Although this model seems to make intuitive sense, it is wrong—or at least, incomplete—in a very important way. To see that, think about what happens when you have a lot of experiences in the same essential situation. For example, you may have been fishing hundreds of times. If so, you will have experienced many different episodes in which you learned important things. So what happens when you go fishing again? Do you remember all of these episodes at once? If so, how do you manage to mentally process all those memories rapidly enough to extract and use the knowledge they contain? This issue has been referred to as the "paradox of the expert"—the notion that an experienced person might have so many relevant memories that she would be paralyzed by the effort to make sense of them all. The label is meant to be tongue-in-cheek, because of course real experts are not paralyzed in this way. The question is, why not?
The answer lies in something that psychologists call a schema. A schema is an organizing structure in memory that collects the set of things you should expect in a particular kind of situation. So for example, if you have been fishing a lot, you will have a fishing schema in memory that amalgamates all of the things you have learned from all of the fishing experiences you have had. For example, you may remember which spots are best to fish from, which kinds of fish you are most likely to catch at different times of year, what kind of bait works best for each kind of fish, and on, along with miscellaneous details such as remembering that you should stay out of the water in the winter months, and that if you leave your bait unguarded a raccoon may steal it. By collecting this knowledge in one place, the schema helps you avoid the paradox of the expert.
The simplest model of how schemas are built is that they are based on the first episode of a particular sort that you experience. So for example, the first time you went fishing, you created a schema for this new experience that basically told you to expect everything that happened this first time to happen every time (this is a little oversimplified since you probably would have understood you first fishing trip in terms of some pre-existing scheme—your schema for hunting, for example—but I'll ignore this detail). From there, your fishing schema gets refined and amended whenever you learn something new from a fishing trip. This raises the quexstion, how do you know that you are learning something new? The answer is deceptively simple: you know you are learning something new when the expectations provided by your schema fail in the current situation.
For example, suppose that your fishing schema includes the expectation that when there is ice on the river, you can cut a hole in the ice and fish through it, but that on this occasion the ice cracks and you fall through. Your expectation that you can fish through the ice has failed. But simply removing this expectation would be too extreme, because sometimes you can fish through the ice; sometimes you can't. To create an appropriate revised expectation, you have to explain the why this works sometimes but not others. Then you can revise your expectation—for example, to note that you can fish through the ice as long as it is thick enough to support your weight.
So expectation failure—the failure of your schema to accurately predict what is going to happen—is the trigger for learning. This is not exactly obvious, but if you think about it you can see that there really is no other way it could work. After all, when your schema tells you exactly what to expect in a situation, what is there to learn? It's analogous to a scientific theory, which, if confirmed by experiment, remains unchanged, but that must be modified when a violation occurs.
This is of learning from expectation failures, by the way, is where the notion of "surprise" comes into the picture. As I noted above, surprise and emotion are the two features that tend to make an episode stick in memory. It is interesting to note that surprise triggers the production of the neurotransmitter dopamine in your brain, and dopamine has the effect of strengthening the active connections between your neurons. This is thought to have the impact of making it more likely that you will remember in the future whatever it is that you are thinking about now. Emotions—especially pleasure and pain—also trigger dopamine production. So there is at least a plausible neurological theory of how surprise and emotion determine what you remember.
By repeatedly experiencing and explaining expectation failures, you create progressively more sophisticated theories over time. Think, for example, about how you learn to get along with a particular person over time. At first, your schema for interacting with them may be more or less a copy of your generic schema for interacting with anyone. But over time various expectations in that schema will inevitably fail. To take a simple example, you may have a supply of jokes that make most people laugh, but you may discover your new acquaintance doesn't find those jokes funny. From other interactions you may decide also decide that this person is quick-tempered, or sentimental, or iconoclastic, or shy, or any of a hundred other things. These hypotheses allow you to replace very specific expectations—say, that person X doesn't like your joke about the three Neanderthals that walk into a bar—with a much more general expectation, for example, that person X doesn't like anything having to do with negative stereotyping.
As I noted above, the theory of how this kind of reasoning works is far from worked out scientifically. The key point to hang onto, though, is that explanatory reasoning is triggered when an expectation fails. I want to make one other quick point about this. You might ask why, if a person knows enough to explain an expectation failure, they wouldn't have anticipated that failure in the first place. The answer is that expectation failures tell you what to focus on. I'll give a quick, slightly silly example from a more modern, though still somewhat ancient era: my graduate school career. During this time, I sprained my ankle playing football and ended up on crutches for the first and only time in my life. As you might imagine, there was a lot to learn from this. One thing I learned quickly was about getting sodas. It was my habit, when I got my daily diet coke out of the soda machine in the lab building where my office was housed, to pop the top immediately and take a quick drink. The first time I did that on crutches, I soon realized that now that the soda was open, I was not going to be able to get it back to my desk without spilling it all over. Notice that while I could in principle have figured that out in advance, it was actually pretty unlikely that I would happen to think of it. Once the failure focused my attention, however, it was trivial to understand what was wrong. That's why expectation failure in general plays such a vital role in learning: expectation failures show you where to focus your thinking in order to improve your understanding.
First, when you do something and the expected result doesn't occur, that almost by definition means that one of your goals is thwarted. That, in turn, as I discussed above, means that you are more likely to learn and remember the lesson that when your goals are unaffected.
Third, to make a decision, you have to settle on a theory of what you expect to happen, even if it is only a wild guess. When you are just observing, you don't have to have any theory at all. So, for example, when you watch someone fish you don't need to think about how hard they should pull on the line once they get a strike. But when you are fishing, you are forced to make some kind of guess about this, and your guess will be either confirmed or refuted by what happens next. In other words, your guess becomes an expectation, which, even if wildly off base, can start you on the cycle of expectation failure and explanation that will lead you to a better theory.
In other words, we start with a goal we are trying to achieve, we experience an episode in which we are trying to achieve that goal, we are forced to make a decision about how to address the goal, and that decisions is based on expectations that may fail and require fixing. Of course, this model is really a cycle–we would go around the cycle numerous times in any complex situation, pursuing multiple goals, making multiple decisions, and so on.
There are a number of things to say about this model, but probably the most important is that in this model we learn by interacting with the world and refining out expectations about it, especially in the course of practicing the skills we need to learn. This model looks nothing like a lot of what goes on in a typical classroom—there is no room in it for lectures or for rote learning. The appropriate role for a teacher based on this would be, first, to ensure that this sort of experience occurs, and, second, to be the coach when an expectation failure occurs.
Give the learner a motivating mission (the goal).
Put the learner in an appropriate context where he or she can act to achieve that goal in a realistic environment.
Force a challenging decision that may lead to an expectation failure, then help the learner fix the expectation by explaining the failure.
One is to show the consequences of the failure, which allows the learner to get feedback on what went wrong as they would in a natural environment.
The other is to provide coaching, which helps the learner to understand expert theories and models that can help explain what is going on.
If you agree with this model of how learning works, then this is the kind of training you should want to design. If you don't agree… then it's time to get to work on your own theory.
The main reason, I think, is that instructional design is often seen as a kind of trade, almost like, say, plumbing. No one expects plumbers to be whizzes at hydrostatics. Similarly, a lot of instructional designers seemingly prefer to be left alone to get on with their work without having to be responsible for messy theories of how the brain works.
The problem is that learning is not a solved problem in the sense that building construction is. Following standard practices in the construction industry gets you a building that works; following standard practices in instructional design often gets you a course that doesn't. To do better, I believe that instructional designers need to develop a better understanding of how learning actually happens, and use this as a guide to produce better designs.
So in this column I want to do my part to to try to make that happen by giving my answer to the question, how do people learn?
I want to begin by considering an example. Because I think discussions like this often go wrong from the start due to a modern tendency to see learning as something that happens in a classroom—and also just for fun–I've decided to set my example in a time before formal education. So, for the sake of argument, imagine that you are a homo erectus living in the Indus river valley in, oh, say, about 500,000 BC. Let's say that you are walking home from the fishing hole in the twilight when suddenly, in a blur of motion, a tiger leaps from the brush directly into your path.
There's of course a good chance you won't survive this encounter. In this case the removal of your possibly maladapted genetic strain from the gene pool may help your species adapt through natural selection. It's cold comfort to you, but over time, as tigers take their toll, the surviving population will come to feature traits that are better adapted to a tiger-rich environment—being able to run fast, say, or being smart enough to avoid tiger-rich places and times.
But let's be optimistic, and assume you escape. In this case, there is better news: rather than sacrificing yourself to help your species adapt, you will instead get the chance to adapt as an individual. You can't suddenly get faster, of course, or grow claws or wings, or anything like that. But you will change your behavior. For example, it is more than likely that you won't dawdle at the fishing hole in the evening any more. You may choose a different path home as well. And so on. This is learning.
The key to learning lies in your ability to remember your experience. You will remember the tiger episode for the rest of your life, and recall it at times when it may help you to make better decisions, like, perhaps, the next time the sun starts going down when you are at the fishing hole. As far as we know, if your brain is healthy, it records every episode that you experience, but only a fraction of those episodes seem to be remembered for the long term. A complete theory of what causes a particular episode to be retained in memory doesn't exist, but two factors are known to have a big impact: surprise and emotion. Clearly, the tiger episode has plenty of both, which is why we can be certain that you will remember it.
I'll return to the issue of why surprise matters in a bit, but for now let's think about why emotion would matter. The best answer seems to be that the things that evoke emotions tend to be things that effect, or threaten to effect, our goals, either positively or negatively. Encountering a tiger generates a lot of emotion because it threatens the goal of self-preservation. It makes sense to remember episodes in which one of your goals was threatened, because those memories can help you identify situations you want to avoid in the future. Likewise, it makes sense to remember episodes in which a goal was furthered—say, for example, a time when you tried a new fishing spot and caught an unusual number of fish—because those memories help you identify situations that you want to recreate.
Now let's think in more detail about what happens when you remember a past episode. First of all, it is important to note that due to a remarkable property of your memory, you typically recall past situations that are very similar to the one in which you presently find yourself. This matters because—at the risk of stating a tautology—you can expect similar things to happen in similar situations. If you go fishing, it makes sense to expect that it will be like the last time you went fishing; if you are headed down a particular trail it makes sense to expect it to be like the last time you walked down that trail; if you are talking to a particular person it makes sense to expect it to be like the last time you talked to that person; and so on. The notion that you are constantly recalling the last time you did something similar to what you are doing now seems obvious, but when you think about it, it is quite amazing that you are able to do this. Your memory for events is like a version of Google that actually works.
If you observe very young children you'll notice that they apply expectations from past episodes in a very simple and literal way—they basically expect their second experience in a particular situation to be just like the first. This can create an occupational hazard for parents. When my daughter was young, for example, I used to cringe whenever someone gave her a treat—at the dentists office, say, or at an event at a store or restaurant—because I knew she would expect the same treat the next time, and be unhappy when it wasn't forthcoming.
As people get older, however, they get more sophisticated about teasing apart the elements of a situation and hypothesizing their individual causes, and this complicates the picture somewhat. For example, if the last time you went fishing it was cold and there was ice on the river, you may be able to reason out that because it is warm this time, you should not expect ice. How exactly people do this sort of reasoning is a big open question—it's the sort of thing I worked on when I was in artificial intelligence—but this shouldn't obscure the essential fact that you remember past episodes and extract from them expectations about the present.
Expectations are useful because anticipating something that might happen allows you to take action to ensure that that thing either does or does not actually happen. If you remember that the last time you walked down a particular trail you slipped on a mossy rock, for example, that allows you to step more carefully this time, while if you remember that the last time you went picking strawberries you found some particularly juicy ones in one corner of the patch, you can be sure to go straight to that place the next time. This takes us back to where we started, with encounters with tigers being one of the more obvious sorts of things you might want to avoid.
In a manner somewhat analogous to a quality-improvement methodology like Six Sigma, NIIT's proprietary Critical Mistake Analysis (CMA) methodology is based on identifying the most common and costly mistakes made by novices deploying target skills, performing a root-cause analysis to determine the underlying causes of these mistakes, and prioritizing training targets based on the business value of the potential improvement that can be made by addressing each. NIIT and Cognitive Arts have proven the value of this approach in numerous client engagements across a variety of industries and content areas through this award-winning methodology.
See info graphic for CMA's six-step methodology for content development.


In a typical day, the family physician's work involves face-to-face visits, outside inquiries from patients, ordering or checking of laboratory results, consultations with colleagues, prescription refills, and interactions with office staff. Managing all these tasks in an efficient manner allows the physician to spend more time with patients and still maintain a personal life.
Information technology can help organize and cue the work for easy access and disposition. Ideally, the system will have a "workflow screen" that shows all pending tasks in a well-organized way. The physician can then quickly choose to answer a message or check off lab reports while moving from one examination room to the next. Efficient intraoffice e-mail communication facilitates work distribution and completion by connecting the entire office staff in an asynchronous manner.


Since 1997, Spiral Air has been serving your metal fabrication needs throughout New England for HVAC, ductwork, and more!
We have based our success on reliability and commitment to our customers. Our ability to develop and retain those relationships is due to our employee's dedication to quality and solid experience in the HVAC industry.


text:
What is the National Trust?
Adopt a Blue Iguana
Join a District Committee
Andrew Gibb
Andy has been a resident of the Cayman Islands for over 20 years and has been a council member of the National Trust since 2012, serving in the capacities of Chairman of the Historic Advisory Committee and Trust Council Chairman. He first became involved with the Trust through his wife, Sue, who herself has been an avid participant in the historic programmes committee.
Peter Davey
Peter is a founding member of the National Trust. He has served on the Trust Council since 2013 and in the capacity of Vice Chairman since 2016. He also serves on the Trust's Environmental Advisory Committee. He is a founding member of the Cayman Islands Bird Club and the Cayman Motorsports Association.
Neil Sherlock
Neil is the Chief Financial Officer at a leading offshore law firm. His career in finance spans the Cayman Islands, Dublin and London. He was admitted as an associate to the Institute of Chartered Accountants in Ireland in 1997 and as a fellow in 2008. Respect for nature, and a desire to preserve it, form part of his DNA.
John qualified as a litigation attorney in the UK in 1996 and, today, is a partner at Higgs & Johnson. He moved to the Cayman Islands in 2010 and joined the Trust as legal advisor in 2015.
Zoe Foster
Zoe has over 20 years' experience in the legal and financial services industries and was previously the eServices Compliance Audit Manager for a leading offshore law firm before she retired. She is passionate about gardening and online peace activism and hopes to use these as a foundation to help preserve and enhance the natural beauty, flora and fauna of the Cayman Islands.
Catherine Frazier
General Elected Member & Historic Programmes Committee Chairman
Cathy's familial ties to the Cayman Islands dates back nine generations. Her love for the nation's history, heritage and culture is understandably deeply-rooted. She enjoys genealogy research, supporting cultural and historic events and is an advocate for the natural environment of the Cayman Islands. Cathy has served as the Historic Advisory Committee Chairperson for the past two years.
Olson Anderson
General Elected Member
Olson is a born Caymanian and is an active member of the local community. In addition to his role on the National Trust Council, Olson is a pilot at Cayman Airways and the president of the Cayman Airline Pilot Association. He also volunteered with the Cayman Aids Foundation and the Business Staffing Plan Board.
Joannah Bodden Small
Joannah is a former partner of a leading offshore law firm, where she was employed for over 10 years. She retired in 2013 to care for her three young children on a full-time basis. In addition to her personal business and community ventures, Joannah enjoys doing charity and volunteer work, reading and travelling. Her time is primarily spent with her family and one of her favourite pastimes is hearing stories of Cayman's 'yesteryears' from older relatives and friends.
Patricia is a founding member of the National Trust, having served on the Council in various capacities since the early days. She has been a member of the Environmental Advisory Committee for many years and chaired the committee for five years; she also serves on the National Conservation Council. She has always been keenly involved in environmental issues and played a vital role in developing nature tourism in the Sister Islands. Her special interest is birds.
Melanie Carmichael
Melanie's involvement in community projects began with the "Shade Brigade" initiative, where she learned how to propagate local shrubs and trees to create her wildly natural home garden, which has become a haven for various species of Cayman's flora and fauna. Recently, Melanie has dedicated herself to the protection of the George Town Harbour marine life by becoming a driving force within the community group Cruise Port Referendum Cayman, which is advocating for a democratic approach to the proposed Cruise Berthing Facility project. She has participated in the Plan Cayman, National Conservation Law and George Town Revitalisation public consultations.
Darvin Ebanks
Darvin has served on the Council for the past 12 years. He is an active member of the George Town District Committee and many recognise him as a member of the 'Las Tortugas Pirates', who take Grand Cayman by storm every November during the Pirates Week Festival. A pioneer in the scuba diving industry, Darvin is a well-known cultural personality and photographer. He also serves on the board of the Cayman Catboat Club.
Lisa-Ann Hurlston-McKenzie
Lisa is an environmental professional whose career in sustainable development, climate change and environmental assessment spans over two decades. Since the mid-1990s she has helped with Trust events and the Heritage Register, sat on the Environmental Advisory Committee and worked to redesign and relaunch the Island Offsets Programme. A former Human Rights Commissioner and past judge for both the Governor's Conservation Awards and Governor's Award for Design and Construction Excellence, Lisa continues to serve on the National Conservation Council and chairs its Climate Change Subcommittee.
Hannah Reid
Hannah holds a joint Bachelor's degree in Environmental Studies and Journalism from Emory University and a Master's of Science in Environment, Science & Society from the University College London.She has volunteered at the Trust's Blue Iguana Conservation programme and as a Historic Walking Tour of George Town guide. She is also a Board member of the Protection of Animal Welfare Society (PAWS), the Head of Community for the Cayman Islands Marketing Professionals Association (CIMPA) and a volunteer with the Cayman Islands Crisis Centre.
Debra Vascik
Debra has been an active member of the Trust's Cayman Brac District Committee since 2009, contributing to organisational development, trail and property work, nature hikes, beach clean-ups and social activities. Her background as a research scientist has led to her long-time involvement with the Department of Environment's Turtle Volunteer programme, where she is qualified and authorised to handle turtle nesting, hatching and excavations. She coordinates a team of turtle patrollers and is currently implementing the new Turtle Tracker iPad programme. Similarly, with the Brown Booby population and Sister Islands Rock Iguana population, she monitors and reports on nesting through all phases of development to maturity. Debra is co-founder of the Brac Wildlife Rescue, which aids and rehabilitates injured birds and iguanas.
West Bay District Committee Chairperson
Alice Mae Coe
Bodden Town District Committee Chairperson
George Town District Committee Chairperson
Suzan Merren
Little Cayman District Committee Chairperson
Betty Bua
Cayman Brac District Committee Chairperson
Chris Randall
Government Representative for Environment
Gina Ebanks-Petrie
Government Representative for Education
Clive Baker
Government Representative for Tourism
Stran Bodden
Co-Opted Member
Cora Grant
Rayal Bodden
Carmen Damasco
William Innes
© 2020 National Trust for the Cayman Islands | info@nationaltrust.org.ky | T: (345) 749-1121 | Design: Damon Hardie Design

redpajama_set_name: RedPajamaCommonCrawl


I have expertise in the following areas: 1. Programming in C,C#, Visual Basic. 2. Expertise in Matlab & Simulink. 3. PCB Designs, Layouts and Manufacturing, 4. Embedded Systems and software. 5. Electronics and Electrical projects. 6. Circuit analysis and troubleshooting. [login to view URL] debugging and code optimization. 8. Product development and quality assurance. 9. Procurement and sourcing of components. 10. Design analysis and optimization. 11. Software development, socket programming , database servers. I have eight years of experience in the above fields and can turn your ideas into working projects and prototypes. I am available all the times to communicate with you and assure 100% quality work. I am dedicated and Self driven professional with clear goal oriented attitude. Lets Work Together to make things happen!


I am super happy that there is one such online shopping website that ships all high end and famous foreign brands all the way to India. It is none other than Luxola. Recently they launched Luscious Cosmetics products on their website and here are my reviews on Luscious Cosmetics HD Mineral Liquid Foundation & Studio Secret Concealer.
Use the coupon code BLX-TREASURE to get 15% off on your first time orders!
Luscious Cosmetics HD Mineral Liquid Foundation comes in a light pink and beige cardboard box packaging with all the information printed over it. The actual product comes in a sturdy clear glass bottle with a black pull off lid. There is a pump dispenser that dispenses the right amount of product. The bottle is quite light and can be easily carried around in a makeup bag without any fear of leakage or spillage.
The texture of the foundation is soft and smooth with perfect consistency. It is neither very thick nor very thin. I always use my foundation brush to apply foundation. Before applying this foundation, you must moisturize your face well. It blends really well on a moisturized skin without being patchy or cakey. It provides sheer, slightly dewy and flawless finish. It feels soft, smooth and silky on my skin. It gets blended into the skin well without making your face look like a plastered one.
The foundation gives sheer to medium coverage. It does reduce the redness and cover up very minor flaws but if you have major blemishes then you do need a good concealer. I always make sure to set it with a powder. The staying power is pretty good. It stays put on my dry skin (due to winter season!) for a good 5-6 hours after that it makes my T-zone shiny. It does not tend to settle into pores and looks smooth on skin. It works well on my sensitive skin and doesn't break me out. It photographs well and does not give a white cast despite containing SPF 15.
The foundation comes in 7 different shades. I got Natural which suits my fair skin tone perfectly well and gives me a lovely, natural look. It makes my skin look soft, smooth and even. I do not use a primer underneath it as it already contains silica.
Luscious Cosmetics Studio Secret Instant Brightening Concealer comes in a black cardboard box packaging with all the information written over it. The actual product comes in a black pen type packaging where in you need to twist the base to get the concealer. The brush provides easy application of the concealer and I use my ring finger to blend it. The formula of the concealer is quite creamy but it settles down fast so you need to blend it quickly to get flawless results. The concealer is quite moisturizing and does not settle into fine lines of the skin. It covers up minor dark circles and shadows well and provides sheer to medium coverage. It gives a lovely slight illuminating effect to my eyes. It also covers redness and minor blemishes. The staying power is pretty good. It stays on my dry skin for a good 4-5 hours without fading. I got shade no 1 that matches my fair skin tone well.
Overall I am very happy with Luscious Cosmetics HD Mineral Liquid Foundation & Studio Secret Concealer. The foundation gives a lovely natural dewy look to my skin and photographs really well. It stays put on my dry skin for a long time. As it is a mineral based foundation, it does not break out my sensitive skin. The concelear brightens up my eye area and covers dark circles and spots naturally. I would definitely recommend both the products to everyone!
Have you tried Luscious Cosmetics? How was your experience? Share in the comments section below!
Disclaimer: The items were sent by PR for consideration. The reviews are based on my own honest and personal experience with the product.


A Non-Governmental Organisation (NGO), Care Giver Initiative (CGI), has applauded conglomerate giant firm, Flour Mills of Nigeria (FMN) Plc., for donating a well-equipped standard vocational centre to children with disabilities at the Methodist Primary School in Apapa, Lagos for empowerment and capacity building.
Speaking at the one year celebration of the commissioning of the vocational centre in Lagos, the Co-founder of the Care Giver Initiative (CGI), Waribo Hart explained that the debut of the vocational centre for children with specially challenged has impacted positively on the pupils' learning skills as they have been trained in different fields of specialization to make them self-reliance and also make positive contribution to the economy and society.
Hart said that CGI is the NGO that oversees the vocational centre to ensure that physically challenged children are properly trained, empowered and become self-reliance as employers of labour, adding that this won't have been possible without the FMN for building a state-of -the -art vocational centre for the physically challenged children at the Methodist Primary School in Apapa.
"Well, our end goal is to see to how these children could be self-reliance so that when they grow up instead of them to be beggars on the streets they will be employers of labour who are contributing positively to the society and Nigerian economy in general.


1..2..3.. Quick access to learn how to play the guitar using quick an easy methods. Choose any one of the products below to access guidelines to help you get started.
The Simple Crash Course - be a master in the shortest time and save thousands of dollars. Learn how to play from the comfort of your home, it's easy you should try it!
Jamorama - Using Jamorama learn with teachers who have worked with some of the greatest musicians like Bob Dylan, patti Smith, Taj Mah, Keb Mo, Tuck and Patti and the Crowded House. Lessons downloaded in seconds, 'even if it's 3am.


Looking for natural and safe alternatives to support your wellness goals?
Join us for this Experiential Session to experience the potency of natural plant essences for yourself!
We use our Essential Oils for literally EVERYTHING!
Home: We diffuse essential oils all day round to keep the air smelling fresh & we use essential oils infused household products to clean & disinfect.
Cooking: We add essential oils as food flavouring when cooking our dishes - it's so convenient!
Beauty / Skincare: We use essential oils to maintain our skin's youthful glow naturally and we use essential oils infused mineral makeup products that are toxic-free.
General Wellness: We use essential oils to support general wellness and soothe minor discomfort.
Emotions: Essential oils can be used to support emotions and helps promote relaxation.
As an added fun factor, you get to make your own custom Roller Blends during this session as well!
In this session, we will share with you how we use some awesome ways of how to use some of our favourite everyday oils and incorporate them into our DIY projects.
As seats are limited, do HURRY & GRAB YOUR TICKETS NOW!
Cost: $18 per roller bottle to be paid via PayNow / PayLah / Bank Transfer (non-refundable) prior to event commencement.


text:
So, Who IS the REAL Perak MB After the Single-Judge Court of Appeal's Decision?
Read here 'Who Wears the Pants' e on The Aisehman Blog
Technically, Nizar IS STILL the Menteri Besar, as the High Court ruling declared that he was and is the rightful Menteri Besar.
In other words,
Nizar was the Menteri Besar when he sought a dissolution of the state assembly from the Sultan,
Nizar was the Menteri Besar when the Sultan refused,
Nizar was the Menteri Besar when Pangkor Pele was sworn in to take his place, and
Nizar was the Menteri Besar during the sitting under the tree (which makes the sitting valid as the rightful Menteri Besar had called for it).
That is what the High Court declared.
The stay of execution granted by the Court of Appeal neither invalidates the declaration nor confers the post of Menteri Besar on Pangkor Pele (Zambry) .
If the status quo is to be maintained, then rightfully, Nizar should be the one in the Menteri Besar's chair today, not Pangkor (Zambry). This is because the status quo that is applicable here is the status quo before the dispute over the rightful Menteri Besar arose.
The High Court ruling refers to the period between Nizar requesting for a dissolution and the Sultan rejecting the request, asking Nizar to tender his resignation, and concluding that should he refuse resignation, he would be deemed to have resigned:
The High Court ruled the Menteri Besar can only be removed via a vote of no confidence in the assembly, after which he shall tender his resignation. Since there had been no vote to show that Nizar had lost the majority of the confidence of the assembly and no resignation from office, he was still menteri besar, according to the High Court.
In other words, while the Sultan has the power to withold consent for dissolution and the authority to select as Menteri Besar a member of the assembly who commands the confidence of the majority of the assembly, he does not have the authority to determine if a Menteri Besar has lost that confidence.
Therefore, the status quo that is to be maintained today is one where Nizar is Menteri Besar.
Perak Crisis: BN Lawyer HAFARIZAM Given a Short L...
UPDATED: UMNO-Controlled Court of Appeal's Incompe...
ROSDI MUSTAFA aka Pasquale aka Barking Magpie - YO...
Justice Datuk Abdul Aziz Abdul Rahim - A Most Cour...
He is THE Man!
So, Who IS the REAL Perak MB After the Single-Judg...
UMNO's Full Control of the Malaysian Judiciary Th...
MUST READ! Single-Judge Court of Appeal and "The ...
PERAK CRISIS: How Perakians and Malaysians Are Bei...
Perak Crisis CANNOT be Solved in the Court of Law...
Grounds of KL High Court Judge Abdul Aziz Abd Rahi...
PERAK CRISIS: The Bastardisation of the Malaysia...
PERAK CRISIS: Lawyer Art Harun's Pot Shot at Blogg...
Hee Yit Foong's Lie Upon a Lie: She is a Compulsi...
UPDATED ! PERAK CRISIS: Its Back to Business as Us...
PERAK CRISIS: Perak Royal Palace Should Use High ...
Raja Petra Says Blogger "Rocky Bru' aka Ahirudin A...
Perak Crisis: What the KL High Court Ruling Means ...
In Fact and in Law, the Perak Assembly on 7th May...
Perak Crisis: Wisdom Has Finally Returned to the J...
Perak Crisis: The Buck Stops at the Perak Royal Pa...
Raja Nazrin Says, "I DON'T want to get involved i...
UPDATED! Perak Pakatan Rakyat ADUNs Should NOT Leg...
MALAYSIANS SHOULD NEVER EVER FORGET Following IMAG...
The Rape of Parliamentary Democracy in Perak: The ...
D-DAY for PERAK: The Cross-Road to International R...
The Ball is In the Perak Sultan's Palace to Res...
Pro-Mahathir Blogger "Rocky Bru" made CEO of UMNO-...
BERSIH Calls for Malaysians to Wear BLACK on 7th M...
Tok Guru Nik Aziz Menyeru: "Jangan Buat Kacau Mint...
UMNO's Desperate Gambit for an UnHoly Alliance wit...
Altantuya Murder Case: Raja Petra Revealed Names o...
PAS Perlu Kekal Momentum Bukan Melayu - Mohd Han...
Ketua Pemuda PAS Penang, Mohd Hafiz Mohamed Nordin...
Husam Musa: The ONLY CREDIBLE PAS Leader Capable...


text:
« Kate Frye's Diary: Queen Victoria's Funeral: 2 February 1901
Mrs Hartley Brown And Miss Townshend -19th-c Interior Decorators: Who Were They? »
Suffrage Stories: 'Home Art Decorator' To The Queen – And The 'Human Letter'
For some time I have been meaning to investigate Charlotte Robinson, 'Home Art Decorator' to Queen Victoria, mention of whom I came across years ago while researching the interior design career of Rhoda and Agnes Garrett. Now that I have done so, I've discovered, as an added bonus, her family link with one of the WSPU's more imaginative publicity stunts.
Charlotte Robinson was born c 1859 in Settle in Yorkshire, one of the younger children in the large family of a Yorkshire solicitor. He died in 1870, leaving an estate of c £20,000. A later biographical piece about Charlotte noted that she (as presumably were all the children) was left a share of his property and it was this that gave her the freedom to develop a career.
By 1871 Charlotte had been sent as a boarder to a small school in Bolton but was later moved to the rather more prestigious Queen's College in London. Education complete she returned home for a time – the 1881 census finds her living with her brother, William, a solicitor, in Keighley. She then spent some time travelling abroad.
Emily Faithfull
For some of that time, certainly in 1883, Charlotte was travelling in America with Emily Faithfull – described on the manifest of the ship on which they travelled to New York as 'Secretary'. You can read a very interesting article about Emily Faithfull here. It would seem, from remarks recorded by Emily that she had met Charlotte when the latter was still a pupil at Queen's College.
Emily Faithfull was, of course, a fierce advocate of work for middle-class women so it's unsurprising that, when interviewed in the 1890s for Manchester Faces and Places, Charlotte described how on her return from her travels 'she resolved to invest her money in a business which she could control herself instead of returning to the usual round of gaieties, varied by intermittent charitable enterprises.' The journalist then elaborated – 'Having always been interested in decorative art, friends who knew her marvellous deftness of touch and infallible sense of colour, strongly advised her to turn these special gifts to account.'
In an interview that appeared in the Women's Penny Paper, 9 February 1889, Charlotte went into more detail. 'The idea of house decoration as a profession came to me while travelling through America. I was much struck with the interiors of some of the magnificent houses to which I was invited in some of the principal cities between New York and San Francisco, and on my return to England began to supplement previous artistic study. My first professional business was in furnishing houses, now I decorate them through, as well as working in conjunction with my sister, Mrs McClelland, who presides over the studio from which come the beautiful friezes you have just been admiring.' So that is how Charlotte Robinson came to become a 'house decorator.
She was setting up in the house decoration business ten years after the trail had been blazed for women by Agnes and Rhoda Garrett and, like them, she stressed the necessity of undergoing a training. However, although we know that the Garretts were pupils of the architect John Brydon, I've been unable to discover where or with whom Charlotte Robinson trained. All that is revealed in the Manchester Faces interview is that she 'went through the necessary course of study and thoroughly qualified herself for the work.' As Emily Faithfull put it in a later article Charlotte studied 'house decoration from hearth tiles to frieze painting'.
According to Emily Faithfull, Charlotte Robinson first went into business in London. This must, I think, have been immediately on their return from America – and was probably by way of dipping a toe in the water. But very soon – probably in late 1884/early 1885 – the two women moved to Manchester and, as Emily wrote, 'regardless of that bugbear which terrifies most women – she [Charlotte] put up her own name over the door.'
That door gave entrance to 20 South King Street, in the central Manchester shopping district, the premises serving primarily as a shop. It would seem from other remarks that Charlotte's design work was done at home – 10 Plymouth Grove – the house she shared with Emily Faithfull. By 1886 a part of 20 South King Street had been given over to a 'Typewriting Office', run by a Miss Giles. As the Manchester Courier remarked when reporting this 'Doubtless the typewriter will soon become as popular here as in America'. One can imagine that this was a development of which Emily Faithfull was fully supportive.
It is clear from every description that Charlotte Robinson's ideas of interior design were the antithesis of those of Rhoda and Agnes Garrett. It is impossible to imagine the latter displaying mirrors such as one to be found in Charlotte Robinson's establishment – for on it was painted 'a pool fringed with rushes in which a wild duck and her brood were swimming, while the old mallard was taking wing to enjoy the pleasures of the world beyond – after his kind – leaving to the mother the care of the little fluffy yellow ducks, whose very feathers seemed to move with the passing wind'. (Manchester Courier, 6 February 1885).
Items such as this were produced not in Manchester but in London, in the studio of Charlotte's sister, Mrs McClelland (33 Warwick Avenue, Paddington). Epsey McClelland was twelve years older than Charlotte – in the 1891 census she is described as a widow, a 'decorative artist', living with her daughter at the Warwick Avenue address. In an article on 'Ladies as Shopkeepers', reprinted in Pall Mall Gazette, (23 December 1887), Emily Faithfull extolled Charlotte's taste – 'Her furniture designs are simple and unique; she has dainty and quaint arrangements for cosy nooks and odd corners, and has good reason to be proud of the work of the artists employed in in the studio over which her clever sister, Mrs McClelland is the presiding genius.'
In 1887 Charlotte Robinson took stands at two exhibitions. In Saltaire in June she showed '..beautiful painted screens, brackets, plaques, a corner cabinet richly decorated with painted flowers and an excellently painted frieze.' (Leeds Mercury 3 June 1887).
Of the Manchester Jubilee Exhibition, June/July 1887, the Cabinet Maker and Art Furnisher wrote:- 'Miss Charlotte Robinson showed a frieze, corner sideboard, overmantel, draught screen, fire screens, Tuckaway tables, and other knickknacks, all, more or less decorated with the light and fanciful painting for which she had made a name. It is in some aspects too "pretty" for our taste, but it is none the less skilful. This lady is happy in the sprightly woodwork forming the foundation of her paintings. The corner sideboard is particularly pleasing.'
We can get a clearer picture of the 'light and fanciful painting' from a description given of Charlotte's stand at the Glasgow Exhibition the following year. 'Visitors to this stand ought to note the billet-doux writing table, a facsimile of that purchased by the Princess of Wales, and invented and patented by Miss Robinson. Beside this is the 'Interloper' chair purchased by the Countess of Rosebery. Both are painted with white French enamel, and decorated with blue tom tits. There are two friezes, specially designed for drawing rooms bearing groups of roses and chrysanthemums and one for a smoking room, with a design of wild ducks in flight.' (Glasgow Herald 25 May 1888).
Blue tom tits for the ladies and wild ducks for the gentlemen – an aesthetic very different from that of the Garretts, whom Sir Hubert Parry commended – writing in his diary while staying in their house – 'The quiet and soothing colour of the walls and decoration and the admirable taste of all things acts upon the mind in the most comforting manner. I was quite excised of the vulgar idea that everything ought to be light & gaudy & covered with gilt in London.'
In late 1888 Charlotte received the accolade of being appointed 'Home Art Decorator' to Queen Victoria. Over 20 years earlier Emily Faithfull had been appointed publisher and printer in ordinary to the Queen, her brushes with scandal having apparently done nothing to dent her reputation in the eyes of the royal family. On 9 October 1889 the Leeds Mercury reported that 'Miss Charlotte Robinson has had the honour of submitting to her Majesty some dessert d'oyleys painted on silk, from sketches taken near Palé as mementoes of Her Majesty's visit to Wales' and, as we have seen the Princess of Wales had already bought one of her writing tables'.
By October 1888 business was sufficiently prosperous for Charlotte to open a London showroom – in Mayfair – at 20 Brook Street – and in the same month was appointed as editor of 'the decorative department' on the magazine, The Queen, in succession to Mrs Talbot Coke. She was now in a position both to dictate taste and to supply the means of achieving it. She held her position on The Queen for the rest of her life. A small measure of this power was the fact that in an advertisement a Gloucester furnishing store, Messrs Matthews, regularly mentioned that their stock was approved by the leading Art Critics of the Day – such as Charlotte Robinson, Mrs Talbot Coke and Mrs Panton.
The interview given to the journalist from the Women's Penny Paper took place in the Brook Street showroom, among the 'cream coloured music racks, dainty billet doux tables, LouisSeize screens etc which provide an artistic public with useful as well as beautiful wedding and birthday gifts'. Charlotte commented that 'I spend a great deal of time in Manchester, where I have a large business to control, and much is taken up in travelling "back and forth" as we say in the north, between the various houses I have to decorate and furnish in London and the country.Through The Queen I have to advise about houses in every part of the world.'
However for all the reports of how busy she was with her commissions – 'She can drape a room in less time than it takes most people to think of it' – there is no information now available to tell us who her clients were or which were the houses she decorated. In the case of the Garretts I was able, from a variety of sources, to piece together a short list of their clients, but I can find no trace at all of Charlotte Robinson's private clients. There is mention that in in June 1892 she was commissioned to decorate a hotel being erected in Manchester for the Manchester, Sheffield and Lincolnshire Railway, that she did some work for Cunard, and that she was called upon to redecorate the Lord Mayor's Parlour in Manchester Town Hall. The latter is a superbly Gothic creation and certainly no place for tom tits and wild ducks.
Emily Faithfull died in 1895, leaving all her property to Charlotte. In her will, which had been written in 1893, she wrote that' I feel sure that any loving members of my family, who may survive me, will appreciate my desire that the few possessions I have should be retained for the exclusive use, and as the absolute property, of my beloved friend Charlotte Robinson, as some little indication of my gratitude for the countless services for which I am indebted to her, as well as for the affectionate tenderness and care which made the last five years of my life the happiest I ever spent.'
After Emily's death Charlotte Robinson continued to cut a dash in Manchester society. The local newspapers record her attendance at numerous balls and conversaziones – for instance, in July 1899 dressed in white brocaded silk and heliotrope velvet. On these occasions she is often in the company of Julia Dux, who lived close by in Plymouth Grove.
Charlotte Robinson's career was brought to a premature end, however, by her death at home, in October 1901. She left £3100 – and the executors of her will were her sister, Epsey, and her niece Elspeth McClelland.
The latter, then aged 22, continued along the path that her aunt had, to a degree, forged and, with the changing times, was able to become more fully a professional and practise as an architect. You can read an account of her career here. and a 1905 article (issue 32, p, 114) about her in a Spanish architectural journal here She, like her aunt Charlotte, was clearly a woman of independent thinking and, not unsurprisingly, was swept into the Edwardian suffragette movement, achieving a certain notoriety in 1909 when she was one of the 'Human Letters' sent as a publicity stunt to 10 Downing Street. You can see a photograph here of Elspeth posing for the camera – with Daisy Solomon, her fellow 'Letter', on the left and Annie Kenney in support on the right. Under her married name – Mrs Elspeth Douglas Spencer – she has an entry in the Suffrage Annual and Woman's Who's Who.
Thus, by way of Charlotte Robinson's 'home art decoration' , we can trace a line of endeavour that stretches from Emily Faithfull's involvement in the 1860s with the Langham Place Group (middle-class women intent on improving work opportunities for their sisters) to a woman architect who, in her short life, managed to design and build several houses – as well as giving birth to three children. It was, apparently, that third birth that in 1920 killed her – putting an end to another interesting career.
For more about the interior design work of Rhoda and Agnes Garrett see Enterprising Women: the Garretts and their circle, published by Francis Boutle.
Elspeth McClelland, emily faithfull, rhoda and agnes garrett
This entry was posted on February 6, 2015, 10:42 am and is filed under Suffrage Stories. You can follow any responses to this entry through RSS 2.0. You can leave a response, or trackback from your own site.


If you are planning on buying the Samsung Galaxy S10, you may at some point notice that there is a blinking white light on the upper portion of the display. Now before you freak out and think that you got a defective model, think again because this is actually on purpose and is actually linked to the phone's proximity sensor.
Samsung has actually informed users of this feature in the manual for the phone, although given that we're sure that not many people actually bother to read their manuals, this could be missed. Basically the white dot is designed to highlight where the proximity sensor is located and only comes on when you make a phone call. It is also to let users know to put their face/ear close to the phone which will then turn off the display when you're close.
So if you do buy the Galaxy S10 and you see the blinking white dot while making a phone call, don't worry as it is completely intentional. You can check out the video above if you'd like to see the dot in action and to see what it might look like. This should be applicable across the entire Galaxy S10 lineup which includes the lower-end Galaxy S10e, Galaxy S10, and the Galaxy S10+.


text:
Book Photo ToursExplore ArticlesAbout UsContact UsYour cartLog in
Award Winning Photo Guides
Sharpen your skills behind the lens
Our tours and workshops are led by award-winning, professional landscape photographers, ensuring your opportunity to capture the very best of Iceland's nature. Learn from the best to contribute valuable, prize-winning photographs to your portfolio!
Travel in Comfort and Style
With enough room for your equipment
Our dedicated custom-built fleet of 4x4 super trucks will safely transport you and your equipment to photographic sites across the land of ice and fire, and are able to venture to locations inaccessible to normal vehicles, providing you with rare and stunning photography subjects. Each guest is provided with two seats.
Continue to develop your talents
All of our guests receive a free collection of post-processing video tutorials—worth over $1500—from our award winning photographers. These tutorials will help you maximise the photos taken throughout your trip, from development to editing and colour correction.
Glacier Gear Included
Plant your feet firmly on the ice
Iceland Photo Tours provides crampons and rubber boots for free to all our guests throughout the tour. Ever on the lookout for the perfect shot, this makes clambering up glaciers, or deep into ice caves, that much safer for eager landscape photographers.
How to Fly a Drone in Iceland Without Annoying People
Text by: Malek Murison
Flying a drone in Iceland is a privilege. This is one of the most visually stunning countries in the world and there aren't many destinations better suited to aerial photography.
However, ordinary tourists and photographers have been coming here for many years, long before capturing images and videos with a drone was even possible. And although this is one of the most rugged environments you will come across, Iceland's nature is also delicate and deserving of respect.
For those reasons, it's important that drone pilots and aerial photographers fly responsibly in Iceland, without disturbing the peace, the wildlife and the experience of other visitors.
So how do you take a drone to Iceland and fly without annoying people? Here's how…
See also: The Biggest Mistakes When Flying a Drone in Iceland
Don't Fly Over People
Flying over people is annoying for two reasons. First of all, nobody wants to have their vacation cancelled because a drone fell on their head and sent them to hospital. You might have heard about how expensive eating out is in Iceland – well, just imagine the medical bills. Because it can be dangerous, flying over people is illegal in Iceland, just as it is in many other countries.
Midnight Sun in Reykjavík. Photo by: 'Iurie Belegurschi'.
The second reason that flying over your fellow travellers is annoying is an obvious one: the noise. Most people – photographers, hikers, families, outdoor enthusiasts – come to Iceland to experience its vastness and enjoy the great outdoors. The last thing they want is for the peace to be ruined by the high-pitched whine of a drone. Think about it: Some of Iceland's most popular locations are famous for their tranquility, such as the glacier lagoon Jökulsárlón. These quiet spots, though beautiful, aren't always a good location for flying. Particularly when there are crowds of visitors.
See also: Flying a Drone in Iceland – What Are the Rules?
Be Open
There's no doubt that drones are becoming a popular tool for travellers, and that they are more common now than they were a few short years ago. However, not all tourists and locals in Iceland are familiar with the technology and not everyone will know that your intentions are innocent. So there's an easy solution: If people are nearby, engage with them. Ask them if they mind you flying – they probably won't – and show them what you are doing if they approach you.
That Never Ending Road. Photo by: 'Edwin Martinez'
Most people find drone technology amazing and inspiring. It's more likely that a fellow photographer will ask to see some of your shots than tell you off for flying! Engaging with them and being open about your aerial photography will put everyone at ease and make you more comfortable behind the controls.
One last thing to bear in mind: Some of Iceland's picturesque locations are mostly viewed from a single angle, including many of the waterfalls and the basalt columns on the black sand beach of Reynisfjara. Fly a drone at these locations – particularly at sunrise or sunset – and you'll risk getting in the way and ruining the photos of many other patient photographers.
So fly high where possible and be considerate of others who are trying to capture the same memories as you.
See also: 5 Reasons Why Iceland is the Best Destination for Aerial Photography
Don't Disturb the Wildlife
One of the reasons that some of Iceland's national parks and popular tourist sites have banned the use of drones is because there are fears about the damage they could do to local wildlife.
My Favourite Season. Photo by: 'Iurie Belegurschi'.
According to the Environmental Agency of Iceland, "drones can really disturb wildlife within protected areas, especially during nesting time for birds." Many of Iceland's cliffs and waterfalls are home to endangered bird populations, so it goes without saying that flying there is off limits.
However, if you're really keen to fly near wildlife or in an area where protected species may be present, you can apply to the Environment Agency for a cinematography permit. If the Agency agrees with you that the use of drones in a given area won't have a negative impact for the conservation value of the area, permission is likely to be granted.
It might be that you're asked to only fly within certain times, or no closer than X amount of meters from a certain point.
You can apply for permission from the Environment Agency here.
See also: 5 Things to Watch Out for When Flying a Drone in Iceland
Adapt and Don't Overstay Your Welcome
Flying a drone at beautiful locations in Iceland is all about moderation. Sure, if nobody else is around then you can go ahead and fly all you like. Make the most of those spare batteries.
Midnight Sun on the South Coast. Photo by: 'Iurie Belegurschi'.
But if your chosen spot has other visitors and photographers, it's a good idea to not overstay your welcome. You might approach flying your drone in Iceland as a once in a lifetime opportunity, and think 'screw everyone else, this is my chance to capture amazing footage'. And you'd be right to think that way, to an extent. But on the other hand, it's important to remember that all of the visitors you come across in Iceland will also want to make the most of their time there. Flying near them, disrupting their experience and generally getting in the way of the sights is a sure way to annoy your fellow travellers.
It's best to be quick about getting your shots and plan your flights in advance to avoid overstaying your welcome at busy locations.
But there are other, more simple things you can do to adapt: Stop at a popular site and it's too busy to fly? Take a walk a little further down the beach. Keep going for a couple of minutes and find a more secluded location. Or make sure you fly high enough to reduce the noise and avoid blocking anybody's views. You'll be more relaxed and so will other visitors.
See also: 5 Useful Tips for Flying a Drone in Iceland
Electric Blue. Photo by: 'Iurie Belegurschi'
The bottom line is this: Policing drone flights is difficult. Unless you cause an accident or fly in a dangerous manner, it's unlikely that you'll get into trouble with the authorities in Iceland.
So really, it's about using common sense and being a good person. The most important thing is to respect others, wildlife and local regulations, and ensure that you don't do anything that will give your fellow pilots a bad reputation.
About the author: Malek Murison is a tech journalist based in London. You can find more of his work on his website or by following him on Twitter.
Would you like to practice drone photography in Iceland? Join our drone-friendly summer photography workshops in Iceland!
Interview with Erin Babnik
Landscape photography is as much of an art form as any other genre; just ask Erin Babnik, one of the leaders in the genre in the present day. This a...
Ultimate Guide to Landscape Photography
If you like being out in nature and taking pictures, this guide is for you! In this extensive guide, we'll go over everything that has to do with la...
Wildlife Photography Guide | How to Shoot Great Pictures of Animals in Iceland
So you've booked your photography tour to Iceland, but did you know that you'll have opportunities to photograph much more than just the sensational l...
The Ultimate Guide to Photographing the Aurora in Iceland
There is nothing quite as enigmatic as the slow-dance of the Aurora Borealis (more commonly known as the 'Northern Lights'), quietly undulating acro...
The Ultimate Guide to Photographing Ice Caves in Iceland
For most photographers who travel to Iceland, capturing the immense extraordinariness of the country's ice caves is a once-in-a-lifetime experience th...
The Essential Guide to Photographing the Icelandic Horse
Did you know that people travel from far and wide to photograph the beautiful horses of Iceland? These incredible creatures make for a fascinating sub...
Interview with Viktoria Haack
In the world of photography, it can be easy to find yourself compartmentalising your interests within specific genres. While some photographers are...
Ultimate Guide to Seascape Photography
Seascapes are one of the most challenging types of landscapes that one can capture. Why? Because it's easy to capture a good seascape, while it's re...
How to Photograph the Solar Eclipse
Have you ever even seen a solar eclipse? Seeing a solar eclipse is a magical experience. During a solar eclipse, the Sun, Moon and Earth are aligned...
Best Cameras for Beginners in 2020
Nowadays, it can be quite overwhelming and confusing if you're in the market for a new camera, especially if you are just starting out in photograph...
Overview of the Sony A7R Cameras for Landscape Photography
Photography as we know it today is a product of unbridled mutation. From the very beginning, it has seemed that one breakthrough in the art and scie...
Ultimate Guide to Black and White Photography
In just a few short years, the fantastic medium of artistic self expression we know as photography will celebrate its 200th birthday. Two hundred am...
The Biggest Mistakes When Flying Your Drone in Iceland
There's no doubt that Iceland is one of the best destinations in the world for aerial photography. The variety of scenery here is enough to put together a portfolio packed with colour, contrast and...
Should I Take My Drone to Iceland?
As a keen aerial photographer, the first thing you're probably wondering is, 'Can I take my drone to Iceland?' The answer to that is yes. Yes you can. It will not be confiscated at Customs and you w...
The Top 10 Spots in Iceland to Fly Your Drone
Iceland is fast becoming the world's premiere photography destination. So it makes sense that drone pilots from all over the world are planning trips to capture the country's spectacular scenery fro...
Home » Articles » Aerial & Drone Photography » How to Fly a Drone in Iceland Without Annoying People
Iceland Photo Tours
Iceland Photo Workshops ehf.
CIN: 7103171270 (VAT nr. 133084)
Borgartún 26
info@iceland-photo-tours.com
All Workshops and Tours
Workshops in Iceland
Location Scouting
Become a local contact
Landscape & Nature Photography
Camera & Gear Reviews
Photographer Interviews
All Tours Accommodation Transportation Connect with locals Photography articles Culture Food and drink Swimming and bathing Information
Visting Iceland ?


The digital imagery with the title Beautiful Install Car Stereo System Wiring Diagram How To A In Sound New above, is tagged with : A, Car, Diagram, How, Install, Stereo, System, To, Wiring, .
Here is required knowledge on . We have the cool resources for Electrical Wiring Diagram House. Check it out for yourself! You can find Beautiful Install Car Stereo System Wiring Diagram How To A In Sound New guide and view the latest in this page.
The inspiring digital imagery above, is part of editorial which is labeled within Wiring Diagram category. We hope, you can acquire comprehensive information and guides about Beautiful Install Car Stereo System Wiring Diagram How To A In Sound New and , which may give more info about Electrical Wiring Diagram House.
The Beautiful Install Car Stereo System Wiring Diagram How To A In Sound New is one of the image about How To Install A Car Stereo System Wiring Diagram.
This digital imagery of Beautiful Install Car Stereo System Wiring Diagram How To A In Sound New has dimension 1094x970 pixels, you can download and obtain the Beautiful Install Car Stereo System Wiring Diagram How To A In Sound New digital imagery by right click on the clicking the right mouse to get the high-res version.


Being able to have a beautiful outdoor setting is only possible when you have the right outdoor furniture and other additions to achieve an attractive look. If your home has a very big outdoor space, you will be better off making it a welcoming place for your visitors and even your family when the inside has become quiet stuffy and sitting outside is needed. There is always the need to be very careful how you go about choosing the important or essential things for your outdoor furniture and also how to go about making sure your outdoor furniture is very attractive and stylish.
1. Clean, repair and maintain it.
These three things are very important even before you decide to setup an outdoor space for relaxation in your home.
Even before you make the decision to bring or add any deck to your outdoors, you need to have a very firm foundation.
Even a very well polished surface change cannot put out of sight a deck that is not in perfect state, unclean, and has filthy boards.
Make sure you have a regular time table for cleaning and maintaining your deck as well as to repair it. This way, it will always be in the best condition and will also be safe no matter the elements.
Make sure you get an expert to fix all the parts of the deck you have no idea about fixing.
2. Areas to sit and for storing stuff.
Never forget adding a sitting and storage area to your outdoor setting because they are very important part of the outdoor setting.
Just like you will never want to deprive your insides from having window seats because you need them, it is important that benches are made available for the deck.
These can be added to make available the best sitting space and also enough space for storing stuff that are meant for outdoor games and also other décor.
When there are enough sitting spaces, you will have the whole family feeling very comfortable outdoors.
Since no one wants to come to your deck and stand or sit on an uncomfortable chair or table you have there, there is the need for you to make sure there is real furniture available.
Make sure all benches are covered with very comfy and attractive cushions or foams covered in fabrics that are going to stand up to fighting against the elements.
You can additionally add very comfy outdoor throw pillows to add another level of comfort as well as style.
3. Add more and more pillows.
Comfy and lovely pillows always have a way of luring people outdoors especially if they are well designed.
If you want to attract your loved ones or children more to start sitting outdoors that can easily be done by tempting them with pillows.
You can also hang back on your deck for many hours on soft pillows to attract other family members in the house.
Make sure the pillows you buy or use are pretty and durable pillows that are designed or made from exciting outdoor materials that can be easily found in home stores and that will be able to stand against the sun and rain.
You can cover all your pillows with an indoor-outdoor material.
Make sure you cover all existing pillows to protect them.
Put some of the pillows on the bench and make sure they have bright colored fabrics with tones for pops of shades.
4. Make sure you always cover your outdoor furniture.
There is always the need for the right covers to be made available for your outdoor furniture.
Having a sturdier or strong covering that can stand heavy rain falls, it will be best to buy a traditional roof frame that is made with clear polycarbonate panels. They will help a lot.
Do not leave your deck uncovered just to have rain and sun destroy the expensive and elegant outdoor furniture you have packed.
Get an expert to fix covers for you if there is no way you can do it perfectly.
Covers for outdoor decks are not so costly and can also be made by expert wood workers.
5. Wrapping around also helps.
Having an outdoor deck with quality furniture is not the only important features for safety if you are truly considering safety with your outdoor space.
You can always make sure there is a barrier, gate or other form of entry method to make your deck a very safe and welcoming place to be in.
This helps to show people how serious you are and how well you planned your deck.
Also, the fence offers a raised area that is for built-in planters, bird feeders and also bird baths and this will be perfect for those who love and appreciate the joy birds bring.
Railing can also offer platform for all other garden ornaments you want to fix to beautify your outdoors and the deck.
Also, you can add or top your fence with a shelf to make sure it is able to double as a place where drinks can be positioned. This will help to make your deck very exciting and will attract family and friends.
If your deck is not comfortable with the right furniture to sit on, there is no way you will have people come there.
Make sure all the furniture you make available merge in very well with the design and style of the deck.
Whether you have isolated or attached benches, they need to always merge by you building them from the same materials that were used to build the deck.
When you merge the chairs in, it tends to look very unique and also a part of the deck in a way.
7. Use more natural shades.
Everything natural is calming, safe and also very refreshing. So, with natural things in your deck, staying there will be fun.
You can always use plants to bring more life into a space or to make softer the edges of the deck. These can come in form of flowers or foliage.
If you have a wooden deck, you can always hang or put them on bricks or other stuff to make sure they do not have close contact with the floor when you water the plants – which can more often than not lead to decomposing of your wood.
Make sure you take very good care of the flowers.
8. Make use of containers for color and height.
Decorating your deck is very important if you do not want to have your deck feeling boring and having nothing special to be blissful about when you are there.
You can always dress your deck up with beautiful containers to bring some light and shine into your deck.
You can also perk up specific areas along railings or better still, close to an entry with pots that can contain tall and beautiful plantings like coleus, lantana and the tropical canna ringed with fuchsia.
You can also plant vegetables. Yes, you can find a perfect spot away from your deck where there is constant provision of sun to grow some tomatoes, herb gardens, etc.
When you beautify your railings, you make it welcoming and you are able to give the world a very good statement about yourself.
You can always make a style statement with railings because they can offer more than just improve the safety and appearance of the deck.
There are so many products that can be used to improve the look of railings so search the internet and you will find a long list of them.
10. Grow for health sake.
There is always a way out for people who have always had gardens in their outdoor space but have had to cut most part down just for their deck.
Do not feel sad if you have had to destroy your garden just to build or improve your deck. You can always grow vegetables in containers on your deck in order to achieve an free look and some tasty homegrown dinner.
It is always easy to start with tomatoes. This is because they are very easy to plant.
You can then continue the process by planting beans, peas then carrots.
Planting them can be easy if you put them in containers and put them on rolling supports this way, moving them from one place to the other will not be a problem.
Do not always go for normal or ordinary railing designs. Make sure you are always ready to set a standard.
Although safety is very important, there is the need for the right and also very beautiful railings to be fixed.
You can always add and combine materials that will match with the home exterior and style of your home exterior.
You can always use glass panels to provide ample protection.
Glass panels can also help to improve the style of railings and make them look better with more fashionable style.
12. Make sure the screening is set up very well.
If you love your deck but do not like the view of what you see when you sit on your outdoor furniture in your deck, you can always create unique borders to change that.
Setting up screens will do you a lot of good.
13. Include pop with bright accents.
You can always spice up your deck with outdoor furniture that is painted with exciting accents. This will always attract people from all parts of the home and even friends.
Choose color schemes that improve the exterior of your home's exterior and layer on pillows not forgetting some bowls and vases to provide your outdoor setting with a very cozy feel.
14. Combine deck illumination with screening.
You can always extend the time in which you stay on your deck by making sure the right lights are installed.
When this is done, these outdoor lights are wired straight into decorative screens which help to brighten up the seating area and make other activities very easy to go about especially when it is evening.
You do not need to blend or match night time and interior brightness. Just make sure the light available is bright enough and safe.
15. Find the right outdoor furniture to chat about.
Outdoor furniture come in different heights and shapes so, always make sure you choose the right seats no matter what.
Make sure you know the space of your deck and choose outdoor furniture that matches perfectly.
16. Wire your deck for sound.
Having a weatherproof outdoor sound system is one of the best ways to make your deck a home for parties.
Make sure you have the best speakers and also woofers to make your deck a perfect place for a party with the right wires and sound.
You can always give your deck a good look by replacing all tired wooden rail spindles with ones made from wrought-iron.
If your area has weather issues, make sure you design it to be resistant to rotting.
Before you buy any outdoor furniture, there is the need to be certain of the various options that are accessible to you with that particular outdoor furniture.
Make sure an outdoor rug is included and also a fire pit.
Make sure your deck is very glamorous and is very beautiful.
You can always add a hot tub to your deck.
20. Bring the inside out.
You can always extend your living room space onto your deck to make access to the deck very easy and to also be a nice escape route.


text:
Mens Clothing Furnishings
Nautica Signs Neckwear License With Bespoke Fashion
The ties will be carried at department stores and retail for $55.
By Jean E. Palmieri on November 20, 2015
Nautica Apparel Inc., has signed a licensing deal with Bespoke Fashion LLC for the manufacture and distribution of neckwear.
The first season will be for spring and the deal covers the U.S. and Canada. The collection will be carried in department stores including Macy's, Belk and The Bay, and will feature seasonal trends and fabrications including mixed linen and cotton blends. The ties will retail for $55.
The license had previously been held by PVH Corp. but recently expired, a Nautica spokeswoman said.
"We are happy to announce our collaboration with Bespoke Fashion for the Nautica neckwear license. The Bespoke management team brings with it competencies in product development and distribution which are aligned with the go-forward positioning of the Nautica brand," said Maria Vicari, president of global licensing for the Nautica brand.


text:
Ravelin Apps
In Conversation With Agustina Woodgate
The artist discusses the politics of water, and the problem of minimum wage and how she brings these issues to the fore at TVGOV, the Berlin Biennale, and at her upcoming show at Spinello Projects.
Text and Interview: Monica Uszerowicz
Photos: Monica Uszerowicz
Images courtesy of Spinello Projects
Argentine-born, Miami-based Agustina Woodgate thinks a lot about space, and how it can become politicized or activated or even imagined. Her art practice sits at an intersection between craft and something human and empathetic; plumbing heavy depths, she can daisy-chain multitudes of ideas together, often playfully. Hopscotch, a sidewalk-long version of the titular game, invited passersby to partake; her Rugs collection, in which she de-stuffed and then hand-stitched discarded teddy bears into flowering, intricate patterns, questioned what we hold dear, what we discard, and what we archetypally define home. She's sewn poetry into thrift-store clothing, offered to cut strangers' hair on the street and turned the dregs into structures, and literally erased the borders of globes and maps—saving the dust—to invite speculation about territorial politics.
It's fantastic to draw attention to the way we occupy or think about our physical movement through space, and the sentimental mapping of our lives and bodies, but it's an ontologically specific thing to do this through artistic practice rather than through civic duty. But however whimsical these projects can be, Woodgate utilizes her work to address social realities, implicating both the real and arbitrary nature of power dynamics. We spoke to her about her projects, including her participation in Discreet at the Berlin Biennale with TVGOV, her upcoming show at Spinello Projects, and why her particular sensitivity makes the most seemingly disparate parts of her practice a unified, spiritual whole.
Your work is never about the object and the viewer, but rather the relationship between humans and their environment. How did you become interested in altering spaces and how we relate to them?
I have all these landscape situations—with maps, with globes—that involve reorganizing their parts. I take the globes off their axis, throw them to the floor. They continue to refer to space, but this idea of games comes up, too. They look like pods and balls—people can kick them. There is a disconcerting moment of humor, even though they are still strongly symbolic of territory.
Then there is the hopscotch game, which is also somehow symbolic, because everyone knows the same game around the entire globe. It was invented by Roman soldiers to train for the battlefield. So now we are back at a conversation about territory and landscape, in a way. Humor is present again, too. People react: they already know how to play. There is a convergence. This gives me a hint that the hopscotch is a symbol, in the same way that the globe is a symbol. When I work in the public, I look at the sidewalks like maps. When we view the work, we're understanding the city in a particular way. They are proposals—I'm proposing to use your sidewalks.
They're experiments.
Exactly. I'm encouraging you to use your sidewalks by painting a hopscotch. I am encouraging you to look at maps in a different way by sanding them away and creating chalk with the dust and using them to write. I am encouraging you to encounter your clothes in another way through a poem. The teddy bear rugs are social landscapes. It's garbage; there is all this meaningful garbage.
You have an online radio station you broadcast from wherever you are in the world. In what ways have you used technology in your work to establish broad connections?
I started playing around with a term—I don't know what it means yet. I'm not sure how to resolve it; it's something like "techno-immigrants." I'm looking into how technology has facilitated immigration. I'm an immigrant; I'm not from Miami. Technology is what connects me. That's why I have an online radio station. I'm not interested in having a radio station that's connected to only one locality. I can be specific to the place where I'm broadcasting, but my listeners don't have to be. This facilitates a level of conversation I don't know I'd be able to have otherwise.
How is technology affecting immigration? How is it facilitating our moves around the world? We are doing a hopscotch around the world. I believe that movement is natural to humanity, in a way, because we've always been nomads. But it's testing a lot of boundaries we've had in place; we're rethinking. What do you do when you have 400,000 Syrians arriving to Germany? How can technology facilitate this? Think of what happened with Black Lives Matter, and people putting their hands up. That was a social media symbol, a hashtag—it's a perfect example of where media is actually working within an art field: art meaning visual, that is. What we understand as art might be changing.
It brings into question ideas of public and private, of water as a luxury beverage.
You just returned from Buenos Aires. What were you working on there?
I had an exhibition, Común y corriente, at Barro, curated by Natalia Zuluaga. I was diving into the politics of water and public and private space. It was an installation of 12 water fountains connected to a source of water coming from the street. Some fountains have more than one faucet, and each fountain is designed so they all fit together in a cube shape. I was very interested in the movement of the viewers' bodies when they start interacting with the water. It becomes kind of awkward—the proximity of the mouths. In a formal way, it's this idea of bringing something meant to be outdoors—water fountains—into somewhere luxurious. You're inside this concrete park. It brings into question ideas of public and private, of water as a luxury beverage. There was a phrase at the Berlin Biennale—something like, it appears that Internet is a human right, but water is not.
You and TVGOV, a research collective—with Sofia Bastidas, Nicole Doran, Peter Fend, and Guillermo León Gómez—participated in Discreet, at the Berlin Biennale. Discreet is described as an intelligence agency for the people. Can you tell me about it?
For three weeks, twenty people from different disciplines, from different parts of the world, were brought into this setting. The conversation was always two-fold. Most of the time was spent discussing ideas about what intelligence is, what type of knowledge it creates, what kind we'd want to create if wanted to compete with the NSA. We were looking at existing models and opening ideas about new intelligence agencies. Maybe they don't all need to be in the same framework; we can start our own intelligence agencies and create competition.
Tell me about TVGOV.
We started working with Peter Fend, who's the head of TVGOV. He introduced us to the idea of eco-tax. Together we started working with and adding to this discussion—updating the conversation with different technologies. We propose the utilization of already-existing satellite technologies, and instead of surveilling people, surveilling the land—and through the surveillance of the land, implementing a new financial system in relationship to the use or disuse of land, water, and air.
This taxation is for landowners: if you don't own a piece of land, you wouldn't be paying eco-tax. Most citizens would be paying eco-tax, actually, but the amount you pay varies based on what you own. So if you own a boat, if you own a car, or if you own a piece of land—it's a property, so you pay. You pay in relationship to the shape of your territory or your item. If your land is a parking lot, you pay mass tax. If you want to lower your tax rate, you go about your property in another way—you plant trees, you put solar panels.
What are you working on right now?
I'm working on my upcoming exhibition at Spinello, Power-Line, which features two works: National Times and $8.05. $8.05 is Florida's minimum wage. For National Times, I will be using fifty "slave" clocks at the gallery. They don't work on their own; they need to be connected to a "master" clock. It's a closed circuit. These clocks began to appear in our systems decades ago. It's a way of keeping all the clocks in a factory or a school consistent. It's regulating wages, considering time as money. The relationship of the "slave" clocks and labor is one and the same. The "master" gives them a signal, and they become mirrors of the "master." They do not have autonomy.
I'm modifying portions of the hands of the "slave" clocks with sandpaper so that, with time, the numbers will erase. National time will be maintained. What will be erased is only the number. I like the idea that there are 50 "slaves" and 50 states.
Is it noisy?
That's an amazing question. I bought three contact mics to record the "chkchkchkck." I want to incorporate that sound. I will put the dust of eight dollars into the hourglass—the hourly wage. I also like the idea of freezing that wage into a moment in time. Hopefully it won't be that way forever—this number is flexible. It will continue to change. It's such a volatile thing in relation to economy that freezing it in a time capsule feels okay, specifically in conversation with the clocks erasing themselves. It is another representation of the labor.
This is a very important time for this exhibition to be happening, historically speaking.
All the clocks say NATIONAL TIME in the center, so I really want to be aware of this moment in time. What's also interesting is that the clock is sanding itself because another object is telling it to. I'm looking at this exhibition as a performance of objects. It's already happening, whether you're there or not. At one point, the work will become irrelevant, because they have nothing else to sand, but they will keep on going—because the master is telling them to.
That's perfect, because the whole world is in a transitional moment.
In a state of expectation, right? "We're waiting. What's going to happen?"
Power-Line is on view at Spinello Projects from September 8, 2016 through November 8, 2016, with an opening reception on Thursday, September 8, 7-10pm. Spinello Projects is located at 7221 NW 2nd Avenue, Miami, FL 33150.
https://www.artsy.net/spinello-projects
The Movements of Maren Hassinger: In Relation
"Under the Skin" Interview Series By Coco Dolle. "Yana Toyber On Redeeming The Dark Female Psyche
© 2016 Sweden Unltd.
Subscribe to Ravelin's newsletter for a dose of inspiration, magazine news, and event announcements.


Learning From the Land believes that successul business does not preclude having strong ethics, transparency and diversity. Success can be measured in a range of ways and we are interested in working with companies who operate or wish to operate more fully as part of their wider community. As we become increasingly interconnected thanks to the advance of digital technology, this is becoming a necessary part of business for more and more companies.
Please get in touch if you have a project you would like to discuss on 07787188891.


Galerie Langhans, which has mounted the first European retrospective of the photographer Miyako Ishiuchi, who represented Japan in the 2005 Venice Biennale, has an unusual history. The Langhans family was a well-known dynasty of portrait photographers whose customers comprised the great and good of Europe, the King of England among them. After the Communist seizure of power, they were driven into exile. When the family reclaimed their home several years ago, they discovered nearly nine thousand glass-plate negatives hidden away—each one a gem. A small gallery in the house offers carefully selected exhibitions.
Though not large, the Ishiuchi retrospective provides a wonderful insight into three decades of work by this photographer, who studied in Tokyo and still lives there. But the show begins in Yokosuka, the place of her childhood, a city then still marked by American military presence.


text:
Study Shows Huge Increase in Bloodstream Infections in Europe During First Two Years of COVID-19 Pandemic
Jan 11, 2023 | International Laboratory News, Laboratory Instruments & Laboratory Equipment, Laboratory Pathology, Laboratory Testing
Clinical laboratory data was key in identifying antibiotic-resistant bacteria responsible for surge in BSIs in hospitals and other healthcare facilities in 2020 and 2021
Clinical laboratory data compiled by the European Antimicrobial Resistance Surveillance Network (EARS-Net) shows that a massive increase in bloodstream infections (BSIs) occurred among EU nations during the first two years of the COVID-19 pandemic. The study found that BSIs caused by certain antimicrobial-resistant (AMR) pathogens, known as superbugs, more than doubled in EU hospitals and healthcare facilities in 2020 and 2021.
Microbiologists and clinical laboratory managers in the US may find it valuable to examine this peer-reviewed study into AMR involved in blood stream infections. It could contain useful insights for diagnosing patients suspected of BSIs in US hospitals where sepsis prevention and antibiotic stewardship programs are major priorities.
The EU researchers published their findings in the journal Eurosurveillance, titled, "Large Increase in Bloodstream Infections with Carbapenem-resistant Acinetobacter Species During the First Two years of the COVID-19 Pandemic, EU/EEA, 2020 and 2021." The paper outlines what the author's characterize as the alarming rise in BSIs caused by the Acinetobacter species of bacteria.
"Antimicrobial resistance undermines modern medicine and puts millions of lives at risk," said Tedros Adhanom Ghebreyesus, PhD, Director-General, World Health Organization, in a WHO press release. "To truly understand the extent of the global threat and mount an effective public health response to [antimicrobial resistance], we must scale up microbiology testing and provide quality-assured data across all countries, not just wealthier ones." Clinical laboratories in the US may be called upon to submit data on bloodstream infections in this country. (Photo copyright: WHO.)
Clinical Laboratories in EU Report Huge Increase in Carbapenem Resistance
To perform their study, researchers measured the increase in Acinetobacter BSIs between 2020 and 2021, the first two years of the COVID-19 pandemic. Their data originated from qualitative regular antimicrobial susceptibility testing (AST) from blood samples collected by local clinical laboratories in the European Union/European economic area (EU/EEA) nations.
The researchers limited their dataset to Acinetobacter BSI information from the European medical laboratories that documented results of carbapenem susceptibility testing for the bacterial species.
Carbapenems are a class of very powerful antibiotics that are typically used to treat severe bacterial infections. A total of 255 EU/EEA clinical laboratories reported their data for the study. The scientists found that the percentages of Acinetobacter resistance varied considerably between EU/EEA nations, so they separated the countries into three different groups:
Nations in Group One—The Netherlands, Belgium, Austria, Estonia, Denmark, Germany, Iceland, Finland, Luxembourg, Ireland, Norway, Sweden, and Malta—experienced less than 10% resistance to carbapenems.
Nations in Group Two—Slovenia, Czech Republic, and Portugal—had carbapenem resistance between 10% and 50%.
Nations in Group Three—Croatia, Bulgaria, Greece, Cyprus, Italy, Hungary, Lithuania, Latvia, Romania, Poland, Spain, and Slovakia—demonstrated carbapenem resistance equal or greater than 50%.
The study also found that Acinetobacter BSIs rose by 57% and case counts increased by 114% in 2020 and 2021 when compared to 2018 and 2019. The percentage of resistance to carbapenems rose to 66% in 2020 and 2021, up from 48% in 2018 and 2019.
Antimicrobial Resistance Especially High in Hospital Settings
The researchers further arranged the data into three hospital ward types: intensive care unit (ICU), non-ICU, and unknown. The increase in BSIs caused by Acinetobacter species resistant to carbapenems was greater in ICU-admitted individuals (144%) than non-ICU-admitted individuals (41%).
There are more than 50 species of Acinetobacter bacteria and various strains are often resistant to many types of commonly-used antibiotics. Symptoms of an Acinetobacter infection usually appear within 12 days after a person comes into contact with the bacteria. These symptoms may include:
Blood infections,
Urinary tract infections,
Pneumonia, and
Wound infections.
Healthy people have a low risk of contracting an Acinetobacter infection with the highest number of these infections occurring in hospitals and other healthcare settings. Acinetobacter bacteria can survive for a long time on surfaces and equipment, and those working in healthcare or receiving treatment are in the highest risk category.
The prevalence of this type of bacteria increases in relation to the use of medical equipment, such as ventilators and catheters, as well as antibiotic treatments.
WHO Report Validates EARS-Net Research
In December of 2022, the World Health Organization (WHO) issued a Global Antimicrobial Resistance and Use Surveillance System (GLASS) report that revealed the presence of an increasing resistance to antibiotics in some bacterial infections. That report showed high levels (above 50%) of resistance in bacteria that frequently caused bloodstream infections in hospitals, such as Klebsiella pneumonia and Acinetobacter.
The WHO report examined data collected during 2020 from 87 different countries and found that common bacterial infections are becoming increasingly resistant to treatments. Both Klebsiella pneumoniae and Acinetobacter can be life threatening and often require treatment with strong antibiotics, such as carbapenems.
More research is needed to determine the reasons behind increases in Acinetobacter infections as reported in European hospitals and other healthcare settings, and to ascertain the extent to which they are related to hospitalizations and the upsurge in antimicrobial resistance during the COVID-19 pandemic.
Microbiologists and clinical laboratory managers in the US may want to learn more about the fIndings of this European study involving AMR and use those insights to plan accordingly for any future increase in bloodstream infections in this country.
—JP Schlingman
Enormous Rise in Acinetobacter Bloodstream Infection Cases in Initial Two Years of COVID-19
COVID Pandemic Led to Surge in Superbug Infections, EU Agency Says
Large Increase in Bloodstream Infections with Carbapenem-resistant Acinetobacter Species During the First 2 years of the COVID-19 Pandemic, EU/EEA, 2020 and 2021
Antimicrobial Resistance in the EU/EEA (EARS-Net)–Annual Epidemiological Report for 2021
Acinetobacter: What to know
Some Bloodstream Infection Bacteria Grew Resistant to Last-resort Drugs in 2020 – WHO
Report Signals Increasing Resistance to Antibiotics in Bacterial Infections in Humans and Need for Better Data
Carbapenem-resistant Acinetobacter