The path of Skylar's low-pressure system will be close enough to the Northeast coast for heavy snow and high winds to impact the region, particularly eastern New England.
In the Northeast, winter storm warnings have been hoisted by the National Weather Service in much of New England for Monday night through Tuesday night or Wednesday, including Boston, Hartford, Providence, and Portland, Maine. Blizzard conditions are possible along the New England coast Monday night into Tuesday.
Blizzard conditions are possible, including significant reductions in visibility for the Tuesday morning commute in eastern Massachusetts, and may linger into the Tuesday evening commute in parts of coastal Maine and far southeast Massachusetts. Wind gusts up to 60 mph or locally higher, are possible Tuesday morning along the Massachusetts coast and nearby islands.
Snow may linger through the first half of Tuesday as far south as the New York City metro and Long Island.


Manatee Springs State Park sounded like an amazing place to visit. The three of us loaded up in the car and plotted our course for this well-known Florida State Park. Hoping, really hoping, to see at least one manatee, we paid our $6 admission, but the gentleman taking our money and giving us information said that the warmer weather had caused the manatees to move out of the springs. He went on to say that those that have been seen have been at the mouth where the spring feeds into the Suwannee River.
We drove through the lovely park filled with that interesting combination of palm trees and live oaks, the live oaks decorated beautifully with hanging Spanish moss. It only took moments to find the campground, which we of course explored for future reference. Jim writes about it here. He and I decided that we could enjoy a future winter sojourn in this park.
From the campground, we could see some green water with stairs descending. As we made our way deeper into the park, we found the hub of activities, the parking area, and the water we had viewed from afar. Exiting the vehicle, we wandered over to the stairs, meeting a diver who had just come up the stairs after a dip in the green water. I assume this is a karst covered in duckweed like Olsen Sink.
A place to dive – a karst in the park?
The opportunities for water fun and exploration abound here. This spring pumps out about 100 million gallons of clear, fresh water daily, so the water of the spring run is gorgeous. Visitors may choose to swim, snorkel, scuba dive, kayak, etc. It is only when it is cold enough that the manatees swim up the Suwannee River and into the warmer water of the spring pool.
Chewie could walk almost anywhere, including into the spring run at the canoe/kayak launching area, except on the boardwalks. Due to people who are afraid of dogs or dogs who may not like each other potentially meeting in such an enclosed space, dogs are not allowed there. Jim entertained Chewie while I walked the length of the boardwalk through the hardwood marsh to the river. Afterward, Jim and I switched places.
We did not see any manatees. In fact, if it were not for the birds, we would have not seen much wildlife at all on this adventure. What was amazing to me is that I was able to walk within about four feet of a big group of black vultures before finally getting close enough to scare them away. Below you will find some of our bird pictures from our enjoyable visit to Manatee Springs State Park.
On this day, In Manatee Springs Park, manatees vs birds, the birds win. You can read more about the park by following the link here.
Thanks to Pat and Judy of www.emptyingthebucketsite.wordpress.com for help with bird identification.
Hey Angela! I'm thinking that bird you wanted to know about is most likely an Anhinga. They dive down for their food and then stand around holding out their wings to dry. As for the white bird, he's an egret. Love the water birds and glad you had a good visit to Manatee Springs!
Cool! Thank you. I don't know my birds, especially water birds as I'm from a very inland state. Thank you, Judy and/or Pat! I'll make corrections and give you credit for the help.


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Rockstar Energy Inked Up Tour Tattoo Convention Coverage Sydney part 3 of 3
SullenTV Presents the final cut of the Rockstar Energy Inked Up World Tour Sydney part 3 of 3 with Kyle Cotterman, Lyle Tuttle, Mick Squires, and Sabina Kelley! WATCH AND SUBSCRIBE!
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Kyle Cotterman: Owner and Artist at Distinction Tattoo in Dayton, OH.
Lyle Tuttle started tattooing in 1949, at 17 years of age. He is commonly credited with introducing the art to the mainstream and helping legitimize it as an art form. Tuttle got his first tattoo when he was 14, a heart with the word "Mother". Lyle Tuttle Tattoos, the shop he ran in San Francisco for 30 years, welcomed thousands of clients over the course of its existence. Tuttle effectively retired from tattooing 15 years ago, but he can still be found at tattoo conventions around the world, giving seminars and telling his fantastic stories wherever he goes.
Mick Squires: My style is realism; colour realism is what I usually get asked to do. Although I love black and grey tattooing. I really enjoy heavily contrasted pieces that just punch. But if I'm asked by my client do what I want to do, it usually involves mixing illustrated imagery with realism, its so much fun to create something from scratch right out of your head or from a reference of a photo and convert it into a traditional tattoo with hard lines and solid, bold colour and then mix it in with hyper detailed, no lines realism. Mick currently works at Behind Closed Doors Tattoo Studio in Melbourne, Australia.
Sabina Kelley has established herself as a true, modern day, pinup and icon. With a wide international presence, she has graced dozens of magazine covers as well as major ad campaigns, television, music videos, calendars, and so much more. She is highly respected in her field and has been sought out by some of the top photographers in the business including David LaChapelle and the legendary, Bunny Yeager. Sabina has been modeling professionally for over 11 years and dancing since the age of two. She is professionally trained in ballet, tap, jazz, hip hop, and pointe. She went from a small town ballerina to a big time Las Vegas showgirl performing in Jubilee for 2 1/2 years at Ballys Hotel. She is currently training to headline her first ever burlesque dance show.While modeling with a lot of tattoos goes against the industry norms, Sabina has been very successful in the mainstream-modeling world. Standing at a statuesque 5'10″ with platinum blonde hair, gorgeous features, and tattoos, she has gained the respect of many in the industry. Her success is due in part to her incredible versatility. She is the best when it comes to pinup modeling, but also specializes in fashion, glamour, fetish, swimsuit, and lingerie shoots. Sabina shows the world that you can be heavily tattooed and still be beautiful, classy, and sexy. She loves to push the boundaries and take tattoos to whole new level in the mainstream fashion world. Sabina owns her own laser tattoo removal business called Bombshell Tattoo Removal. She is also a permanent judge on the new TV show "Best Ink". The 3rd season is currently airing Wednesday nights on Oxygen at 10pm/9c. Sabina is a model, tv star, business woman, and mother, and she manages to do it all with grace and style.

redpajama_set_name: RedPajamaCommonCrawl


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story from Business
Epiphyte's Crypto Solution for Banks Wins Sibos Startup Challenge
Oct 3, 2014 at 19:20 UTC Updated Oct 13, 2014 at 11:20 UTC
Nermin Hajdarbegovic
Crypto-finance company Epiphyte has won the SWIFT Innotribe Startup Competition at the Sibos 2014 technology and innovation trade show in Boston.
The company earned the competition's $50,000 'Top Startup' award with cBridge, its first crypto product targeted at international banking and financial institutions.
Epiphyte CEO and founder Edan Yago said it was "very gratifying" to win the prize at the world's largest banking convention. He added that banks, bitcoin and other distributed ledger systems have a lot to learn from each other.
Epiphyte specialises in distributed ledger solutions for the mainstream financial system with the broader goal of connecting banking networks with cryptocurrency networks.
Following the win, Yago said:
"We have spent the last year and a half working with banks to help them integrate distributed ledger and block chain based technologies in a low-risk and compliant way. We are building the bridge between established finance and cryptofinance."
Block chain tech for banks
Epiphyte's cBridge beat out 280 competing FinTech startups. The criteria were simple: judges were asked to determine the likeliest startup to have the biggest impact on the future of the financial industry.
Each of the semi-finalists pitched their ideas to audiences that would decide which of the startups would be invited to the Sibos Grand Finale at Sibos for global exposure and receive the cash prize.
Kevin Johnson, SWIFT Innotribe Startup Challenge manager, suggested that while his product may have sold itself, Yago's pitch to the attendees was equally compelling, saying:
"I feel Epiphyte's pitch at the startup competition was voted by the audience as the winner, due to the connection he made to the audience, showing how they can benefit from this technology and the business model."
Epiphyte technology allows banks to facilitate consumer-to-merchant payments using cryptocurrencies. Bank customers can perform the transactions in familiar fiat currencies like dollars and euros, and the banks themselves do not have to hold cryptocurrencies.
New payment rail
Jo Lang, Epiphyte's product lead and co-founder, said as many as 500 million bank customers are now able to make purchases using this new payment rail.
"Epiphyte is helping our banking customers see additional revenue by providing a service that a growing number of customers want," said Lang.
The solution was designed to offer a low level of risk and compliance. Banks can use Epiphyte software to integrate crptocurrencies with traditional protocols like SWIFT.
The company, founded in 2013, plans to roll out a pilot implementation of its new product sometime in the next few months.
This article was co-authored by Stan Higgins
Images via Epiphyte; Shutterstock
TechnologySibosNewsEventsTechnology News


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The Hohokam, American Indians and Mesoamerica
What You Thought You Knew about Southwest U.S. Indians is probably not right…
Tucson Artifacts can shed light on American Indians
The Tucson Artifacts bear reliable dates in the Christian calendar (560, 705, 775, 800, 880, 885, 900). They document the annals and prosopography of a distinct geopolitical entity, a Roman-styled military kingdom in Toltec Mexico with Jewish leaders from Brittany, the Carolingian or Frankish heartland on the Seine, and Gaul, one that existed for over a century (890-900).
They are straight-forwardly composed in Latin, the official language of records during the Middle Ages. They are plainly written in a script intended for public scrutiny. The circumstances of their manufacture from local lead and their recovery from the desert soil localize them to the place where they were excavated. Finally, they are perfectly preserved, complete, unaltered.
They are diplomatic records, recognizable as being signed and sealed by a public notary (OL). They do not have to be reconstructed, pieced together, deciphered or dated. For all these reasons, such unique witnesses to history are capable of throwing considerable light on American Indian studies, particularly for the otherwise nearly blank eighth and ninth centuries.
Were the Hohokam Toltecs?
The indigenous peoples are described by the Romani as Toltec (Toltezus, 1A, 5A). It is the first appearance of this word in the historical record, predating such chronicles as Tovar by more than five centuries.
The subject peoples whom the Toltec governor/overlord (silvanus, si'wan, "Elder Brother") rules over are specifically called Toltecs. We are not told what the name of the people that the army of Theodore conquers was. After their subjugation, they were also considered Toltecs.
Who were the Hohokam? Though their immediate or remote origins are somewhat speculative, the settled opinion of archeologists is that the Hohokam were a frontier group from Mesoamerica totally unlike the surrounding tribes they joined in the American Southwest at the beginning of what is called the Pioneer Period, about 700 (Whittlesey).
Perhaps the best description comes from Albert Schroeder, who followed the diffusionist approach of Charles DiPeso, the Amerind Foundation director who published many volumes on the Mexican trade center Casas Grandes. According to Schroeder, Hohokam civilization in the Southwest arose from the mechanism of the diffusion of trading families from a "heartland" located in the Pacific-facing regions of Michoacán, Jalisco, Nayarit and Colima far to the south.
The Purépecha, or Tarascan-speaking "Indians," who still dominate the region, were seaborne intruders from afar themselves. Tarascan means "late arrivals" and the first settlers are believed to have landed in a virtually uninhabited desert around the mouth of the Balsas River, expanding their territory from this new homeland. Adopting the pochteca system, the Tarascans transported their own people in colonies to peripheral areas to exploit the resources of new lands and build trade and industry, including unusual crafts like metalworking.
They inserted themselves into the Phoenix and Tucson basins by conquering the indigenous groups that thinly occupied the region, the Hakataya tribes, or "Old Ones." In the words of Paul Grebinger, a doctoral dissertation author at the University of Arizona, "After A.D. 600 a group of conquering Mexicans in the form of trading families established themselves bodily in central locations throughout southern Arizona, [where] they were able to exploit the local population and resources and expand into areas as far north as southern Colorado" (p. 169-70).
These mercantile and militaristic rulers probably called themselves Toltecs, as did also the "Romans," who undertook the government of the region. It was a generalized label tantamount to "builder, craftsman, trading family, sophisticate," not an ethnonym. They brought whole new "trait complexes," which they blended with the patterns of the subject peoples ("pattern diffusion"). Modern-day pre-Hohokam groups include the Yuman, Quechan, Patayan, Sinagua, Cohonina, and Laquish. Toltec is commemorated in the name of at least one Hohokam town, Toltec, Arizona.
According to later historical descriptions, the Toltecs practiced cremation (as did, uniquely, the Southwestern tribes in the Hohokam cultural zone), emphasized a class/caste social hierarchy ruled by a bloodline elite, had guilds and workshops that included the rare crafts of metal-working, shell and turquoise inlay work and copper bell manufacture (as proved in Snaketown and Casas Grandes), understood surveying, architecture, city planning and canal construction, were both literate and numerate and had a calendar.
They are linked with the arrival of ball courts and central plazas in the Southwest, along with copper bells, palettes, and other elite symbols. They worshipped Tezcatlipoca, called "Smoking Mirror" by the Aztecs, as their principal deity. Tezcatlipoca was the brother of Quetzalcoatl and patron god of warriors and their camps. His worship has been noted in the formative phases of Hohokam culture at Snaketown and later at Casas Grandes. By contrast, the Aztecs and similar tribes placed the war-god Huitzilopochtli at the top of their pantheon.
Calalus, "Unknown Land"
Calalus, meaning "desert people," evidently designated a territory corresponding roughly to the Sonoran Desert north of the original intrusive enclave of proto-Tarascans in Michoacán (or possibly, by extension to all of West Mexico).
The greater, embracing geographical term was "Unknown Land," this a designation from the point of view of the more civilized Toltec founders, who acted as pioneers and colonists. The proto-Tarascans were probably multi-ethnic Pacific Rim peoples who quickly blended with the Mexican Indians while maintaining their own hierarchies. The mix could have included various foreign merchants arriving under different "flags," including our "Romans."
On the Judas-Benjamin-Isaac Cross (6B), the Romani's trademark R. appears joined with an unidentified Mesoamerican glyph alongside images of the Temple, spice spoons, a brazier, a ship, a Quetzalcoatl face in glory and the abbreviation C.S. (perhaps cassia semptiterna or sacra, "perpetual incense, or qetoret tamid, see Ex. 30:7-8). The glyph is not in the style of the Mayas or Aztecs or Zapotecs. If it could be identified, this would show what Mesoamerican power the Romani were in alliance with. Was it perhaps the Tarascans of Michoacán?
Linguistic Evidence in the History of the Pima
The successor Pima and Papago tribes began as a small constituent of Piman-speaking Sobaipuri from the east (known as Coyote tribes in the Hohokam legend) who invaded the Hohokam (or as we may call it, Toltec) territory and conquered the mixed populations about the fourteenth century. They referred to the new lands, towns, and inhabitants as "all used up, wasted"—a description surprisingly similar to the meaning of Calalus (an indeclinable plural similar to Toltezus).
As we have suggested, this name for the country called at large Terra Incognita seems to come from the Hebrew k-l-l "all wasted, desert," with the same unchanging and indeclinable non-Latin ending as Toltezus. Modern-day tribes may refer to the Hohokam as the Ancient Ones, but this is not an etymology, no more than Anasazi is in its meaning of the Ancient Ones, as it is, in reality, a Navajo word translated literally as "Enemy People."
In the same way, the Hopi (whose origins were also seaborne) are called the Moquis, an alien word which in their own language they report to mean "dead" (compare Ancient Egyptian mwt "the dead"), and which their linguistically unrelated neighbors like the Zuni and Pueblos "translate" as meaning "wretched, nasty, enemy."
Besides Hopi (HAp, "priest"), another of their tribal names is Hoki (Hm-KA, "priest of the dead," this according to my informants their secret name). The same element (mk, Old Egyptian mnxt "divine, holy) occurs in the name of Earth Doctor, or Chuewut Ma-cki, the culture-bringer and founder of the early Hohokam, where it alludes to Magi, Eastern wise men. Its Tohono O'odham/Pima root is mahch, "to have knowledge, skill."
We can speculate that the original name of Tumamoc Hill was Hill of the Magicians or Wise Men. The English place-name is conventionally derived from Pima/Papago chemamagi, "horned toad," and the indigenous name therefore given as Hill or Mountain of the Horned Toad. But chemamagi cannot be analyzed into Pima elements and is obviously alien. A true derivation rather than folk etymology must lead us back in the same direction. Horned Toads was the common way in Southwest American Indian myths and legends to speak of "armored people." Analogies abound in Hopi tales as well as the Acoma origin-myth. Our Romani were probably identified with countless ancient visitors and colonists who wore helmets and were interested in the metals of the region. In the same way, the Cherokee mythologized their Stony Clad founders. Tumamoc and Rhoda were viewed as the foreign citadel and capital, both predating the conquest by Theodore in 790.
Epigrapher Barry Fell of Harvard University found that the Zuni language contained a much older loan vocabulary stemming from more southern sources. He detected the Otomi language of Mexico, the Aztec language of Mexico (Nahuatl), a few words from the Huasteca language of Mexico, and pizullilya (circle) and lashokti (ear), Maya words (1976, pp. 177-78). Later, he retranslated Frank Russell's almost nonsensical Pima songs, as reported by the Smithsonian's Bureau of Ethnography in 1901-2. He found predominantly Old Arabic with some Maya and other Mexican loan words (1980, pp. 300-314). It is clear from the linguistic evidence that Pima history is not uninfluenced by other cultures, some of them from the Earth Doctor's "world on the other side of the world." South Asian languages have also been detected in Pima/Tohono O'odham, just as Hindu/Buddhist practices like the lingam are evident today in Tohono O'odham country.
A mixed picture of the New World Amerinds
DNA analysis paints a remarkably mixed picture of the New World Amerinds. Hellenthal and his team in "A Genetic Atlas of Human Admixture History" present two opposite strains that meet in the Pima. Strain 1, described as the Turkish side, shows Greek 5.6%, Daur (a Mongolic-speaking ethnic group in northeastern China) 1.7% and Sardinian 1.0%. Less than 1.0% on this side of Pima mixed ancestry are Maya, Xibo (a Tungusic people living mostly in Xinjiang, Jilin, bordering North Korea), Polish, Karitiana (an indigenous people of Brazil), Mozabite, Druze, Columbian and Bedouin. These traces are quantitatively low, but distinct and not to be dismissed. On Side 2, labeled as the Maya-like, we find Maya 54.4%, Columbian 7.0%, Karitiana (Brazilian tribe) 4.6%, Japanese 2.9%, Surui (indigenes of Brazil) 2.4%, Han Chinese 2.3%, Orogen (dubbed "Chinas's last hunting tribe" by the press) 1.9%, Hazara (Afghan) 1.6%, Chuvash (Turkic ethnic group, native to an area stretching from the Volga Region to Siberia) 1.4%, Yakut (another Turkic Siberian native group) 1.0%, Burasho (northern Pakistan, all today Ismaili Muslims) 1.0% and Hezhen (Jurchens of Manchuria) 0.8%.
Only ancient movement of people from the homelands of the ethnic groups identified ("historical mixture events at a fine scale," in the words of the Hellenthal study) can account for this situation. The surprising results clearly demonstrate a large Maya bedrock population marked with veins of Greek, Sardinian and other Old World origin, including Afghan, Mozabite (North African), Druze (Palestinian), Bedouin and Pakistani. Nor is any of this admixture modern, the result of an Italian Jesuit priest perhaps or mine workers imported from Spanish Mexico. The sparsely populated island of Sardinia, which has a unique genetic signature, has never been noted for any sizable outward movement of its inhabitants. The fact that it was an important Phoenician colony, well known for its copper, silver and gold mining down to Roman times, supports Fell's thesis about Mediterranean peoples colonizing the American Southwest. Druze, Mozabite, Polish, Bedouin, and Columbian may point to a distant Semitic contribution.
Han Chinese and Japanese ancestries must be understood differently from the signatures of the various hunter-gatherer Turkic groups like the Yakut. The footprint of these civilized nations of the Far East in Southwest tribes lends support to the work of scholars like Nancy Yaw Davis, Siu-Leung Lee, Charlotte Harris Rees and Edward Vining.
In summary, the earliest Hohokam from about the year 700 to 800 were Toltecs from Mesoamerica, who in turn were a product of Pacific Rim diffusion of peoples. The Aztecs later immigrated from the same area of the American Southwest. The "bedrock" people, who blended with the Mexican tribes, were similar to the Yuman/Quechan archaic Indian tribes who had not been exposed to town life, architecture or central government. The Pueblo and Zuni tribes' origins were mixed with ancient Old World cultures, as suggested by their languages and use of adobe architecture, along with their legends. Southwest cultures did not develop independently of each other or the rest of America. They received the spark of civilization and signal advances in lifeways from Mesoamerica, with its culture bearers from the opposite side of the Pacific Ocean, including merchant adventurers from Europe via India and China. This "diffusionist" model sorely needs to applied to other regional studies in American anthropology. The Tucson Artifacts may be considered as Exhibit A in the casework. It is a small step in our conceptual
framework from "pattern diffusionism" to "hyper-diffusionism" when the world formed a unified ecumene, as it did in the eighth to tenth centuries.


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Acclaimed British comedy Eaten By Lions gets DVD release date
8th July 2019 | by Simon Brew | Comments
Get a good look at a new British comedy that's heading to DVD this month.
A film that enjoyed good reviews during its theatrical release last March is Eaten By Lions, a British comedy that features Jack Carroll, Antonio Aakeel, Johnny Vegas, Asim Chaudhry, Kevin Eldon, Vicki Pepperdine, Nitin Ganatra and Hayley Tamaddon.
The film is penned by David Isaac, produced by Hannah Stevenson and directed by Jason Wingard. It follows half-brothers Omar and Pete, who were raised by their gran after their parents were, well, eaten by lions as it happens. When their gran passes on, the pair go off on a journey to find Omar's birth father. A journey that leads to the sunny climes of Blackpool.
The film is on digital download from 22nd July with a DVD release the week after.
Here's the trailer for the movie…
You can find out more about the film over on its website, here: https://www.eatenbylions.com/
Tags: Eaten By Lions
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Hey everyone and welcome to my blog.
My name is Jordan and I am 17 in 10 days and I am on my last year of high school.
Since the age of 11 I have had a passion for reading, I think that the book that I truly fell in love with was Vampire Academy by Richelle Mead. Ever since then reading has been my guilty pleasure and I basically read whenever I can.
So I've decided to create this blog so that I can share my love of books with you all and express my thoughts and opinions on what I read and perhaps that might help you find books that you will enjoy.
I am going to be posting at least 1-2 a week so I have a few ideas for post e.g. reviews, upcoming releases, book of the month, books to movies and lots more but if you have any suggestion please leave them in a comment below, it would be much appreciated.
thank you for taking your time to read this and look at my blog.
Yay! so sorry it has taken me this long to reply, I stopped blogging for a bit but I am back again! haha. I agree it is a very rare thing. I just had a look at your blog and I love it!! I will defiantly be checking in regularly :D hope you're having a fab day!


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New Assistant Principal Named at Broadview Middle
Les Atkins
The ABSS Board of Education along with Superintendent Dr. Dain Butler named JoAnna Gwynn as the new assistant principal of Broadview Middle School.
Gwynn started her career in ABSSS as a teacher at Walter Williams High School and has served as a teacher, principal, and assistant principal in Caswell and Rockingham counties. She also worked as an instructor at Gardner-Webb University. She has twice been named a Wells Fargo District Principal of the Year.
Gwynn is excited about returning to ABSS. She has earned degrees from Greensboro College, North Carolina A&T, and most recently earned her Education Specialist degree from Gardner-Webb University.
She will assume the new role March 13, 2023.


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Big Changes Coming for Hospital Emergency Managers
Hospitals will be required to develop more specific plans and procedures for emergency response.
by Adam Stone / February 10, 2017
Emergency management leaders at hospitals and medical centers are grappling with a major rule change from the Centers for Medicare and Medicaid Services (CMS).
CMS finalized a rule it says is intended to establish consistent emergency preparedness requirements for health-care providers participating in Medicare and Medicaid.
In announcing the rule, CMS specifically mentioned this summer's flooding in Louisiana, where hospitals struggled to cope with the enormous scope of the emergency. "Situations like the recent flooding in Baton Rouge, La., remind us that in the event of an emergency, the first priority of health-care providers and suppliers is to protect the health and safety of their patients," CMS Deputy Administrator and Chief Medical Officer Dr. Patrick Conway said in a news release. "Preparation, planning and one comprehensive approach for emergency preparedness is key. One life lost is one too many."
Officially titled "Emergency Preparedness Requirements for Medicare and Medicaid Participating Providers and Suppliers," the new regulations must be implemented by November 2017. While CMS has yet to release specific guidelines around many of the new requirements, some in the hospital world believe big changes are coming.
"We have always had emergency plans, but now they are asking for really specific policies and procedures," said Ruth Ragusa, senior vice president for quality and care management at the 455-bed South Nassau Communities Hospital in Long Island, N.Y.
"Plans in the past were fairly detailed, but we expect that even further detail will be required. There will be more depth in the communications area and also in training and testing," she said.
The new rule applies not just to hospitals but also to long-term care facilities as well as to outpatient providers such as ambulatory surgical centers (ASCs) and end-stage renal disease facilities.
While that may seem like painting with a broad brush, some commend CMS for differentiating in the requirements for different types of facilities. For example, the communications component of the rule tasks hospitals with having very specific procedures in place to track patients during a crisis, whereas ASCs carry less of a burden in this area.
"We can cancel appointments or send patients home, and CMS acknowledged that, very appropriately. They recognized that ASCs would not need to keep track of patients in the same way as hospitals," said David Shapiro, a board member with the Accreditation Association for Ambulatory Health Care (AAAHC) and an anesthesiologist at Red Hills Surgical Center in Tallahassee, Fla.
CMS officials tailored a number of requirements to reflect the diverse types of providers covered under the rule. Outpatient providers don't have to have policies and procedures for provision of subsistence needs, for example, while hospitals and long-term care facilities do need to install emergency and standby power systems.
Nonetheless, providers of all stripes will likely feel the impact of the new rules. Even in the absence of specific guidance from CMS, the revised regulations "do seem to go a little further, a little deeper," Shapiro said. While AMCs have long coordinated their emergency plans with state and local authorities, for example, "now they are asking us to step up our game in terms of making sure that we specifically document those efforts."
For emergency managers outside the medical community, meanwhile, the new requirements could be a boon. "State and local emergency managers are always happy when the people who are their customers in a crisis have got a good plan," said Michael Anderson, a director at public safety consulting and managed services IXP Corp. in Princeton, N.J.
"This is an opportunity for emergency managers to be a resource to the medical community, to evaluate their plans and help make them stronger," he said. "Knowing who your counterpart is in that hospital, knowing how to get hold of people in a crisis, those are going to be key benefits for emergency management."
What's required
CMS lays out four areas that medical providers need to address as part of their overall preparedness efforts:
Emergency plan: Perform a risk assessment and build a plan using an all-hazards approach to address the full spectrum of location-specific emergencies or disasters.
Policies and procedures: Develop and implement policies and procedures based on the plan.
Communication plan: In a plan based on state and federal law, ensure patient care is coordinated within the facility, across health-care providers and with other emergency entities.
Training and testing program: Develop and maintain training and testing programs, including initial and annual trainings, and conduct drills and exercises or participate in an actual incident that tests the plan.
This is the tip of the iceberg: The full rule runs to almost 190 pages, and CMS still is expected to issue a range of more detailed documents laying out its expectations for exactly how providers will fulfill the new requirements.
CMS offers a number of pointers to help emergency planners begin to address the new requirements. It identifies FEMA documents for risk assessment, communication and training as potentially helpful tools.
The intention, overall, seems to be to turn up the heat on emergency planners. While most medical facilities have emergency plans in place, CMS insists a more rigorous, comprehensive approach is needed.
Upon reviewing providers' present readiness efforts, "we concluded that the current requirements are not comprehensive enough to address the complexities of actual emergencies," the rule states. In the event of a disaster, "health-care facilities across the nation will not have the necessary emergency planning and preparation in place to adequately protect the health and safety of their patients."
It's not the lack of planning per se, so much as it is the fragmented nature of the rules that has CMS most concerned. "[T]he current regulatory patchwork of federal, state and local laws and guidelines, combined with various accrediting organizations' emergency preparedness standards, falls far short" of what is needed, CMS writes.
To ensure facilities get up to speed, CMS is calling for a higher degree of practical exercise. In addition to training and testing, "you also need to drill your staff," noted Andrew Randazzo, CEO of Prime Medical Training in Knoxville, Tenn. Among other things, the new rules call for hospitals to participate in a community mock disaster drill at least annually, along with tabletop exercises.
This will likely require some financial investment. At South Nassau Communities Hospital, Ragusa voiced a common concern: that the new requirements may come with a steep price tag. "It may mean additional supplies, resources, systems," she said. "We are going to have to revisit communications and training, all these areas. Will it require 10 percent or 20 percent more? Without the specifics it's hard to say."
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text:
The house of horror, grief and love
September 19, 2019 ESP#horror, #netflix, grief
'I've seen a lot of ghosts. Just not the way you think. A ghost can be a lot of things. A memory, a daydream, a secret. Grief, anger, guilt. But, in my experience, most times they're just what we want to see. Most times, a ghost is a wish.' – Steven Crain
It was not often but my family relocated to new places when I was a kid. Every time that happened, I remember having mixed feelings, of excitement, anticipation, a thrill of the unknown. These feelings were most likely different for the different members of the family. But one thing I never experienced, or for that matter any other member, was a feeling of dread, or fear even if we were moving into one of those quarters in the government colonies that look antiquated with an occasional plant growing on the outer wall, and with huge gardens, usually in a dilapidated state thanks to the laziness of the previous occupant. So, as I turned off the lights and played the first episode of the Netflix horror series, I expected it to start with the family moving in to the haunted house.
But that was not to be, this series is not linear in terms of time. It is not a typical horror series either. There are, of course, the usual tropes. Great jump scare moments, haunting long shots and fitting sound engineering, but what stands out as you watch this show is the fact that horror is not about the any of these external effects but is an extremely personal experience. An experience that you go through in the dark crevices of your mind, an experience that you wont be able to put down in words. This may be the reason why watching horror with friends is so different than watching alone.
This aspect of not being able to explain is no better demonstrated than by the experience of the twins, the youngest of the Crains, who keep trying to alert the family of the evils in the house. But like all kids, they are never taken seriously. It is this element of fear that hits you hard as you watch them suffer. But the show is about the house, you snap back to realize, as the title clearly indicates. After a few episodes, we do indeed go through the excitement of the Crain family of five kids entering it. The parents buy old houses, renovate and sell at a high price.
Every house has a character, they say, but here the house has a purpose and it lives to further it's purpose. The heinous purpose being to consume life. It feeds on people, luring them to the red room, which is the device by which the house operates. It is however not the soul or the heart but it's the stomach, as explained by the enlightened and beatific ghost of Nell, one of the twins. The red room is different for each member of the family, depending on the members disposition and interests. Once you get comfortable in the red room, the house slowly suffocates the person with things that would affect them the most. It could be fear, shame, guilt, regrets, and such dark constructs till that person gives up and commits suicide to be eternally present in the house.
It lays claim on the mother to begin with, which it does that by convincing her into poisoning the twins who are the most vulnerable from her perspective because they are the youngest. The house convinces her that this is the only way to protect them from the unjust, scary world outside, to which she is eventually going to send them. The scene when we find her in a daze looking at the twins, and the way Nell and Luke talk about the future is in a way more scary than all the jump scares put together. It's quite symbolic too, the house is actually no different than the world outside, one might also say that the world consumes us by luring us into our red rooms, that comfort zone we build around us, where we wither away over our lifetime. The family flees on the night when the mother dies, but the house and it's effects never leave them.
There are two timelines running in parallel in this show, one with the family moving into the house and lasting up to the death of the mother. The other is with the kids grown up and how they are coping up with their lives, professions they have chosen, but mostly it's about how they have been coping with their troubled past. The dad never told the kids what exactly happened on that fateful night. All the grown up kids seem to be suffering, a common thread of unrest and grief runs through all of them. And it is this grief that makes you think if the show is about horror or is a metaphoric take on life, existence and grief.
'No one ever told me that grief felt so like fear.' – C. S. Lewis, A Grief Observed
This quote is so apt in the context of the show, with each of the five siblings representing a stage of grief, or fear, however you want to see it. Even though fear is about things you don't want to lose, whereas grief kicks in after loss, both have similar characteristics when you evaluate their effect on the individual. Both paralyze you, at least your senses, and the faculties of thinking clearly. Also, both get diluted when shared, but when contained within they keep getting heavy. They lead to a heaviness upon the soul that distorts one's conception of space and time, no different than how gravity of heavy masses and intense energy distorts the space time fabric as postulated in science.
In Hill House, time curves to the extent of coiling around, like confetti as Nell says in her final, enlightened speech. It does so for her at the least, as the mystery of the beloved bent-neck lady is disclosed. Nell was the one who never doubted the existence of the lady, her embracing of the fear and the conviction creates that heaviness within her, surpassing that present in other siblings. It is a vicious cycle though, the ones who accept get to experience the anomalies and cannot help but try to show it to others. But the others, obviously, cannot see or feel the same way and find the person illogical, and this furthers the urge in the condemned one to try even more to convince. This process keeps reaffirming the fear within, or say, keeps magnifying the grief.
The ending of the show is on a positive note though, something I like in a story that's allegorical. The beauty of this show lies in the ways it lets you interpret the scenes, lives, thinking and behavioral patterns of the characters. A review of this show, if you call my post a review, cannot avoid posting the ending quote by Steve, the eldest of the kids. He gets most of the philosophical lines, and rightly so because he has become a writer, of horror.
'Fear is the relinquishment of logic, a parting with reasonable patterns and it gives you two choices, fight it or submit to it, there is no meeting it halfway. But so is love, it is also a relinquishment of logic' – Steve
You cannot help but agree, you can fight love and deny yourself or you yield to it, and thereby let yourself dissolve in the feeling, it is a self annihilation no different than yielding to fear or grief and killing yourself. There is indeed no meeting any of these halfway, and that is the reason why love may be the only antidote to fear, pain, to grief and to everything that brings in a heaviness upon the soul, bending our space and time in ways that end up with us getting strangled by the confetti of life. This confetti is most likely the true representation of the universe around us, but we choose to ignore such thoughts and turn on the lights.
Haikus that saved the Wilderpeople
August 1, 2019 ESP#bush, #review, #wilderpeople
Hunt for the Wilderpeople is based on a story that is as bland and predictable as any coming of age or the innumerable similarly themed movies are based on.
An abandoned boy in early teens, a generous and abnormally kind woman and a gruff, irritable old man come together in an attempt to bring some normalcy to the boy's miserable life. After a few hiccups, as the domestic scene is setting down, the motherly figure dies. We now have two disconnected unsettled individuals. And what do they do. Against all bets they go on a wild adventure fashioned like the typical road trip movies, where nuances of the characters unfold slowly and that inevitable bonding forms, predictably happens to these these two also. The ending is made overtly dramatic with a car chase and crash.
Well, the real ending is a damp squib because it is added to keep the spirits high. But we might forgive the creators because we have been tolerating bigger atrocities in the name of happy endings.
But it's not the story, the ending or the elements of interpretation, it's not even that big picture which forms at the back of your mind as you watch a sensible movie that capture your imagination. It is the storytelling technique that is employed, the bits and pieces you are given, fairly interspersed with distractions, making it fun to get everything together to form a plausible version. In addition, the movie is divided into chapters giving you the sense of reading a book.
What keeps you engaged are also the subtleties in the execution. The opening scene for example, a wonderful aerial view of dense New Zealand forest and undulating mountains. For some reason, they call it the bush. Anyways, what accompanies the visuals is music that sounds like an anthem, and then a car winding through the deserted road with the music changing along with it and the close-ups of the characters.
It is definitely one of the best opening scenes, or probably I was in such a mood when I watched it. I didn't plan to watch this movie, I wasn't aware of the fact that such a movie existed, nor was I aware of its renowned director. What caught my attention was 'Wilderpeople'.
Besides the verdant location and the eclectic choice of background music, what makes an impression, but in an understated way, is the ordinariness of the characters. They don't seem wise, or insightful, or say having dreams and plans for the future, they are the beings of the present. Waiting for the next scene, or the next dialogue. And therein lies the charm, that longing within us not to think about the past or the future, to just inhale the fresh air, of life, and to talk about wild horses.
Having said that, the characters don't come out as idiots either. They are made of style, innovativeness, there is hunting, the wisdom of love and 'knack'. It's however not the individual qualities but how all these come together in a matter of fact way that is impressive about the characters. The best scene to illustrate would be how the gracious and seemingly tender Bella running with a knife to kill a wild boar.
To be able to make such a movie and avoid the slippery slopes of being cute, preachy or developing a 'we stand for world peace' attitude is a feat in itself. The concept that is invariably applied to avoid the slippage is humor, and humor in this movie is as much a saving grace as it is an undercooked egg, quirky, uncertain yet delectable. The lord of the rings scene is my pick, especially how it goes unregistered.
I developed an aversion to Haiku after starting my blog. In my opinion, it is the worst format to write and I keep wondering why it is so popular. So, when out of the blues Ricky mentioned Haiku, it was a laugh among my fellow viewers. In spite of reiterating my views on the subject and earning the 'will you shut up' looks, I must confess I liked the two Ricky recites to Bella.
There's heaps of maggots.
Maggots wriggling in dead sheep.
Like moving rice. Yuck.
Kingi, you wanker
Kingi, you wanker.
You arsehole. I hate you heaps.
Please die soon, in pain.
The actor playing Ricky is absolutely brilliant. Without him this movie would have never worked, not even with the greatest story, locale or director. Uncle Hec is good too, but never a scene stealer. The adventure is reasonably fast paced but what stands out is the bizarre behavior of the other people. The ridiculous hunt for the two seems symbolic of what the authorities, governments and society undertakes to ensure its survival, or at least the survival of its tenets. It also reinforces the perception of how grounded and real the boy and the uncle are, in the circumstances.
In retrospect, it seems like this was the idea behind, the big picture that drives a motion picture. It is captured beautifully by the incorrect word 'majestical' that is coined by Hec looking around the lake, with a honesty that comes only when one is overwhelmed. The feeling that this movie infuses into the viewer is that things don't have to be nice and agreeable, people don't have to be flawless, even you can be wrong, politically or morally, and all you need for redemption is something as simple as that one honest, straight from the heart Haiku, or that word, a decision perhaps, or a choice that you truly believe in, that defines you.
Redemption is usually incomprehensible when seen from another's perspective, but you won't care because once there you are bound to be in a good humor. At the end, it is humor that saves a movie and also you.
April 15, 2019 ESPbookreview, emilybronte
Wuthering Heights can be described as a tragic love story along the lines of the great tragedies that have been written on the theme. What sets it apart from other works in this genre; however, is the description of pure depravity, which is propounded through its central character, the ever famous Heathcliff. He seems too unearthly, someone who is conceived only to draw hatred and disgust. There is; however, a meek justification proffered in his defense. He is brought to Wuthering Heights with a handicap of not belonging to the society, a world full of etiquettes, refinement, and conventions that come with civilization, a world which eventually abandons him as an outcast. What follows is an unchecked wrath and contempt that propel him to inflict pain and helplessness on everything he comes across. This unadulterated scorn for humanity and all of its good qualities makes him look illogical, more like an idea instead of a person, something that would look almost ridiculous if placed out of the frame of the story and it's setting. The ability to transcend logic while writing fiction and yet make it acceptable, as a form of pure thought and imagination is characteristic of poetry. It is the poetic element in Emily Bronte's writing that impresses you as you start on the journey towards the Wuthering Heights.
'one may guess the power of the north wind blowing over the edge, by the excessive slant of a few stunted firs at the end of the house; and by a range of gaunt thorns all stretching their limbs one way, as if craving alms of the sun.' – Chapter I
Poetry comes with its uncertainties, with a requirement for interpretation that is human and individualistic, one that doesn't get bounded by logic and reasoning. There is no universal truth that is presented, but a bare thought, almost whimsical because it doesn't come fortified with reason. The omniscient narrators in fiction; however, cannot afford to stray, cannot be seen as manipulative while presenting the story. To compensate for the poetic nature of the theme and the unnatural behavior of the characters, we have not one but two narrators who are themselves part of the story. Mr Lockwood is the primary narrator but his version is derived, or possibly reproduced as it was from the narration of another character in the story, Ellen Dean. She is a narrator who has been a participant in most of the scenes, but throughout the book she seems to be wavering between romanticism, honesty, loyalty and redemption, something that induces doubt on the veracity of her words. These choices; of having layers of narration and adding some dubiousness to it, seem like a conscious decision taken by the author, most likely to make the readers question each event. Maybe it is an invitation to the discerning reader to look beyond the surface of the story as it is perused.
'but I have undergone sharp discipline, which has taught me wisdom; and then, I have read more than you would fancy, Mr. Lockwood. You could not open a book in this library that I have not looked into, and got something out of also' – Ellen Dean
The story commences from the childhood of Heathcliff and Catherine when love gradually takes root as the kids go exploring the heaths and the moors away from the eyes of adults and their ways. It is in the conflict between their innocence and the moral and appropriate behavior as professed by the adults, that this love grows offshoots; those which reach beyond the realms where it could have been destroyed. This story can be seen in the light of this conflict. Society adds a lot of constraints and restraints, keeping innocence and individuality in check for its sustenance. It is eternally in opposition to the free, childlike spirit of the individual which has an inherent tendency to oppose any restraint, in the process even going to the extent of appearing irrational. But it is the same children that grow into the convention abiding adults, once they concede defeat to the forces of society and its rules, that is. Even in such a person, the spirit of the kid doesn't die. It manifests itself in the moments of extreme emotions or extreme abandon when one loses one's guard. Catherine, when faced with the forces and the lure of society concedes to it, she chooses the worldly beau who is refined, rich and sensitive. Heathcliff, on the other hand is not offered any such option, he is left alone in the heath of his bare existence. He is no different from a child who has been shown the pudding, given a taste of it and then denied any further access to it. So like a child he goes about, for the rest of his life, not just hating the cruel world but wrecking havoc on it. Never graduating to become a conformist, he has no regard for the forces of conscience, pity or a definition of good and bad. He knows he has been wronged, for no apparent transgression on his part and therefore the world he is against is evil. His actions are not only justified since he is acting against the wickedness, but they also make him the righteous one. We see no remorse in the man as his deeds keep ruining the lives of people around him, making him a villain who deserves all the hatred of society, if only because instead of giving a speech for his redemption at the end he offers sarcasm and a sneer.
It's odd what a savage feeling I have to anything that seems afraid of me! Had I been born where laws are less strict and tastes less dainty, I should treat myself to a slow vivisection of those two, as an evening's amusement.' – Heathcliff.
The poetics employed in the book also take us to the domain of romanticism. The gothic background and the delineation of characters conjures up images that elicit strong emotions from the reader. The disconnect between the world outside Wuthering Heights and Thrushcross Grange, and the world inside guides the reader to go on the path of fantasy. The flaws in all the characters makes us question the flaws within us. Romanticism makes the world seem fantastic but it comes with a side effect, a consciousness of what is lacking, a question to what is real. These thoughts invariably take a turn towards the cardinal conundrum of existence. Love once stripped down of romanticism can be construed as an undertaking to further one's existence. Existence of self is the most beautiful and profound concept for the individual, it's so palpable that everything else starts to seem trivial. However, this solitary nature of its realization forces us to find an extension of our existence beyond the self, as a proof that it's not an illusion we hold within us. The acknowledgement of our existence, to its very minute details, in another person is more satisfying than life itself, and more liberating than death. We therefore tend to efface our ego when we are truly in love, the loved one becomes the only person that exists in our world. Most of the love stories resist in bringing about a union of the lovers, it's in death and failure to consummate that this proof of existence, and therefore life, is strengthened. Catherine, in her quavering speech justifying her decision to marry Linton ends up saying that she herself is Heathcliff, there is just no distinction.
I have not broken your heart—you have broken it; and in breaking it, you have broken mine.So much the worse for me that I am strong. Do I want to live? What kind of living will it be when you—oh, God! would you like to live with your soul in the grave?' – Heathcliff.
The later part of the book seems like an effort to exonerate the author for being too bleak in her outlook towards life. The older generation consisted of Heathcliff, amply described above as the rebel against goodness, Catherine who is just like Heathcliff but betrays her freedom from the norms and switches to the other side, the side of Linton who represents the civilized world. It is in retrospect that we see how the world, with its ultimate intention to survive, embraces the renegades. Linton goes to the extreme in this act, almost losing his respect and identity. This leniency is contradicted by his stern decision in matters of his rebel sister, symbolic of the way how the rational world is unforgiving and shuns the ones who stray. The younger generation is, and is presented to be treading the boundaries between these worlds. Young Cathy maybe saucy but she has a balance in her mental faculties and physical endurance that was lacking in her father or her mother. Young Linton is shown as weak, and almost immoral, for he is the child born from a union of the rational world who erred into the unwilling and disinterested arms of the rebel. Mirrored as the new Heathcliff, a cheerful Hareton contradicts the former's image in his ignorance and his endeavors to gain favors from the seemingly unkind yet beautiful lady, his sense of righteousness and concern awakening amidst the almost animal identity tells us how life, and reason eventually finds its way.
In spite of all the possible ways you may choose to read and interpret the events and the people of Wuthering Heights, you will still be left enchanted and searching for meaning, searching for a better explanation of the feeling it leaves you with. It's a feeling of being haunted by the place, by the moors, and the possibility of a love, so violent that it would destroy yourself along with everyone around you. Just like the horror movie actor who finds himself in a haunted house and to your exasperation, walks into the red room defying all logic, you will be drawn to this book again, for another reread.
'I lingered round them, under that benign sky: watched the moths fluttering among the heath and harebells, listened to the soft wind breathing through the grass, and wondered how any one could ever imagine unquiet slumbers for the sleepers in that quiet earth. The end.'


text:
FROM haskell:7.8

ENV DEBIAN_FRONTENT non-interactive

ADD . ./ghcjs

RUN apt-get update \
    && apt-get -y install build-essential git zlib1g-dev libtinfo-dev libgmp-dev autoconf curl

RUN curl -sL https://deb.nodesource.com/setup | bash - \
    && apt-get install -y nodejs

ENV PATH /root/.cabal/bin:$PATH

RUN cabal update && \
    cabal install cabal-install && \
    cabal install Cabal

RUN echo $PATH && which cabal && cabal --version

RUN git clone https://github.com/ghcjs/ghcjs-prim.git && \
    cabal install --reorder-goals --max-backjumps=-1 ./ghcjs ./ghcjs-prim

RUN which ghcjs-pkg

RUN ghcjs-boot --dev
CMD ["/bin/bash"]

redpajama_set_name: RedPajamaGithub


text:
Canadian Tax Lawyer File Notice of Appeal
Once a Notice of Confirmation from the Canada Revenue Agency confirming the audit assessment is received, the next level of disputing a tax assessment/reassessment is to have your Canadian Tax Litigation Lawyer file a Notice of Appeal with the Tax Court of Canada. The Notice of Appeal must be filed within 90 days from the date of the confirmation of the reassessment, but can be extended through an application to the court for up to one additional year. However, it should be noted that this extension application is rarely granted, and circumstances that warrant an extension must exist.
Offer to Settle
The Notice of Appeal begins the trial process, and the Department of Justice will be brought in to work with and represent the Canada Revenue Agency. It is very important that an offer to settle is made before the matter makes its way to trial, as discussed in another article posted on our website. However, before even getting to a settlement offer, there are a number of preliminary steps.
Once the Notice of Appeal has been filed with the Tax Court Registry, the taxpayer will be contacted by the Department of Justice, which represents Canada Revenue Agency at Tax Court. The Department of Justice must reply to the Notice of Appeal within 60 days with the Canada Revenue Agency's position regarding the appeal. The taxpayer then has an opportunity (though they are not required) to respond to the Department of Justice's reply within 30 days.
Document List & Examinations for Discovery
The two parties will then exchange a list of documents which identifies and briefly describes the documents that they will be relying on at the Tax Court. Next, Examinations for Discovery are typically arranged to provide a chance for each side to question the other side, under oath, about matters involved in the lawsuit. The purpose of the examination is to find out what the other party knows or thinks about the matters at issue, to uncover areas of agreement, and to obtain admissions from the other party which can later be used against them at trial. The Examinations for Discovery can be performed orally or sometimes in writing.
Once the Examinations for Discovery are completed, the parties usually make a joint application to the Hearings Coordinator to schedule a hearing date. It is typically between the completion of Examinations for Discovery and the hearing that a settlement offer is made from one party to the other. Again, it is very important that an offer to settle is made, as discussed in more detail in another article on our website.
Tax Court Trial Process
Assuming that a settlement is not reached, both the Department of Justice and the taxpayer (represented by their Canadian tax lawyer) will appear at the Tax Court to present their versions of the facts to a judge, arguing why they disagree with the other side's decision and providing evidence to support their position. The Tax Court will hear the taxpayer's case first, as presented by the Canadian tax litigation lawyer. This involves introducing evidence explaining the facts and reasons for the taxpayer's appeal by calling witnesses to testify, and providing documents or other evidence such as expert or accounting testimony to support the tax arguments. After each witness for the taxpayer is called and examined by the tax appeal lawyer ("examination in chief"), the tax lawyers for the Department of Justice will be given an opportunity to cross-examine the witness.
Once the taxpayer's case has been presented, the Department of Justice will present their response to the taxpayer's case on behalf of CRA following the same procedure as the taxpayer, and the taxpayer's tax litigation lawyer will be given an opportunity to cross-examine the witnesses called by the Department of Justice's tax lawyer after each witness has been led through their examination in chief.
After both the Department of Justice's tax appeal lawyers and the taxpayer's income tax lawyers have presented their cases, there will be an opportunity for the taxpayer's Canadian tax lawyers to respond to any arguments raised by the Department of Justice and present how the relevant tax law should be applied. The Department of Justice's tax lawyers will do the same.
The Tax Court judge will decide the appeal based on the evidence and legal arguments about the relevant income tax law presented at court by the taxpayer's income tax lawyer and Department of Justice tax lawyers. The Tax Court's powers are determined by statute; specifically, the Tax Court of Canada Act. The Tax Court of Canada only has the power to uphold the Canada Revenue Agency's assessment, vacate the assessment, or direct the Canada Revenue Agency to reassess the taxpayer for a different amount.
The Tax Court stage of a tax dispute is undoubtedly a big step up from the internal appeal process of the Canada Revenue Agency, as there are many more formalities and procedures that must be observed. Although an Informal Procedure for the Tax Court is available to make the Tax Court more accessible, it is only available for income tax cases where the amount of federal tax and penalties in dispute for each taxation year is $25,000 or less, excluding interest. It is also available for GST appeals where the amount in dispute is less than $50,000. Experience and judgment are crucial at this stage, as a misstep could lead to an unsuccessful appeal. Our experienced income tax lawyers specialize in income tax appeals and will assist in navigating through the complexity of the Tax Court and provide strong tax representation and guidance at each step of the appeal to Tax Court.
What does the Tax Court of Canada do?
The Tax Court of Canada handles appeals for taxpayers who have been improperly assessed by the CRA.
What types of tax cases does the Federal Court of Appeal deal with?
The Federal Court of Appeal handles appeals from the Tax Court of Canada and judicial review applications of actions by CRA such as a refusal of a taxpayer relief application or a voluntary disclosure submission.
How long will it take to file the notice of appeal to Tax Court?
A notice of appeal to Tax Court must be filed within 90 days of receipt of the rejection of the Notice of objection.


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This was a report written by myself and my friend Professor Nick Lee. Initially I had proposed a lot more community engagement for Love Ties. Stoke Approach who were commissioning some of the project disagreed with this and nearly pulled the plug on the whole commission! After I made this presentation they agreed to let me carry on, although much of the engagement had to be forfeited. It shows how relevant community engagement can be to regeneration policies.
Love Ties is bringing about two kinds of change in Hanley Park. It is making material alterations to the islands of the lake and to the risers of park's new stairs. It is also generating a resource that the park and surrounding communities need – social capital.
The benefits of the material changes run from simple cosmetic improvement, all the way to enriching the experience of park users by inviting them to reflect on love and connection. Together these factors should help improve both the perceived quality and the quantity of park visits.
But what is 'social capital'? How is 'Love Ties' building social capital in the park and surrounding communities? Social capital is generated when people talk to each other and co-operate toward common ends. Another name for it is 'trust'. The 'Love Ties' development strategy has maximised contact with and amongst diverse actors who are key in setting the 'tone' of the park.
Some actors' affect the tone of the park by their presence. They may be understood as off-putting or even threatening. Other actors shape the identity of the park by using it less than they might. 'Love ties' has successfully built networks amongst them all.
In the short and medium term, greater quantity and quality of involvement in 'Love Ties', considered as part of the park experience, means more connection for park users with the park and with others through the park. More connection means more love for, and life within, the park. Material changes are key here as well. See Appendix One for a breakdown of how the project is meeting Strategic Objectives.
In the longer term, as Stoke begins a new and promising phase in it's regeneration, 'Love Ties' is delivering a pool of community members who are enfranchised and who feel enfranchised to inform future developments.
Hanley Park has been assigned Arts and Performance status by Stoke on Trent City Council. Love Ties employs 12 local and regional professional artists, all looking to remain in the area. Many different community groups are being targeted directly engaging them in a range of creative practices. As well as improving the appearance of the park, this project is a springboard for both the artists and communities involved to generate further funding for creative projects in the community and in the park.
Coming from the immense amount of community engagement, are many added value elements to Love Ties that feed the city's wider regeneration strategy. For example Love Moves and working with creative writers in the community can feed Hanley Library's plans for a Lit Fest. Love Moves can be used as a projection for Living Light. The involvement of the Community and Participation Degree at Staffordshire University means that people in Local and Voluntary Sector Work are directly seeing the benefits of Engaged Art Practice. These are people who are in the position to apply for funding and set up projects. Letting in the Light, a local Community Arts Organisation, developing the links made during the workshops in response to the community. This organisation is currently looking for funding to work further with Love Ties, shifting the focus from a public artwork to ongoing community development and regeneration.
On top of all the above there is a huge amount of work being produced in Love Ties. Discussions have taken place that indicates possibilities for further installations, when the bandstand area and canal side area are redeveloped. Funding for further installations could come from ACE and British Waterways. Other possibilities for installations could be at Stoke on Trent Railway Station, giving the visitor to Stoke an immediate sense of value.
The importance of a legacy for future developments from this project should not be underestimated. If further funding and support for projects is going to be attained in Stoke On Trent, then projects such as Love Ties have to show that the Arts and Creative Industries are fundamental to raising self esteem, bringing communities together and raising a City's profile.
Before detailing the particular outcomes of each element of Love Ties it is important to point out that Love Ties is a progressive piece of art. As well as raising the profile of the site, Love Ties rises the self-esteem of the viewer through it's content. It's impact lies with the viewer's emotional experience of the piece. Rather than looking at an artwork and making connections to site or history, Love Ties connects with the viewer on an emotional level, from the inside. This allows for an immediate reference to themselves and their own lives. It is important then that this work doesn't 'shout' at it's viewer, it's aesthetic is being carefully researched to ensure the scale and visibility are right for the artwork and site.
engage the communities in a creative experience, so that they can understand the value of experience rather than just looking.
ensure that the issue of love is dealt with sensitively.
start to fill the park with love, as temporary interventions in preparation for final piece.
ensure that the texts retain their reality.
be representative of the huge variety of communities that use the park.
work with and inform as many members of the community as possible.
engage younger members of the park's visitors, to prevent vandalism as much as possible.
utilise the project to create as many opportunities for development of arts project as possible.
Artist Jayne Murray has been working on the sub-project 'Love Seeds'. Jayne has twice intervened in Hanley Park using a flower stall. From this stall the public are invited to select flowers that signify love to them. They are then asked to state who they will send them to and what they will say. These comments are feeding the final Love Ties work. Through local press and flyer distribution Jayne is delivering a competition called 'From Stoke with Love'. The public are invited to enter the competition stating who they would send the flowers to and what they would say. From this 10 winners will be selected and their bouquets sent. This is furthers the aims of the flower stall. It identifies which flowers are associated with love and provides source text for the Love Ties final piece. This part of the project extends outwards from Stoke, as depending on competition entries, bouquets may be sent internationally. The culmination of these two processes is a huge bouquet of the flowers based on the findings and being built in Hanley town centre the day before Valentines day. Jayne is working with a flower designer – also a public artist and local florist 'Flowers by Craig' – on this part of the project. The bouquet will be left either in the town centre or transported to the park on Valentines Day for people to then take the flowers.
Offers the opportunity to value experience and participation, which introduces a different way of experiencing art.
Introduces a different way of looking at art.
Communicates with a huge variety of different people.
A performance/event to Publicise Love Ties as it nears or is completed.
Students on the Community and Participation Degree at Staffs University.
Children and Young people in the park.
Love Dress encompasses a variety of different art forms including wax resist, photography and digital imaging. These techniques are used to put image and text onto relevant items of clothing, such as T-shirts and Saris. There will be an exhibition of these in the Asian Clothes Shop adjacent to the park.
Working directly with a variety of different communities.
Publicising project through clothes being worn and exhibition.
Facilitating a number of creative activities.
Love Ties is a complex project that employs many different media. Love Moves is about pulling together those elements in a film that will support public understanding of how this way of making public art works. Love Ties is an intimate piece of work that talks of real experiences. Professional filming taking place attracts visitors to the park. It gives both them and the park a sense of value and engages them in conversation. The film-maker Darryl O'Hara is spending time in the park, filming the intimate moments and gestures of both its visitors and it's changing scenery. Love moves will be a film that talks about the experience of the park and the experience of love in the Park.
A film that creatively pulls together all elements of the project.
A film that shows the benefits of community engagement and public art.
A film that advertises the park itself.
A film that can be used for future funding bids and developments.
Engaging with anglers, Asian Male, Young People, General Park Visitors, enabling conversations with communities about Love.
Distribution to local community groups, libraries etc.
Dr Nick Lee is a Sociologist at Keele University. Integral to understanding and developing progressive public art projects is research/writing that assess method, outcome, relevance and value. Nick will conduct a series of interviews with volunteer participants from the project. In his subsequent papers and talks, Nick intends to look at the role of engaged public art and regeneration in relation to the area's economic and social history and Love Ties. This paper will be distributed with Love Moves and will be disseminated in informal talks with community members.
An accessible discussion paper to accompany creative film.
A vehicle to open discussion about local economic regeneration.
A product to use for future funding bids and development.
A source to be utilised in evaluation.
A source for the website.
The two creative writers employed in this project are integral to working with all involved communities to deal sensitively with a highly emotional subject. They are both trained counsellors and employ different working methods. This allows access to the wide range of different communities. Christine is a more performance based writer and has been holding 'outreach' sessions in the park, talking to the wide range of different visitors about their love experiences. These conversations are then transcribed and used in the final texts. Marian works more with invited groups, forming intimate workshops where people can explore their experiences more deeply.
Texts that are used in the final artwork and other projects.
Forming important relationships with communities.
Building self-esteem through communities being given a voice.
Facilitating creative writing in communities involved.
Preparing communities for final artwork.
DJ Gary Oliver and Singer Charmaine Baine have been employed to make Love Sounds in Hanley Park during the workshop drop in sessions. Gary Oliver runs the local DJ School in Hanley and is also therefore also working on outreach with young people in the park.
Temporarily filling the park with Love.
Giving a 'feel good' factor to events.
Working with young visitors to park.
Sarah Bonham has set up and is running the Love Ties web site.
A space for communities' texts.
An alternative space for contributions and comments.
'Love Ties' has had active status for approximately 8 weeks. A good deal has been achieved in that short time. A total of seven distinct sub-projects have been designed and launched. All seven sub-projects are currently well underway. Each in it's own way is contributing to the material development of the park or to the development of social capital in and around the park, or both.
Looking ahead, I can confidently predict that the project will be completed within its deadline. I believe that the samples of the project's output so far that have accompanied this document bear out it's claims.
SO2: Encourage economic growth and wealth creation by improving the competitiveness of the local economy.
SO3: To help local people improve their environment and develop local activities.
SO4: To improve housing conditions for local people.
SO5: To develop the capacity of the community for self help in the regeneration of their area.
SO6: To enhance the quality of life of local people through the reduction in crime and the fear of crime.
SO7: To raise awareness of residents to health issues and to address the specific needs of the ethnic minority community.


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