Mr. Milne reportedly told her "you have to shoot" Probyn, saying the then prime minister "hates him".
After those events, Mr. Milne then emailed Ms. Guthrie, demanding she also fire presenter Ms. Emma Alberici.
On May 8, a day after PM Turnbull complained to the ABC's news director about an Alberici report on government spending, he emailed: "They (the government) hate her. Get rid of her. We need to save the ABC, not Emma."
It is well known that Mr Milne and Mr Turnbull are friends and former business associates.
However, current Prime Minister Mr Scott Morrison, who took over from Mr Turnbull after a no-confidence vote, backed his political colleague, stating: "The idea the government has some list and telling the ABC who should work there is complete rubbish."
He furthermore claimed that the ABC "isn't perfect" and when they get things they wrong they need to be "called out".
They are more effective with journalist hit lists in mexico.


As if we didn't hate them already: Lib Dem Euro-MP Chris Davies says today that revelations members of the European Parliament could add £1m to their family income over a five-year term suggest that they are strong challengers for the role of number one hate figure for the public, right next to bankers.
Example: a Euro-MP gets a budget for staff salaries of £145,000 a year. But a Member can pay his wife the entire budget as a single salary. Then the two of them together can spend a further £36,000 a year, meant to be used as the expenses of running an office, as they like with no requirement to produce receipts to justify what they use the money for. Meanwhile the Member draws a Brussels subsistence allowance of £266 a day whether he works or not.
Bonnie and Clyde could not have designed a better system for how a twosome can get rich.
More, the Euro-MPs will still keep the results of any auditing of all these millions in costs secret. Even the bankers have never had the arrogance to try that one.


Vintage Signs : Our 9′ Farm Fresh Egg sign made from old barn wood.
There is something about vintage signs that capture the essence of the good ol' life of days gone by. They also seem to go with almost any decor.
Whether it's a big General Store, Grocery or Welcome sign – the originals however, can be hard to find. If you are lucky enough to stumble across one – watching an episode of American Pickers can quickly let you know how expensive they are to buy!
But with a little ingenuity, a couple of tools, a little paint and some pallet wood or old barn wood – you can create your own for just a few dollars. The only real limitation is your imagination.
We have built several to hang in our barn and home – and all of them have been created for just a few dollars. Even better, by using old barn or pallet wood – it will look like they have been around forever.
We created our "Farm Fresh Eggs" sign from a piece of old barn wood flooring and small scraps from a barn we tore down a few years back. For the back of the sign – we used a single 9′ long, 3/4″ wide piece of red oak flooring that was pulled from the floor.
We left in the old nail holes from the board, and used only a pressure washer to etch it clean.
Pressure washers make quick work of taking layers of grime and paint off of old barn lumber or pallet wood. It's an inexpensive and easy way to clean – and better than spending hours and a fortune in sandpaper trying to clean them by hand.
To make the wooden letters, we printed out large font types (using just Microsoft Word) on scrap paper. We then traced them on pieces of the old barn wood and cut them out with a jigsaw. You could just as easily use pallet lumber as well. We left the main board unfinished, and painted the letters with a flat black primer to look aged.
To attach the letters – we pre-drilled and screwed in from the back. The sign now hangs in our "new" old barn that we built from the reclaimed lumber of two old barns we tore down. (See: The Barn Project In Photos) The best part – it looks like it's been there for 50 years.
Painted signs are even easier – you can use an existing piece of old lumber (old barn doors or windows work great), or assemble a few pieces of pallet strips together to make a flat sign.
Flat paints work best when trying to age the look – especially primers. If you want to age it a little more, simply sand off some of the paint once it dries.
It's really that simple – and you can save yourself hundreds trying to buy the real thing – and have any message you like!


Congratulations 2018 Feathered Quill Award Winners!
Who Am I If You're Not You?
Feathered Quill's We Love Animals!
Wyjuana Montgomery, author of Bold, Brave and Courageous: A No Fear Success Guide for Teen Girls and Jennifer Irwin, author of A Dress the Color of the Sky both win a Barnes & Noble $25 Gift Certificates Two winning authors, chosen at random, will each receive a $25 gift certificate from Barnes & Noble.
Martha Heineman Pieper, author of Jilly's Terrible Temper Tantrums: And How She Outgrew Them and Rebecca Whitehead Munn, author of The Gift of Goodbye: A Story of Agape Love both win an Amazon $25 Gift Certificates Two winning authors, chosen at random, will each receive a $25 gift certificate from Amazon.com.


NC Moves 2050 is a strategic transportation plan connecting community across North Carolina. The plan is focused on creating a more responsive, diverse and inclusive transportation system for keeping people and freight moving safely and efficiently.
A million more residents will move to North Carolina each decade through 2050 –two-thirds of whom will create a string of metropolitan areas along the I-85 corridor from Charlotte to Durham.
This growth pattern will increase congestion along I-85 and may reduce highway reliability, which means North Carolina will need more opportunities for multimodal travel options. Conversely, rural North Carolina communities (such as areas east of I-95) will shrink in population, yet reliable, long-distance transportation networks and connections will still be critical to maintain their economic vitality.
These trends make now an opportune time to produce a bold, forward-looking transportation plan to guide investment policy and performance goals that will be more reactive to the dynamic change on the horizon.
To develop the plan, the N.C. Department of Transportation is conducting a two-year, multi-phased study that involves examining all aspects of North Carolina's transportation system, collecting data and information about its performance and anticipated challenges in the future and engaging the public to capture thoughts and ideas about the state's biggest challenges in the future.
This information will inform research into the drivers and opportunities that will potentially shape and have an impact on the way the state's transportation system operates in the future.
The research will also be a factor in developing several potential alternative futures for the year 2050, while considering both regional and statewide goals and challenges.
The study will also provide an implementation plan that aligns future needs and opportunities with infrastructure recommendations and transportation policies.


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of finding the archbishop before the moment of his entrance into the church for the morning's ceremony; so she returned home quite distressed.
At seven o'clock in the morning, the princess was in the parlor of the monastery of De Panthemont, and sent in an urgent request for a moment's conversation with the Lady Abbess. Tbe reply brought was, that the Abbess could not come to the parlor, being obliged to attend in the choir, at the canonical hours. The princess entreated permission to enter the convent, to reveal to the Lady Abbess in two words, something of the greatest importance. The Abbess sent word in reply, that the thing was impossible, until she had obtained permission from the Archbishop of Paris. The princess retired once more to her carriage, and now, as a forlorn hope, took her station at the door of the church, to watch for the arrival of the prelate.
After a while, the splendid company invited to this great ceremony began to arrive. The beauty, rank, and wealth of the novice had excited great attention ; and, as every body was expected to be present on the occasion, every body pressed to secure a place. The street reverberated with the continual roll of gilded carriages and chariots; coaches of princes and dukes, designated by imperials of crimson velvet, and magnificent equipages of six horses, decked out with nodding plumes and sumptuous harnessing. At length the equipages ceased to arrive; empty vehicles filled the street; and, with a noisy and parti-colored crowd of lacqueys in rich liverys, obstructed all the entrances to De Panthemont.
Eleven o'clock had struck; the last auditor had entered the church; the deep tones of the organ began to swell through the sacred pile, yet still the archbishop came not! The heart of the princess beat quicker and quicker with vague apprehension ; when a valet, dressed in cloth of silver, trimmed with crimson velvet, approached her carriage precipitately. 'Madame,' said he, 'the archbishop is in the church; he entered by the portal of the cloister; he is already in the sanctuary; the ceremony is about to commence !'
What was to be done! To speak with the archbishop was now impossible, and yet, on the revelation she was to make to him, depended the fate of the lovely novice. The princess drew forth her tablets of enamelled gold, wrote a few lines therein with a pencil, and ordered her lacquey to make way for her through the crowd, and conduct her with all speed to the sacristy.
The description given of the church and the assemblage on this occasion, presents an idea of the aristocratical state of the times, and of the high interest awakened by the affecting sacrifice about to take place. The church was hung with superb tapestry, above which extended a band of white damask, fringed with gold, and covered with armorial escutcheons. A large pennon, emblazoned with the arms and alliances of the high-born damsel, was suspended, according to custom, in place of the lamp of the sanctuary. The lustres, girandoles, and candelabras of the king had been furnished in profusion, to decorate the sacred edifice, and the pavements were all covered with rich carpets.
The sanctuary presented a reverend and august assemblage of bishops, canons, and monks of various orders, Benedictines, Bernardines, Raccollets, Capuchins, and others, all in their appropriate robes and dresses. In the midst presided the Archbishop of Paris, Christopher de Beaumont; surrounded by his four arch priests and his vicars-general. He was seated with his back against the altar. When his eyes were cast down, his countenance, pale and severe, is represented as having been somewhat sepulchral and death-like; but the moment he raised his large dark, sparkling eyes, the whole became animated; beaming with ardor, and expressive of energy, penetration, and firmness.
The audience that crowded the church, was no less illustrious. Excepting the royal family, all that was elevated in rank and title, was there : never had a ceremonial of the kind attracted an equal concourse of the high aristocracy of Paris.
At length the grated gates of the choir creaked on their hinges, and Madame de Richelieu, the high and noble Abbess of De Panthemont, advanced to resign the novice into the hands of her aunt, the Countess Canoness De Rupelmonde. Every eye was turned with intensé curiosity to gain a sight of the beautiful victim. She was sumptuously dressed, but her paleness and languor accorded but little with her brilliant attire. The Canoness de Rupelmonde conducted her niece to her praying desk, where, as soon as the poor girl knelt down, she sank as if exhausted. Just then a sort of murmur was heard at the lower end of the church, where the servants in livery were gathered. A young man was borne forth, struggling in convulsions. He was in the uniform of an officer of the guards of King Stanislaus, Duke of Lorraine. A whisper circulated that it was the young Viscount De Gondrecourt, and that he was a lover of the novice. Almost all the young nobles present hurried forth to proffer him sympathy and assistance.
The Archbishop of Paris remained all this time seated before the altar'; his eyes cast down, his pallid countenance giving no signs of interest or participation in the scene around him. It was noticed that in one of his hands, which was covered with a violet glove, he grasped firmly a pair of tablets, of enamelled gold.
The Canoness De Rupelmonde conducted her niece to the prelate, to make her profession of self-devotion, and to utter the irrevocable
As the lovely novice knelt at his feet, the archbishop fixed on her his dark beaming eyes, with a kind but earnest expression. • Sister!' said he, in the softest and most benevolent tone of voice, • What is your age
e ?' Nineteen years, Monseigneur;' eagerly interposed the Countess De Rupelmonde.
*You will reply to me by and by, Madame,' said the archbishop, drily. He then repeated his question to the novice, who replied in in a faltering voice,' Seventeen years.'
• In what diocese did you take the white veil ?
• In the diocese of Toul.'
• How!' exclaimed the archbishop, vehemently.
• In the diocese of Toul? The chair of Toul is vacant! The Bishop of Toul died fifteen months since; and those who officiate in the chapter are not authorized to receive novices. Your noviciate, Mademoiselle, is null and void, and we cannot receive your profession!'
VOW.
The archbishop rose from his chair, resumed his mitre, and took the crozier from the hands of an attendant.
• My dear brethren,' said he, addressing the assembly, "there is no necessity for our examining and interrogating Madamoiselle de Lenoncour on the sincerity of her religious vocation. There is a canonical impediment to her professing for the present; and, as to the future, we reserve to ourselves the consideration of the matter: interdicting to all other ecclesiastical persons the power of accepting her vows, under penalty of interdiction, of suspension, and of nullification; all which is in virtue of our metropolitan rights, contained in the terms of the bull cum proximis :' 'Adjutorium nostrum in nomine Domini !' pursued he, chanting in a grave and solemn voice, and turning toward the altar to give the benediction of the holy sacrament.
The noble auditory had that habitude of reserve, that empire, or rather tyranny, over all outward manifestations of internal emotions, which belongs to high aristocratical breeding. The declaration of the archbishop, therefore, was received as one of the most patural and ordinary things in the world, and all knelt down and received the pontifical benediction with perfect decorum. As soon, however, as they were released from the self-restraint imposed by etiquette, they amply indemnified themselves; and nothing was talked of for, a month, in the fashionable saloons of Paris, but the loves of the handsome Viscount and the charming Henrietta ; the wickedness of the canoness; the active benevolence and admirable address of the Princess de Beauvau; and the great wisdom of the archbishop; who was particularly extolled for his delicacy in defeating this maneuvre without any scandal to the aristocracy, or public stigma on the name of De Rupelmonde, and without any departure from pastoral gentleness, by adroitly seizing upon an informality, and turning it to beneficial account, with as much authority as charitable circumspection.
As to the Canoness de Rupelmonde, she was defeated at all points in her wicked plans against her beautiful niece. In consequence of the caveat of the archbishop, her superior ecclesiastic, the Abbess de Panthemont, formally forbade Madamoiselle de Lenoncour to resume the white veil and the dress of a noviciate, and instead of a novice's cell, established her in a beautiful apartment as a boarder. The next morning the Canoness de Rupelmonde called at the convent to take away her niece; but, to her confusion, the Abbess produced a lettre-de-cachet, which she had just received, and which forbade Madamoiselle to leave the convent with any
person save the Prince de Beauvau.
Under the auspices and the vigilant attention of the prince, the whole affair was wound up in the most technical and circumstantial manner. The Countess de Rupelmonde, by a decree of the Grand Council, was divested of the guardianship of her niece. All the arrears of revenues, accumulated during Madamoiselle de Lenoncour's minority, were rigorously collected, the accounts scrutinized and adjusted, and her noble fortune placed safely and entirely in her hands.
In a little while the noble personages who had been invited to the ceremony of taking the veil, received another invitation, on the part of the Countess dowager de Gondrecourt, and the Marshal Prince de
Beauvau, to attend the marriage of Adrien de Gondrecourt, Viscount of Jean-sur-Moselle, and Henrietta de Lenoncour, Countess de Hevouwal,' etc., which duly took place in the chapel of the archepiscopal palace at Paris.
So much for the beautiful Henrietta de Lenoncour. We will now draw forth a companion picture of a handsome young cavalier, who figured in the gay world of Paris about the same time, and concerning whom the ancient Marchioness writes with the lingering feeling of youthful romance.
THE CHARMING LET ORIÉR ES. • A good face is a letter of recommendation,' says an old proverb; and it was never more verified than in the case of the Chevalier Letoriéres. He was a young gentleman of good family, but who, according to the Spanish phrase, had nothing but his cloak and sword, (capa y espada) that is to say, his gentle blood and gallant bearing, to help him forward in the world. Through the interest of an uncle, who was an abbé, he received a gratuitous education at a fashionable college, but finding the terms of study too long, and the vacations too short, for his gay and indolent temper, he left college without saying a word, and launched himself upon Paris, with a light heart and still lighter pocket. Here he led a life to his humor. It is true, he had to make scanty meals, and to lodge in a garret ; but what of that? He was his own master; free from all task or restraint. When cold or hungry, he sallied forth, like others of the chamelion order, and banqueted on pure air and warm sunshine in the public walks and gardens; drove off the thoughts of a dinner, by amusing himself with the gay and grotesque throngs of the metropolis ; and if one of the poorest, was one of the merriest gentlemen upon town. Wherever he went, his good looks, and frank, graceful demeanor, had an instant and magical effect in securing favor. There was but one word to express his fascinating powers; he was charming.'
İnstances are given of the effect of his winning qualities upon minds of coarse, ordinary mould. He had once taken shelter from a heavy shower under a gate-way. A hackney coachman, who was passing by, pulled up, and asked him if he wished a cast in his carriage. Letoriéres declined, with a melancholy and dubious shake of the head. The coachman regarded him wistfully, repeated his solicitations, and wished to know what place he was going to. To the Palace of Justice, to walk in the galleries ; but I will wait here until the rain is over.'
. And why so l' inquired the coachman, pertinaciously. • Because I've no money; do let me be quiet.'
The coachman jumped down, and opening the door of his carriage, 'It shall never be said,' cried he, that I left so charming a young gentleman to weary himself, and catch cold, merely for the sake of twenty-four sous.'
Arrived at the Palace of Justice, he stopped before the saloon of a famous restaurateur, opened the door of the carriage, and taking off his hat very respectfully, begged the youth to accept of a Louis.
d'or. "You will meet with some young gentlemen within,' said he, • with whom you may wish to take a hand at cards. The number of my coach is 144. You can find me out, and repay me whenever you please.'
The worthy Jehu was some years afterward made coachman to the Princess Sophia, of France, through the recommendation of the handsome youth he had so generously obliged.
Another instance in point is given with respect to his tailor, to whom he owed four hundred livres. The tailor had repeatedly dunned him, but was always put off with the best grace in the world. The wife of the tailor urged her husband to assume a harsher tone. He replied that he could not find it in his heart to speak roughly to 60 charming a young gentleman.
*I've no patience with such want of spirit!' cried the wife; "you have not the courage to show your teeth : but I'm going out to get change for this note of a hundred crowns; before I come home, I'll seek this charming' youth myself, and see whether he has the power to charm me. I'll warrant he wo n't be able to put me off with fine looks and fine speeches.'
With these and many more vaunts, the good dame sallied forth. When she returned home, however, she wore quite a different aspect.
Well,' said her husband, ' how much have you received from the charming young man?'
Let me alone !' replied the wife: 'I found him playing on the guitar, and he looked so handsome, and was so amiable and genteel, that I had not the heart to trouble him.'
* And the change for the hundred crown note ?' said the tailor.
The wife hesitated a moment: Faith,' cried she, 'you 'll have to add the amount to your next bill against him. The poor young gentleman had such a melancholy air, that — I know not how it was, but — I left the hundred crowns on his mantle-piece in spite of him!'
The captivating looks and manners of Letoriéres made his way with equal facility in the great world. His high connexions entitled him to presentation at court, but some questions arose about the sufficiency of his proofs of nobility; whereupon the king, who had seen him walking in the gardens of Versailles, and been charmed with his appearance, put an end to all demurs of etiquette, by making him a Viscount.
The same kind of fascination is said to have attended him throughout his career. He succeeded in various difficult family suits on questions of honors and privileges; he had merely to appear in court, to dispose the judges in his favor. He at length became so popular, that on one occasion, when he appeared at the theatre on recovering from a wound received in a duel, the audience applauded him on his entrance. Nothing, it is said, could have been in more perfect good taste and high breeding,
nan is conduct on this occasion. When he heard the applause, he rose in his box, stepped forward, and surveyed both sides of the house, as if he could not believe that it was himself they were treating like a favorite actor, or a prince of the blood.
His success with the fair sex may easily be presumed; but he had too much honor and sensibility to render his intercourse with them a


The United States is one of the most diverse societies on earth. With its bountiful mix of languages, races, religions, cultures and ideas, America offers its residents the opportunity to be "citizens of the world" without leaving home. The richness diversity brings to the United States will be explored, including cultural differences as well as similarities. Particular attention will be paid to social, legislative, and judicial milestones that have shaped the American social environment.


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Midwife staffing 'critical'
Richard Youle- Local Democracy Reporter 11/22/2021
TWO birth services suspended by Swansea Bay University Health Board due to staffing pressures could be reinstated.
A temporary halt was called on the home birth service and birth centre service at Neath Port Talbot Hospital in order to focus resources in Swansea's Singleton Hospital.
Midwifery staffing levels have been described as "critical" in a report going before the health board on November 25.
It said Covid-related sickness, Covid shielding and other absences were to blame.
The report said further reductions in staff numbers could result in "unsafe service provision" and poor patient outcomes.
Work has been going on behind the scenes to address the issue.
Interventions include the appointment of seven experienced midwives, the use of agency staff as needed, and enhanced overtime.
Training has also been suspended and all available midwives mobilised.
The health board's head of midwifery is attending weekly meetings with a Wales maternity and neonatal network, which are attended by Welsh Government and union representatives, among others.
Health board chief executive Mark Hackett said midwifery shortages were being experienced in other obstetrics units in Wales.
The issue has been added to the health board's risk register in the highest risk category.
It is hoped the measures will reduce the risk to the category below by the end of December.
Separately, the health board announced last Thursday that it was reinstating early face-to-face contact with community midwives. This was suspended during the coronavirus pandemic, with a maternity services helpline set up instead. The helpline was closed on November 19.
It also said the safe re-establishment of its home birth service and the birth centre at Neath Port Talbot Hospital remained central to its recovery plan.
"We are now starting to see some stabilisation of our staffing situation and have plans in place to re-establish all our services in the near future," said a statement on its website.
The Royal College of Midwives union said maternity services at Swansea Bay have faced major midwife staffing challenges because Covid-19 .
Its director for Wales, Helen Rogers, said: "Midwives and maternity support workers have been working tirelessly to deliver care to women and their babies, but are understandably exhausted.
"Understaffing is beginning to ease as all newly qualified midwives who wanted to work in this health board are now in full time posts."
Previous Police staff honour for PCSO who always goes above and beyond
Next 20-year wrangle over road and rights of way at former opencast site could finally be resolved


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Q: How to export ad-hoc archive using Xcode server I'm using Xcode server (Xcode 9 beta 6) and defined a bot to archive and export an ad-hoc build using my ad-hoc provisioning profile. I have turned off automatic signing in the project and have defined arguments for xcodebuild in the bot Arguments window including DEVELOPMENT_TEAM, PROVISIONING_PROFILE, AD_HOC_CODE_SIGNING_ALLOWED, BUNDLE_ID, CODE_SIGN_IDENTITY and signingStyle.
When I run the integration the build succeeds and a valid archive is created but exporting fails with error saying the app 'requires a provisioning profile'. Recovery suggestion is to 'add a profile to the "provisioningProfiles" dictionary in your Export Options list'.
I added the "provisioningProfiles" dictionary in my exportOptions.plist but I don't know how to get the bot to use that list? When I check the log at the end of the integration I see that the bot has created its own ExportOptions.plist that it is using. I see that the list is using method "same-as-archive" so I don't know why it doesn't know which profile to use.
I tried to add a pre-build script that copies my plist to the bot working space but the bot ignores it and overwrites the plist with its own file during integration.
I also tried to define a path to my exportOptions.plist on the bot Arguments list but that is ignored and the bot just uses its own plist for exporting.
What would be the way to tell the bot to use a certain exportOptions.plist? (And why would "same-as-archive" method not work?)

A: This is what I did to get the bot make manually signed ad-hoc builds.
First did archive on Xcode and manually exported an ad-hoc build from Organizer. That way I could guarantee that the created ExportOptions.plist is a valid one.
Then I just told the bot to use this plist i.e. bot Configuration->Archive->Export->Use Custom Export Options Plist and selected the plist.
After that I still needed to set three items in the bot Arguments list (arguments passed to xcodebuild)
DEVELOPMENT_TEAM=Q76YSCRTM8
PROVISIONING_PROFILE=71bfe232-88e0-43a0-b9f5-f99fa87e09ee3
CODE_SIGN_IDENTITY="iPhone Distribution: My Company"

A: Edit Bot -> Configuration -> Thick Archive and open Export titled drop-down list
Select Use Custom Export Options Plist
Then browse your ExportOptions.plist

redpajama_set_name: RedPajamaStackExchange


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Home Guidance and Courses Introductory Guide to Video Essays Case Study: Video essays as Creative Assessment Method at SOAS, University of London*
Case Study: Video essays as Creative Assessment Method at SOAS, University of London*
In 2019, SOAS, University of London saw the launch of the ERC-funded research project 'African Screen Worlds: Decolonising Film and Screen Studies', whose principal investigator is Professor Lindiwe Dovey, co-chair of the Centre for Creative Industries, Media and Screen Studies.
This is actively engaging in artistic research and free, open-access research outputs that are the fruit of collaboration and shared commitment to decolonise film and screen studies. It includes the specially curated collection of video essays for [in]Transition 'African Screen Worlds in Conversation with Other Screen Worlds.' In that same year, two brand new film courses were created for the BA Creative Arts and the MA Global Cinemas (now integrated in the MA Global Creative and Cultural Industries). These courses were 'Introduction to Film Language, History and Theory', and Film and Screen Studies: Past and Present (now re-defined as Global Film Industries, precisely to emphasise its focus on practice), respectively. They were both convened by Dr Estrella Sendra, an early career researcher keen on applying creative methods, drawing on her practical experience as a filmmaker, and film festival curator and organiser, particularly within African screen worlds. This is why I would like now to shift to the first-person narrator, in order to self-reflect about my own experimentation and eagerness to contribute to this cutting-edge pedagogical and research practice. In doing so, I hope to share my experience with fellow colleagues, researchers, and class members seeking to implement this creative method. This, like the whole process of co-making this guide with Bartolomeo Meletti, a generous and inspiring practitioner and researcher, seems to be a humble way of giving back to the many figures who have inspired my pedagogical and research practice. In this last section, I share some thoughts about the process of putting together this creative assessment method, and how class members responded to it. This is, in my view, an illustrative example of the transformative dimension of video essays, able to reverse the teaching direction, from students, to tutors. I am very grateful to all my students for their creations of multiple narratives of stories of film, but also, for allowing me to improve my engagement as an educator and creative researcher, with video essays.
Both the undergraduate and postgraduate film courses were assessed through three assessment methods, a film analysis, an essay and an "in-class individual 10-minute presentation". This was because the course sought to engage with creative methodologies applied to film research. However, since class members may not have had any background in filmmaking, there was also an aim of being as inclusive as possible. The assessment brief was deliberated designed in a rather flexible way:
"You are welcome and encouraged to enjoy this opportunity to adopt a more creative response to the module through, for example, a short film, a series of images/stills, a small curated project, or an audiovisual essay. This will allow you to demonstrate awareness, understanding and an efficient application of innovative research methods for the creative industries. The presentation should include at least one critical analysis of a film scene of your choice, although this should not be from an essential viewing in the module syllabus. Presentations should last 10 minutes. There will be time for questions and feedback from the students and tutor at the end of each presentation."
The brief included some examples, some of which were briefly discussed in the first class, along with the introduction to the course. I emphasised they would mainly be assessed on their ability to make an argument, audiovisually, and their willingness to take risks. Such marking criteria, complemented with generic grade boundaries, was included in the brief. We devoted a two-hour session workshopping video essays, when they were still in their preproduction phase, and a few class members booked some one-to-one tutorials to further share their ideas, plans and narrations with me. And that was it.
When the day of class presentations arrived, class members demonstrated their active learning and creative engagement with the course. Despite the range of formats suggested, they all submitted a video essay, except for one class member. The class became a mini-festival, where stories of film had been co-curated by class members, and shaped by their own positionalities. The work produced was fascinating. I was highly impressed by the range of creative approaches.
Their video essay production further helped me reflect about this pedagogical approach. Below, I summarise the main learning outcomes from this first experience. In doing so, I seek to initiate my practice-based research around how to improve them, aware that this is still an ongoing task that can only be accomplished collaboratively.
A) Learning as Curating
When producing video essays, class members become their own story-tellers of their stories of cinema, including further titles from across a wide range of regions, some of which were addressing their own film cultures, such as The Czech Republic, Egypt and South Korea. Topics included animation, queer cinema, haptic visuality, colour-coding, humour as a way of overcoming censorship, feminism, hierarchy, patriarchy, migration and exile, and realism in cinema. Some of the video essays were closer to doctoral research than to postgraduate studies, thus confirming the need to diffuse the boundaries between students and researchers. One such impressive example was a postgraduate video essay about Nihongami, the term for traditional Japanese hairstyles, which explored the way in which hair served as a means of communicating the wearer's social status in the Tokugawa period (1603-1868). The work produced confirmed the transformative potential of video essays, and illustrated the way in which artistic research can contribute to decolonising the curriculum. The quality was such that my colleagues in the Centre for Creative Industries, Media and Screen Studies (CCIMSS) in the School of Arts decided to establish an annual prize to the best video essay, and another to the best podcast, as my colleague Caspar Melville had had a very similar experience in the creative assessment methods in the MA he convened.
B) Narration and Recursive Language
After careful deliberation, the award was given to a postgraduate class member who had taken a particularly innovative (and risky) creative approach. Donovan Mathews had created a multi-layered piece, where there was an aesthetically significant use of the voice over. Through this, the argument was not just exposed, orally, but performed, audiovisually, recursively. The nomination praised such creative approach:
"Despite the difficulty of nominating an award-winner for the best video-essay, since there were very strong submissions by a range of undergraduate and postgraduate students, Donovan's work stood up for its remarkable originality, creativity and reflexivity. Building on Trinh T. Minh-ha's video-essay Reassemblage, Donovan's multi-layered narrative structure was particularly strong at explaining theory through showing it. The reflection on the myth of realism in cinema was complemented by a recreation of Trinh T. Minh-ha's work on Donovan's gentrified neighbourhood. It was then that Donovan acted like a benshi, VJ or spoken word artist, in order to question the extent to which film represents reality. Such an original recursive approach which demonstrated his ability to take risks and critical understanding of the creative potential of the video-essay as a method!"
This contrasted with the rest of the essays, which relied significantly on narration, and thus an explanatory mode, as further scholars note more broadly (Keathley, 2012). This reliance on the voice over may result from the effort to adapt a written essay to the screen, which is already quite challenging. A further degree of challenge arises when the piece is conceived audiovisually, from the beginning. This is disruptive even within the arts and creative industries courses in that it challenges the dominant hegemony of the written text. Some class members were not comfortable with their voices being heard. One modified her voice through software. Another preferred to ask someone else to narrate for her. A French student felt more comfortable narrating in her native language, and decided to subtitle the film. This was particularly coherent in an essay on the sonic dimension of exile, leading to some kind of recursion, with further instances of recursion along the video essay. Arguably without her notice, she was further contributing to decolonising the curriculum, by moving away or even resisting knowledge dissemination just in English.
C) Further guidance, licence and training
Despite the excellent creative response from class members, what the experience made clear was the need to design, along this assessment method, a much clearer guide. With written essays, class members have more or less an idea of how to produce these, particularly at postgraduate level. The University offers a wide range of study skills helping class members with academic writing. This is not the case for video essays, and while this is a great opportunity for creativity, a lack of guidance can lead to "painful" experiences for all class members, including tutors. Quoting hooks, Dovey (2020) draws on the way in which teaching may sometimes be painful, in different ways. There was, indeed, some degree of pain when listening to class members about the amount of hours they had devoted to the making of this video essay. This was however counterbalanced with a clear sense of pride, sometimes explicitly vocalised by students. Despite the learning by doing approach and opportunities for self-teaching and peer learning in the implementation of this creative assessment method, training is necessary to ensure an inclusive teaching environment, aware of equality and diversity. This is why I decided to put together this introductory guide about how to make video essays, in an effort to acknowledge and synthesise the pioneering work on this field, and to do it as a teaching research (research and practice based). I also requested some licences and training, at least to provide basic training for students willing to engage with the assessment at high technical standards.
D) Supporting statement
The reliance on narration may also have been due to the fact that video essays were solely marked based on the produced piece. I had invited class members to be as experimental as they wished, and justify their aesthetic choices orally, during the class presentations. However, I suspect the inclusion of a narration could foster clarity in the argument, in a way audiovisual language may not be able to perform so efficiently. A written supporting statement explaining the rationale behind the video essay can facilitate the moderation by external examiners, as well as encourage reflexivity in film research. The suggested structure for the statement included in this guide will be adapted to the courses at SOAS.
E) Copyright considerations
Another very important dimension implied in the application of this creative assessment was the legality of the process of making video essays. This very often requires sourcing the video with copyrighted creative work, which students found themselves downloading not so "lawfully", even if there was a sense this was used "fairly", for learning purposes. It was precisely my own research on this front which would then foster the production of the introductory guide on how to make video essays. We have included a section on copyright and creative reuse, written by Bartolomeo Meletti, the Education and Research Executive of Learning on Screen and Creative Director for CREATe, the UK Copyright and Creative Economy Centre at the University of Glasgow.
F) Clear marking criteria
A final area of improvement regards the marking criteria. Instead of including the generic SOAS marking criteria, this kind of creative assessment requires a much more deconstructed set of marking criteria. This should refer explicitly to the various tasks involved in the making of a video essay, with clear and inclusive language. These are some of the aspects a marking criteria could draw on, based both on the video essay and the supporting statement:
1. Knowledge and understanding: evidence of engagement with film theory and debates; critical thinking; contribution to knowledge; clear presentation of an argument, situated within an existing debate.
2. Creativity and research skills: originality of the idea; ability to take risks; understanding of innovative research methods for creative industries, in particular, audiovisual criticism; application and performance of audiovisual language; close engagement with the video essay as a recursive scholarly piece of work, evident in the decision-making process (for instance, on inclusion or not of voice over).
3. Transferable skills: ability to research and work independently, with creative application of technological innovation, delivering academic work of professional standards (for instance, editing); close attention to detail, evident in the careful consideration of the instructions, guidance and recommendations given in the assessment brief; application of Harvard Referencing system, either in the final credits of the video essay or/and the list of references at the end of the supporting statement; ability to acquire a deeper and more sophisticated understanding of the film practice, both for industry and research purposes.
Such criteria would contribute to reducing the uncertainty revolving around this creative assessment method. At the same time, whilst the screening of video essays in class followed by feedback was as enjoyable as enriching for the course, some class members were not comfortable with the public revelation of the grade boundary in which their work would fall. In fact, once I realised this (which was confirmed in one of the comments in the course evaluation surveys), I changed this immediately for the undergraduate "showcase", and instead told class members I would only indicate their grade boundaries if they wanted me to. These are just some of the many aspects I was taught by my class members.
Podcast with SOAS student voices on video essays as a creative assessment method for film and screen studies:
SOAS Podcasts · Video Essays as a Creative Method of Assessment
Winner of the SOAS CCIMSS Video essay Award 2019-2020:
Mathews, Donovan (forthcoming 2020). 'Embracing Nonsense: Narrative Form and Finding Meaning in Trinh Minh-ha's Reassemblage'.
*A longer version of this case study has been included in the journal article Sendra, Estrella (2020). 'Video Essays: Curating and Transforming Film Education through Artistic Research'. In Damásio, M. J. & Mistry, J. (eds.) (forthcoming October 2020) International Journal of Film and Media Arts GEECT, Special Issue Mapping Artistic Research in Film, 5(2): 65-81. Available online (13.11.20) here.
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The Dorothy Rogers Scholarship is available to female non-traditional students graduating from SUNY Oswego. You must have at least a 3.0 GPA and plan to enroll in graduate school to be eligible for this award. An essay and two letters of recommendation are required with your application.


Android powered smart devices, including smart phones and tablets, are currently outselling the other major smart operating systems by a huge margin. While published figures differ, some pundits allege that Android devices outsell Apple's iOS and Microsoft's Windows (smart device versions) by factors of between three or seven to one. According to Wikipedia, as of October 2012, Android powered smart phones had captured 75 percent of the market, with more than 500 million devices currently using Android. Approximately 1.3 million new Android devices are activated on an average day.
Android is an operating system currently developed and distributed by Google, but it is really a Linux based, open source operating system. Google operates the Google Play Store, the primary source of applications or "apps," for Android, containing in excess of 700,000 Android apps. With so many apps available, many of them for free, the half-billion Android users may be unaware of which apps had been independently reviewed and rated such that they may better meet the Android users' needs. For Android users looking for these independent ratings and reviews such that they can find the top rated apps, the popular Web site, Gizmo (techsupportalert.com), gladly obliges.
Gizmo, a pseudonym, is a real person who is the Webmaster of a massive collection of software reviews covering almost every major operating system, including Windows, Mac, iOS, Android, and others. The ratings and reviews displayed for each software title are a summary of the scores given by members of a large community of thousands of international volunteers who often present diverse opinions.
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For those interested in an even more comprehensive menu of rated Android Apps, Gizmo offers a master directory of Android apps at techsupportalert.com/best-free-android-apps.htm. Frequently updated, this menu currently has an even dozen headings including Home and Office apps, Multimedia, Disk and File Tools, Security and Privacy, Internet and e-mail, Phone and Messaging, Personal Development, Games, and several other headings.
"Point your device at the night sky or browse the skies in manual mode from anywhere at anytime and it helps you identify the stars, planets, constellations and other celestial objects with labels. You can also zoom and search the objects with this absolutely fun and good educational app," the description said.
Always being concerned with device security, I opened the category "7 Best Free Security and Privacy for Android," which included sub-directories of Anti-malware, Apps Protection, Password Manager, Private Gallery (photo and media security), and a Device Tracker. While somewhat controversial, I choose to have comprehensive security devices on all of my Android (and other) devices. Of the free security suites available for Android, several of which are listed online at techsupportalert.com/content/best-free-antivirus-app-android.htm, my personal choice is the community top-rated Avast! Mobile Security. Other highly rated free security apps include Zoner Antivirus Free (which has a dedicated tablet version), Sophos Security & Antivirus, Dr. Web Antivirus Lite, AVG Antivirus Free, Lookout Mobile Security, and Comodo Mobile Security & Antivirus Free.
There are many true believers, including some of the Android developers at Google, who claim that comprehensive security on an Android device may be unnecessary and ineffective because apps run in a sandbox, or isolated system area that cannot access other system resources, unless access is explicitly approved by the user. These permissions are typically displayed on the Google Play Store listing for the apps prior to their download and installation. Several of the security publishers disagree, alleging that there are some very real threats to Android devices. As posted on Wikipedia, TrendMicro claims that "premium service abuse" is the most common type of Android malware; this occurs when spammed SMS (text messages) are sent from infected phones to "premium rate" telephone numbers, incurring a monetary charge without the knowledge or consent of the user. Other common Android malware contributes to identity theft by illicitly sending personal information to third parties, or displaying unwanted advertising on the Android device. While the security app publishers have claimed that security threats directed at Android devices have grown exponentially, "Google engineers have argued that the malware and virus threat on Android is being exaggerated by security companies for commercial reasons, and have accused the security industry of playing on fears to sell virus protection software to users." (Source: Wikipedia).
With thousands of Android apps reviewed and rated by the Gizmo community in the mobile app section at techsupportalert.com, good information is easily accessible that may allow Android users to locate and download the best apps for their devices. Users of other devices, including Apple's iOS and Mac, Microsoft's Windows (all Windows devices), and Linux will also certainly find current information on the best free software for their devices on Gizmo's techsupportalert.com.


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Kallas: Budget cuts threaten EU fundamentals
Georgi Gotev from Dublin
Siim Kallas, the Commission vice president responsible for transport, said budget cuts for 2014-2020 proposed for the 22-23 November summit risked 'cancelling' European policies designed to link Eastern and Western parts of the continent.
Speaking at the European Liberal party's congress in Dublin last weekend, Kallas, an Estonian Liberal, strongly expressed his concerns about the course that budget negotiations had taken.
Addressing a meeting on a "Liberal roadmap for energy transition," Kallas said that he even wouldn't call the ongoing budget discussions a "debate".
"It's a real fight about the future [of the] EU budget," he said. "This is not about money, this is about the fundamentals. Do we need European policies at all or should we cancel European policies?"
Kallas said that he and his fellow commissioners, including Energy Commissioner Günther Oettinger, agreed about the proposed cuts, currently under discussion in the wake of the extraordinary EU summit.
"We are much afraid that these cuts will hurt seriously our energy and transport network projects," Kallas said.
He singled out two countries for displaying the importance of a common energy policy for Europe. These were his own Estonia, part of the Soviet-era electric grid which has to yet establish links to Finland or the Baltic states, and Bulgaria, which is still reliant on Russian gas supplies.
The philosophy behind Oettinger's proposal for a Connecting Europe facility (CEF) a year and a half ago was to develop physical infrastructure for European integration, Kallas said.
CEF currently appears the biggest victim of the latest 'revised negotiating box', a document containing concrete spending figures for the 2014-2020 period, recently tabled as a compromise proposal by the Cypriot presidency.
The new cost of CEF, according to Cypriot figures is €36.3 billion, although the Commission originally proposed €50 billion.
East-West links at stake
Asked by EURACTIV to substantiate his strong criticisms, Kallas cited transport projects already adopted at Council level, aimed at connecting Eastern part of the continent to the West.
"This has been one of the most important priorities of this Commission. But if the money is cut to the extent that we cannot realise these projects any more, this is a cancellation of European policy," he said.
The European Commission will present on Thursday (15 November) its Communication on the internal energy market (see background).
According to a leaked version, recently obtained by EURACTIV, Estonia, Lithuania and Latvia – as well as Malta, Cyprus, Spain and Portugal – are described as "gas islands" because of insufficient infrastructure connections with the rest of the EU.
Perhaps more seriously, dependency on a single gas provider also prevails in countries with a better geographical position, such as Slovakia, Bulgaria, Hungary and Romania, the paper says.
But the EU executive is also critical of Germany, calling on Berlin to enhance the inter-connectivity of gas flows from the Nord Stream pipeline with Russia, operational since November 2011, and to develop north-south and east-west transport capacity. [more]
The European Summit of 4 February 2011 underlined the need to modernise and expand Europe's energy infrastructure and to interconnect networks across borders.
Heads of state insisted that no EU member country should remain isolated from the European gas and electricity networks after 2015 or see its energy security jeopardised by lack of the appropriate connections.
On 29 June 2011, the Commission proposed the Connecting Europe Facility to promote the completion of priority energy, transport and digital infrastructures with a single fund of €50 billion, out of which €9.1 billion are dedicated to energy.
The European Commission estimates investment needs of about €140 billion for electricity infrastructure and at least €70 billion for gas through 2020.
On 15 November the Commission will present a Communication on the Internal Energy Market to take stock of progress made towards the completion of the internal energy market by 2014, identify the main challenges ahead and propose actions to improve the effective application of the third energy package.
The Communication will be accompanied by documents that provide an insight into the European electricity and gas market, key statistical data and a country-specific analysis on each of the 27 member countries, as well as an overview of their investments in energy infrastructure.
15 Nov.: Commission to table a Communication on the Internal Energy Market
20 Nov.: General Affairs Council to discuss EU budget 2014-2020
22-23 Nov.: Extraordinary summit to discuss and decide EU budget 2014-2020
Cypriot presidency
Negotiating box for EU budget 2014-2020 (29 Oct. 2012)
connecting europe facility
energy interconnectors
EU budget 2014-2020
0 responses to "Kallas: Budget cuts threaten EU fundamentals"
Surely the EU budget is just like every other organisation / person, it is a case of deciding what your priorities are and spending accordingly. If the budget is frozen or cut by x% then the spending will have to be reassessed and decisions made regarding what is most important. The idea that everything is vital and must be funded regardless is self-delusion especially when countries are making just such cut backs themselves.
Problem with old members is their attitude that they are only contributors but they forget their companies applies for project financed by EU funds in foreign countries and even more important, through EU institutions western countries shape economies of new members removing protective barriers each country usually impose in economy….
Last but not least, they were allowed to buy banks,state monopolies capturing
monetary independence of new members states…
I guess after We sum it up, western countries experienced huge gains from economical point of view
Problem is that in parallel there was another process in western countries…elites from various w countries did not share new gains….they will never ever share it anymore…East as it was before was a guarantee for a welfare state in the west…
Not gonna happen anymore…


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Q: Как сделать такую анимацию при загрузке? https://labs.pepsico.com/
Как сделать такую анимацию при загрузке?
Как реализовать такое увеличение букв?

A: Конкретно на приведённом сайте, просто вставлена svg. Но это слишком скучно, поэтому вот вариант на mix-blend-mode

.loader {
    position: absolute;
    top: 0;
    left: 0;
    width: 100%;
    height: 100%;

    display: flex;
    justify-content: center;
    align-items: center;

    white-space: nowrap;
    overflow: hidden;

    /* для анимации текста */
    font-size: 15vh;
    transition-duration: .5s;
    animation: 3s infinite alternate slidein 1s;

    /* суть в этих свойствах */
    background: white;
    mix-blend-mode: lighten;
}

@keyframes slidein {
  0% {
    font-size: 15vh;
    opacity: 1;
  }

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    opacity: 1;
  }

  100% {
    font-size: 100vh;
    opacity: 0;
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.content {
  width: 100vw;
  height: 100vh;
  background-image: url("https://picsum.photos/seed/pepsi/0")
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  some text


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Hipposideros crumeniferus — є одним з видів кажанів родини Hipposideridae.

Поширення
Країни поширення: Індонезія (Тимор). Імовірно, знаходиться в незайманому лісі.

Загрози та охорона
Загрози для цього виду невідомі. Не відомо, чи вид присутній в будь-якій з охоронних територій.

Посилання
 Hutson, A.M., Schlitter, D. & Csorba, G. 2008. Hipposideros crumeniferus

Hipposideridae
Ссавці Індонезії
Тварини, описані 1807
Ендемічна фауна Індонезії

redpajama_set_name: RedPajamaWikipedia


text:
Pteroeides hymenocaulon is een Pennatulaceasoort uit de familie van de Pennatulidae. De wetenschappelijke naam van de soort is voor het eerst geldig gepubliceerd in 1859 door Bleeker.

Pennatulacea


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ACENET
Discoverers & Innovators
Acknowledging ACENET in Publications
Computing Systems Status
User Documentation Wiki
Compute Canada
Through ACENET and Compute Canada, Atlantic Canadian researchers, post-secondary students and regional industry have access to advanced computing resources including:
state-of-the-art High Performance Computing (HPC) and storage systems
big data and data analytics tools and environments
a cloud computing and development environment
leading edge Graphics Processing Unit (GPU) computing systems
high speed, secure file transfer through Compute Canada's Globus Portal
Compute Canada's extensive software library
the Genetics and Genomics Analysis Platform (GenAP)
stable and secure data storage and back-up options accessed via desktop
Siku: the Atlantic Regional System
Installed in late 2019, Siku (meaning "sea ice" in Inuktitut) was funded, in large part, by the Atlantic Canada Opportunities Agency (ACOA) with the intention of generating regional economic benefits through industry engagement, while recognizing the important work that ACENET does for academic research in the region. The system is to be used in a manner which leads it to be financially self-sustaining.
Siku gives preferential access to paid industry usage, but gladly offers surplus capacity to academic researchers, at no cost. The pay-for-use model serving regional industry is also available to academic researchers seeking comparable access to Siku.
Located at Memorial University, Siku is a 2300 core computing cluster dedicated to industry engagement and advancing regional research priorities. Siku incorporates Intel Cascade Lake CPUs, a high-throughput, low-latency EDR Infiniband interconnect, AI-capable NVIDIA Tesla V100 GPUs, a 1.5 PB parallel filesystem, tape back-up, and offers both batch and cloud-computing interfaces.
Technical help Technical specifications
Siku is not intended to divert academic researchers from the national infrastructure, but rather to address needs and priorities that cannot be readily accommodated by Béluga, Graham, Niagara, Cedar or Arbutus. To find out whether Siku is the right fit for your academic research, submit the light-weight Access Request Form linked below. Access is reviewed annually in April.
National Systems
These national systems, installed between 2016 and 2018, feature cutting-edge technology, and are available, free of charge, to researchers from post-secondary institutions.
Located at the University of Victoria, Arbutus is an OpenStack cloud, hosting virtual machines and other cloud workloads. The system, provided by Lenovo, has 14,968 CPU cores across 456 nodes, 146,944 GBs of RAM and accesses 5.7 PBs of persistent Ceph storage. Note that other cloud resources are available for a combined total of 17,272 cores nationally.
Located at the École de technologie supérieure in Montreal, Béluga is a general purpose cluster with 34,880 cores. Béluga, composed of a variety of nodes – including large memory nodes and GPU nodes with Turbo Boost activated – is designed to accommodate a broad range of workloads.
Located at Simon Fraser University, the Cedar system is a heterogeneous cluster (CPUs and GPUs), with 94,528 CPU cores, suitable for a variety of workloads.
Located at the University of Waterloo, Graham is a heterogeneous cluster, suitable for a variety of workloads. It has a small OpenStack partition, and includes local storage on nodes. Specifications include 41,548 CPU cores across a diverse set of node types, including GPU nodes. The Graham system is entirely liquid cooled, using rear-door heat exchangers.
Technical help. Technical specifications
Located at the University of Toronto, Niagara has 80,640 CPU cores. This system has 202 GBs (188 GiB) of RAM per node and offers 7 PBs of scratch and 2 PBs of project storage space. Mellanox EDR InfiniBand is used to create a Dragonfly+ network topology featuring adaptive routing to provide the high-speed low-latency communications necessary for large-scale full-system simulations. A 256 TB Burst-buffer in this cluster helps improve performance for data-intensive work loads.


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Home » Information & Publications » Resources » Equity in Gifted Education
Increasing Equity in Gifted Education Programs and Services
Too many students do not receive appropriately challenging curriculum and services and as a result, fail to reach their potential. This is a loss, not only for the students, but for the nation. The gaps in support of and services for our most advanced students are even more pronounced for children from minority, ELL, and low-income backgrounds. As our education policy focuses nearly exclusively on grade-level achievement in an effort to close the achievement gap for struggling learners, another achievement gap has been widening.
Research on student performance on state and national tests shows that there is a growing gap at the top of the achievement scale between white students and students of color and between advanced students from low-income backgrounds and those from more advantaged circumstances. This achievement gap, dubbed the "excellence gap," for high-ability students is especially problematic in light of the demand for a high-performing and highly skilled workforce to ensure U.S. economic competitiveness in the new global economy.
Ensuring the availability of rigorous coursework and gifted education programs and services at every grade level for all students who would benefit from the challenge, combined with equitable identification procedures, would reduce the underrepresentation of diverse learners in gifted education programs and put more learners from every population in a position to increase their achievement and maximize their potential.
Read Expanding the View of Giftedness, an article by NAGC in AASA's School Administrator magazine.
Read about identifying children from diverse populations for gifted education programs.
Read about how classroom instruction and teacher training supports high-ability students from diverse backgrounds.
Download a factsheet on high ability low-income and minority students
Explore the reports on diverse learners
NAGC Resources
Download Unlocking Emergent Talent: Supporting High Achievement of Low-Income, High-Ability Students
Download Overlooked Gems: A National Perspective on Low Income Promising Learners
Supporting Gifted Children
What is Giftedness
FAQs about Gifted Education
Gifted Education in the U.S.
Equity in Gifted Education
Classroom Instruction & Teacher Training for Gifted Students from Diverse Populations
Diversity Toolbox
Identifying Gifted Children from Diverse Populations
Reinforcing Our Commitment to Foster Inclusive Learning Environments
National Standards in Gifted and Talented Education
Key Reports in Gifted Education
Resources for Educators & Parents During COVID-19