If you're trying to reduce the sugar and calories in your food, you may be spinning to non-natural sweeteners or other sugar alternates. You aren't alone, in this world there is so many people like you to do the same….
In present days artificial sweeteners and other sugar alternatives are found in a variation of food and beverages, they're promoted as "sugar-free" or "diet," or " for weight loss" or "natural sugar " including soft drinks, chewing gum, jellies, baked goods, candy, fruit juice, and ice cream and yogurt.
Just what are all these sweeteners? And what's their role in your diet?
Sugar alternates are loosely well-thought-out any sweetener that you use instead of regular table sugar (sucrose). Synthetic sweeteners are just one type of sugar substitute. The chart lists some popular sugar alternatives and how they're commonly categorized.
The subject of sugar alternatives can be puzzling. One tricky is that the terminology is often open to clarification. For instance, some producers call their sweeteners "natural" even though they're processed or refined, as is the case with stevia preparations. And some non-natural sweeteners are derived from naturally occurring elements — sucralose comes from sugar.
Non-natural sweeteners are artificial sugar alternatives, but may be derived from naturally occurring ingredients, including herbs or sugar itself. Non-natural sweeteners are also known as concentrated sweeteners because they are many times sweeter than regular sugar.
Non-natural sweeteners are striking alternatives to sugar because they add virtually no calories to your nourishment. In addition, you need only a section compared with the amount of sugar you would normally use for sugariness.
Non-natural sweeteners are widely used in processed foods, including baked goods, soft drinks, powdered drink mixes, candy, puddings, canned foods, jams and jellies, dairy products, and scores of other foods and beverages.
Non-natural sweeteners are also popular for homebased use. Some can even be used in baking or cooking. Certain recipes may need adjustment, though, because synthetic sweeteners provide no bulk or volume, as doe's sugar. Check the labels on synthetic sweeteners for appropriate home use.
Weight control. A standout amongst the most engaging parts of manufactured sweeteners is that they are non-nutritive — they have for all intents and purposes no calories. Conversely, every gram of consistent table sugar contains 4 calories. A teaspoon of sugar is around 4 grams. For point of view, consider that one 12-ounce container of a sweetened cola contains 10 teaspoons of included sugar, or around 150 calories. In case you're attempting to get in shape or anticipate weight pick up, items sweetened with counterfeit sweeteners, instead of with higher calorie table sugar, might be an alluring alternative. Then again, some exploration has recommended that expending manufactured sweeteners might be connected with expanded weight, however the cause is not yet known.
Diabetes. Fake sweeteners might be a decent other option to sugar on the off chance that you have diabetes. Dissimilar to sugar, manufactured sweeteners for the most part don't raise glucose levels since they are not starches. But since of worries about how sugar substitutes are marked and sorted, dependably check with your specialist or dietitian about utilizing any sugar substitutes in the event that you have diabetes.
Fake sweeteners have been investigated strongly for a considerable length of time. Pundits of fake sweeteners say that they bring about an assortment of wellbeing issues, including tumor. That is to a great extent in view of studies dating to the 1970s that connected saccharin to bladder tumor in research center rats. In view of those studies, saccharin once conveyed a notice name that it might be dangerous to your wellbeing.
In any case, as indicated by the National Cancer Institute and other wellbeing offices, there's no stable exploratory confirmation that any of the simulated sweeteners endorsed for use in the U.S. cause tumor or different genuine wellbeing issues. What's more, various exploration concentrates on affirm that manufactured sweeteners are for the most part safe in restricted amounts, notwithstanding for pregnant ladies. As an aftereffect of the more up to date contemplates, the notice name for saccharin was dropped.
Simulated sweeteners are managed by the Food and Drug Administration (FDA) as nourishment added substances. They should be checked on and endorsed by the FDA before being made accessible available to be purchased.
At times, the FDA announces a substance "for the most part perceived as sheltered" (GRAS). These GRAS substances, including exceptionally refined stevia arrangements, are regarded by qualified experts taking into account logical information as being safe for their expected use, or they have such a protracted history of normal use in sustenance that they're considered by and large protected and don't require FDA endorsement before deal.
The FDA has additionally settled a satisfactory day by day consumption (ADI) for each manufactured sweetener. This is the most extreme sum considered safe to expend every day through the span of your lifetime. ADIs are expected to be around 100 times not exactly the littlest sum that may bring about wellbeing concerns.


text:
Q: Open soft keyboard programmatically I have an activity with no child widgets for it and the corresponding xml file is,
<?xml version="1.0" encoding="utf-8"?>
<LinearLayout xmlns:android="http://schemas.android.com/apk/res/android"
android:id="@+id/myLayout"
android:orientation="vertical"
android:layout_width="fill_parent"
android:layout_height="fill_parent"
android:focusable="true"
>
</LinearLayout>

and I want to open soft keyboard programmatically while the activity gets start.and what I've tried upto now is,
public void onCreate(Bundle savedInstanceState) {
    super.onCreate(savedInstanceState);
    setContentView(R.layout.main);
    InputMethodManager inputMethodManager = (InputMethodManager) getSystemService(Context.INPUT_METHOD_SERVICE);
    if (inputMethodManager != null) {
        inputMethodManager.toggleSoftInput(InputMethodManager.SHOW_FORCED, 0);
    }

Give me some guidance.

A: seems like this is working
 protected void onCreate(Bundle savedInstanceState) {
        super.onCreate(savedInstanceState);
        setContentView(R.layout.activity_patientid);

        editText = (EditText)findViewById(R.id.selectPatient);
        //editText.requestFocus(); //works without that

    }

@Override
    protected void onResume() {

        findViewById(R.id.selectPatient).postDelayed(
        new Runnable() {
            public void run() {
                 editText.requestFocus();
                InputMethodManager inputMethodManager =  (InputMethodManager)getSystemService(Context.INPUT_METHOD_SERVICE);
                inputMethodManager.showSoftInput(editText,InputMethodManager.SHOW_IMPLICIT);
            }
        },100);
        super.onResume();
    }

seems this works better:
in manifest:
<application>
    <activity
        android:name="com.doodkin.myapp.ReportActivity"
        android:label="@string/title_activity_report"
        android:screenOrientation="sensor"
        android:windowSoftInputMode="stateHidden" > // add this or stateVisible
    </activity>
</application>

seems the manifest working in android 4.2.2 but not working in android 4.0.3

A: I used it as singleton like:
public static void showSoftKeyboard(final Context context, final EditText editText) {
        try {
            editText.requestFocus();
            editText.postDelayed(
                    new Runnable() {
                        @Override
                        public void run() {
                            InputMethodManager keyboard = (InputMethodManager) context.getSystemService(Context.INPUT_METHOD_SERVICE);
                            keyboard.showSoftInput(editText, 0);
                        }
                    }
                    , 200);
        } catch (NullPointerException npe) {
            npe.printStackTrace();
        } catch (Exception e) {
            e.printStackTrace();
        }
    }

Use it in your activity like:
showSoftKeyboard(this, yourEditTextToFocus);

A: I have used like this to show the soft keyboard programatically and this is worked for me to prevent the auto resize of the screen while launching the keyboard.
In manifest:
<activity android:name="XXXActivity" android:windowSoftInputMode="adjustPan">
</activity>

In XXXActvity:
EditText et =  (EditText))findViewById(R.id.edit_text);
  Timer timer = new Timer();
            TimerTask task = new TimerTask() {

                @Override
                public void run() {
                    InputMethodManager inputMethodManager=(InputMethodManager)getSystemService(Context.INPUT_METHOD_SERVICE);
                    inputMethodManager.toggleSoftInputFromWindow(et.getApplicationWindowToken(), InputMethodManager.SHOW_FORCED, 0);

                }
            };
            timer.schedule(task, 200);

I assume this will save others time to search for this problem.

A: InputMethodManager inputMethodManager=(InputMethodManager)getSystemService(Context.INPUT_METHOD_SERVICE);
            inputMethodManager.toggleSoftInput(InputMethodManager.SHOW_FORCED,0);

A: This works:
private static void showKeyboard(Activity activity) {
    View view = activity.getCurrentFocus();
    InputMethodManager imm = (InputMethodManager) activity.getSystemService(Context.INPUT_METHOD_SERVICE);
    imm.toggleSoftInput(InputMethodManager.SHOW_FORCED, 0);
}

And you call this method like this:
showKeyboard(NameOfActivity.this);

A: getWindow().setSoftInputMode(WindowManager.LayoutParams.SOFT_INPUT_STATE_ALWAYS_VISIBLE);

Use above code in onResume() to open soft Keyboard

A: InputMethodManager.SHOW_FORCED isn't good choice. If you use this setting you should manage hiding keyboard state. My suggestion is like this;
    public void showSoftKeyboard(View view) {
    InputMethodManager inputMethodManager = (InputMethodManager) getActivity().getSystemService(Activity.INPUT_METHOD_SERVICE);
    view.requestFocus();
    inputMethodManager.toggleSoftInput(InputMethodManager.SHOW_IMPLICIT, 0);
}

Also, you can focus on view (usually EditText) taking parameters it. This makes it a more useful function
for more info about InputMethodManager.SHOW_IMPLICIT and SHOW_FORCED; InputMethodManager

A: public final class AAUtilKeyboard {

public static void openKeyboard(final Activity activity, final EditText editText) {
    final InputMethodManager imm = (InputMethodManager) activity.getSystemService(Context.INPUT_METHOD_SERVICE);
    if (imm != null) {
        imm.showSoftInput(editText, InputMethodManager.SHOW_IMPLICIT);
    }
}

public static void hideKeyboard(final Activity activity) {
    final View view = activity.getCurrentFocus();
    if (view != null) {
        final InputMethodManager imm = (InputMethodManager) activity.getSystemService(Context.INPUT_METHOD_SERVICE);
        if (imm != null) {
            imm.hideSoftInputFromWindow(view.getWindowToken(), 0);
        }
    }
}

A: import androidx.core.view.WindowInsetsCompat.Type
import androidx.core.view.WindowInsetsControllerCompat

fun Activity.openKeyboard() {
    WindowInsetsControllerCompat(window, window.decorView).show(Type.ime())
}

fun Activity.hideKeyboard() {
    WindowInsetsControllerCompat(window, window.decorView).hide(Type.ime())
}

A: Please follow the below code. I am sure your problem will be solved.
if (imm != null){
        imm.toggleSoftInput(InputMethodManager.SHOW_FORCED,0);
   }

A: Similar to the answer of @ShimonDoodkin this is what I did in a fragment.
https://stackoverflow.com/a/29229865/2413303
    passwordInput.postDelayed(new ShowKeyboard(), 300); //250 sometimes doesn't run if returning from LockScreen

Where ShowKeyboard is
private class ShowKeyboard implements Runnable {
    @Override
    public void run() {
        passwordInput.setFocusableInTouchMode(true);
        passwordInput.requestFocus();
        getActivity().getWindow().setSoftInputMode(WindowManager.LayoutParams.SOFT_INPUT_STATE_ALWAYS_VISIBLE);
        ((InputMethodManager) getActivity().getSystemService(Context.INPUT_METHOD_SERVICE)).showSoftInput(passwordInput, 0);
    }
}

After a successful input, I also make sure I hide the keyboard
getActivity().getWindow().setSoftInputMode(WindowManager.LayoutParams.SOFT_INPUT_STATE_HIDDEN);
((InputMethodManager) getActivity().getSystemService(Context.INPUT_METHOD_SERVICE))
                    .hideSoftInputFromWindow(getView().getWindowToken(), 0);

A: There are already too many answers but nothing worked for me apart from this
inputMethodManager.showSoftInput(emailET,InputMethodManager.SHOW_FORCED);

I used showSoftInput with SHOW_FORCED
And my activity has
 android:windowSoftInputMode="stateVisible|adjustResize"

hope this helps someone

A: perfectly working code to show and hide softkeyboard for edittextbox.....
// code to hide soft keyboard
public void hideSoftKeyBoard(EditText editBox) {
     InputMethodManager imm = (InputMethodManager)getSystemService(Context.INPUT_METHOD_SERVICE);
     imm.hideSoftInputFromWindow(editBox.getWindowToken(), 0);
}

// code to show soft keyboard
private void showSoftKeyBoard(EditText editBox){
     InputMethodManager inputMethodManager = (InputMethodManager) this.getSystemService(Activity.INPUT_METHOD_SERVICE);
     editBox.requestFocus();
     inputMethodManager.toggleSoftInput(InputMethodManager.SHOW_FORCED, 0);
}

A: Based on above answers like this it works in KOTLIN as long as you have the context.
fun Context.showKeyboard(editText: EditText) {

    editText.requestFocus()
    editText.setSelection(editText.text.length)

    GlobalScope.launch {
        delay(200L)

        val inputMethodManager: InputMethodManager =
            getSystemService(Context.INPUT_METHOD_SERVICE) as InputMethodManager
        inputMethodManager.toggleSoftInputFromWindow(
            editText.applicationWindowToken,
            InputMethodManager.SHOW_IMPLICIT, 0
        )
    }
}

Then you can call it in your fragment for example as follows

requireContext().showKeyboard(binding.myEditText)

A: This is works
<activity
    ...
    android:windowSoftInputMode="stateVisible" >
</activity>

or
getWindow().setSoftInputMode(WindowManager.LayoutParams.SOFT_INPUT_STATE_VISIBLE);

A: All I needed was to expose the keyboard, in a very precise moment. This worked for me! Thanks Benites.
    private Handler mHandler= new Handler();

And in the very precise moment:
    mHandler.post(
    new Runnable() {
        public void run() {
            InputMethodManager inputMethodManager =  (InputMethodManager)getSystemService(INPUT_METHOD_SERVICE);
            inputMethodManager.toggleSoftInputFromWindow(yourEditText.getApplicationWindowToken(), InputMethodManager.SHOW_FORCED, 0);
            yourEditText.requestFocus();
        }
    });

A: This is the required source code :
public static void openKeypad(final Context context, final View v)
 {
new Handler().postDelayed(new Runnable()
{
    @Override
    public void run()
    {
        InputMethodManager inputManager =   (InputMethodManager)context.getSystemService(Context.INPUT_METHOD_SERVICE);
        inputManager.showSoftInput(v, InputMethodManager.SHOW_IMPLICIT);
        Log.e("openKeypad", "Inside Handler");
    }
},300);}

For details , Please go through this link. This helped me.
https://github.com/Nikhillosalka/Keyboard/blob/master/README.md

A: Post this method in your base activity and use it other activities like a charm
public void openKeyboard() {
    InputMethodManager imm =
            (InputMethodManager) getSystemService(Context.INPUT_METHOD_SERVICE);
    if (imm != null) {
        imm.toggleSoftInput(InputMethodManager.SHOW_FORCED, 0);
    }
}

A: I like to do it as an extension to Context so you can call it anywhere
fun Context.showKeyboard(editText: EditText) {
    val inputMethodManager: InputMethodManager =
        getSystemService(Context.INPUT_METHOD_SERVICE) as InputMethodManager
    inputMethodManager.toggleSoftInputFromWindow(
        editText.applicationWindowToken,
        InputMethodManager.SHOW_IMPLICIT, 0
    )
    editText.requestFocus()
    editText.setSelection(editText.text.length)
}

fun Context.hideKeyboard(editText: EditText) {
    val imm = getSystemService(Context.INPUT_METHOD_SERVICE) as InputMethodManager
    imm.hideSoftInputFromWindow(editText.windowToken, 0)
}

A: In the Kotlin, you can use the below extension functions to show and hide the soft keyboard.
/**
  * Extension method to provide show keyboard for [Activity].
 */
fun Activity.showSoftKeyboard() {
  if (currentFocus != null) {
    val inputMethodManager =
        getSystemService(Context.INPUT_METHOD_SERVICE) as InputMethodManager
 inputMethodManager.showSoftInput(this.currentFocus,InputMethodManager.SHOW_IMPLICIT)
   }
}

/**
 * Extension method to provide hide keyboard for [Activity].
 */
fun Activity.hideSoftKeyboard() {
   if (currentFocus != null) {
      val inputMethodManager =
        getSystemService(Context.INPUT_METHOD_SERVICE) as InputMethodManager
    inputMethodManager.hideSoftInputFromWindow(currentFocus!!.windowToken, 0)
    }
 }

That's all!
Cheers!

A: I have used the following lines to display the soft keyboard manually inside the onclick event.
public void showKeyboard(final EmojiconEditText ettext){
          ettext.requestFocus();
          ettext.postDelayed(new Runnable(){
            @Override public void run(){
              InputMethodManager keyboard=(InputMethodManager)getSystemService(Context.INPUT_METHOD_SERVICE);
              keyboard.showSoftInput(ettext,0);
            }
          }
        ,200);
        }

A: I have used the following lines to display the soft keyboard manually inside the onclick event, and the keyboard is visible.
InputMethodManager inputMethodManager =
    (InputMethodManager)getSystemService(Context.INPUT_METHOD_SERVICE);
inputMethodManager.toggleSoftInputFromWindow(
    linearLayout.getApplicationWindowToken(),
    InputMethodManager.SHOW_FORCED, 0);

But I'm still not able to open this while the activity gets opened, so are there any solution for this?

A: In your manifest file, try adding the following to the <activity> that you want to show the keyboard when the activity starts:
android:windowSoftInputMode="stateVisible"
This should cause the keyboard to become visible when the activity starts.
For more options, checkout the documentation.

A: Kotlin
fun hideKeyboard(activity: Activity) {
    val view = activity.currentFocus
    val methodManager = activity.getSystemService(Context.INPUT_METHOD_SERVICE) as InputMethodManager
    assert(view != null)
    methodManager.hideSoftInputFromWindow(view!!.windowToken, InputMethodManager.HIDE_NOT_ALWAYS)
}

private fun showKeyboard(activity: Activity) {
    val view = activity.currentFocus
    val methodManager = activity.getSystemService(Context.INPUT_METHOD_SERVICE) as InputMethodManager
    assert(view != null)
    methodManager.showSoftInput(view, InputMethodManager.SHOW_IMPLICIT)
}

Java
public static void hideKeyboard(Activity activity) {
    View view = activity.getCurrentFocus();
    InputMethodManager methodManager = (InputMethodManager) activity.getSystemService(Context.INPUT_METHOD_SERVICE);
    assert methodManager != null && view != null;
    methodManager.hideSoftInputFromWindow(view.getWindowToken(), InputMethodManager.HIDE_NOT_ALWAYS);
}

private static void showKeyboard(Activity activity) {
    View view = activity.getCurrentFocus();
    InputMethodManager methodManager = (InputMethodManager) activity.getSystemService(Context.INPUT_METHOD_SERVICE);
    assert methodManager != null && view != null;
    methodManager.showSoftInput(view, InputMethodManager.SHOW_IMPLICIT);
}

A: Put that in onResume method:
findViewById(R.id.root_view_of_your_activity_layout).post(
new Runnable() {
    public void run() {
        InputMethodManager inputMethodManager =  (InputMethodManager)getSystemService(INPUT_METHOD_SERVICE);
        inputMethodManager.toggleSoftInputFromWindow(yourEditText.getApplicationWindowToken(),     InputMethodManager.SHOW_FORCED, 0);
        yourEditText.requestFocus();
    }
});

the runnable is needed because when the OS fires the onResume method you can't be sure that all the views where draw, so the post method called from your root layout makes it wait till every view is ready.

A: in onCreate method of activity or onActivityCreated of a fragment
....
view.getViewTreeObserver().addOnPreDrawListener(new ViewTreeObserver.OnPreDrawListener() {
        @Override
        public boolean onPreDraw() {
            view.removeOnPreDrawListener(this);
            InputMethodManager imm = (InputMethodManager) context.getSystemService(Context.INPUT_METHOD_SERVICE);
            imm.toggleSoftInput(InputMethodManager.SHOW_FORCED, 0);

            // !Pay attention to return `true`
            // Chet Haase told to
            return true;
        }
    });

A: If you want the keyboard to be up along with the activity/fragment launch, you can use the below code.
new Handler().postDelayed(new Runnable() {
            @Override
            public void run() {
                InputMethodManager inputMethodManager =
                        (InputMethodManager) getActivity().getSystemService(Context.INPUT_METHOD_SERVICE);
                inputMethodManager.toggleSoftInputFromWindow(
                        etPhoneNumber.getApplicationWindowToken(),
                        InputMethodManager.SHOW_FORCED, 0);
            }
        }, 500);

A: Best way to open Keyboard is to call the below kotlin code:
val inputMethodManager: InputMethodManager =
    getSystemService(INPUT_METHOD_SERVICE) as InputMethodManager

inputMethodManager.showSoftInput(editText, 2)

A: Try use this:
    fun closeKeyboard(view: View) {
    (getSystemService(Context.INPUT_METHOD_SERVICE) as InputMethodManager)
        .hideSoftInputFromWindow(view.windowToken, HIDE_IMPLICIT_ONLY)
}

fun showKeyBoard(view: View) {
    (getSystemService(Context.INPUT_METHOD_SERVICE) as InputMethodManager).showSoftInput(
        view,
        SHOW_IMPLICIT
    )
}

And if not work, try wrap func in a run block like this:
  view.postDelayed({showKeyBoard(view)},100)

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(c) 2018 Max Brody/ (p) 2018 YFC Musick/BMI
Composed, performed, and produced by Max Brody
at Frumunda Studio, Shoreline, WA...
(except where noted below)
I reckon half of this album is some sort of rock, and the other half is, well...other! There is an ambient song, an electronica song, a pretty, retro almost doo-woppy number, a song that goes thru a variety of styles, and a big band shuffle number that I even sing on...what?!
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At the Philippines Investment Forum hosted by Euromoney Conference last March 12, Chairman and CEO of Philippine real еstatе firm Century Properties cited the untapped potential of local tourism and addressed the need to prioritize medical tourism infrastructure. Addressing business leaders, foreign and international investors and economists, Executive Chairman of the Board Antonio said that [...]
By editor| 2019-07-02T07:24:03+00:00 June 28th, 2013|Corporate News|
Leading real еstatе firm's profit over 100% on strong sales, success of initial 3-year growth plan Property developer and publicly-listed firm Century Properties Group, Inc. ("Century") posted a breakout year in 2012 on back of record sales performance of its master-planned community developments in Metro Manila and the successful implementation of an initial three-year growth [...]
Philippine celebrities Ruffa Gutierrez, Piolo Pascual and Vina Morales have joined the growing number of homeowners at the Gramercy Residences – the Philippines' first fully-furnished, fully-serviced, hyper-amenitized and ultra-technologized condominium in Century City, Makati. Singer, host and actress Vina Morales visited her unit in April and was pleased with the color scheme of her unit. [...]
By editor| 2019-04-16T03:21:34+00:00 June 28th, 2013|Blog|
Century Properties Group Inc. continues to build upward traction in the property industry and has received major recognitions from two industry award-giving bodies: Corporate Governance Asia and BCI Asia. This month, Century Properties was chosen as one of the Most Promising Companies on Corporate Governance by Corporate Governance Asia 2013. Century accepted the said award [...]
Century Properties Inc. aims to set up its first tourism-еstatе project in Palawan. Jose EB Antonio, Company Executive Chairman of the Board said the project will be in mainland Palawan. Century Properties plans to spend "several hundred millions of pesos" for several years to develop the property which will have a hotel component, according to [...]
Century Properties Group Inc. (CPG) will be going into the tourism business by putting up an integrated resort in Palawan in a bid to increase its recurring income contribution by 2015. "We're opening up new markets in certain key cities in the Philippines, particularly in tourism. We're developing in areas where there is infrastructure already," [...]
MANILA - Century Properties Group Inc today said it will break ground on its maiden foray into the hotel and resort business late this year or early next year. On the sidelines of the 3rd Philippine Financial Market Forum, Century Properties Executive Chairman of the Board Jose EB Antonio told reporters it has acquired close [...]
Acqua Private Residences, the Philippines' first residential Eden, celebrated the summer of 2013 by partying Brazilian style at the property's showroom grounds in Mandaluyong City. "Acqua Carnaval Brasil" hosted by developer Century Properties was a visual spectacle with no less than the Filipino samba school Imperatriz Filipinenze unleashing a truly pulsating sonic experience. Once the [...]
Azure's first two towers slated for turnover Interior works continue for third building and Paris Beach Club The facades and interiors of the Azure Urban Resort Residences' first two towers are undergoing final finishing works in preparation for turnover. For the interiors, the installation of doors and windows, laminated and tile flooring, and air conditioning [...]
By editor| 2017-08-08T03:38:54+00:00 June 17th, 2013|Uncategorized|


From the beginning, the history of abstract art in the twentieth century has been dominated by the opposition between two major stylistic tendencies, one gestural and lyrical, represented for instance by Kandinsky's Improvisations, the other structured and geometric, as in Mondrian's gridlike compositions. Throughout the century this opposition remained central to the discourse on abstraction, leading sometimes, notably in the decade following World War II, to fierce debates between partisans of each faction. Today, almost a century after the birth of abstraction, is such a distinction still relevant? Looking at recent abstract drawings in the Kentler Flatfiles, it is striking to see how many of them seem to fit within these categories--at least at first sight. A closer examination of the methods and processes used by the artists, however, reveals a shift in the notions that each of these types of abstraction implies. The selection made for this exhibition proposes a dialogue between works related to the two tendencies, recasting in contemporary terms the traditional division between an emotional approach and a more intellectual one.
Morgan O'Hara's tangles of lines look at first like an uncontrolled expression of emotion. The dense accumulation of graphite in certain areas and the lines that emerge from them in a seemingly erratic fashion, convey a sense of confusion and randomness. Yet, these drawings are visual recordings of movements that are far from erratic and that the artist described with the most unexpected precision on the sheet itself, as in, for instance, Live Transmission: movements of the hands of Martha Argerich, Classical Piano Prokofiev Concerto #3, first movement, Teatro Donizetti, Bergamo, 5-Jun-1992. Following a highly controlled process, O'Hara draws these movements methodically during a time-based performance, often holding pencils in both hands, without concern about the final composition.
Drawing as a performance is also at the core of Gosia Wlodarczak's work. Holding felt-tip markers as an extension of her arms--often with both hands as well--Wlodarczak invests her whole body in a relentless act of drawing in which she captures in layers of traceries on paper the experience of living, walking, breathing, and other everyday activities. The seemingly random network of lines that results belies the exact methodology involved in such a recording of the artist's interaction with the world around her.
Several drawings in the exhibition are based on nature, not as a source of observation and transformation, but through a process involving direct contact with a natural element. Thus Martin Zet's Sea Drawings are literally produced by the motion of waves washing over the sheets of paper that he places on the sand or stones near a body of water, while Florence Neal's large, evocative charcoal drawings are rubbings of tree bark. Such methods recall surrealist practices, including coulage and frottage, which gave an important role to chance in artistic creation. But unlike the surrealists, for whom such practices were often a starting point to stimulate their imagination and develop new imagery, Zet and Neal preserve the drawings as they first emerge from the random process. With the precision of scientists making an experiment, both artists carefully record the geographical spot where each drawing was created, as well as, in the case of Neal, the species of tree from which the rubbing was made.
Rather than a specific style, what unites all of these works are the notions of process and chance. The result may suggest spontaneity and raw impulse, but the carefully planned methodology and the systematic recording of the conditions in which they were executed also relate these works to the kind of abstraction more obviously based on structures and systems. It is significant that several of the artists in this exhibition have mentioned the importance of John Cage in their development. Cage's revolutionary introduction of the element of chance in art, as well as the priority he gave to process over structure, opened the door to a wide range of new possibilities, in the visual arts as well as in music. Richard Howe, for example, acknowledged the influence on his drawings of his experience working on Cage's scores in the 1960s. Howe's teeming compositions call to mind the ambiguous relationship between order and chaos that was central to Cage's theory and practice.
Turning to artists whose drawings rely more directly on the codified language of geometric structures, one notices that their predetermined order is often balanced by some element of indetermination. Thus Mary Judge's elegant symmetrical patterns derive their organic quality from the medium--powdered pigment--which is applied in such a way that each line, made of irregular dots, acquires a life of its own. Despite the regularity of the motifs, the drawings are vibrant with a sense of unpredictability--a feature that is alluded to in a title like Automatic Drawing, with its reference to another surrealist device involving chance.
Marietta Hoferer's collages made out of clear tape are based on a regular, modular composition of symmetrical patterns arranged into a grid format. Yet, minute differences in the size and texture of the tape affects its reflectivity, producing endless variations in the luminosity of the drawing, whose surface changes constantly under the eyes of the viewer like the surface of water. Irregularities in the predominantly geometric drawings of Susan Schwalb and Beth Caspar also elicit comparisons with the natural world. Schwalb's delicately drawn horizontal patterns bring forth the gentle curves of geological formations, a resemblance confirmed by the title of some of the drawings--Strata--and brought home by their chalky color. In Caspar's Circle/Square series, the interpenetration of circular forms and their suggestion of movement conjure up atomic particles or the world of molecular biology.
Has pure geometric abstraction lost its appeal? Even among the drawings that appear the most faithful to a stark geometric format, as are Ernst Benkert's compositions, various disturbances compromise the strict order. Intimations of chaos appear in Ventspils, which looks like an accumulation of grids falling down, or in Hairy Mess, in which the unevenness of the border is dramatized by the regularity of the dense network of black lines that makes up the drawing. As with all the works in this exhibition, it is precisely from this interplay between randomness and order, or chance and necessity, that these drawings derive their greatest appeal.


District Chairs for Farm Bureau Women will be nominated in the 1st, 3rd, 5th, 7th, and 9th districts.
Kansas Farm Bureau directors will be nominated in the 2nd, 4th, 6th, 8th and 10th districts.
Election of Voting Delegates and Alternates to the AFBF Convention in New Orleans, LA., Jan. 12-16, 2019.


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Христодулу — греческая фамилия. Известные носители:

 Христодулу, Димитриос (род. 1951) — греческий математик и физик.
 Христодулу, Николаос (1863—1924) — греческий военный деятель, генерал-майор.
  (род. 1967) — кипрский футболист и тренер.
 Христодулу, Фанис (род. 1965) — бывший греческий профессиональный баскетболист.
 Митрополи́т Апо́стол Христоду́лу (1856—1917) — епископ Константинопольской православной церкви.

См. также
 Христодул

redpajama_set_name: RedPajamaWikipedia


To enter for a chance to win this fantastic prize (£ or $) please click the above image.
Part 2 – The Teenage Years.
My first proper 'grown up' gig was Adam and the Ants, the Prince Charming tour. I was only fifteen and I had begged my mum to let me go. We lived about seven miles from the centre of Glasgow and I would be getting a bus there and back. I was going with two other friends so she relented. I had to pay for the ticket myself but, having three paper-rounds at the time, this was not a problem. My mate got the tickets. I don't know how he managed it as they were like gold-dust.
The venue for this momentous moment in my life was the rapidly disintegrating flea-pit known as The Apollo. Unknown to me at the time, this venue was, and still is, considered by many bands and artists as the ultimate music venue due to the explosive atmosphere and exuberant crowds. It had a massive, fifteen and a half foot high, stage and a bouncing balcony. The balcony was designed to do this and many bands would encourage the fans to jump more in order to see the effect. While I didn't know the venue was iconic back then, I firmly believe that the magic of it set up my love and expectations for all future gigs I would attend.
I was fortunate enough to see a few bands at The Apollo before it closed its doors on the 16th June 1985 but the two most memorable for me are Frankie Goes to Hollywood and Nik Kershaw. I'll start with Frankie Goes to Hollywood. Frankie-mania had hit Glasgow with the same force as it had hit the rest of the UK. This meant that when tickets went on sale for their tour in early 1985, there wasn't a snowballs chance in hell of getting one. Yours truly, however, would not be thwarted by this. There were other ways if one used a little ingenuity… You see, living in Glasgow had certain advantages when it came to meeting your favourite band or artist because there were only a handful of hotels considered exclusive enough for the bands to stay in so it was easy to find out where the bands were staying when they were in town. My friends and I, however, had learnt that you do not hang around outside the hotel like ordinary fans. No. The secret is to dress nicely and buy a drink in the hotel bar. This technique had worked a few times and it was about to work again.
I was sitting in the bar of the hotel on the night of the 20th March 1985. Frankie had just played the first of two gigs at The Apollo and had come down to the bar to relax and unwind. At the time, the band had the reputation of being a bolshy and they were living up to it that night. Several girls had approached them to ask for an autograph but had been sent away with a flea in their ear and no signature. So I decided to go in with a different tack.
Me: Excuse me, sorry to interrupt but I was wondering if I may take a photograph please?
FGTH: No you fookin' well can't.
Me: Phew! I was hoping you would refuse because you're all so bloody ugly the camera would probably break!
FGTH: What did you say?
Me: I said you're all so ugly you'd probably break the camera!
Cue 5 seconds of silence before they break out in loud, raucous laughter.
FGTH: Fook me! More front than bloody Blackpool this one! For that, you can take your photograph.
Me: Oh well, if you insist. But, if it breaks, you owe me a new one.
For the record, the gig was amazing, the atmosphere was electric and I hung out with the guys again back at the hotel. Overall, they were a great bunch of lads and fun company to be in.
The other memorable gig at the Apollo was Nik Kershaw on the 11th of November in 1984. I had been a fan of Nik's for a few months prior to him hitting the big time earlier that year. When my friend Pam and I entered the foyer of the venue we saw his manager hanging around. We recognised him from a gig of Nik's we'd been to in the summer so we went over to say hello. He remembered us and we got chatting. He left us with the instruction to head back to their hotel afterwards and he would ensure we got to meet Mr Kershaw himself.
Thanks so much, Kiltie. Don't forget to catch up with the rest of these fabulous guest posts!
Kiltie grew up in Scotland, Glasgow to be precise. A very unique city with a very unique way of looking at life. When she was old enough to do so, she moved to London and then, after several years of obtaining interesting experiences – which are finding their way into her writing – she moved up to the Midlands.
She currently lives in Staffordshire with five cats and one husband. The cats kindly allow her and her husband to share their house on the condition they keeps paying the mortgage!
Her little home is known as Moggy Towers, even though despite having plenty of moggies, there are no towers! She loves reading, watching movies, and visiting old castles. She really dislikes going to the gym! Her biggest desire is that one day she can give up the day job and write her stories for a living.
Kiltie first began writing 'A Rock 'n' Roll Lovestyle' over ten years ago. The project was shelved on Chapter Seventeen as she felt the story wasn't flowing as she would like it to.
In her own words "The images in my head would not come out of my fingers!" Fast forward to November 2016 when, having finished reading Lizzie's Christmas Escape by Christie Barlow, she read more about the author and was inspired with how Christie herself came to be a best-selling author.
In that thunderbolt moment, Kiltie knew – with a deep certainty- that she needed to reacquaint herself with 'A Rock 'n' Roll Lovestyle' and begin writing again. She did this in January 2017 and found the words flowed faster than she could type them. Finally, the time was right for her to write her novel.
Her determination to finish what she had started all those years ago was absolute and the first draft was completed on Sunday 16th April 2017.
Since beginning to write again, the ideas have not stopped flowing. She has begun typing up her second book, 'Of All the Unlikely Places', and book three (not yet titled) has been worked out and is waiting in the wings for its turn in the spotlight.
She currently has a further ten plots and ideas stored in her file (it's costing a fortune in USB drives as each story has its own memory stick!) and the ideas still keep on coming.
I'm loving these guest posts from Kiltie!


I had a few extra little projects that have been hanging around….so I decided to finish them and get them in the "completed" pile.
One of them was this scrappy quilt I put together …I think back in January—ish? I used scraps from my tiny house quilt and just randomly put these blocks together and improved the setting. it's a lap sized quilt.
I quilted it with one of my most favorite computer quilting designs. The circles & lines.
These were some orphan block that I made into a tabletopper. Then I just quilted free hand feathers….it was a fast easy project to squeeze on before a custom job. Sometimes if I give myself something easy …it gives me that sense of accomplishment so I can gear up for the next project.
These were a panel from a bargello quilt. So I cut them to make a few runners…and quilted them up. 🙂 sew simple. Taking scraps and making something great!
These were just 2.5 inch squares that I slapped together to make a runner. scrap busting all the way.
I bought this kit several years ago and just put it together. Chocolate bunnies for easter…so cute!!
I feel so great getting the pile worked down a bit.


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The General Court (GC) recently issued Judgment in Veloss and Attimedia v Parliament, T-667/11, EU:T:2015:5, and annulled an award decision (actually, a ranking of tenderers decision) on the basis of the European Parliament's resistance to disclose the price of the highest ranking bid to the disappointed tenderer that was ranked second.
In the GC's view, such deliberate omission of the price information requested during the debriefing phase amounts to a breach of Art 100(2) of the applicable Financial Regulation, which established that: "The contracting authority shall notify all candidates or tenderers whose applications or tenders are rejected of the grounds on which the decision was taken, and all tenderers whose tenders are admissible and who make a request in writing of the characteristics and relative advantages of the successful tender and the name of the tenderer to whom the contract is awarded" (emphasis added).
the Parliament was required to inform them of the price offered by the successful tenderer, which was one of the characteristics and one of the key advantages of the successful tender, especially since, in the circumstances of the present case, that criterion counted for 40% in the evaluation of tenders and the applicants' tender was the first on the list of tenderers following the evaluation of the qualitative criteria.
suffice it to note that it is clear from settled case-law that, in order to comply with the obligation to state reasons enshrined in Article 296 TFEU, the reasoning of the author of the act must be shown clearly and unequivocally (see, to that effect, judgments in Koyo Seiko v Council, paragraph 42 above, EU:T:1995:140, paragraph 103, and Evropaïki Dynamiki v Commission, paragraph 42 above, EU:T:2010:101, paragraph 134). The Parliament's argument that the applicants could, through working backwards, have deduced the minimum price offered by one of the tenderers and, therefore, the price offered by the tenderer ranked first cannot be accepted. It must be considered that, even if the applicants had made such a deduction, they would have had no certainty regarding the correct application of that formula and the accuracy of the result obtained. That finding is corroborated by the Parliament's attitude, which raised the possibility of such a deduction being carried out only at the hearing and not during the written procedure. (T-667/11, paras 60, 64 & 65, emphasis added).
It is worth stressing, however, that the requirement to disclose the (exact) price of the highest ranking tender is not explicit in Art 100(2) of the Financial Regulation and, as argued repeatedly, it is not a desirable feature of any debriefing process because it creates excessive transparency [see A Sanchez-Graells, The Difficult Balance between Transparency and Competition in Public Procurement: Some Recent Trends in the Case Law of the European Courts and a Look at the New Directives (Nov 2013). University of Leicester School of Law Research Paper No. 13-11].
Hence, the fact that the GC reads an obligation to explicitly disclose the price offered by the successful tenderer and rejects an argument based on the fact that the disappointed tenderer could ascertain the relative advantage (in terms of price) on the basis of indirect information disclosed by the contracting authority (which, again, reinforces the obligation to disclose the price explicitly) is a very unwelcome development in the interpretation of Article 100(2) of the Financial Regulation (which can have a clear impact on the interpretation of Art 55 of Directive 2014/24, with further reaching consequences).
Moreover, it is shocking that there is no discussion at all about the second paragraph of Art 100(2) of the Financial Regulation, which expressly indicates that, notwithstanding the general obligation discussed above, "certain details need not be disclosed where disclosure would hinder application of the law, would be contrary to the public interest or would harm the legitimate business interests of public or private undertakings or could distort fair competition between those undertakings". This safeguard clause makes a lot of sense and their ineffective use (or its total disregard) must be lamented.
It is not clear whether the European Parliament expressly relied on this exception (from reading the Judgment, it would seem not), but it is unacceptable that the GC completely excluded such considerations in its Veloss and Attimedia Judgment. Disclosure of explicit prices can have clear negative impacts on competition and should be covered (always, or at least in the vast majority of cases, by the safeguard clause in Art 100(2) of the Financial Regulation, as well as by Art 55(3) Dir 2014/24].
Indeed, the problem of excessive pricing transparency and its negative effects for competition in public procurement markets is very important and the scholarly consensus is that transparency needs to be reduced, particularly when it comes to price signals in procurement settings [for a recent discussion, see C Estevan de Quesada, 'Competition and transparency in public procurement markets' (2014) 23 Public Procurement Law Review 229-244]. Consequently, the Veloss and Attimedia Judgment is a step in the wrong direction and it starts to be hard to believe that the case law on transparency can make a turn towards economic wisdom.
according to settled case-law and having regard to the objective of effective and rapid judicial protection, in particular by interlocutory measures, the possibility of review cannot be subject to the fact that the public procurement procedure in question has formally reached a particular stage. On the basis of the consideration that compliance with the procurement rules must be ensured in particular at a stage at which infringements can still be corrected, it must be concluded that an expression of the will of the contracting authority in connection with a contract, which comes in any way whatever to the knowledge of the persons interested, is amenable to review, provided that that expression has passed the stage of acts which constitute a mere preliminary study of the market or are purely preparatory and form part of the internal reflections of the contracting authority with a view to a public award procedure and is capable of producing legal effects (see, to that effect and by analogy, judgment of 11 January 2005 in Stadt Halle and RPL Lochau, C‑26/03, ECR, EU:C:2005:5, paragraphs 38 and 39) (T-667/11, para 47, emphasis added).
This, the GC got right.


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aphorisms 231 - 235
Home - aphorisms 231 - 235
aphorisms 231 - 235 "Intermittent and alternating diseases"
‹ aphorisms 210 - 230 up aphorisms 236 - 252 ›
Organon aphorism §231
The INTERMITTENT DISEASES deserve a special consideration, as well those that recur at certain periods—like the great number of intermittent fevers, and the apparently non-febrile affections that recur at intervals like intermittent fevers—as also those in which certain morbid states alternate at uncertain intervals with morbid states of a different kind.
These latter, ALTERNATING diseases, are also very numerous,( 127 ) but all belong to the class of chronic diseases; they are generally a manifestation of developed psora alone, sometimes, but seldom, complicated with a syphilitic miasm, and therefore in the former case may be cured by antipsoric medicines; in the latter, however, in alternation with antisyphilitics as taught in my work on the CHRONIC DISEASES.
The TYPICAL INTERMITTENT DISEASES are those where a morbid state of unvarying character returns at a tolerably fixed period, whilst the patient is apparently in good health, and takes its departure at an equally fixed period; this is observed in those apparently non-febrile morbid STATES THAT COME and go in a periodical manner (at certain times), as well as in those of a febrile character, to wit, the numerous varieties of intermittent fevers.
Those apparently non-febrile, typical, periodically recurring morbid states just alluded to observed in one single patient at a time (they do not usually appear sporadically or epidemically) always belong to the chronic diseases, mostly to those that are purely psoric, are but seldom complicated with syphilis, and are successfully treated by the same means; yet it is sometimes necessary to employ as an intermediate remedy a small dose of a potentized solution of cinchona bark, in order to extinguish completely their intermittent type.
With regard to the INTERMITTENT FEVERS, ( 128 ) that prevail sporadically or epidemically (not those endemically located in marshy districts), we often find every paroxysm likewise composed of two opposite alternating states (cold, heat—heat, cold), more frequently still of three (cold, heat, sweat). Therefore the remedy selected for them from the general class of proved (common, not antipsoric) medicines must either (and remedies of this sort are the surest) be able likewise to produce in the healthy body two (or all three) similar alternating states, or else must correspond by similarity of symptoms, in the most homeopathic manner possible, to the strongest, best marked, and most peculiar alternating state (either to the cold stage, or to the hot stage, or to the sweating stage, each with its accessory symptoms, according as the one or other alternating state is the strongest and most peculiar) ; but the symptoms of the patient's health during the intervals when he is free from fever must be the chief guide to the most appropriate homeopathic remedy. ( 129 )
Organon notes and explanatory remarks
Two or three states may alternate with one another. Thus, for instance, in the case of double alternating diseases, certain pains may occur persistently in the legs, etc., immediately on the disappearance of a kind of ophthalmia, which latter again appears as soon as the pain in the limbs has gone off for the time— convulsions and spasms may alternate immediately with any other affection of the body or some part of it—in a case of threefold alternating states in a common indisposition, periods of apparent increase of health and unusual exaltation of the corporeal and mental powers (extravagant gaiety, extraordinary activity of the body, excess of comfortable feeling, inordinate appetite, etc.) may occur, after which, and quite unexpectedly, gloomy, melancholy humor, intolerable hypochondriacal derangement of the disposition, with disorder of several of the vital operations, the digestion, sleep, etc., appear, which again, and just as suddenly, give place to the habitual moderate ill-health; and so also several and very various alternating states. When the new state makes its appearance, there is often no perceptible trace of the former one. In other cases only slight traces of the former alternating state remain when the new one occurs; few of the symptoms of the first state remain on the appearance and during the continuance of the second. Sometimes the morbid alternating states are quite of opposite natures, as for instance, melancholy periodically alternating with gay insanity or frenzy.
The pathology hitherto in vogue, which is still in the stage of irrational infancy, recognizes but one single INTERMITTENT FEVER, which it likewise termed AGUE, and admits of no varieties but such as are constituted by the different intervals at which the paroxysms recur, quotidian, tertian, quartan, etc. But there are much more important differences among them than what are marked by the periods of their recurrence; there are innumerable varieties of these fevers, some of which cannot even be denominated AGUE, as their fits consist solely of heat; others, again, are characterised by cold alone, with or without subsequent perspiration; yet others which exhibit general coldness of the surface, with a sensation of heat on the patient's part, or whilst the body feels externally hot, the patient feels cold; others, again, in which one paroxysm consists entirely of a rigor or simple chilliness, followed by an interval of health, while the next consists of heat alone, followed or not by perspiration; others, again, in which the heat comes first, and the cold stage not till that is gone; others, again, wherein after a cold or hot stage apyrexia ensues, and then perspiration comes on like a second fit, often many hours subsequently; others, again, in which no perspiration at all comes on, and yet others in which the whole attack consists of perspiration alone, without any cold or hot stage, or in which the perspiration is only present during the heat; and there are innumerable other differences, especially in regard to the accessory symptoms, such as headache of a peculiar kind, bad taste in the mouth, nausea, vomiting, diarrhoea, want of or excessive thirst, peculiar pains in the body or limbs, disturbed sleep, deliria, alterations of temper, spasms, etc., before, during or after the cold stage, before, during or after the hot stage, before, during, or after the sweating stage, and countless other varieties. All these are manifestly intermittent fevers of very different kinds, each of which, as might naturally be supposed, requires a special (homeopathic) treatment. It must be confessed that they can almost all be suppressed (as is often done) by enormous doses of bark and of its pharmaceutical preparation, the SULPHATE OF QUININE; that is to say, their periodical recur-rence (their typus) may be extinguished by it, but the patients who suffered from intermittent fevers for which cinchona bark is not suitable, as is the case with all those epidemic intermittent fevers that traverse whole countries and even mountainous districts, are not restored to health by the extinction of the typus; on the contrary, they now remain ill in another manner, and worse, often much worse, than before; they are affected by peculiar, chronic bark dyscrasias, and can scarcely be restored to health even by a prolonged treatment by the true system of medicine—and yet that is what is called CURING, forsooth!
Dr. von Bonninghausen, who has rendered more services to our beneficent system of medicine than any other of my disciples, has best elucidated this subject, which demands so much care, and has facilitated the choice of the efficient remedy for the various epidemics of fever, in his work entitled VERSUCH EINER HOMOOPATHISCHEN THERAPIE DER WECHSELFIEBER, 1833, Miinster bei Regensberg.


Nephew is Denmark's self-proclaimed "way to rock".
My first impression of their music is that it is easy to the ear, reminiscent of U2, REM and Keane. A quick stroll through Wikipedia tells me their biggest inspiration is Depeche Mode, which also makes sense!
Roskilde and Nephew share so many great memories. Dating way back to 2000, a then-unknown band played our Camp Stage. Since then, the young nephew grew older, found a wide audience and played Roskilde further three times: 2004, 2007 and 2010. The 2007 concert was documented on the live release 07.07.07 and stands as a true Nephew and Roskilde highlight.
Nephew has released five albums, they have sold over 400,000 copies, won numerous music awards and have on several occasions been cited as Denmark's biggest rock band. Taking inspiration from Depeche Mode, Rammstein and Danish band Kliché, Nephew moulded a special sound that is entirely their own.
Their live shows have always been a true spectacle. Huge productions, setlists full of hits and often with surprising guest appearances. Nephew as a band has always worked like a well-oiled machine!
Today, the five gentlemen in Nephew have invited Marie Højlund, known from the band Marybell Katastrophe, into the fold as a sixth member. What that means for the band's sound will be revealed this summer at Roskilde Festival 2018. We have cleared the Orange Stage for Nephew's return. This is their homefield, after all. You can look forward to a very special concert, that's for certain.
I'm definitely going to have to work on my Danish (which I'm really trying) because I'm really liking what I'm hearing in their new material but am missing out on the lyrics. I wonder what they have to say about my nation's capital?


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Home Technology Automation In Conversation with: Andy Grolnick (President & CEO, LogRhythm)
In Conversation with: Andy Grolnick (President & CEO, LogRhythm)
Distinguished CEO Series – Cracking the Cybersecurity Conundrum
CIO Academy Asia held a private luncheon at Alma Restaurant, together with LogRhythm. It was indeed a pleasure moderating the luncheon talk with LogRhythm's CEO Andy Grolnick. He shared his insights about threat management life cycle and how his company is using AI techniques in security analytics for their unifying event log platform. It was a very engaging dialogue session with several CIOs from different industry sector.
About Andy Grolnick – Andy serves as LogRhythm's Chairman, President and Chief Executive Officer and has led LogRhythm to become one of the leading security intelligence and analytics companies in the world since joining in 2005. With over 25 years of experience leading and growing high tech businesses, his accomplishments include playing a key role in building the Zip division of Iomega from inception into a $1 billion entity as its General Manager. Prior to LogRhythm, Mr. Grolnick held senior roles at Openlogic, Quantum, Rivio and Iomega. Early in his career, he held product management and strategy roles at Hewlett Packard. Mr. Grolnick has a B.S. degree in Computer Science and Economics from Duke University and an MBA from the University of North Carolina.
About LogRhythm – LogRhythm, a leader in security intelligence and analytics, empowers organizations around the globe to rapidly detect, respond to and neutralize damaging cyber threats. The company's award-winning platform unifies next-generation SIEM, log management, network and endpoint forensics and advanced security analytics. In addition to protecting customers from the risks associated with cyber threats, LogRhythm provides innovative compliance automation and assurance, and enhanced IT intelligence.
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Business / Cebu Pacific expanding Clark and Cebu hubs
Cebu Pacific expanding Clark and Cebu hubs
Published March 11, 2019, 12:00 AM
By Emmie V. Abadilla
Cebu Pacific (CEB) is expanding its route network this year from its hubs at Clark and Cebu as tourists demand more direct and seamless connections.
The flag carrier will launch three new domestic routes from the Clark International Airport, mounting daily flights between its hubs in Clark and Iloilo as well as between Clark and Bacolod, starting August 9, 2019, CEB Chief Operations Officer Michael Ivan Shau announced during the recent Routes Asia conference in Cebu.
Beginning October 9, 2019, CEB will also mount daily flights between Clark and Puerto Princesa in Palawan.
"There's still a lot of opportunity for expansion within the Philippines—inter-island connections from key cities like Clark and Cebu," he noted.
"We believe that there is a significant untapped market in northern provinces in the Philippines. Creating direct links between domestic destinations and our other hubs will spur tourism and movement of goods and investments, whilst doing away with having to pass through the main hub in Manila."
The Clark International Airport has served as the hub for North and Central Luzon of Cebu Pacific for the past ten years. It has emerged as one of Asia's fastest-growing airports, with passenger volume breaching 2.5 million in 2018.
Over the past six months, CEB has boosted frequency in Clark by over 75%, with direct connections to Cebu, Caticlan, Tagbilaran, Davao, Singapore, Macau and Hong Kong.
"We are also in the final stages of launching a new route between Cebu and mainland China. We'll have more details on that soon," added Shau.
Cebu Pacific had earlier stated they would ramp-up capacity in its Cebu hub by as much as 20% in 2019. Routes in development for its Cebu hub are focused on North Asia markets such as China, Korea, and Japan.
The Philippines is the closest tropical destination from North Asia. Cebu and the 166 islands within the province alone boast of some of the best tropical getaways in the world. It's a logical choice to be our 'beach hub' with easier access to world-class beaches, dive spots and resorts."
From Cebu, CEB mounts direct flights to Bacolod, Caticlan (Boracay), Butuan, Cagayan de Oro, Calbayog, Camiguin, Clark, Davao, Dumaguete, General Santos, Iloilo, Kalibo, Legazpi, Ozamis, Pagadian, Puerto Princesa, Siargao, Surigao, Tacloban, Zamboanga, Hong Kong, Macau, Tokyo (Narita), Singapore and Incheon.
Aside from its Clark and Cebu hubs, Cebu Pacific operates flights out of five other strategically placed hubs in the Philippines: Manila, Kalibo, Iloilo, Davao and Cagayan de Oro (Laguindingan).
The carrier has maintained leadership in the domestic market with 37 destinations and over 2,130 weekly flights. Coupled with 26 international destinations, the entire Cebu Pacific network covers over 108 routes spanning Asia, Australia, the Middle East, and USA.