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We have a fantastic lineup of artists in store for the 2014 Yackandandah Folk Festival, including…
David Bridie ~ The Alaska String Band (USA) ~ The Good Lovelies (Canada) ~ Charlie A'Court (Canada) ~ The Beez (Germany) ~ Mel Parsons & The Rhythm Queens
Scroll down to browse the full lineup.
Adrian Clark
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Gearing up for the release of his second EP, & hailing from Albury/Wodonga, this indie singer-songwriter will take you on a journey through heartache & out the other side. A new twist on the old classic, let this one man, one guitar show, tell you a story about life, music, love & beyond.
Alaska String Band
Country: USAWebsiteFacebookYouTube
This family-friendly performance artfully weaves a tapestry of atmospheric impressions giving an intimate peek into the curiosities of one of Alaska's treasured and pristine wilderness escapes. Moving along at a lively pace, American-roots music favorites are showcased touching on genres such as swing – jazz – bluegrass – pop – dawg – gospel, Hawaiian and Celtic. Of particular interest are original tunes composed and sung by this ensemble which reflects the hardship of the gold fever experience. As gifted multi-instrumentalists the family often swap instruments throughout a performance with an impressive collection of acoustic stringed instruments including guitars, violin-fiddles, mandolins, dulcimer, banjo, bass, ukuleles and percussion; knitting it all together are the Z family signature vocal harmonies.
Ange Takats
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Former foreign correspondent turned folk singer Ange Takats has a voice that is able to coat with sugar, crush with sadness and cut through to the soul of a song. Named 'Folk/ Singer Songwriter' at the 2013 Queensland Music Awards, her second album – 'Arva' – blends 60s folk with 30s jazz.
Appalachian Heaven String Band
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Appalachian Heaven String Band play Southern Appalachian old time mountain music with gusto & authenticity, learnt directly from the masters during visits to USA festivals & band camps. Appalachian Heaven String Band perform driving & sensitive fiddle sounds, dance tunes with curly toes, cheeky songs & disarmingly touching ballads … delighting audiences young & young-at-heart!
Bohemian Nights
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Ernie Gruner (violin, mandolin) and Phil Carroll (vocals, accordion, ney ) play Gypsy, Klezmer, Middle-Eastern, French, Italian, Russian, jazz and tango music ranging from soulful to wild. 15 years of festivals around Australia and New Zealand, and 2 CDs. 'Loads of enthusiasm, brilliant musicality' – director Wellington Folk Festival
Charlie A'Court
Country: CanadaWebsiteFacebookTwitteriTunesmyspaceCD BabyLast.fmReverbNation
Charlie A'Court is a country boy raised on a record collection of classic R&B, soul, blues, rock and folk. Whether he's stripping the music down on an acoustic or soaring above the band on electric, A'Court is well known for his emotional delivery and stage presence- his music reaching people in a unique way.
Coalville Road
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Coalville Road are a one of a kind musical act. Jodie and Ricky's voices blend as one when singing harmonies. Their clever songwriting and fantastic combination of instruments, banjo and mountain dulcimer, combine to produce a uniquely Australian/Appalachian sound that captivates audiences wherever they play.
Damian Howard and the Ploughboys
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Damian Howard is probably best known as the front man of The Ploughboys, but at the same time has been forging a solo career both here in Australia and overseas, throughout Europe and the USA. Damian's songwriting includes takes on life, Australian history and narrative streams. On stage Damian returns to Yackandandah Folk Festival with his band The Ploughboys, featuring Lee Morgan, James Rust and Declan O'Neil to perform new material from his new CD release 'Once in a While' and highlights from his previous solo albums, together with many of the old favourites from the Ploughboy's back catalogue of some 14 years of festivals.
David Bridie
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David Bridie remains one of the most distinctive voices and composers in Australian music, not only to the ear but to the heart. His soulful lyrics offer unique insights, and ask the hard questions of the human condition. With conviction, passion and integrity, his songs document Australia, its geography, people and culture. Bridie's 2013 album WAKE was described as 'the album this country needs… passionate, intelligent and inspired' (The Age) and 'powerful and deeply disturbing' (The Australian). This is a unique opportunity to see Bridie perform, mixing up the old and new – songs from WAKE as well as some gems from his extensive back catalogue in film and music.
Fay White and Jane Thompson
The skills and gifts of two much-loved singers, Fay White and Jane Thompson, each possessed of a beautiful singing voice and with passion and warmth borne of a lifetime commitment to song… Together they make gorgeous music with richness and intimacy in equal measure and with glorious harmony. They are a rare and precious addition to the community of folk musicians in Australia… Their songs are poignant, funny, wise, ironic, topical and moving, born of authentic connection to people and place. They accompany themselves with a combination of guitar, accordion, flute, tin whistle, ukulele and percussion – and with stories!
Flash Company
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Gen and Flora are Flash Company. Weaving together original songs with folk music from Australian, American and Irish traditions, they sing about hardluck women and whiskeybreath men, stringybark, heartbreak and trains going nowhere. Accompanied by tenor guitar, six-string, accordion and ukulele, they look back across the years and out across the oceans to create a fresh, present folk music with a distinctly Australian sensibility.
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From Bright,Victoria, this duo write folky songs about the usual stuff – life, love, lessons learned, mother earth, journeys, dreams, aspirations and contemplations. Joe's soulful vocals with guitar, bass and harmonica and Katie on ukelele and percussion with an enchanting and mesmorising voice. Transportive, heartwarming and inspirational!
Jan Preston's Boogie Circus
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Known as Australia's Queen of Boogie Piano, Jan Preston has a reputation as an astonishing piano player with a rich resonant voice who is a magnetic live performer. Jan captivates, moves & uplifts audiences around the world with her original songs, compositions & her mastery of boogie woogie piano.
Janette Geri
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"Janette's gift is obvious from the opening notes of any of her songs, what she also brings to her performances is an all-encompassing enthusiasm for music that is conveyed to the audience the moment she walks on stage. This is the kind of stage presence you have to be born with … Janette's music stops people in their tracks instantly." Tim Quinn, Quill Publications/Mighty Quinn Management, UK
Kavisha Mazzella
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"A power and presence that's beyond words" – Colum Sands. The lyrical ingredients of the original songs by ARIA award winner and songbird, Kavisha Mazzella, include humour, poetry, social justice and the spiritual. Combine this prowess with the voice of an angel and you have the experience of a Kavisha concert. Singing in English and Italian, she will take you on an uplifting boundary riding journey of well-crafted stories and songs ringing with echoes of Celtic, Fado and Gypsy influences that will strike a resounding chord within. With 5 solo albums under her belt, she has sung at festivals from as far afield as Gracisce in Slovenia to Noumea in New Caledonia, from Calgary in Canada to Woodford Queensland, and Victoria's very own Brunswick Music festival.
Lamb Boulevard
Lamb Boulevard……interesting name?….interesting sound! We – Liam Jarrad and David Martinez are LAMB BOULEVARD… Our personal journey began as Year 10 students at our hometown high school, with Liam on lead vocals, rhythm guitar and ukulele and Dave on lead guitar,banjo and back-up vocals. We consider ourselves as laid-back and quiet, but our music speaks loudly. Best described as bluesy-folksy-rootsy (is that even a word??!!??) and very infectious, our style has been influenced by the likes of Mumford and Sons, The Beatles and Busby Marou. On stage, Liam's vocals and Dave's captivating melodies and riffs draw the audience's attention immediately. Our long term goal is to get our music out to the wider community (ie the world!). Ultimately we would love to take our show on the road. Just as important: as long as the masses are happy to listen to Lamb Boulevard, Lamb Boulevard are happy to oblige.
Laura K Clarke
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Melbourne songstress Laura K Clarke has a folk/pop sound that is sweet, soothing and honest. Citing inspiration from Joni Mitchell to Rickie Lee Jones, Stevie Nicks to Jewel, her live performances are effortlessly beautiful and captivating. Laura's EP 'Looking For Inspiration' is played and supported by community stations Australia wide.
Lime and Steel
Packing a doghouse bass, a tasty fiddle and an old snare drum, Lime and Steel's sweet harmonies twang through banjo driven bogan bluegrass lovesongs and convict murder ballads for a unique show: Like a tent boxing call-up on the culture wars crossed with a fast-pickin' wine-soaked family singalong.
Louie and The Pride
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In 2010 the members of the Pride came together at a party and of course, instruments came out. Louie fell in love with what these people did with her very personal songs, enriching them with full vocal harmonies and funking them up with unusual instrumentation on mandolin, bass, djembe, slide guitar and melodica. They've been playing show after show ever since, having more fun from each gig. Joined by Jim on the drums these days, they are in the process of recording their debut crowd funded album.
Mama Toto
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Hailing from the beautiful East Gippsland lakes region, contemporary folk band Mama Toto showcases the talent of three Australian singer-songwriters, Sharyn Dickeson, Philip Cappadona & Cyndie Bignell.
Fresh and hauntingly familiar, Mama Toto has a sound that is dynamic and spine tingling. With three voices, original material, one guitar, harmonies like silk and lyrics that cut deep, Mama Toto's presence on stage is simple and beautiful.
As singer-songwriters, their songs tell an inspiring story of the human condition, taking the listener on an emotional journey.
Mel Parsons and the Rhythm Queens
Country: New ZealandWebsiteFacebookTwitterYouTubeiTunesmyspaceBandcampLast.fm
Kiwi touring artist Mel Parsons is highly regarded as one of NZ's rising songwriting stars. Armed with instant sing-along choruses, and a unique sensibility to melody and harmony, the two-time Folk Album of the Year finalist will be joined by Melbourne drummer Cat Leahy (Sal Kimber, Lisa Miller, Benny Walker ) and Yvette Maker on the pedal steel.
Mezz Coleman
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With a powerful voice imbued with honesty, Melbourne songbird Mezz Coleman writes & sings of love, loss & community. After graduating from VCA with a Bachelor of Music Performance (Jazz Improvisation), Mezz eventually found her home in the folk & indie pop traditions. With her ukulele in hand, she has spent the last decade performing in Melbourne and around regional Victoria, establishing herself as both a prolific songwriter & engaging performer.
Miriam Lieberman
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Miriam is a singer songwriter who has travelled the world in search of songs, instruments and melodies. The result is 'a rich cross cultural hybrid' of music that is both uplifting in song and infectious in rhythm. She brings her 21 fishing line string West African harp, rhythmic guitar and captivating vocals.
Oliver was taught to play guitar in bits and pieces from his father from the age of 14, and his mother bribed him with xBox games to take up singing lessons. So it's fair to say they both supported him a fair bit. Now, with those scattered guitar tutorials and bribes paid off, and Oliver loving both playing and singing, he'll take any opportunity to perform. He now lives in Sydney studying, but will be at Yackandandah as the winner of the 2011 Yackoustic competition.
Pete Denahy
Pete Denahy released a comedy album in 2014 featuring songs about over use of mobile phones, selfies, food & flatulence. The songs have delighted & disgusted a wide range of people, which seems to suit Denahy. He's also written songs about Yackandandah in the gold rush days & beyond, which feature on his latest bluegrass albums Wishbone Road and Singin' Shoes. Pete describes his songs as eclectic and appealing to something inside of everyone. If you see him at the festival, be sure and ask him for some of his much-admired money saving tips.
Richard Perso
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Yackandandah's own one man excitement machine, Perso has developed his own style blending multiple genres fused into a traditional, folky, rocking, roots & blues with didgeridoos. From humble beginnings busking at the Yackandandah Folk Festival to now a regular on the vibrant Australian festival scene, as well as the USA and Canada, with a career highlight: opening for the legendary BB King at the Ottawa Blues Festival.
Sal Kimber and the Rollin' Wheel
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Sal Kimber & the Rollin' Wheel are a band steeped in talent, personality & connection. Described by Rolling Stone as 'Australiana Alt County at its finest' Sal's authentic & warm stage presence, storytelling & antipodean vocals, along with the captivating musicianship of her close-knit band has seen the five-piece win over loyal audiences all over Australia.
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Sarah Wilkinson is a 19 year old musician from the Macedon Ranges. She has been playing guitar and writing songs since she was 13 and has won several awards such as the Maldon Minstrel and a Macedon ranges youth award when she was only 16. Her style has been described as a mixture between Colbie Calliat and Sara Storer. Her smoky sound is sure to have you captivated.
The April Maze
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The April Maze show provides all of the vitality and beauty that good folk music has to offer, and an originality that is exciting and inspiring to experience live. With their rich human vocals, cello, guitar and stomp box, their live show has an amazingly full and deep sound.
The Beez
Country: GermanyWebsitemyspace
The Berlin cabaret band, renowned for eccentric cover versions, are now covering their own original material as well. Embracing the musical traditions of their respective homelands, the four German, American and Australian members take on styles as diverse as klezmer, punk and bluegrass with wit and charm.
The Brouhaha
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With a fierce blues vocal and driving stomp box, its safe to say Adelaide's 'The Brouhaha' is not your average singer/songwriter. She's spent 2013 supporting the likes of Mia Dyson, Clare Bowditch and Liz Stringer and is working on a new EP for release in 2014.
The Hollands!
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The Hollands! are seasoned concert performers, engaging audiences with their intimate merrymaking. They are an internationally touring family based in the US viaAustralia with a knack for engaging audiences and rousing a sing-a long. They are 21st century nomadic travellers and frolic in the Americana, Folk revival scene. By the end of their performance, audiences will feel like they are part of the band. This is the experience and magic that happens when The Hollands! come to town.
The Hounds Homebound
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"A cake made of something bluesy, poppy and rocky iced with gypsy folk" – The Hounds Homebound are rolling off the back of a stellar year of wooing and grooving audiences across Victoria and NSW. With their debut release 'Diamond People' hitting national airwaves and their live performances winning them the title of 2013 FReeZA Victorian Battle of the Bands victors, they're bound to be a little bit sweet and a whole lot of fun.
The Mae Trio
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With roots firmly planted in folk tradition, Melbourne-based award-winning contemporary folk band, The Mae Trio draw on a range of influences that transcend their foundations. Incorporating stellar 3-part harmonies, complex arrangements for banjo, ukulele, cello, fiddle, bass and guitar, and lyrical sophistication, these youngsters are on a rapid rise.
The Weeping Willows
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The Weeping Willows, Andrew Wrigglesworth and Laura Coates, are a couple of old souls, steeped in bluegrass tradition and draped in gothic Americana imagery. They regale their audience with stories of sunshine and romance, God and The Devil, murder and decay. Real music.
Tom Yates
A veteran of the folk scene and a resident of Yackandandah, Tom draws from a diverse repertoire of classic and original material……"I've paid my dues and walked the line 'tween the truth and what was not, guitar and harmonica out there on the street, last car in the parking lot…"
Ungus Ungus Ungus
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Hold onto your hats as Ungus Ungus Ungus (premier peddlers of vaudevillian, world-infused psychedelia) strap you in for a rollercoaster ride of dance & mayhem. Traversing territory from Balkan & Klezmer to swing, hip-hop &jazz, paired with their trademark bold visual presence, this is carnival-esque party music for the creatively inclined!
VIVox
Dan Carberry, Terry Hillman, Chris Horton, Chris McGorlick, Colin Thornton & Doug Westland are Yackandandah's favourite a cappella group. Back this year with a changed line-up & some new music to delight everyone.
Yackandandah Choir
For locals and visitors alike the Yackandandah Choir is a highlight. More info on the choir, including how you can join in, available here.
Zamponistas
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Nobody expects the Zamponistas! Our chief weapon is surprise…surprise and delight… our two weapons are delight and surprise…and irresistible melody…. Our three weapons are delight, surprise, and irresistible melody…and an almost fanatical devotion to chocolate…. Watch out for Australia's premier Bolivian Panpipe Marching Band appear unexpectedly around the festival.
Artists archive


While Hurricane Iselle brought huge winds and massive destruction, Hurricane Ana was a bit more gentle, with heavy rain, but no wind. Since it wasn't much fun to be outside in such wet weather, Kalani and I decided to tackle a particularly futsy Bon Appetit recipe that we'd been thinking about for some time.
Kouign-amann are a crazy-rich French puff pastry that took us 8-hours (plus a 12-hour chilling) to make. While making them Kalani announced that nothing could be worth this much trouble. But when eating them the next morning he changed his mind and asked if he could have them for his birthday.
It started with a spin of the chore wheel. Kalani got "Make Dinner" and dutifully started flipping through Bon Appetit to find something to make. He chose the kouign-amann but it was so complicated that we didn't actually start it for over a month after shopping for it (it requires a richer European butter and apparently won't hold up with American butter in the mix; after my trip to Ireland, I get it).
We worked on the recipe from about 9am to 5pm. Most of the time was spent cooling the dough (90 minutes in the freezer/fridge for every 15 min of work). After the first couple hours we got to add the chilled "butter block"


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(L-R) Julien with Oly Bracho, VP of operations at WfW and Mara Dell, VP of human resources at WfW.
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PredictionMarkt | What will be the total market cap of cryptocurrencies at the end of 2018?
The market outcome will be determined by the total market capitalization of cryptocurrencies on 12pm (UTC), December 31, 2018 as reported by a credible source such as Coinmarketcap.
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As one of the world's leading magazines of contemporary poetry and poetry criticism, Poetry Review is essential reading for poetry enthusiasts, academics and literary critics alike. Details of previous issues of the magazine are published below. To look deeper into the Poetry Review archive, please use the links top right.
Click here to purchase back issues. Please note that some back issues have entirely sold out and are no longer available.
The autumn 2014 issue, edited by Maurice Riordan, includes poems by Kim Addonizio, Mariam Alatar, Rachael Allen, Sean Borodale, Maura Dooley, Philip Fried, Paul Henry, Durs Grünbein, Zaffar Kunial, Denise Saul, Christopher Reid, Katharine Towers, Linda Gregerson and more. Gregory O'Brien writes from New Zealand and Amali Rodrigo from Mumbai. Reviews of Tom Paulin, Derek Walcott, Toby Martinez de las Rivas, Robert Crawford, Ruth Padel, Kei Miller and Fiona Benson. Full contents list and downloadable pdfs here.
Listen to our podcast with US poet Kim Addonizio – talking about her experiments with form and "humour's traffic with the dark" here.
Find out more about the issue here. Buy here.
The summer 2014 issue, edited by Maurice Riordan, includes poems by Simon Armitage, Edward Barker, Colette Bryce, John F. Deane, Carrie Etter, Alan Gillis, Philip Gross, Sarah Howe, Jacob Polley and many more. Conor O'Callaghan surveys the life-work of Geoffrey Hill; Gwyneth Lewis pays tribute to Dylan Thomas and Sam Riviere writes from Belfast. Also Geoffrey Dearmer Prizewinner Mir Mahfuz Ali and reviews of John Ashbery, Paul Farley, Selima Hill, Amy Key and Jen Hadfield. Full contents list and downloadable pdfs here.
Listen to our podcast in which Simon Armitage and Maurice Riordan discuss his writing home and he reads two new poems.
The spring 2014 issue, edited by Maurice Riordan, includes poems by Paul Muldoon, Jan Wagner, Greta Stoddart, Steve Ely, Martha Sprackland, John Hartley Williams, Martha Kapos, Greg Delanty and many more. Hugo Williams is interviewed by Kathryn Maris, Eva Bourke explores the legacy of Gottfried Benn and Will Eaves writes from Melbourne. Plus reviews of Daljit Nagra, Derek Mahon, Moniza Alvi, Maitreyabandhu, David Morley, Helen Mort and Rachael Boast. Full contents list and downloadable pdfs here.
Listen to our podcast in which Steve Ely and Maurice Riordan discuss Hughes, Hill, Lollard and lamping.


Belgian special beers and here the heart of every beer drinker beats faster.
The combination of a centuries-old beer tradition and today's passion of brewers in their quest for refinement and perfection has resulted in Belgium producing exceptional beers with authentic history and groundbreaking expertise. This is another reason why Belgian brewers constantly win prizes in major international beer competitions.
As for history, it always began with women.
The brewing of beer goes back to the earliest cultures and originated in Mesopotamia in 9000 BC. Beer reaches the Gauls via Egypt and the Roman Empire. Brewing beer was initially a household task for women.
Abbeys and monks. In the early Middle Ages, abbeys developed into centres of knowledge for agriculture, cattle breeding and crafts, including brewing. Because the water quality was so poor, the monks were allowed to drink the typical regional drink to a limited extent. In our regions it was decided to brew beer. Thanks to the monks, brewing beer developed from a household to a craft activity.
And so the art of brewing was further developed over centuries.
Since the turn of the century the interest in authentic special beers has been growing. The best-known and most popular beer brands, which are intensively supported by marketing and PR, are contrasted by Trappist beers - which are slowly but surely becoming more and more exclusive due to the restrictions on production - and special beers full of character from local and family breweries. In recent years, more and more hobby brewers have been producing their beers. These are sold on a smaller scale directly or in a local restaurant.
And the supermarket on the border offers a large selection of Belgian and international speciality beers. The gift packaging is also ideal. Come and have a look here and not only beer connoisseurs will find something new.
The AD DELHAIZE is open daily from 8 to 18:30 also on Sundays.


Science fiction author Vernor Vinge has won Hugo awards for his novels A Fire Upon the Deep (1992), A Deepness in the Sky (1996) and Rainbows End (2006). A published story writer since the 1960s, Vinge is known in the sci-fi world as the author most closely associated with the theme of "technological singularity." It's the idea that an event or sequence of events (the "singularity") will occur when technology surpasses human intelligence and society ceases to be recognizable to today's humans. Vinge began using the terminology in the 1980s, and in the 1990s went so far as to say he expected such an event to occur between 2005 and 2030. A computer scientist and mathematician, he was a teacher at San Diego State University in California (1972-2000) before becoming a full-time writer of the "hard" science fiction novels that made him famous. He has also won Hugo awards for his novellas "Fast Times at Fairmont High" (2002) and "The Cookie Monster" (2003).


CAPE LOOKOUT, NC (WMBF) – Is it a beach or a planet found in the Star Wars universe?
After strong winds blew through one beach in North Carolina's Outer Banks, it's kind of hard to tell.
Park officials said sand pedestals are formed when the sand is not uniformly hardened or resistant.
"The wind blows away the loose sand, leaving dome or pedestals which are more wind resistant due to moisture or cementation from 'salcrete (sand stuck together by salt crystals),'" the post stated.
In addition to the pedestals, the wind will create darker, heavy mineral sand deposits as it cuts through the beach's various layers.


In May of 2010, Kelly and I took an amazing two and a half week trip to Ecuador and the Galapagos Islands in South America. We spent a little time in the capital city of Quito, but otherwise we were off enjoying the jungle lodge in the cloud forest of Mindo, exploring the Galapagos on a small boat that was our home for seven nights, enjoying whitewater rafting, volcano-heated hot baths and great food in the mountain town of Banos, and checking out the sprawling and lively markets of Otavalo. These posts describe our adventures; you can also read a summary of the whole trip.
The Throat of Fire speaks!
We might have mentioned that Banos is located at the base of a volcano, Tungurahua (which means "throat of fire" in the local tongue). Well, literally at the moment we were pulling out of town this morning, that volcano erupted. As in, the road we were on closed as we were on it, police cars and ambulances sped by, and we saw the ash cloud forming behind us. The locals pretty much dropped what they were doing to line up along the road to watch, so we knew it was a big deal. Exciting!
The road was eventually opened at least temporarily, and we sped off into the hills (and we made it to Otavalo where I write from). Do we have good timing or what?
The spoiling of ourselves continues. After our "perfect day" we decided it was time to challenge ourselves a bit, so we'd signed up for a whitewater rafting tour on the nearby river Pastaza. We were a little nervous about it (okay, mostly Kelly) - was it going to be safe, would the guides speak enough English, were they REALLY going to be class III-V rapids as advertised? - but we took a leap of faith.
It paid off - we had some of the best rafting that either of us have ever experienced. It turned out that they were Class IV+ rapids - not exaggerated at all. Not only that, they were one after another - no leisurely floating down the river in between to recover your senses. Huge waves, broken paddles, screams of disbelief, kayaker trapped upside down, dangerous water dynamics, the guide always yelling "FORWARD, FORWARD," and so on. Chris has never heard as many, um, un-pastorly like words out of Kelly's mouth in one sitting before. Sitting at the front of the raft, Chris never swallowed so much river water in his life. But we both stayed in the boat (a real achievement, we'll show you the video!), pulled more than our weight in terms of paddling, and greatly enjoyed the camradarie with our fellow boatmates. No sea-sickness this time around.
In our last post, we were obviously a little travel weary, thus the declarations of permanent residence in Banos, Ecuador. The travel weariness has worn off, but we're still ready to declare Banos a prime destination for other reasons: it's truly a bit of paradise. We came here with the intention of staying two nights and then working our way north, but we ended up staying four nights, and we're still sad to go.
As I mentioned before, Banos seems to be the Ecuadorian equivalent of Boulder, Colorado - an outdoorsy person's Mecca buried in the mountains, with myriad activities you can take on to pass the time. Every block offers touring companies that will take you rafting, kayaking, canyoning, jungle tripping, go-carting, mountain biking and more. There are trails extending up to the volcano and surrounding volcanic formations that range from steep to "are you kidding me?" The best part is that once you're done with your outdoor adventure, this place knows how to help you relax. There are natural baths with water heated by the volcano, massage and spa companies on every block (most professional, some not), and so many different restaurants representing cuisine from around the world, it can take an hour to decide what to eat.
We are currently at the foot of an active volcano in Banos, a small town deep in the Andes that is part Santa Fe, part Boulder, and part San Luis Obispo, with an Ecuadorian twist. We're so glad to be here after the most ridiculously harrowing (but incredibly beautiful) 3.5 hour bus ride through the mountains that we've decided we can't stomach the idea of ever leaving.
Perhaps this beer at this cute little cafe will take the edge off, or perhaps one of the many leisure activities offered on every corner: volcano hikes, rafting, horseback riding, massages, etc.
In any case, this is home for a while, and (have I mentioned?) we're so glad to be here.
Hi there! We're back at our "usual" hotel in Quito, preparing for our final week in Ecuador. It's pretty wonderful to be back on land after eight days on a boat - more about that in a moment.
Our time in the Galapagos islands was phenomenal. Words here won't do justice to the things we saw and experienced there, and even the tons of photos and video we're bringing back with us can't fully capture it.
Having finished our time on the motorized yacht Eric, our home for the last week, we're just laying around with the local sea lions at the beautiful waterfront park on San Cristobal Island. Our flight back to Quito departs shortly. More details, including sea sickness horror stories, coming soon.
Okay, we're back in Quito for the night, let's try this blog post again.
On Thursday morning we met up with Guillermo Valencia a local driver/guide recommended by our hotel. He did a great job of narrating the landscape of Quito - physical, political and otherwise - as he took us out toward Mindo. We stopped along the way to stand on the equator (Chris tried to balance an egg on a nail and failed, Kelly successfully verified that water swirls in different directions on different sides of the line, etc.), and to take in some stunning views of craters and volcanoes amid the lush jungles.
This WAS a fairly detailed post about the amazing experiences Kelly and I have had the last few days in the cloud forests of Mindo, but the internet connection and computer in this Internet cafe were flaky enough that this update is now gone, and this very short update will have to suffice. We´re about to get on a bus back to Quito (two and a half hours on winding dirt roads in the mountains - wish us luck!) and then tomorrow we´re off to the Galapagos. I´ll try to recreate the longer post later tonight if time allows.
We´re having a great time. More soon.


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Former City stalwart Alan Skirton passes away aged 80
The club are very sad to hear that former player and commercial manager Alan Skirton has passed away aged 80.
The Bath-born winger began his football career with West Twerton Youth club, then after a short spell at Bristol City, joined City for the 1956-57 season. Alan was initially a regular in the Colts and Reserves side, before making his first team debut in the 1-0 win over Dartford in October 1956, signing professional forms a month later. His performances were soon attracting scouts from around the league, including Newcastle, Chelsea and Arsenal, and it was the latter who made a bid of around £5000 to sign him on 1 January 1959. Illness delayed his debut for 18 months but he would spent seven seasons at Highbury before playing for Blackpool, Bristol City and Torquay United. Returned to non-league football with Weymouth in the early 1970's – after a short spell in South Africa with Durban City – and re-joined City for the 1974-75 season, combining playing with work in the club's commercial department then as youth team manager. In total he played 144 games for the club, scoring 44 goals, and after finishing his playing days at Melksham Town he enjoyed a long and successful commercial career, initially with City, then for over 20 years at Yeovil Town, where he was a vital part of their rise to the Football League.
The thoughts of all connected with City are with Alan's family and friends at this time.
Goalden Gate Winners Week 50


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Home Funding Knowledge Synthesis Grants - Informing Best Practices in Environmental and Impact Assessments
Knowledge Synthesis Grants
Informing Best Practices in Environmental and Impact Assessments
July 2019 Competition
Value $30,000
Duration One year
Application deadline July 10, 2019 (8 p.m. eastern)
Results announced September 2019
Apply See details below
SSHRC and the Canadian Environmental Assessment Agency (CEAA) have launched this Knowledge Synthesis Grants (KSG) competition to stimulate social sciences and humanities research that will help inform best practices related to environmental and impact assessments. Environmental assessment and impact assessment (which take into consideration a broader range of factors, such as socio-economic) are planning and decision-making tools to minimize or avoid the potential adverse environmental effects of a project and to maximize positive impacts and incorporate environmental and other factors into decision-making.
Federal assessments are required for major natural resources projects or large-scale infrastructure projects, such as mines, pipelines, liquefied natural gas, hydroelectricity, ports, etc. that are described in regulation, designated for assessment by the Minister of Environment and Climate Change or on federal lands.
An estimated $500 billion in investment in natural resource-sector projects are expected over the next 10 years in Canada. The proposed Impact Assessment Act will focus on projects that pose significant risks to the environment in areas of federal jurisdiction. Project decisions will be made based on robust science and evidence. By recognizing Indigenous rights and knowledge in project assessments, and working in partnership with Indigenous peoples from the start, the federal governmental will advance Canada's commitment to reconciliation and ensure better project decisions. The act will also ensure assessments are undertaken in a manner that provides certainty and predictability for industry.
Under the proposed act, the federal government will assess potential impacts and effects of projects not only from the environmental but also from the social, economic and health perspectives.
This shift toward a broader assessment approach calls for better understanding of the ways in which the human and social environments interact with the natural environment. With this broader scope, practitioners, communities and decision-makers face challenges, including which social and economic components to consider and the role they play in decision-making; how the assessment can contribute to the government's commitment to Indigenous reconciliation; which methodologies to use to determine positive and negative impacts; and what are the best methods for engaging Indigenous peoples and the public.
These grants aim to increase the understanding of existing knowledge in the social sciences and humanities and its application to environmental and impact assessments. By examining the themes, including from an inter-disciplinary perspective, the knowledge synthesis should identify lessons learned, best practices and critical gaps that may be addressed through future research.
This funding opportunity will support researchers, teams of researchers and knowledge users in producing knowledge syntheses and scoping reviews that:
support the use of evidence in decision-making, and the application of best practices; and
assist in developing future research agendas.
Applicants must address the following three objectives of the funding opportunity in their proposals:
State of knowledge, strengths and gaps:
critically assess the state of knowledge of the theme under consideration from a variety of sources, as appropriate;
identify knowledge strengths and gaps within the theme; and
identify the most promising policies and practices related to the theme.
Research data:
assess the quality, accuracy and rigour (i.e., methodological approaches) of current work in the field; and
identify strengths and gaps in the quantitative and qualitative data available.
Knowledge mobilization:
engage cross-sectoral stakeholders, including government policy-makers, throughout the project to mobilize knowledge related to promising policies and practices; and
use effective knowledge mobilization methods to facilitate the sharing of research findings with multisectoral stakeholders (academic, public, private and not-for-profit sectors).
Knowledge Synthesis Grants are not intended to support original research. Rather, they are intended to support the synthesis of existing research knowledge and the identification of knowledge gaps. This call is particularly focused on the state of research knowledge emerging over the past 10 years.
In support of the objectives below, Knowledge Synthesis Grants will help in identifying roles the academic, public, private and not-for-profit sectors may play in developing robust policies, best practices, and tools.
Successful applicants will be expected to:
Complete a synthesis report and two-page evidence brief within six months of receiving the award.
Attend a kick-off webinar.
Attend or send a delegate to a knowledge mobilization forum in Ottawa, attended by multisector stakeholders and CEAA representatives, to discuss the knowledge syntheses. Travel costs for the forum should be included in the budget submitted as part of the application. Details on the meetings (tentatively scheduled for March 2020) will be provided to successful applicants.
Identify and invite a cross-sectoral knowledge or policy user to the knowledge mobilization forum, and include them in the travel costs in the budget submitted as part of the application.
Successful applicants will also be provided with guidelines for completing their synthesis report and a two-page evidence brief.
For examples of previously funded Knowledge Synthesis Grants projects, see the webpage dedicated to each future challenge area.
Please consult SSHRC's Funding search tool to learn more about specific joint initiatives.
The questions provided below are illustrative of, rather than restrictive to, the broad issues that encompass a given topic. Additional relevant issues and subquestions are welcomed. The themes are interconnected, and researchers may combine themes or subquestions.
Socio-economic effects
What quantitative and qualitative research methods are most appropriate for generating reliable estimates of direct and indirect social and economic effects? What are the reasons for any differences between the predictions and the reality?
How do major projects affect social infrastructure? How are subgroups of the population impacted differently?
What are the effects of major projects on in- and out-migration? Do they vary by age, gender and socio-culture group?
How significant are major projects in creating employment and skill-development opportunities for local communities? To what extent do these opportunities vary across gender and socio-cultural groups (e.g., Indigenous or other minority groups)?
Do major projects contribute to the diversification of the local economy?
Gender-based analysis plus
How should culturally relevant gender-based analysis, including Indigenous gender-based analysis, inform the impact assessment process?
What gender-sensitive and culturally sensitive indicators can be developed using existing data to support application of gender-based analysis for impact assessments?
How can theories of embodiment and relationships between the land and the body be incorporated into impact assessments?
What are best practices to create safe, inclusive project sites for women, people with disabilities, and gender diverse people?
What are key indicators of a high-quality, inclusive, diversity-focused and gender-sensitive impact assessment process?
How should sustainability principles be implemented in an assessment?
How can adaptive management frameworks and the precautionary principle, as defined by the UN Rio Declaration, be used to inform project monitoring?
To what extent do environmental assessments or impact assessments drive creativity and innovation in a way that contributes to sustainability?
How can human and ecological systems be considered in an interconnected and holistic manner?
How can socio-economic–ecological integrity and resilience be assessed or measured?
Indigenous partnership and engagement
How can the process of impact assessments best contribute to reconciliation with First Nations, Inuit and Métis peoples?
How can impact assessments better align with Indigenous community priorities?
What best practices for fostering reconciliation have been used in other jurisdictions (e.g., provinces and territories, Indigenous communities, and other countries) that could be applied usefully to environmental and impact assessments?
What are best practices for including Indigenous knowledge in the assessment of major projects?
Are there good examples of partnerships between academia and Indigenous communities in environmental or impact assessments?
Public participation and transparency
What public participation approaches have been the most well received by communities in past assessments and why?
How can technology help or hinder public participation?
What role can the public play in the scientific analysis of assessments? What are best practices for including community knowledge?
What strategies and practices have been developed to engage young people in the impact assessment process? How has this engagement changed the process or outcomes?
Regional and strategic assessment
What can we learn and adopt from best practices in regional assessments, including those in other jurisdictions (e.g., provinces and territories, Indigenous communities, and other countries)?
What data and information is required to undertake a regional assessment? What are best practices for sharing relevant information among jurisdictions?
What systems-approach methodologies can be used for regional impact assessments? What are best practices?
The call for proposals invites applications from researchers in any discipline that may inform and contribute to the objectives of this funding opportunity. Researchers may choose to address themes and subquestions from the perspective of a particular discipline, or may address them through interdisciplinary or collaborative research approaches; using quantitative or qualitative research, or mixed methods; or using international comparisons, gender-based analyses or institutional perspectives.
This Knowledge Synthesis Grants funding opportunity is guided by the following perspectives:
Drawing on domestic, international or cross-sectoral literature, what can the Canadian academic community tell us about these issues?
How might the findings guide public policy, practice and research agendas, for Canada and the world?
Knowledge Synthesis Grants are one-year grants worth up to $30,000. However, all synthesis reports must be completed by March 2020. Up to 13 grants may be awarded.
By applying for this funding opportunity, successful applicants consent to SSHRC sharing the resulting synthesis report with other interested organizations and individuals.
Knowledge Synthesis Grant proposals may involve any of the disciplines and approaches or subject areas eligible for SSHRC funding. Please see Subject Matter Eligibility for more information.
Projects whose primary objective is curriculum development are not eligible for funding under this funding opportunity.
Applicants must be affiliated with an eligible Canadian institution before funding can be released. Researchers who maintain an affiliation with a Canadian postsecondary institution, but whose primary affiliation is with a non-Canadian postsecondary institution, are not eligible to be applicants.
See Institutions below for more information on institutional eligibility requirements and processes for Knowledge Synthesis Grants.
Applicants who have received a SSHRC grant of any type but who have failed to submit an end of grant report by the deadline specified in their Notice of Award are not eligible to apply for this or any other SSHRC grant until they have submitted the report.
Postdoctoral researchers are eligible to be applicants if they have established a formal affiliation with an eligible institution at the time of application and maintain such an affiliation for the duration of the grant period.
Grant funds may only be administered by an eligible Canadian institution. Institutions proposing to administer a grant awarded under this funding opportunity must hold or obtain institutional eligibility. Please see SSHRC's list of eligible institutions.
Indigenous not-for-profit organizations being assessed for or holding institutional eligibility to administer multiple grants over a five-year period are eligible to apply. Institutional eligibility must be obtained before funding is released.
Institutions may contact Corporate Strategy and Performance if they have questions about institutional eligibility.
Co-applicants
An individual (including postdoctoral researchers) is eligible to be a co-applicant if they are affiliated formally with any of the following:
Canadian: Postsecondary institutions; not-for-profit organizations; philanthropic foundations; think tanks; and municipal, territorial or provincial governments.
International: Postsecondary institutions.
Any individual who makes a significant contribution to the project is eligible to be a collaborator. Collaborators do not need to be affiliated with an eligible Canadian postsecondary institution.
Note that individuals from the private sector or federal government may participate only as collaborators.
Multiple applications and holding multiple awards
Please see SSHRC's regulations regarding multiple applications and holding multiple awards for more information.
Grant holders will be expected to report on the use of grant funds, on funded activities undertaken during the grant period and on outcomes. Successful applicants will be informed of reporting requirements upon receiving their Notice of Award.
Applications must be emailed as a .pdf file attachment, using the following format:
single-sided, 8 1/2" x 11" (21.5 cm x 28 cm) paper size;
single-spaced, with no more than six lines of type per inch;
body text in a minimum 12 pt. Times New Roman font;
all margins set at a minimum of 3/4" (1.87 cm);
name of the applicant appears at the top right corner of every page;
all pages, including the CV attachments, numbered consecutively and indicating the total number of pages sent (e.g., 1 of 14 or 1/14 … 14/14); and
each section below begins on a new page.
Applications must include the following:
a half-page summary of the proposal, written in clear, non-technical language (by submitting an application, applicants consent, should they be awarded a Knowledge Synthesis Grant, to the use of this summary for promotional purposes outside the research community, to inform parliamentarians, media and members of the public who request information about research funded by SSHRC);
a proposal (maximum four pages, not including references) containing:
a descriptive title (maximum 255 characters);
the theme(s) and subtheme(s) addressed by the proposal;
a description of the knowledge synthesis project, including the significance, expected contributions and impacts of the proposed synthesis, contextualized within the current literature and accounting for previous research done;
an outline of the relevant expertise and experience of the applicant/team;
a work plan, including timelines, and a description of the proposed methodology and approach; and
the applicant's signature.
an itemized budget (maximum two pages, including the Budget Form), including justification of proposed expenditures;
a knowledge mobilization plan (maximum two pages), identifying the target research users of the synthesis results, how the results will be shared with these users, and one or more examples of knowledge mobilization the applicant/team has conducted with research users;
up to three discipline codes applicable to the proposal;
a list of co-applicants and collaborators (names and roles only);
a separate page signed by an authorized signatory from the applicant's institution, certifying that the institution will administer any award in accordance with SSHRC policies;
a SSHRC Web CV for each applicant and co-applicant (CCVs cannot be accepted at this time);
a list of research contributions (maximum four pages) for each applicant and co-applicant describing:
research contributions over the last six years (refereed, non-refereed and forthcoming contributions, creative outputs, etc.);
other contributions to research and the advancement of knowledge within the last six years, including research contributions to non-academic audiences (general public, policy-makers, private sector, not-for-profit organizations, etc.);
career interruptions and special circumstances; and
contributions to training within the last six years, including roles in supervising or co-supervising ongoing and/or completed theses, listing these by the student's level of studies; and
a signed Consent to Disclosure of Personal Information for each applicant and co-applicant.
All application materials must be submitted in .pdf format and be received by 8:00 p.m. (eastern), July 10, 2019.
Email complete applications to KSG-SSC@sshrc-crsh.gc.ca. Applications submitted in whole or in part by other means will not be considered.
Applications are adjudicated, and available funds awarded, through a merit review process. SSHRC bases funding decisions on the recommendations of the adjudication committee and on the funds available. Committee discussions are guided by the principle of minimum essential funding.
SSHRC's goal, through this funding opportunity, is to support syntheses covering a range of the subthemes outlined within each of the broad thematic areas, as set out above.
Please note that grants may not necessarily be allocated evenly across subthemes; and, where there are value-added differences in approach and coverage, more than one grant may be allocated to a single subtheme. In addition to using the criteria below, the overall coverage of themes among recommended applications will be taken into consideration, to ensure a broad distribution of topics will be addressed.
Knowledge Synthesis Grants are not intended to support original research. Rather, they are intended to support the synthesis of existing research knowledge and the identification of knowledge gaps.
SSHRC's Guidelines for the Merit Review of Indigenous Research are relevant for researchers and students preparing SSHRC applications related to Indigenous research. SSHRC provides these guidelines to merit reviewers to help build understanding of Indigenous research and research-related activities, and to assist committee members in interpreting SSHRC's specific evaluation criteria in the context of Indigenous research. SSHRC relies on a community of merit reviewers with experience and expertise in Indigenous research to judge the extent to which the guidelines may be applied to a particular research proposal. The guidelines may also be of use to external assessors, postsecondary institutions and partner organizations that support Indigenous research.
Evaluation criteria and scoring
The following criteria and scoring scheme are used to evaluate applications:
Challenge—The aim and importance of the endeavour (40%):
expected contribution to the funding opportunity's stated objectives;
significance of the applicant's chosen topic or area(s) for synthesis, based on the issues identified in this call for proposals;
potential influence and impact in informing policy and practice in the public, private and not-for-profit sectors; and
identification of research gaps that might be addressed by a forward-looking research agenda in the chosen area(s).
Feasibility—The plan to achieve excellence (30%):
ability to meet the objectives of the funding opportunity;
appropriateness of the methodology or approach and of the work plan, including timelines for the design and conduct of the activity;
quality and appropriateness of knowledge mobilization plans, including effective dissemination, exchange and engagement with stakeholders within and/or beyond the research community, where applicable; and
appropriateness of the requested budget.
Capability—The expertise to succeed (30%):
qualifications of the applicant/team to carry out the proposed project (expertise in the content area, synthesis methods, information retrieval, etc.); and
evidence of other knowledge mobilization activities (e.g., films, performances, commissioned reports, knowledge syntheses, experience in collaboration/other interactions with stakeholders, contributions to public debate and the media), and of impacts on policy and practice.
Scoring table
Adjudication committee members assign a score for each of the three criteria above, based on the following scoring table. The appropriate weighting is then applied to arrive at a final score. Applications must receive a score of 3.0 or higher for each of the three criteria in order to be recommended for funding.
5-6 Very good to excellent
4-4.9 Good to very good
3-3.9 Satisfactory to good
Below 3 Unsatisfactory
Communication of results
SSHRC informs all applicants in writing of the outcome of their applications within the month following adjudication.
SSHRC reserves the right to determine the eligibility of applications based on the information included. SSHRC also reserves the right to interpret the regulations and policies governing its funding opportunities.
Grant holders must also comply with the Tri-Agency Open Access Policy on Publications. See SSHRC's Open Access overview for more information. SSHRC also encourages researchers to manage, in accordance with both research community standards and best practices, data arising from their research.
Guidelines and related support material
All applicants for SSHRC funding should consult the following guidelines while preparing their applications.
Applicants should consult the Guidelines for Effective Research Training. These may also be useful to reviewers and postsecondary institutions.
SSHRC, in alignment with its Indigenous Research Statement of Principles, welcomes applications involving Indigenous research. It also provides Guidelines for the Merit Review of Indigenous Research.
For guidance on connecting with research users to create impact, see SSHRC's definition of knowledge mobilization and Guidelines for Effective Knowledge Mobilization.
Successful applicants will be required to share the results of their project with SSHRC and CEAA. SSHRC will use this information to develop its policies and practices. It may also share this information with other interested sectors of the Government of Canada, as well as with other organizations. This does not in any way limit how researchers may otherwise publish or use the results of their research.
SSHRC is responsible for complying with the Privacy Act, and all information collected by SSHRC is subject to, and governed in accordance with, this Act. SSHRC is committed to the protection of the personal information under its control. The personal information that you provide is collected by the agency under the authority of the Social Sciences and Humanities Research Council Act, and stored in the SSHRC personal information bank PPU 055, as described in Info Source. The information is used in accordance with the Access to Information Act and the Privacy Act.
Only the information needed to deliver, administer and promote the Knowledge Synthesis Grants competition and awards is collected. This may include sharing application information with other agencies and departments of the Government of Canada, as well as with other organizations, that are specifically interested in supporting the research and related activities generated through Knowledge Synthesis Grants awards and with which SSHRC has established agreements. SSHRC will contact you to obtain your consent prior to any use or disclosure of personal information in a manner not outlined above or on Info Source. For more specific information about the organizations/institutions involved in this Knowledge Synthesis Grants competition, please contact SSHRC program staff.
Further details on the use and disclosure of the information collected by SSHRC are available under Collection, Use and Disclosure of Personal Information.
In addition to protecting your personal information, the Privacy Act gives you the right to request access to and correction of your personal information. For more information about these rights, or about our privacy practices, please contact the SSHRC Access to Information and Privacy manager at 613-992-1058 or ATIP-AIPRP@sshrc-crsh.gc.ca. You also have the right to file a complaint with the Privacy Commissioner of Canada if you think your personal information has been handled improperly.
For more information about this funding opportunity, please contact:
Margaret McCarthy
Office of the Associate Vice-President, Future Challenges
Email: KSG-SSC@sshrc-crsh.gc.ca


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text:
Q: Using "was" or "had been"? This is the sentence:

I went to see it because I was/had been told it was a good film by all my friends.

I chose was, but the correct answer is had been. Can someone explain why is it so?

A:
I went to see it because I had been told it was a good film by all my friends.

You have two separate events here:
The first event:

*

*Your friends told you the film is good.

The second event (which is, in fact, the next event):

*

*You went to see the film due to your friends' recommendation.

Your sentence indicates that the second event happened before the other one as after your friends told you about the film, you went to see it (as a result).
Therefore, and since the two events occurred at some time in the past, what happened first in the past takes the past perfect (in the passive voice because of your sentence structure), and the event that happened later in the past takes the past simple.

redpajama_set_name: RedPajamaStackExchange


text:
Ксения Игоревна Григорьева (25 ноября 1987, Ташкент, Узбекская ССР, СССР) — узбекистанская горнолыжница. Участвовала в зимних Олимпийских играх 2010 и 2014 годов.

Биография
Ксения Григорьева родилась 25 ноября 1987 года в Ташкенте.

С 2003 года входила в состав сборной Узбекистана по горнолыжному спорту. В декабре 2003 года впервые выступила на соревнованиях под эгидой Международной федерации лыжного спорта в Кировграде.

Неоднократно выигрывала соревнования в Турции и Иране. В 2009 году стала серебряным призёром открытого чемпионата Казахстана в гигантском слаломе.

В 2010 году вошла в состав сборной Узбекистана на зимних Олимпийских играх в Ванкувере. В слаломе не финишировала в первом заезде. В гигантском слаломе заняла 58-е место, показав по сумме двух заездов результат 2 минуты 57,22 секунды и уступив 30,11 секунды победительнице — Виктории Ребенсбург из Германии.

В 2014 году вошла в состав сборной Узбекистана на зимних Олимпийских играх в Сочи. В слаломе в первом заезде показала 54-й результат (1.07,77), во втором не финишировала. В гигантском слаломе заняла 64-е место (3.11,54 по сумме двух заездов), уступив 34,67 секунды победительнице — Тине Мазе из Словении. Была знаменосцем сборной Узбекистана на церемониях открытия и закрытия Олимпиады.

Пять раз участвовала в чемпионатах мира. В 2005 году в Бормио заняла 63-е место в гигантском слаломе, не финишировала в слаломе. В 2011 году в Гармиш-Партенкирхене заняла 44-е место в слаломе, 72-е — в гигантском слаломе. В 2013 году в Шладминге не смогла финишировать в обеих дисциплинах. В 2015 году в Вейле и Бивер-Крике не финишировала в слаломе и была дисквалифицирована в гигантском слаломе. В 2017 году в Санкт-Морице стала 70-й в гигантском слаломе и не финишировала в слаломе.

В 2011 году на зимних Азиатских играх в Алма-Ате заняла 5-е место в скоростном спуске, 6-е — в слаломе-супергиганте и комбинации.

Примечания

Горнолыжники Узбекистана
Горнолыжники на зимних Олимпийских играх 2010 года
Горнолыжники на зимних Олимпийских играх 2014 года
Знаменосцы на зимних Олимпийских играх 2014 года

redpajama_set_name: RedPajamaWikipedia


PITTSBURGH (June 27, 2018) … The University of Pittsburgh's Center for Medical Innovation (CMI) awarded grants totaling $105,000 to five research groups through its 2018 Round-1 Pilot Funding Program for Early Stage Medical Technology Research and Development. The latest funding proposals include a new vascular access device for use with stent grafts, an artificial tricuspid valve for treatment of right-heart disease, a shoe insert for treatment of foot pain, a biological treatment for inflammatory bowel disease, and a biofeedback system for mobility rehabilitation training.
This is our seventh year of pilot funding, and our leadership team could not be more excited with the breadth and depth of this round's awardees," said Alan D. Hirschman, PhD, CMI Executive Director. "This early-stage interdisciplinary research helps to develop highly specific biomedical technologies through a proven strategy of linking UPMC's clinicians and surgeons with the Swanson School's engineering faculty.
For the development of a shoe insert that will reduce foot pain due to fat pad atrophy in the feet.
The Center for Medical Innovation is a collaboration among the Swanson School of Engineering, the Clinical and Translational Science Institute (CTSI), the Innovation Institute, and the Coulter Translational Research Partnership II (CTRP). CMI was established in 2011 to promote the application and development of innovative biomedical technologies to clinical problems; to educate the next generation of innovators in cooperation with the schools of Engineering, Health Sciences, Business, and Law; and to facilitate the translation of innovative biomedical technologies into marketable products and services. Over 60 early-stage projects have been supported by CMI with a total investment of over $1 million since inception.


text:
Home / Download / Software Review / Mozilla Firefox 8 Is Released..!!
Mozilla Firefox 8 Is Released..!!
Priyanshu Wednesday, November 09, 2011 0
Mozilla officially announced that Firefox 8 is available for Windows, Mac & Linux OS. New
as Twitter search option added in mozilla Firefox 8,
Mozilla has also updated firefox for Android, On this platform, Mozilla introducing a new "Master Password" features that allow users to save all privately their username and passwords within the app,
Firefox increase bar of security, The new malware and phishing protection helps protect from viruses, worms, trojans and spyware to keep people safe on the web.
Improved performance and memory handling when using Audio and Video elements.
Added Cross-Origin Resource Sharing (CORS) support for cross-domains texture in WebGL.
Download: Mozilla Firefox8
Download Software Review


text:
Programming Archives
Archived websites
Gallery floor plan
Support articule
Bookstore & boutique
Contact us & Accessibility
Current Special Projects
Upcoming Special Projects
Past Special Projects
Artists & Curators talks
Discussions & Workshops
Publications & Multiples
Writers' Club Essays
Workshop: Crafting Resilient City Futures
Opening: When the Mountains Move
When the Mountains Move
Performance: International Gathering of Women-Mountains
General Assembly: The Move!
{ see all events }
calendar | calendrier
La Friche
@RB4SJ @articule_art Follow @SpitfaceBattles. We are revolutionizing the rap battle industry with brand new tools f… https://t.co/YR0cM2Y0w7
@SpitfaceBattles | 6 days 19 hours
"Queerness makes its presence known and felt within Creagen's blurring of bodies, boundaries, and the raucous inter… https://t.co/HTuGMBLFCv
@FemmeReview | 2 weeks 7 hours
Sarah Nesbitt in Montreal: 2019 Critic's Picks. Theaster Gates at Centre Clarke, gijiit @articule_art, and Forensic… https://t.co/qdBVFh3CTo
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Sarah Nesbitt in Montreal: 2019 Critic's Picks. Theaster Gates at Centre Clarke, gijiit @articule_art, and Forensic… https://t.co/cpPW7LTdPk
Sarah Nesbitt in Montreal: 2019 Critic's Picks. Theaster Gates at Centre Clarke, gijiit @articule_art, and Forensic… https://t.co/lpJnmVdpFl
@akimboart | 4 weeks 4 hours
@CanadasNAC @Lansdowne_Park @BellwethersV @TrinityBellwood @gladdaybooks @MOCAtoronto #Montreal: Vallum Winter Pop-… https://t.co/jBGsZXaFXj
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Career-wise, 2019 has been my best year, by far. I have co-curated a major show, wrote a groundbreaking article for… https://t.co/oPfGIsibLZ
@Eunice_Bee | 1 month 5 days
Thank you Marlene Hale for speaking, and thanks to @articule_art for inviting RB4SJ ! #nativemontreal #monochromevii https://t.co/QtuGKk8p5r
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ICYMI: Listen to this interview about the Montreal artist-run centre @articule_art and the work they have done over… https://t.co/6JP0TcTfg1
@TalkingRadical | 1 month 3 weeks
Check out my interview with Burcu Emeç of the Montreal-based artist-run centre @articule_art re. their efforts to c… https://t.co/uKB1X4lGNj
@canadianlefty | 1 month 3 weeks
LISTEN: Burcu Emeç talks about the Montreal-based artist-run centre @articule_art and their efforts to challenge op… https://t.co/mQujXfjZTx
Come join us for a special presentation by Marlene Hale of Native Montreal. To be followed by a writing workshop w… https://t.co/wCm6XGv6Q7
@RB4SJ | 3 months 18 hours
articule was founded in 1979 and incorporated as a non-profit organization in 1980 by a group of young artists who wanted to create a place of multidisciplinary presentation focused on research and artistic experimentation. These artists have come together to rent a space on the de la Montagne Street in Montreal, and shared programming and management. articulates became part of, what was called at the time, the network of parallel galleries. The organization has subsequently moved a few times in the central neighborhoods of Montreal. Since 2006, it's been occupying a bright space in the multicultural and lively Mile End. In 2009-2010, articulates celebrated its thirtieth anniversary with a thematic programming and Event Fundraising Who's Who which brought together artists who contributed to the center during its history.
articule's founding members shared common values that remain central to the centre's operations today: bilingualism, collaboration, and participative management. In addition to maintaining these modes of governance as an engaged and creative space, articule offers programming that is political, critical, flexible, and extremely diverse.
From site-specific choreography and performance (Dena Davida, 1979, Mona Hatoum, 1983) through Fluxus theatre (Geoffrey Hendricks et John Giorno, 1996-97), to travelling interventions (Bookmobile, 2001) and the VIVA! art action (2006 - ), articule supports practices associated with performance art in its broadest terms, and has made a significant contribution to the development of this discipline in the Montréal region.articule's programming is equally marked by a desire to take art outside of the gallery walls. An agreement established with Montréal retailers has given artists the opportunity to exhibit in store fronts since the early 1980s. This practice continues today with subsequent exhibitions and events being held in apartment buildings, hospitals, retirement homes, theatres, cinemas, parks, and a Salvation Army centre, to name but a few venues.
In tandem with its exhibition programme, articule has developed different avenues of activity in response to the needs and trends of the milieu. Examples of note would be the multimedia programming of the 1990s, comprising, for example, the work of Trinh T. Minh-ha, Steve Reinke and Pipilotti Rist; Special Projects, allowing for more site-specific works (1994 onwards); the conservation projects (2000 onwards), such as Hôpital (2001) and Carolee Schneeman's 2005 exhibition, and the in-house window projects initiated in 2007.
An enduring discursive tradition began in articule's first decade, with the publication of Discussion (1981-1989). With important thematic conferences, publications, and workshops bringing national and international artists together, this space has continued to thrive as a centre for dialogue and knowledge sharing.
Since 1979, articule has supported a great number of young artists, offering many a first opportunity to exhibit their work in a professional environment. At the same time, the centre has given the public the opportunity to discover artists of international renown. Among such artists are Marie Chouinard (1979), François Morelli, Stephen Scholfield, (1980-81), Lisa Steele, Pierre Falardeau (1982-83), Bill Vazan, Michael Snow, Chris Burden (1983-84), Martha Rosler (1984-85), Ed Pien (1985-1986), Peter Doig (1989-1990), Robert Houle (1991-1992), Pipilotti Rist (1993-94), John Giorno (1996-97), Dena Davida, (1998-99), Julie-Andrée T. (2000-01), Evergon (2001-02), Gary Neil Kennedy (2003-04), Carolee Schneemann, (2005-06), Kelly Richardson (2007) Nelson Henricks (2008), Aleesa Cohene (2008), Greg Staats (2011) and Carl Trahan (2012).
contact articule
262 Fairmount O.
Montréal Québec
H2V 2G3 Canada
e: info @ articule.org
Gallery visiting hours:
12 - 18:00
© 2013 articule. All rights reserved.


Wouldn't it be great if the treats your kids beg for actually had some nutritional value? Nordic Omega-3 Gummy Fish give your kids 103 mg omega-3 EPA+DHA in a tasty, chewy, tangerine-flavored gummy. These fun, fish-shaped gummies are a treat you can feel good about (and enjoy yourself).
SUGGESTED USE: For 2 years and older, one gummy fish daily with food, or as directed by your healthcare professional or pharmacist. Please ensure child chews each fish thoroughly.


The Pulse of Radio reports: TOOL has expanded its upcoming summer tour, adding six more shows to the itinerary, according to the band's web site. The trek now kicks off at the Mile High Music Festival in Commerce City, Colorado on July 18, with gigs slated to run through at least early August. The band's last scheduled appearance on this jaunt is at Chicago's Lollapalooza festival on the weekend of August 7.
TOOL drummer Danny Carey told The Pulse of Radio that unlike some groups, the members of the band still travel together on the road. "We pretty much all travel together," he said. "We kind of have to, you know, just for the logistics of everything going down. The schedule gets pretty tight, especially at the beginning of the tour, 'cause there are lots of interviews and, you know, soundchecks. Everything's pretty scheduled out. We're on a bus pretty much all the time in Europe. In America it varies. Sometimes we fly, sometimes we bus it."
The members of TOOL have recently hinted that work is beginning on a new album, but further details have yet to surface. The band's last effort, "10,000 Days", came out in 2006.
Singer Maynard James Keenan has spent much of the last year and a half working with his side project PUSCIFER, as well as his Arizona-based vineyard, Page Springs Cellars.
Keenan and winemaking partner Eric Glomski will continue touring Whole Foods outlets around the country next month for bottle signing sessions.


text:
Lost story
old stories, history and tales
200 Australian Women
Eleanor Hinder
Eleanor Mary Hinder (1893-1963), international public servant, was born on 19 January 1893 at Maitland, New South Wales, third daughter of Sarah Florence (born Mills) and John Hinder, headmaster. Educated at Maitland West Girls' High School, Teachers' College and the University of Sydney (BSc 1914), she taught biology at North Sydney Girls' High and gave tutorials for the Workers' Educational Association. She held office in the Student Christian Movement and the Women Graduates' Association.
In 1919 Eleanor Hinder was appointed welfare superintendent at Farmer & Co. Ltd, one of the first such appointments by an Australian firm. She advised on training and placements, formed a social club, and with Jean Stevenson from the Young Women's Christian Association founded the City Girls Amateur Sports Association. While promoting loyalty to the company she also encouraged its young female employees to use leisure constructively and to keep fit. During the inquiry into the minimum wage she opposed employer submissions for a reduction, mobilising National Council of Women support: '. . . to safeguard the moral and spiritual issues in the lives of women it is inadvisable that the Basic Wage for women descend below the present rate of 2 pound 1 shilling a week'.
In 1924 Eleanor travelled overseas to investigate industrial welfare in America and Europe where she studied the work of the International Labour Organisation. She attended the Congress of the International Federation of University Women in Oslo. En route she visited Shanghai at the invitation of the YWCA in China. In 1926 she resigned from Farmers to go to China for two years on a Rockefeller fellowship. There had been recent industrial trouble in Shanghai; the British dominated Shanghai Municipal Council resisted any regulation of labour and the extra-territorial status of the International Settlement prevented Chinese labour laws from operating within the Settlement.
Eleanor became a publicist for regulation, especially in regard to the employment of women and children. Her meeting with A. Viola Smith, an American assistant trade commissioner, led to an intimate lifelong friendship. In 1928 Eleanor was a delegate to the Pan Pacific Women's Conference in Honolulu. On a visit home she published a series of articles on 'rebuilding' China. She went as Australian delegate to the Kyoto conference of the Institute of Pacific Relations (1929) and resumed her work in China. After another study trip to America and Europe in 1932, she was appointed chief of Shanghai Municipality's newly created Industrial Division. Though Chinese labour law remained unenforceable, she effected some improvements in health and safety and industrial training. After the Japanese invasion of China in 1937, care of orphans became her main work. When Australia was drawn into the war in 1941, Hinder became a prisoner of war but was repatriated in 1942, to London, where she joined the British Foreign Office and was sent to Montreal to work for the International Labour Organisation.
Her appointment in 1944 as British representative on the Far Eastern subcommittee of the United Nations Relief and Rehabilitation Association Technical Committee marks the beginning of a distinguished career with the United Nations. She was appointed OBE in 1950. In 1951 she resigned from the Foreign Office to become chief of the Project Planning Division of the Technical Assistance Administration of the United Nations for Asia and the Far East, becoming chief of operations in l953. She was officially retired in 1956 and, failing in an attempt to secure American citizenship, established a home in Sydney with her friend Viola Smith, but she continued her work for the United Nations under contract. On her way to New York on 10 April 1963 she died at San Francisco of coronary occlusion. Some of her fine collection of Chinese ceramics went to the Art Gallery of New South Wales. In 1975 with funds from the National Advisory Council for International Women's Year, Viola Smith published Women in Australian Parliaments and Local Government Past and Present. When Viola died in 1976 she bequeathed an award for a biography to be written of her friend.
Meredith Foley and Heather Radi
Frances Wheelhouse Eleanor Mary Hinder 1978.
Adela Pankhurst Walsh
Adela Pankhurst Walsh (1885-1960), political activist, was born on 19 June 1885 in Manchester, England, third daughter of Emmeline (born Goulden) a
Alicia Petersen
Alicia Teresa Jane O'Shea Petersen (1862-1923), political candidate, was born on 2 July l862 into a Catholic family to Jane (born Wood) and Hugh Mc
Annabelle Rankin
Annabelle Jane Mary Rankin (1908-1986) senator, was born on 28 July 1908 in Brisbane, daughter of Annabelle Davidson (born Thompson) and Colin Dunl
Doris Blackburn
Doris Amelia Blackburn (1889-1970), civil rights activist, peace campaigner and politician was born on 18 September 1889 in Auburn, Victoria, daugh
Edith Cowan
Edith Dircksey Cowan (1861-l932), politician, was born on 2 August 1861 at Glengarry near Geraldton, Western Australia, second child of Mary Eliza
Eleanor Glencross
Eleanor Glencross (1876-1950), political organiser, was born on 11 November 1876 in Sydney, eldest daughter of Eleanor (born Lyons) and Angus Camer
Elizabeth Couchman
Elizabeth Couchman (1876-1982), politician, was born on 19 April 1876 at Geelong, daughter of Scottish immigrants Elizabeth Mary (born Ramsay) and
Enid Lyons
Enid Muriel Lyons (1897-1981), politician, was born on 9 July 1897 at Duck River, north-western Tasmania, daughter of Eliza (born Tagget) and Willi
Florence Cardell-Oliver
Annie Florence Gillies Cardell-Oliver (1876-1965), politician, was born at Ararat, Victoria, daughter of Annie Thompson and Johnson Wilson.
Margaret McIntyre
Margaret Edgeworth McIntyre (1886-1948), community worker and politician, was born on 28 November 1886 at Maitland, New South Wales, where her fath
Marian Harwood
Marian Fleming Harwood (1846-1934), anti-war activist, scholar and philanthropist, was born in Greenock, Scotland, daughter of Catherine (born Barn
May Holman
Mary (May) Alice Holman (1893-1939), politician, was born on 18 July 1893 at Broken Hill, New South Wales, first of nine children of Katherine Mary
Millicent Preston Stanley
Millicent Fanny Preston Stanley (1883-1955), politician, was born on 9 September 1883 in Sydney, only daughter of Fanny Helen (born Preston) and Au
Roma Gilchrist
Roma Catherine Gilchrist (1909-1983), feminist and peace activist, was born Tuffin in England on 1 September 1909.
Winifred Kiek
Winifred Kiek (1884-1975), Congregational Church minister, was born in Manchester, England, daughter of Margaret (born Harker) and Robert Jackson,


In the state of Illinois, domestic violence is a crime – and it's one that carries serious penalties. If you're accused of domestic violence (the legal term is domestic battery), you may want to talk to a Chicago domestic battery defense lawyer immediately. Here's why.
Domestic battery under Illinois domestic violence laws is a Class A misdemeanor. If you're convicted, you could spend up to a year in jail, spend time on probation and be fined. Your judge could also order you to attend counseling.
If you use a firearm, or if the battery involves a child or sexual assault, domestic battery becomes a Class 4 felony. When you're found guilty of a Class 4 felony, you can spend between 1 and 3 years in prison – but the prosecutor could ask for additional punishment based on your history.
Aggravated domestic battery under Illinois domestic violence laws is a Class 2 felony. If the court convicts you of aggravated domestic battery, you could spend between 3 and 7 years in prison, serve time on probation, and be fined. Your judge could also order you to attend counseling.
If you have a previous aggravated domestic battery conviction, the courts must sentence you to prison and, in some cases, the prosecutor can request that the court extends your sentence to up to 14 years.
Do You Need to Talk to a Lawyer About Domestic Battery Charges in Chicago?
If you've been accused of domestic battery in Chicago or the surrounding communities, we may be able to help you.
Call us at 847-920-4540 for a free domestic battery case review. We'll talk about your situation and answer your questions, and we can begin developing a defense strategy once we have all the facts.


This is a M1 Timeframe EURUSD Scalper that selects intelligently when to enter the market and when to exit if things go wrong.
Do not hesitate to download Demo and try.
As I say works best on M1 EURUSD chart.
Minimum deposit is 100$ and will work on Zero Spread or ECN account with very Small Spread. No problem with commission as high as 10$ per RoundTurn Standard Lot.
It does not use grid or hedge but it does have a moderate use of Lot Increase after losses for recovery of loss purposes, The EA have been studied to not have more than 5 consecutive losses.
Works on VPS best, and Slippage is fine, It uses fairly high take profit and Stop level values.
Other symbols and standard accounts are accepted. Specially recommended low Spread Currencies.
The standard or Default set is provided with an internal algorithm and values are fixed internally. Only Money Management Variables are provided.
Please feel free to contact me if you have any doubts. Sets are provided in the comments section.
Please do not open trades Manually in the same account as the one used for using this EA.
Use only one instance of DeepScalper per Account.
Period for Indicators: The Integer number period for the indicators used in the entry algorithm.
Period for MA filter: Period for the Moving Average filter to determine trend direction.
ATR max pips in Points: How big can the average true range be to open trade.
MAX MIN CCI: to open a trade CCI must first reach this value in the current TF.
Risk Value: This is the max percentage of possible loss in the initial trade. In per cent per trade.
Max Increase Number of Times: The lots are increased by factor in case of loss, max of X losses. Then reset to initial state.
Spread filter: Max Spread allowed to open trades. If Spread at the moment of opening a trade is above this value if will not be opened.


Our clients belong to the creative social fabric. We direct ourselves to creators and the creative industry, which include the cultural industries combining the creation, production and commercialization of creative intangible content and of cultural nature. Further, we support the artistic or cultural production, which generate products or services, whose main component is artistic or cultural.
As common in the cultural industries, the publishing, audiovisual, music, film, craft and design sectors are included. And, with the wider concept of creative industries, ARTELEY includes, besides the architecture and advertising sectors, also luxury goods, fashion and specifically the art market and its partners. Our intention is to provide legal and strategic management specializing in creativity.