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SIngapore Grip: the final book in JG Farrell's Empire Trilogy. ITV Pictures
JG Farrell's The Singapore Grip: new TV adaptation brings to life the final book by one of the UK's finest novelists
Published: September 3, 2020 9.13am EDT
John McLeod, University of Leeds
Professor of Postcolonial and Diaspora Literatures, University of Leeds
John McLeod does not work for, consult, own shares in or receive funding from any company or organization that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.
University of Leeds provides funding as a founding partner of The Conversation UK.
In March 2020, when it became clear that my university campus was about to close due to the coronavirus pandemic, I hastily grabbed from my office shelves my well-thumbed copies of JG Farrell's Empire Trilogy: Troubles (1970), The Siege of Krishnapur (1973), and The Singapore Grip (1978). This was no sentimental choice on my part. I believed that Farrell could help me deal with my queasy feelings that everyday life as I knew it was dissolving frighteningly into incertitude.
As a writer, Farrell was concerned with those suddenly tipped into uncertainty, no doubt because of his own life being irreversibly turned upside down due to the sudden advent of sickness. Aged 21, he had become seriously ill after playing rugby at Oxford University in December 1956 and was diagnosed with polio. A spell in an iron lung was followed by a long and painful recovery. Farrell's upper body was permanently affected by the disease. He never recovered full mobility.
Almost overnight, a young, healthy and ambitious undergraduate had become physically fragile and equipped with a keen sense of how quickly and unexpectedly all we take for granted is lost. Cruelly, his illness would play a part in his untimely death by drowning in August 1979, aged 44. While fishing near his new home in Ireland's Bantry Bay, he was swept into the rough sea. Unable to swim strongly, he was soon lost to the water.
Taken too young: JG Farrell. Wikimedia Commons
Farrell's early novels had often dwelt gloomily on the frailty of life. His second novel, The Lung (1965), in particular, sought to explore the dispiriting emotional and existential upset of his sudden illness. Yet, along with A Man From Elsewhere (1963) and A Girl in The Head (1967), it drew little attention – today, all three remain out of print.
Making it as a writer
His fortunes changed with the publication of Troubles, where he deployed more purposefully his consciousness of life's latent fragility when depicting British colonial societies falling apart.
This turn to matters of Empire was not fanciful. Born to an Irish mother in Liverpool, Farrell had lived a modestly affluent childhood between England and Ireland before going up to Oxford. He knew the privileged social circles that were home to British colonialist attitudes but took a postcolonial position regarding the unhappy treatment of colonial subjects, such as the Irish.
Troubles imagines the lives of the Anglo-Irish Ascendency as the Irish War of Independence (1919-21) develops. Its often comical depiction of the Ascendency's decline pokes fun at their arrogance and short-sightedness.
But Farrell's sensitivity to the bewilderment and anxiety felt by all undergoing history also brings to the novel a measured sense of compassion for those whose worlds were at last evaporating. Indeed, the Empire Trilogy would uniquely combine the compassionate and condemnatory, the sensitive and the satirical, in its indulgent if unforgiving presentation of the colonial establishment. The novel established his critical reputation: it received the 1971 Geoffrey Faber Memorial Prize, while in 2010 it was awarded the "Lost Booker Prize" after a public vote.
End of Empire
Farrell's next novel, the Booker prize-winning The Siege of Krishnapur, depicted the ready collapse of British civility during the Indian Rebellion of 1857. Buoyed by its success, Farrell used part of his prize money to travel to south-east Asia to research his next – and, sadly, last – full-length novel, The Singapore Grip, which has just been adapted for television by Christopher Hampton.
Punctuated in turn by scenes of high comedy and historical solemnity, the novel portrays Singapore prior to its humiliating surrender to the Japanese in February 1942. At its heart is one of Farrell's least likeable befuddled expatriates, the rubber magnate Walter Blackett, whose business empire exemplifies the unholy grip of capitalism and colonialism over the region's impoverished workers.
Unpleasant and manipulative: David Morrissey as Walter Blackett in The Singapore Grip. ITV Pictures
Keen to secure his firm's future, Walter plots to marry his daughter Joan to Matthew Webb, the son of his geriatric business partner – a scheme all the more bizarre in an increasingly besieged and dangerous city.
An idealist at heart, Matthew's progressive vision of a world where wealth and wisdom are equitably enjoyed soon becomes as battered as the bombed-out city. Events in Singapore appear instead to prove the "Second Law" often quoted by his American friend, James Ehrendorf:
In human affairs, things tend inevitably to go wrong. Things are slightly worse at any given moment than at any preceding moment.
Yet The Singapore Grip never loses faith in the capacity for survival and endurance. It mixes its unforgiving vision of colonialism's absurdity and collapse with an unyielding and often warmly humorous embrace of human fellowship. And, while Matthew fails to flee in time, one important figure significantly escapes: an abandoned, diseased and distressed King Charles spaniel, sardonically named "The Human Condition" by one of Matthew's friends, who is last seen bolting up the gangplank to safety on a soon-to-depart ship.
Captured: Luke Treadaway as Matthew Webb in The Singapore Grip. ITV Pictures
Highly amusing and deeply penetrating by turns, Farrell's fiction often renders the human condition as precarious and insubstantial as the ailing dog in The Singapore Grip. But it crucially recognises that people are as complicated as the changing historical circumstances into which they are mercilessly thrust. Farrell's firm condemnation of Empire never stopped him trying to understand humanely those undergoing its decline.
In reaching for Farrell when lockdown commenced, I had hoped to deal less fearfully with the experience of sudden change. But he soon reminded me, too, of the humane resources we also need at life-changing moments: steadfast hope, a saving sense of humour, and – for those lucky to escape or recover from illness – the wisdom of survival.
Post-colonialism
UK writers
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Q: Stripping text file with Python I'm trying to take all the punctuation out of a text file. Is there a more efficient way to do this?
Here is my code:
fname = open("text.txt","r")

stripped = ""
for line in fname:
    for c in line:
        if c in '!,.?-':
            c = ""
        stripped = stripped + c
print(stripped)

A: import re
with open("text.txt","r") as r:
    text = r.read()

with open("text.txt","w") as w:
    w.write(re.sub(r'[!,.?-]', '', text))

What about this?
Or there is a way without regex:
with open("text.txt","r") as r:
    text = r.read()

with open("text.txt","w") as w:
    for i in '!,.?-':
        text = text.replace(i, '')

    w.write(text)

A: You could try a regular expression, substituting any punctuation character with the empty string:
import re
with open('text.txt', 'r') as f:
    for line in f:
        print(re.sub(r'[.!,?-]', '', line)

A: Usually much faster than regular expressions or individual string manipulations or construction is using str.translate:
# Python 2 solution
with open("text.txt","r") as fname:
    stripped = fname.read().translate(None, '!,.?-')

Note, that's not all punctuation. Best way to get all ASCII punctuation is to import string and use string.punctuation.
In Python 3, you can do either:
# Read as text and translate with str.translate
delete_punc_table = str.maketrans('', '', '!,.?-') # If you're using the table more than once, always define once, use many times
with open("text.txt","r") as fname:
    stripped = fname.read().translate(delete_punc_table)

# Read as bytes to use Py2-like ultra-efficient translate then decode
with open("text.txt", "rb") as fname:
    stripped = fname.read().translate(None, b'!,.?-').decode('ascii')  # Or some other ASCII superset encoding
    # If you use string.punctuation for the bytes approach
    # you'd need to encode it, e.g. translate(None, string.punctuation.encode('ascii'))

Before Python 3.4, the "read bytes, translate, then decode" approach was absurdly better, in 3.4+ it's probably still slightly faster, but not enough to make a huge difference.
Timings for various methods on my computer (using Python 3.5 x64 for Windows):
# Make random ~100KB input
data = ''.join(random.choice(string.printable) for i in range(100000))

# Using re.sub (with a compiled regex to minimize overhead)
>>> min(timeit.repeat('trans.sub("", data)', 'from __main__ import re, string, data; trans = re.compile(r"[" + re.escape(string.punctuation) + r"]")', number=1000))
17.47419076158849

# Using iterative str.replace
>>> min(timeit.repeat('d2 = data\nfor l in punc: d2 = d2.replace(l, "")', 'from __main__ import string, data; punc = string.punctuation', number=1000))
13.51673370949311

# Using str.translate
>>> min(timeit.repeat('data.translate(trans)', 'from __main__ import string, data; trans = str.maketrans("", "", string.punctuation)', number=1000))
1.5299288690396224

# Using bytes.translate then decoding as ASCII (without the decode, this is close to how Py2 would behave)
>>> bdata = data.encode("ascii")
>>> min(timeit.repeat('bdata.translate(None, trans).decode("ascii")', 'from __main__ import string, bdata; trans = string.punctuation.encode("ascii")', number=1000))
1.294337291624089

The times are the best time to run 1000 conversion loops in 3 test runs (taking the minimum is considered the best way to avoid timing jitter affecting your results), in seconds, for my input of 100,000 random printable things re.sub (even precompiled) isn't even close. Either translate method is fine (bytes.translate may be faster, but it's also more complicated code). str.replace is more competitive if the set of things to replace is smaller (using only '!,.?-' instead of all punctuation drops it to ~3 secconds), but it's slower for any reasonable number of characters to strip, and doesn't scale like the translates do.

redpajama_set_name: RedPajamaStackExchange


Only when i use hdmi either sky hd or ps3 hd crackling noise, leads are both very good strange but if you turn tv off and then back on crackling stops for aboutt 5 mins. engineer wants 120 pounds labour charge plus parts so i guess he knows whats up with it but can any tell me whats wrong with it his a bit upset whe i ask.
Check the firmware on the tv. I would imagine youre connected with hdmi, and some tv's (lg, vizio mainly) have had firmware issues. check teh lg website for updates.
Ur tv some how causes HDMI 1 and 2 port hubs link together so changes back and fourth 1 or 2 HDMI hubs will not a difference.Ur tv have 4 HDMI hub ports wright?Tries not to used HDMI hub ports as like HDMI ports like 1,2,3,4 to as in sequences.Tries used like 1 and 4,2 and 4,3 and 1 as skips sequences might work for ur tv.Tries to hook up the PS3 system as the old format hook up same hook as PS2 format like used the PS station old RCA AV cable hook up.Then that should not causes conflict at all because now tv have two difference kind of format hook up.
the reason this does not come on straight away is because a Scart lead send power upto your telly when it is turned on. Telling the telly that this is what you want.
5. Press and hold the [I/O]Power button until the PS3 until you get the "HDMI Detected" message.
Also, this TV has a circuit that deactivates the HDMI if the rear cover is removed. It is possible the HDMI may have been turned OFF. This is reset in the service menu of the TV.
I have sound on video 2, and when on a static channel but not on the usual channel 3 which is TV. Just stoppen working one day and cant figure it out... Please help!
You should get a good surge protector. Sometimes some areas have a spike in the power. That will cause interference in the TV signal coming from your PS 3. Try out different surge protectors that should solve your problem.
hi i had a problem, but had no pic, but did have sound, rang sony, and they said buy a new hd cable, went out and bought one, and it worked fine!!!


With the new year approaching, it's common practice to start thinking about the past year and what you would like to change or do differently in the year ahead. Ask any motivational speaker, therapist or social worker about the tools needed to change a life and high up on the list would be vision.
In order to make any change, you have to clearly see the change you want. If you're wanting to get someplace, you have to see where it is that you are going to. Often vision is connected to goals and plans.
However, there's a kind of vision that is potentially much more powerful. It's an inward vision that is not seen with your actual eyes, but with your mind's eye otherwise known as your third eye.
Your third eye chakra is one of seven spinning wheel-like energy centers distributed vertically throughout your body from the base of your spine to several inches above your head.
The third eye is a mystical invisible eye, deep within the center of your forehead which provides perception beyond ordinary sight. In some studies, this is referred to as your pineal gland. The third eye is our ability to see what might be, to see potential.
While the five previous chakra centers from the ground up anchors you to the ground, your creativity, your power and your community, your third eye chakra connects you to your sixth sense or your possibility. No wonder, this kind of vision, can be far more powerful than what you see with your eyes and even your goals. Once you clearly connect to this inner vision, it could actually pull you towards it, which would make achieving it a bit easier.
The third eye chakra is positioned between the eyebrows. It is the chakra of knowing, vision and intuition. If your third eye chakra is weak, you might have trouble seeing the big picture, trusting your instincts or visualizing your life's direction. Your hopes and dreams are centered in this chakra, and if it's blocked you might feel you have trouble with memory, your ability to plan ahead and be flexible with outcomes.
You might also feel depressed, unable to make decisions, in an emotional rut. Those with a balanced third eye chakra often have charismatic personalities and possibly telepathic abilities.
To face your new year with clarity of a bigger vision for yourself, try on this third eye chakra activation. Note, depending on the level if inner noise going on in your mind, connecting to your third eye might require a few steps.
Whether it's through meditation or calmly sitting in nature, you need to quiet the rapidly firing thoughts or your to do list, you need to cultivate an inner mental stillness to be able to listen to the messages and information that comes through your third eye.
Since the third eye is the center of insight, vision, and higher wisdom you'll need to define what your intuition feels like to you.
It might not be obvious that in order to open your third eye abilities, you need to first anchor both your feet on the ground. Also note the importance of opening up gradually, building reliable foundations first that will allow you to have proper discernment and interpret your extrasensory perceptions with as much clarity as possible.
For guidance on chakra grounding, be sure to read our Chakra Intimates previous blog posts.
As you look ahead to your new year, don't just sit down with a planner and plot out your goals and changes with your head instead, take some time and create some mental space to tap into a greater power within yourself with your third eye chakra.
Want some third eye calming support? Check out our brand new eco-friendly Third Eye Calming Eye Mask adorned with a third eye calming amethyst gemstone.


What Does The Name Ehsen Mean?
What Ehsens Have Visited This Page?
How difficult is it to pronounce Ehsen?
Can Ehsen be pronounced multiple ways?
We noticed you have a microphone. If you know how to pronounce Ehsen, just click the button to record. We'll save it, review it, and post it to help others. Recordings from children under 18 are not allowed.
What does the name Ehsen mean? Find out below.
When was the first name Ehsen first recorded in the United States? The oldest recorded birth by the Social Security Administration for the name Ehsen is Wednesday, July 15th, 1896.
How unique is the name Ehsen? From 1880 to 2017 less than 5 people per year have been born with the first name Ehsen. Hoorah! You are a unique individual.
Weird things about the name Ehsen: Your name in reverse order is Neshe. A random rearrangement of the letters in your name (anagram) will give Hseen. How do you pronounce that?


text:
Buff-banded Rail
My best images of the Buff-banded Rail (Gallirallus philippensis).
Buff-banded Rail (Gallirallus philippensis). Kakadu Beach Bird Sanctuary, Banksia Beach, Queensland, Australia. Nikon D500 + Nikon 200-500mm f/5.6 1/800sec | f/8 | ISO 280 | 435 mm (effective focal length)
Buff-banded Rail (Gallirallus philippensis). Kakadu Beach Bird Sanctuary, Banksia Beach, Queensland, Australia. Nikon D500 + Nikon 200-500mm f/5.6 1/640sec | f/8 | ISO 2000 | 510 mm (effective focal length)
Buff-banded Rail (Gallirallus philippensis) . Lake Eden, North Lakes, Queensland, Australia. NIKON D500 + Nikon 200-500mm f/5.6 1/640 @ f/7.1 ISO 2000 @ 690 mm (effective FL)

redpajama_set_name: RedPajamaCommonCrawl


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Our membership in the MSI Global Alliance and our contacts with foreign tax advisors enable us to render services related to the taxation of international transactions.


text:
Rising Suns come to South Philly to face Sixers
There's no Daylight Savings for this year's Suns ... They're legit, ya'll...
By Hesi-PullUp-Adio Apr 21, 2021, 10:13am EDT
Share All sharing options for: Rising Suns come to South Philly to face Sixers
Photo by Christian Petersen/Getty Images
Our Philadelphia 76ers were rolling with four straight victories against this tough stretch of mostly playoff-caliber teams. Wins against the Brooklyn Nets, Los Angeles Clippers, and Dallas Mavericks all had us feeling good.
Then, Steph Curry happened on Monday night. 49 points on 28 field goals (10-of-17 from 3) later, and the Golden State Warriors handed the Sixers only their third home loss since March 1. The Sixers were without Defensive Player of the Year candidate Ben Simmons, so that might have had something to do with Curry going full nuclear like some 6-foot-3 3-point shooting Godzilla monster.
Now that we've moved past that unpleasantness, let's take a small breath and regroup. Oh, crap. The Phoenix Suns are in town tonight. These are not the Igor Kokoškov Suns. These are the former Sixers coach Monty Williams-led Phoenix Suns. There's quite a difference (two, actually).
Williams took over for Kokoškov last year, and the Suns just felt different. Having Ricky Rubio allowed Devin Booker to play way more off ball and concentrate on shooting. Booker's points per game didn't increase. They stayed the same at 26.6, but the Suns offense had more of a flow. It was evident in the increase in wins from the year before.
Then, the Suns went out and got the "Point God" Chris Paul in November. Holy crap. This team hums. Paul is the best point guard Phoenix has had since Steve Nash, and he has made such a difference.
Booker: continuing to be an elite scorer and shooter (26.6 PPG, 35 percent from 3 and in the 73rd percentile on spot-ups).
Deandre Ayton: Career high 125 ORtg this year and in the 92nd percentile as the PnR roll man
Mikal Bridges: Having his best year as a pro so far (12.9 PPG, 42 percent from 3)
Say what you want about Paul's prickliness (and people have), but the dude is a leader. He's changed the tone of this team. They're second in the West (a game behind the Utah Jazz and 1.5 ahead of the Clippers). The Suns are legit.
They're good offensively. They're good defensively. Their one problem is rebounding as they are 21st in the league in total rebounds. That's where the Sixers should be trying to pounce. If the Suns have an off shooting night, those rebounds and those stops will be key in winning this game.
The Sixers are currently fourth in the league in defensive rebounds and fifth in total rebounds. Controlling the paint is going to be one of the keys to this game. Joel Embiid will obviously be the focus since he leads the team in rebounds and has a favorable matchup against Ayton. (Ever since Embiid trash talked Ayton about his not playing defense, this matchup really hasn't been one.) Ben Simmons (7.6 RPG) and Tobias Harris (7.2 RPG) are both "game-time decisions" at the time of this post.
If they're in the game, that helps control the boards. Not only that, but it would be nice to have Simmons on the floor to guard Booker tonight. In their first meeting back in February, Booker had 36 points in a 120-111 win in Phoenix.
After losing to Golden State on Monday night and a two-game set against the Milwaukee Bucks this weekend (not to mention a two-game tilt against the Atlanta Hawks next week), hopefully the Sixers can get a dub tonight and keep the pressure on the Brooklyn Nets, who are just a half game behind us (even though they won despite giving up 129 points to the New Orleans Pelicans).
(Excuse my daily jab at the Brooklyn Nets because they play NEGATIVE defense.)
Go Sixers.
Who: Philadelphia 76ers vs. Phoenix Suns
When: 7:00pm ET
Where: Wells Fargo Center, Philadelphia, PA
Watch: NBC Sports Philadelphia, NBA TV
Listen: 97.5 The Fanatic
Follow: @Liberty_Ballers


I am often reminded of the infiltration of the Tea Party movement by neo-conservatives in the years after the 2008 election. Neo-con men exploited the desire among Tea Party activists for mainstream legitimacy and more widespread media coverage. They gave them what they wanted, by injecting their own political puppets into the movement. It did not take long for the Tea Party to abandon its initial roots in individual sovereignty and the Ron Paul campaign and adopt a decidedly statist tone. The smart people left the movement early and went on to launch their own efforts, but the goal of the establishment had been accomplished — the grass roots threat of the Tea Party was no more.
The most effective method for the establishment to sabotage a rebellion is to place one of their own puppets into a leadership position in that rebellion. This exploits the movement's subconscious appetite for top down leadership. It neutralizes activists by tricking them into waiting for order from on high instead of acting on their own individually. It makes a movement lazy and impotent.
Trump also flip-flopped on his economic position. Instead of warning about the huge financial bubble the Fed had created, he adopted a Twitter campaign taking credit for the bubble for the past two years. As the stock rally crumbled the past few months, the script that Trump would follow was also rather predictable.
In the meantime, the globalists can slowly kill the world reserve status of the dollar while avoiding the blame for the severe economic consequences this will produce. A conflict between the White House and the central bank will be presented as a sign that faith in U.S. debt and the longevity of the dollar is a bad bet. Foreign holders of dollar and T-bills, already quietly dumping these assets, will accelerate the decoupling. Trump's trade war activities add to the distraction, creating a brilliant theater in which conservatives are conned into supporting a puppet leader on the verge of collapse, and confirming the crazed arguments against conservative principles in the minds of globalists and leftists.
There is no evidence to support any of this. And, considerable evidence as I have linked above supporting my position that Trump is controlled opposition working with the globalists to initiate a collapse that will be blamed on conservatives and limited government liberty activists. We shall see in due course. It is unfortunate though how many otherwise very intelligent people within the liberty movement have bought into Trump as a hero on a white horse.
The activists and alternative media are the real heroes. They are the people that forced liberty philosophy into the mainstream. Trump merely rode the wave that they created. Even if he was a legitimate conservative and constitutionalist (which he is not), the movement doesn't need his leadership. It never did. The globalists know this and hope to chain us to Trump as he sinks into historical oblivion, destroying us all in the process.
The post Trump is a pied piper for the new world order agenda appeared first on Personal Liberty®.


text:
Q: What does this "-" in jinja2 template engine do? I am learning jinja2 because Google App Engine recommends it.
I found this example on Wikipedia: http://en.wikipedia.org/wiki/Jinja_%28template_engine%29
  {%- for item in item_list %}
    {{ item }}{% if not loop.last %},{% endif %}
  {%- endfor %}

What is the "-" in "{%- for"?
Also, where can I find jinja2 examples (better with Google App Engine)?
Thanks a lot!

A: It suppresses extra vertical spacing, commonly used when you don't want excessive spacing between elements you're looping through.

If you put an minus sign (-) to the start or end of a block (for
  example a for tag), a comment or variable expression you can remove
  the whitespaces after or before that block

See: http://jinja.pocoo.org/docs/templates/#whitespace-control

A: As you implied the Google App Engine and Django use Jinja.
Jinja uses the dash to remove or add whitespace within a block.
{%- by itself means current line should have no empty lines between current and previous  line
-%} by itself means current line should have a single empty line above it
{%- and -%} means current line should be flush with previous line
In your example, you have dashes for the for loop. This will leave no space between the items. If you did not have this dash, it will leave a blank space between each item.
You can experiment here:
http://jinja.quantprogramming.com
Additional links:
Documentation
Credit


text:
Former Bridgeport attorney incarcerated for failing to comply with federal judge's orders in employee benefit plan diversion scheme case
John J. Koresko V fails to surrender $1.68M in plan assets, property as ordered
PHILADELPHIA – Acting on a United States district court judge's order, federal marshals took John J. Koresko V, a disbarred attorney and former employee benefit plan administrator, into custody on May 6, 2016, after Koresko failed to transfer $1.68 million in assets in contempt of an earlier court order in a case involving violations of the Employee Retirement Income Security Act.
In February 2015, the court awarded nearly $40 million to more than 400 death benefit plans across the country. The award resolved a 2009 U.S. Department of Labor lawsuit that followed an investigation by the Employee Benefits Security Administration that found Koresko and other defendants diverted tens of millions of dollars in plan assets through more than 21 accounts using more than 18 different entities at more than eight different banks.
Spanning more than 12 years, the scheme saw assets from the plans' trusts used for real estate purchases in South Carolina and the Caribbean island of Nevis, to pay outside attorneys, lobbying expenses, operational expenses of Penn-Mont Benefit Services, Inc., and Koresko's law firms, and for Koresko's personal expenses, such as boat rentals and utilities.
Prior to the February 2015 judgment, the court ordered Koresko to transfer to the court-appointed independent fiduciary $1.68 million in assets he had taken from the Regional Employers Assurance Leagues Voluntary Employees' Beneficiary Association and the Single Employer Welfare Benefit Plan Trusts. The court also ordered him to transfer the title of ownership to real estate in the Caribbean island of Nevis that Koresko purchased using trust assets.
After the court ordered Koresko to give the independent fiduciary power of attorney over the Nevis bank account, he failed to comply by instead transferring the $1.68 million to another bank account under his control. He has also failed to transfer the real estate title as ordered by the court.
On April 26, 2016, the court found Koresko in contempt of court orders and ordered him to surrender to the Office of the U.S. Marshal and remain incarcerated until he complies. When Koresko did not surrender pursuant to the court's order, the court issued a bench warrant for his arrest. Koresko was arrested, and the court has scheduled a status hearing on May 18.
The legal proceedings follow an investigation by the department's Regional Office of the EBSA in Philadelphia. The Philadelphia Regional Office of the Solicitor litigated the case.
Employers and workers can reach EBSA's Philadelphia office at 215-861-5300 or toll-free at 866-444-3272 for help with problems relating to private-sector retirement and health plans. Additional information can be found at http://www.dol.gov/ebsa/.
Perez v. Koresko
Civil Action No.: 2:09-cv-00988
16-1004-PHI
Media Contact: Leni Fortson
uddyback-fortson.lenore@dol.gov
Media Contact: Joanna Hawkins
hawkins.joanna@dol.gov


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text:
13th September 2018 , By Ceren Günel
Chalayan's work on display at the V&A after being awarded prestigious London Design Medal
British Land Celebration of Design Medal ExhibitionHussein ChalayanLondon Design FestivalLondon Design MedalTurkish CypriotV&A
Globally renowned fashion designer Hussein Chalayan's work will be featured at the Victoria and Albert Museum (V&A) from 15 to 23 September, as part of this year's London Design Festival. It follows an announcement that Chalayan is the recipient of this year's Panerai London Design Medal – the capital's top design prize. He will be awarded the medal at a special ceremony at the Queen Elizabeth Hall, Southbank Centre, on Monday 17 September.
One of four medals awarded this year, event organisers describe the Panerai London Design Medal as, "the highest accolade bestowed upon an individual who has distinguished themselves within the industry and demonstrated consistent design excellence."
Previous winners include stage designer Es Devlin (2017), architects Zaha Hadid (2007) and David Adjaye (2016), graphic designer Peter Saville (2013), furniture and industrial designer Ron Arad (2011), and fashion designer Paul Smith (2009).
A selection of Chalayan's designs will be showcased at the British Land Celebration of Design Medal Exhibition at the V&A. His work will be displayed alongside the other three medal winning designers: Neri Oxman, an architect, designer, inventor and professor at the MIT Media Lab, who wins the Design Innovation Medal; fashion designer Grace Wales Bonner is awarded the Emerging Design Medal, recognising her impressive impact in fashion within five years of graduation. The Lifetime Achievement is awarded to architect Eva Jiřičná, for her "significant and fundamental contributions to the design industry" during her career.
2013 CNC Deposited Silk Fiber & Silkworm Construction by Neri Oxman
Inspired by the idea of a card house, this year's exhibition has been curated by Jane Withers and designed by OKOLO. It will guide visitors through texts, images, illustrations, prototypes, materials and objects, narrating the creative story of each designer including Chalayan. The idea is to present designers not just as creative individuals, but in the context of their creative world, understanding their signature styles, and exploring their inspiration behind their work.
Launched in 2003, the London Design Festival celebrates and promotes London as the design capital of the world. In 2007, awards were added to the annual festival to recognise the contribution made by leading and emerging designers to the city and industry. Four medals are awarded each year, which pay homage to designers who are making, or have made, a significant difference to people's lives through their innovation, originality and imagination.
Established designers, industry commentators and previous winners make up the judges who determine the medal winners. Sitting on this year's British Land Celebration of Design panel were Paul Thompson (Rector of the RCA), Tony Chambers (Wallpaper* Magazine), Justine Simons (Deputy Mayor of Culture), Tristram Hunt (director of the V&A), Nadja Swarovski (board member of Swarovski) and Es Devlin (designer, 2017 winner).
Who is Hussein Chalayan MBE?
Hussein Chalayan
The Lefkoşa born, now London-based Turkish Cypriot designer has twice been named British Designer of the Year (1999 and 2000) and was awarded an MBE in the Queen's Birthday Honours List in 2006. In 2016, Wallpaper Magazine named him as one of the world's top 20 design "game-changers".
He shot to international prominence by creating some of fashion's most experimental designs including frock coats that build themselves (AW 2007-08); coffee tables that morph into skirts (AW 2000-01); dresses with wings to mimic those of aeroplanes (SS 2000); and pieces that can be folded up into an envelope (SS 2000-01). He has also collaborated with a host of artists, including Bjork and Lady Gaga.
He is known as one of the fashion industry's intellectuals – inspired by a multitude of creative disciplines, as well as politics, nature and technology. He described himself as 'a weaver of different worlds' in an interview with the festival organisers:
"I enjoy looking at different scenarios in the world, trying to understand them and discovering new connections between different facets of life. Influences from modern anthropology, politics, architecture, history, nature, the body, behaviour and technology all create the basis of a new project."
Bjork in Hussein Chalayan, adapted and used on the front cover of the singer's 1998 music video compilation Volumen
Exhibition Details
Title: British Land Celebration of Design Medal Exhibition
Dates: 15-23 September 2018
Opening Times: 10.30am – 5.30pm
Venue: Clore Study Area, Room 55 in the British Galleries, V&A Museum, Cromwell Road, London SW7 2RL
More information: to find out more about the V&A exhibition click here, with information about the London Design Festival via their website.
Spring-Summer 2017 CHALAYAN collection
Additional reporting by İpek Özerim. Main photo, top, Coffee Table Skirt, A/W 2000 ready-to-wear collection by Hussein Chalayan
Study Turkish language and culture in Central London this autumn
All change as Turkey appoints new ambassadors to London, Canberra and Lefkoşa
6th February 2019 , By T-VINE
Tracey Emin's new exhibition A Fortnight of Tears opens at White Cube Bermondsey
One of Britain's most prominent contemporary artists opens a new exhibition at White Cube Bermondsey today. Tracey Emin's solo show 'A Fortnight of Tears' brings together new works that stem from the artist's personal memories and emotions, ranging from loss, grief, longing and spiritual love. Of Turkish Cypriot heritage through her father Enver Emin, Tracey […]
12th November 2017 , By T-VINE
Sümer Erek's new exhibition Mediterranean Days set to open in Dalston
Sümer Erek continues with his Mediterranean themed art with a new exhibition that opens in the heart of East London next week. In his latest collection, Erek, who is of Turkish Cypriot origin, pieces together Mediterranean culture. He starts by remarking a 'single sea shore'. To these he adds elements that reflect the behaviour, lifestyle, and […]
President Erdoğan tells BBC's Zeinab Badawi that Israel is 'agitating for war'
In advance of his UK visit, Turkish President Recep Tayyip Erdoğan talks to BBC current affairs presenter Zeinab Badawi in the Turkish capital of Ankara. The interview will feature in a special edition of HARDtalk, to be first broadcast at 04.30 UK time on 14 May, and repeated throughout the day. Among the topics […]


… a free-to-play MMORPG [massively multiplayer online roleplaying game] developed by Deity Games and the most popular game, with 7 billion+ active players.
Matrix-like in the scope of its illusion, the game Outside is always being played by each and every human being. We do not all roll characters from stat pools of equal size. We are not all able to reach the highest levels. What counts as reaching a high level is mostly also an illusion. But we can discuss these imbalances and inequalities, disagree about them and decide whether they are permanent features of the game's design, or are rather reproduced into perpetuity by its players. We employ a gamified technodigital language to break down the constructs that restrict our access to the full game as players. We deconstruct. Not necessarily so that we can improve – for most suppose it is outside of our power to do so – but, so that we can understand.
It appears to me that all players who actively engage with each other through the sub have invested points in the Philosopher subclass. But what kind of a philosophical context does Outside provide? It would be a mistake to think of the game as a simple mind-in-a-vat exercise in the vein of Cartesian mind-body dualisms. There is a hard ontological distinction to be made here. Most design-conversant players of Outside accept metaphysical monism, while players who dream of 'unplugging,' or who claim to have encountered non-player characters (or NPCs) are regularly branded solipsists. There is nothing outside of Outside. Corollary: all is inside Outside.
A possible refutation: what about the developers of Outside? While there are presumed to be some staff up in the offices at Deity Games, it is not clear that they are metaphysically distinct from the rest of what makes up the game. Even if the devs are of a fundamentally different stuff, players accept that they "are lazy and rarely do much." And the existence of an outside of Outside for the developers does not imply the existence of such an outside for the players. We can imagine, then, that all but the most lofty metaphysicians of Outside qualify as theoretical monists with a pragmatic twist; what more there may be to the universe is likely a waste of time for us to think about.
Philosophers of Outside have more in common with a modern day Aristotle than with the machine-headed dreams of Descartes, and its developers are more like unmoved movers than the cruel and compassionate gods of reverent theologians. Aristotle was expressly concerned with the apparent role of design and purpose in his theory of causality: in addition to matter and material processes, the final cause of the thing somehow figures uniquely through its form. More simply, the question of what something is for, is closely related to the question of what it is. I have often quoted Dylan Thomas as having a poetic affinity for Aristotle. "The force that through the green fuse drives the flower" is a final cause, driven towards its form (the flower) through the green fuse (material/efficient causes).
The motivation for design and purpose has always been built through some psychologistic metaphor. Both Aristotle's Physics and the Metaphysics contain passages which provide colourful comparisons, yet are somewhat lacking in argumentation. The foundational metaphor, grounding much of Aristotle's discourse on causality, is that of technê – art or craft – imitating nature. The formal and the final cause for a bronze statue of Apollo is the form of the god of the sun, driven through the sculptor's hands by virtue of his craftsmanship. So it is in nature.
The world has been uploaded into the language of the game; it is thereby transcendent. Aristotle's onto-epistemological foundation for the natural sciences was highly in fashion for a millennium, eventually shedding hitherto faithful co-conspirators in physics and astronomy to Copernicus and Galileo, but holding on to most modern day biologists, with chemists bouncing somewhere in between. Outside uproots Aristotelian naturalism by reversing its foundational metaphor, in Heideggerian style. Technê takes flight from nature and comes back to plant GMOs! – the mirror changes hands, and nature comes to be seen as an extension of the highest power believed harnessed by humankind, thus extending the story of man's improbable dominion.
In The Question Concerning Technology (1954) Heidegger reveals the essence of technology as Enframing. I shall be brief and inadequate. More than just the totality of machinery and gadgets that we come to accumulate, technology is something of a sphere of perception. Technology has been more yielding to the impetus of humankind than nature has (we are brought to believe), so technologicism replaces naturalism. Whether we stand freely in relation to technology, or whether it steers us under the illusion of our control, is an important question. And here is about the spot where we can find Outside's clever subversion.
Derrida would delight in this techno-deconstruction with a Heideggerian heritage. The total gamification of being presented by Outside suggests total Enframing. The discursive practices of design-conversant players of Outside are in truth a deconstruction, in the sense of a construction taking place within a destruction. Outside falls like an incoming game in ReBoot, but all encompassing. It is inside of this destructive fallen game that these players make their constructions, theories about their observations and experiences, all codified in the language of the encompassing game's design.
Where is this deconstruction taking place? Recall our (minimally functional) commitment to monism. The location of deconstruction is irrelevant and confusing, for there is no deconstruction in Outside without a deconstruction of the self. We are fully absorbed into the game, our selves fully uploaded. Players role-play as themselves. Admitting the rules of the game implicitly forgoes the illusion of control. Outside is a mockery of Heidegger's warning, of the essence of technology posing an affront to the possibility of our freely determining our Being; the world of our Being-in-the-world is reclaimed as the world of pure technê. Technological monism arrives with a replacement thesis at its behest, supplanting itself for dusty old green naturalisms.
I am not here to judge. We are everyday uploading ourselves to new worlds online and aspiring to become them. Seldom has there been a craftier instance of Aristotelian causality bearing on the self, and our own becoming. The Outsiders are, perhaps, the early colonizers of new digital worlds, which even others are consumed by (to varying degrees), however may they be by wilful or blissful ignorance reluctant to accept it. The threat comes not from the players, but from the game which destroys the world. We as players are wholly overcome, sublimated by it. But if the wake of its destructive force can be exploited for a while, let us dispatch of more proximate oppressive features of the game, whose contradictions might be better exposed when weakened by our myth and our canon.
 While there are religious guilds consisting of players who worship more interested gods, which are supposed to exert a greater influence on the game, I would say that either those players have been in the business of constructing an elaborate myth as a set of guidelines for their moral, spiritual and social conduct; or, they have been the result of the side-project, mini-game or bit of erratic code introduced by a rogue developer, or ex-employee of Deity Games.
 See for example, Physics 195a6-8; Metaphysics 1013b6–9.


text:
Arrest report describes horrific video evidence against babysitter in boy's death
by: Greg Haas, Vanessa Murphy
Posted: Mar 24, 2021 / 03:14 PM PDT
Updated: Mar 25, 2021 / 06:08 PM PDT
LAS VEGAS (KLAS) — Video evidence captured by home security cameras showed a babysitter kicking a 5-year-old boy in the head, according to an arrest report.
Laurren J. Courtney, 22, faces a first degree murder charge and eight counts related to child abuse.
The boy, Ryan James Peralto, died the day after he suffered a fractured skull, bleeding in the brain, and damage to his spleen, liver, pancreas and intestines, according to police. The boy was transported to UMC Trauma but did not survive.
Kaiea Peralto, the boy's father, had placed cameras in the house after his 7-year-old daughter told him Courtney was hurting Ryan. Courtney was a regular babysitter with the family.
Courtney told police she knew about the cameras. "I know, he has three," she said.
In interviews with police detailed in a Metro arrest report, Courtney tried to implicate the father in the boy's injuries, claiming Ryan had a bruise on his forehead when she arrived to babysit in the morning.
But a review of the video told police a different story. The video has not been released.
Officers were able to view video surveillance on an app from Kaiea's phone. Officers observed (Courtney) pulling Ryan by one arm through the doorway of the bathroom. Lauren states "I know you are faking it." (Courtney) is observed kicking Ryan in the face with her foot, punching his face, and slap his chest. (Courtney) then takes off Ryan's underwear and drags him into the shower.
Las Vegas Metropolitan Police Department arrest report.
She is identified in the arrest document as Lauren Jeanette Courtney, but jail records spell her name Laurren J. Courtney.
She is scheduled to appear in court on May 18 at 9 a.m.
I-Team: Babysitter accused of killing child
The babysitter, apparently angry because the boy had urinated on himself, told police she had shoved Ryan — probably "harder" than she should have — causing him to strike his head on the floor, according to statements she made to police.
Saying that she didn't remember how the boy's injuries might have occurred, she told police on several occasions that the boy acted "noodley."
"She said she may have been 'mad' and 'blacked out' because she has no recollection of stepping on Ryan," according to the arrest report. "Lauren then stated she has 'mental issues' or 'mental health issues.' "
Descriptions of video evidence indicate Courtney then severely beat Ryan over a two-minute period.
She dragged the boy by his left hand into the bedroom towards the bathroom. The boy is not moving as she says "Get up … Ryan, I can see you looking at me."
According to the report, "She squats down to him and kicks his head and his head moves away from his body. Ryan has no reaction to this and does not even raise his hands and his body is limp."
Over the next minutes, she hits him several times, screams at him and lets him fall back to hit his head again. She berates him for ignoring her anytime he shows a sign that he is trying to defend himself.
By the end of the officers' description of the video, the boy can be heard crying and moaning in pain after she turns on the shower and leaves the bathroom.
While Kaiea Peralto was at work, he checked the surveillance cameras using his cellphone and saw that his son was lying motionless on the couch while Courtney was "cleaning fluids off the floor." He called his wife to see if the babysitter had called her. According to the police report, he then received a call from Courtney saying that Ryan was sick, and that he had vomited blood. He left work, according to an interview with police.
When he arrived home, his wife was also at the house with the babysitter, who then left as he arrived.
Courtney described herself as a self-employed "entertainer" who babysits on the side. She earned $300 a week babysitting five days a week for the Peralto family in the 5100 block of South Jones Boulevard, and she had help from a boyfriend. They had recently dropped back to three days a week when the children went back to the classroom.
Courtney also told police she currently smokes "weed" but has experimented with other drugs in the past.


"You have a choice. I can kill you or you can kill me. And my daughter will collect the insurance."
In this episode of Movie Line Monday, Netskope VP of Application Engineering Lebin Cheng talks about how multi-mode CASB deployments can help maintain corporate security while still allowing users to keep their privacy. Learn about the different scenarios and types of devices (managed and unmanaged) that can be used in a multi-mode CASB deployment to satisfy various security and privacy requirements. Lebin will go over authentication processes, data flow, and identity checks that happen in each scenario. Have questions or would like to suggest a topic we can cover in the next Movie Line Monday? Write to us at MovieLineMonday@netskope.com.


Planning is a complex subject and it is always advisable to obtain advice at an early stage.
The Planning and Compulsory Purchase Act 2004 introduced a new approach to the Local Plan process. The current system intends to provide a more rapid preparation and review of land available for development purposes. It also enables greater public participation.
In 2012, the National Planning Policy Framework was published. This provides guidance for Councils and developers on the matters that must be considered in relation to development proposals.
Local Development Framework monitoring is an essential part of planning policy work. At BJC, we are retained and regularly instructed to carry out this monitoring process to ensure that land and development is promoted at the appropriate time.
Monitoring the Local Development Framework process and making further representations when necessary. If a stage is missed then the chance to promote your land/development may be lost for several years.
BJC are active in making representations on the wide range of documents being produced by Local Planning Authorities to ensure that our clients are given every opportunity to obtain development.
The practice works with a range of clients from major house builders, local developers and land owners to guide them through the complex processes.


Highway patrol officers in Florence, South Carolina have made an unusual discovery during a routine traffic stop: A 53-year old man was pulled over and a bag full of human penises was found inside his car.
Officers noticed a vehicle with a damaged tail light early yesterday morning, but were not prepared for what was to follow after they pulled over the driver. Upon approaching the vehicle, they observed that the single male occupant was exhibiting signs of nervousness.


You have funded the game more than ten times and unlocked all 27 stretch goals we've had planned for this campaign even if we did unlock them earlier, you are the best!
We normally update our projects every three weeks, but this time around we have been preparing for pre-production in advance.
We will start rolling out non-scheduled updates to show you the first initial stages of pre-production.
We are planning on opening our pledge manager on April 11th. Over there you will be able to let us know which add-ons you are interested in as well as to be able to upgrade your pledge without losing your Early Bird.
In our pledge manager, very limited quantities of the deluxe editions of our previous campaigns will be available from our end of print run stock.
We really enjoyed these two weeks with you! If you want to keep in touch with us on a day-to-day basis during the development of our titles we suggest to take a look at our Ambassadors group.
Thank you very much for all your incredible support, until the next update.
Eddy Sin, Erick Tosco, and 108 more people like this update.
Will just deluxe versions of your other games be available at pledge manager or also standard?
Do you know when the late pledge will be ready to be able to order the extras as a baker?
I thought I couldn't get more excited about this....but now there is potential for me to obtain the deluxe edition of Tang Garden?! Phenomenal to hear!!
And as we all know from Kickstarter boardgame projects: the average delay in delivery is approximately 6 months. So probably .. summer 2020 (northern hemisphere)?
Great to see that a lot of people got convinced to back the project and very happy we unlocked all the goals! Especially the 8 game boards is a very nice twist that I am looking forward to try out.
Congratulations on such a wonderful campaign!!
Ah, yes. The name fell somewhere in the comments or updates. So that is in fact the manager they'll use. New one for me then.
What a fantastic campaign, I'm so glad that you managed to raise all the funds you needed (and some), and as always with ThunderGryph Games, I am really looking forward to adding this game to my collection. I can see this game getting a lot of table time when it eventually arrives ... Well done to you, and well done to all of the backers.
ps. has it started shipping yet?
Congratulations on a great campaign!
The added bonus of deluxe editions of your previous games being available in the pledge manager is an awesome way to finish!
Not sure if that's been said, but which pledge manager are you going to use?
I definitely plan to make the upgrade to deluxe in April!


Guaranteed to take you from where you are, to where you WANT to be.
Be part of an intimate group. A tribe, who all have big goals.
Encourage others and stay consistent.
Group Coaching- you'll get weekly group coaching calls where you discuss your obstacles to find a solution. This is where we assess your plan and take action from a confident place.
On-demand videos- so you can learn to apply the tools on a deeper level at your own speed.
30 min "Life Line" Calls- you're access to TWO additional private calls, just in case you need them.
LIFE-time access to our closed Facebook group- you get to engage in weekly LIVES. We pick a topic, you ask questions, get others feedback, and engage with others.
Worksheets- practice makes perfect. You will get PDF's so you can do your own work.
5-step Process- that's proven to get you results. Show us you've done all the work and if you still haven't gotten results, you get your money back!
This is your full blueprint- so no matter what your goal is, you can bet you'll find success.


Why Joe to Go Rosé in a can is the most awesome thing to happen to spring & summer – throw it in a cooler for the boat, tailgate, or party!
After trying nearly project management app and studying every paper planner, I found a $12 planner and a pretty notebook to keep my days and projects organized!
You need a pair. I need a pair. Here are a few suggestions, all under $100.


Sitting at the nexus of Europe, Asia and the Middle East, Turkey has long been a "gateway" country, pivotal in its role in production and trade of all goods, including agricultural products. Moreover, as one of what are called Newly Industrialized Countries (NICs), Turkey is representative of a class of countries that are looked to as growth engines of the global economy over the next decade. With access to markets in Europe, Asia and the Middle East, strong public and private institutions, a growing middle class, a developing agricultural economy and an educated work force, Turkey represents an opportunity for global companies looking for investment. Because there is potential from Turkey for exports, imports and domestic sales on a variety of agricultural products, companies looking to participate in growth markets need to consider Turkey, but, specifics are important. General macro information is not enough. For this reason, the "sector studies" devised by Informa and Seres are a perfect guide for specific information on Turkish agriculture.
Dairy: Because of its unique geography and location, Turkey has tremendous potential with respect to dairy production and exports. And, its position relative to Europe makes it particularly well situated to service that market. But can Turkey overcome institutional and farm structure barriers to leverage its advantages? If so, where will the opportunities be?
Wheat: Turkey is a significant producer, importer and exporter of wheat and wheat products. The real long-term question is what are realistic long-term projections for Turkish wheat production and can Turkish production meet the quality and quantity expectations of the domestic market? And given that, what type of infrastructure is needed to support future growth?
Cotton: Turkey is a significant producer of cotton, but also imports cotton and exports finished and semi-finished cotton goods. While competition from other crops has hurt cotton plantings, government programs, including major irrigation and infrastructure projects, has brought new areas into production. The future trajectory of the Turkish cotton industry is a major question mark for the global cotton industry and trade.
Legumes: Despite the fact that legumes (crops covered for this study include dry beans, chickpeas, red/green lentils, broad beans and kidney beans) are an important part of the Turkish diet, acreage devoted to these crops has experienced a long-term decline as other competing crops have expanded. Will this continue and how will Turkey fulfill its domestic needs? What will it take to turn acreage around, what types of investments are needed and where will they happen?


What is photographic truth in a digital age?
Five leading photographers explain what truth means to them. Learn how Epson's photo ambassadors achieve total control over the integrity of their images – from capture to printed result – and ensure each photo conveys the moment, the story, the subject, the location, and above all the photographer's desire to communicate truth. Find out what drives them, discover their tools and techniques, and understand how they ensure their iconic images communicate truth without words.
One of the world's leading landscape photographers, Charlie Waite was born in England, and is famed for his use of light and shade in his images.
Based in Burgundy, David Brenot is a world-famous wedding photographer, travelling worldwide to catch the happiest moments of people's lives.
Swiss-born photographer Marco Grob is known for his distinctive portraits and has photographed the world's most famous people, from film stars to presidents.
Renowned for her monochrome photos of bodies at rest and in motion, Spanish photographer Isabel Muñoz is based in Madrid and exhibits worldwide.
Stefano Unterthiner grew up in the shadow of the Italian Alps, which led to a lifetime interest in zoology and a career as a world-famous wildlife photographer.
Follow Charlie on Instagram and like his page on Facebook to see new work, archive images and receive tips and insights about photographing landscapes.
is a SureColor SC-P9000 which has recently replaced an Epson Stylus Pro 9880 model. I have been using Epson printers for 20 years because I like how they behave with my work and depend on their reliability. Every time I get a new model, I am increasingly struck by their ability to deliver prints that have exact parity with my creative intention.
"It's important to capture the truth of the landscape in my photography because I want to inspire people to look more and wonder at the beauty around us. A landscape image cuts across all political and national boundaries; it transcends the constraints of language and culture."
"This is one of my most favourite photographs. Romance, nostalgia and sorrow came to my mind when I arrived here. Splatterings of orange lent a little warmth to a brutally cold Christmas day morning. I wondered how much time would pass before more hard frosts would eventually cause this dwelling to crumble; I knew there would be no one to prevent it from doing so."
Originally an actor, Charlie Waite couldn't resist the lure of landscape photography. During the last 28 years Charlie has visited over 40 countries, photographing beautiful and atmospheric locations and views. Today he is one of the world's leading landscape photographers and his photographs are held in collections all over the world. His passion for the art of landscape photography and desire to provide a showcase for those who share his passion inspired him to launch the prestigious UK Take a View: Landscape Photographer of the Year competition in 2007 followed by the US competition in 2014.
At the time of making the image in camera, try and previsualise the finished print on the wall. Don't neglect the histogram as it relates to any potential printing considerations. The viewer needs to believe in the image. Don't ask the viewer to accept something in the landscape that could never have been. The viewer should not have a single misgiving about the print otherwise the relationship between viewer and image is forever broken.
Look at what can be done in camera in pursuit of correct exposure. Endeavour to make the image in camera work without too much anticipated post-production. The aim is more accuracy in camera; less time in front of the monitor.
Look at where shadows are and how deep they are. It is surprising how deep black "nothingness" can dominate a photograph as much as unwanted blown highlights. Find a balance. Squint to evaluate brightness range. It is the best way to see whether it is too great for the capacity of the sensor or film to record.
A photographer must be acutely aware of the nature and quality of light and how the light is falling on the subject. Look at the way and the degree in which some surfaces reflect and absorb light. Light is everything. Have a love affair with light.
Attend to everything and let everything attended to be either intended or not intended or accepted to be there. Strive for more intentionality and less serendipity.
Try and ensure that that the finished print has parity with your initial artistic intentions.
is a SureColor SC-P6000, which I use to make large-format 60 x 90cm fine artprints. I absolutely love it.
Award-winning wedding photographer David Brenot has built a global reputation for capturing the true emotion of weddings through his rich, elegant and contemporary photographs. The photograph and the print are equally important to him and his success.
To capture the best natural images at a wedding you must be discreet, act quickly and pay attention to every detail. The moment, the composition and the light must all be right when you take the shot.
In post-production I isolate the subject and enhance the composition and light. The post-production stages are very important. It's not just retouching to improve the skin or removing an item from the photo. Post production allows to increase the visual impact of a photo, for example by dodge and burn. This phase will make it possible to give life to a photo to transform it into a work of art.
To produce a perfect print, make sure you choose the best photographic printer and inks, a good fine art paper and the right frame. Sounds simple, but all these combine to deliver the best result.
Thanks to the simplicity of the Epson driver, for setting up all the parameters for a perfect print, I can easily use the advance black and white mode for mono and atmospheric prints. This is the result of the high-quality formulation of Epson's UltraChrome HDX ink, but also the presence of 4 shades of black (Mat, Photo, Light Black, Light Light Black). This gives photographers the ability to reproduce, in a matter of a few clicks and options to tick in Epson's driver, perfect gradients of black on Fine Art Paper. The perfect B&W print is at the tip of your fingers! Give it a try, even on very colorful images.
What can really be appreciated for a professional photographer who is very strict on colorimetry is that consistent colour reproduction is guaranteed, time after time and without the need for expensive add ons. By using the Epson Colour Calibration utility, I am sure that the vision I embrace and the colours I want to reproduce are exactly as I imagined them during the shooting, and when retouching the photos.
The quality of the printing also depends on the chain of production during the printing: screen, computer and printer have to "speak" the same language. That is why the use of ICC profile is mandatory for the printer to interpret exactly what it should print. By using ICC profiles, you make sure your print color will reflect exactly what is displayed on the calibrated screen.
As a professional photographer making a living out of printed photography, it is also crucial to think about costs. Thanks to Epson's tools, such as LFP Ink Cost Calculator, it is very easy to calculate costs of production and have a clear view on how cost-efficient printing can be.
Time constraints are also part of the job. On that side, it is not complicated to print on large format, from a computer or a Mac Book Pro. Technically, the printer is excellent with its unmovable Epson TFP PrecisionCore printhead, reducing maintenance and offering high quality printings. With the choice of 350ml and 700ml individual cartridges, it enables me to make longer print runs between cartridge replacements. No more downtime during long production processes!
are are a 64-inch Epson Stylus Pro 11880 and two 17-inch Stylus Pro 3880 printers which I am now updating with a couple of SureColor SC-P800 models and a SureColor SC-P20000.
It was only after 20 years as a still life photographer in Switzerland that Marco Grob decided to pursue his true passion – photographing people. He moved to New York in 2003 and gradually built up an impressive portfolio and reputation. "It wasn't easy but everything changed when my photograph of Hillary Clinton appeared on the front cover of Time magazine in 2009," says Marco.
There will be portrait styles that you particularly like – but don't copy others. Find your sweet spot but don't overdo it, just keep it simple and let your intuition guide you. Plus, magazines love white backgrounds for their cover shots so they can easily add titles.
Post-production is a nasty thing and it dilutes the truth of a photograph. Do it only because you must do it, such as deleting a nose hair.
Detail is important to me because there is no hiding from the truth. So, I love to shoot with an 8x10in Hasselblad camera because it captures extreme detail and allows me to produce extraordinary images.
It's important to get to know your printer really well and essential to use a good RIP so you can control colour profiles and screening, etc, and obtain excellent and repeatable quality printed images.
"My moment of truth came at 5.31pm on April 25th, 1985 when I decided to give up the music business and become photographer."
Renowned for her monochrome images, where she tries to recall the real truth of human being, taking human body at rest and in motion as a pretext to exceed it and show those truths, Spanish photographer Isabel Muñoz is based in Madrid and exhibits worldwide.
My camera: Depending on the work I use different cameras. When I use film cameras I work with a Hasselblad H1 and Fuji Acros 100 film, in 35mm I use a Canon 5D Mark IV, and I am now working with a Fujifilm GFX 50S.
is an Epson Stylus Pro 11880, and I am now looking to upgrade to an Epson SureColor SC-P20000.
Isabel Muñoz is renowned for her highly atmospheric images, where she aims to capture the in-depth truth of the human being at rest and in motion. Based in Madrid, Spain, she travels the world looking for cultures and groups to photograph, and these show an incredible diversity, from tango dancers to warrior monks, bullfighters, Mexican immigrants and tattooed prisoners.
Create a workflow that enables you to achieve the results you want.
Always try to implement the same workflow to ensure you can produce similar results and a coherence in your work.
And the most important, use a printer, ink and paper that are proven to produce durable digital prints over many years.
"Thanks to Joel Brard, who discovered my work in the Mois de la Photo back in 1990, I had the opportunity to meet Christian Caujolle. I would say this was the key moment that set my career as a photographer."
My camera: My favourite camera is always the latest one on the market that brings new features and improvements, and hopefully helps me create better images.
is a SureColor SC-P9000, and I particularly like the rendition and colour fidelity it produces, especially on matte paper.
Stefano Unterthiner started his career as a zoologist, but his ever-present camera soon persuaded him to change his hobby into his profession. Today, he spends his time travelling in search of new subjects for his stunning wildlife photos, living close to them for long periods of time.
When photographing wildlife, it's important never to interfere or interact with them, just remain a spectator. When choosing my subject and composing the shot, it's important to find an original image, a framing that's distinct and able to show my subject in a different and innovative way. Composition is the essence of photography.
I always shoot in RAW, the digital 'roll of film', to retain the integrity of my images. RAW never lies!
When choosing an image to print, it doesn't necessarily have to be the best or the nicest one, but the one that has the power to communicate. I do very little post-production. I like low saturation and low contrast photographs. The post-production work I do allows me to make my images more faithful to what I saw. Cameras don't yet have the ability of the human eye, and post-production, if done with honesty, helps make the images more truthful.
We work with some of the UK's leading photographers. Here's what some of them had to say about the importance of print!
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Designed to create both high quality proofs and excellent photographic and fine art prints, the SureColor SC-P9000 is a versatile 44-inch photo printer and proofer. Able to reproduce 98% of Pantone-certified¹ colours accurately, the SC-P9000 comes with an ten-colour ink-set and an Epson TFP PrecisionCore printhead for accurate and long-lasting results. As well as offering the latest technology and a wide range of features, this printer is quick to set up and easy to use.
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Whether you work in monochrome or vivid colour, and prefer glossy or matte media, Epson offers a range of photographic papers designed to produce outstanding results every time.
Digigraphie® by Epson will open a whole new horizon of possibilities. Thanks to Digigraphie? the art world can now utilise the advantages of digital technology.
PANTONE® is the property of Pantone LLC. 98% coverage of PANTONE FORMULA GUIDE solid coated palette based on Epson Proofing Paper White Semimatte, printed with Epson printer driver at 2880x1440dpi. PANTONE coverage may vary when printed with a third-party RIP.
At the beginning of his career, British photographer Charlie Waite worked within the television and theatrical industry for a decade, where he became fascinated by theatrical lighting and design. This helped him realise how light and shade can reveal a landscape, and saw him change direction towards photography.
His works are particularly known for their immaculate composition, peace and serenity, and this unmistakeable style has proved very popular with collectors worldwide.
Charlie has lectured extensively in the UK, Europe and the US, and has held exhibitions around the world, from London to Sydney, New York and Tokyo. He's often seen demonstrating landscape photography techniques on television shows, and is a Fellow of the Royal Photographic Society.
Since 2007, Charlie has run the UK Landscape Photographer of the Year competition, to find and encourage the best landscape photography talent in the country.
French photographer David Brenot specialises in an approach to wedding photography that turns the finished photos into something approaching fine art, capturing perfectly the joy and excitement of his clients' happiest moments.
David has built up a worldwide reputation as a wedding photographer, travelling regularly to places as diverse as India, Sweden, America, Russia, Norway, and the Middle East to capture weddings of all types and traditions.
Experimentation is at the core of David's technique, and he spends much of his time exploring techniques drawn from the worlds of film photography, fine art photography and many other sources, to create elegant, timeless images.
A childhood spent growing up in the mountainous areas of northern Italy meant a great deal of trekking and photography for Stefano Unterthiner. This in turn led to serious study of zoology, and ultimately a doctorate from the University of Aberdeen.
He started a career as a zoologist, but his ever-present camera soon persuaded him to change his hobby into his profession. This decision was proven right in 2000, when he won his first award in Italy for best young environmental journalist.
Stefano now spends his time travelling in search of new subjects for his characterful and memorable wildlife photos, often living in close proximity to them and learning their life stories. Stefano has been working for National Geographic Magazine since 2009, has been widely published in magazines worldwide, and has a strong commitment to conservation and environmental issues.
In 2010, with his wife Stéphanie who is working with him, he opened The Little Wild Gallery, a personal photographic gallery at Bard Fort in Valle d'Aosta. He signed the Epson calendar, the most important Italian calendar dedicated to the author's photography.
Award-winning Swiss-born photographer Marco Grob started his career as a photographer's assistant in Los Angeles before returning to Switzerland to open a studio specialising in still life photography.
After twenty years, Marco decided to switch to portrait photography and moved to New York City. This was a pivotal moment, leading to a career photographing some of the most famous people in the world in his distinctive style. Subjects have ranged from film stars such as Leonardo DiCaprio and George Clooney to musicians including Lady Gaga and Justin Bieber, not to mention major political figures like Barack Obama and Bill Clinton.
Marco's work regularly appears in major international magazines and newspapers such as TIME, Vogue, Esquire and Wired, and he has won countless awards over the years, including an Emmy. He also campaigns against the use of landmines around the world.
Born in Barcelona, Isabel Muñoz moved to Madrid in her teens and has built a career as a world-renowned photographer of human being and focusing on sight and senses, exceeding the body to touch the real thing after it. Her first show was in Madrid in 1986, and her work has been exhibited in Paris, New York, Tokyo and many other places.
Isabel's photographs are distinctive for being exclusively monochrome and printed at very large sizes, showing her subjects in incredible detail. She travels the world looking for cultures and groups to photograph, and these show an incredible diversity, from tango dancers to warrior monks, bullfighters and tattooed prisoners.
Isabel's work has been recognised with a wide range of awards, including World Press Photo prizes and a Spanish Ministry of Culture gold medal. And most recently, she was recognised with the National Photography Award 2016 in Spain, the best career recognition a Spanish photographer could achieve. This National Award is intended to be the heart of next coming exhibition on her whole career to take place in Madrid in March 2018.
Charlie has recently upgraded to a new Epson SureColor SC-P9000 printer and is now regularly producing beautiful 1m² limited edition prints for galleries and exhibitions worldwide. "Large scale prints are not exceptional these days and there is a growing demand for them, especially from the USA," he says. He admits he is not technical and has had good advice about how to get the best from his printer from Epson and Colorgen, the company he bought it from. "People shouldn't be afraid of using professional large-format photo printers. It becomes easier after a very short while and one just needs to spend a little time getting to know the printer and what it can do.
"I never understand how anyone can invest so much of themselves into their photographs and then not complete the circle by printing it themselves; why ask someone else to re-interpret it and print it for you? However, I am aware that not every landscape photographer can spare the time to print. There are some exceptionally good labs in the UK and if photographers are not able to find the time to print their own work then I advise going to an Epson printer lab and work closely with them to produce a print that they are pleased with."
The 2018 Take a View: Landscape Photographer of the Year competition opens in April 2018. Visit www.take-a-view.co.uk for details of how to enter and previous winning entries.
Award-winning wedding photographer David Brenot has built a global reputation for capturing the true emotion of weddings through his rich, elegant and contemporary photographs. He photographs about 15 weddings a year – ranging from high-end five-day events to traditional one-day occasions – taking between 400 – 1000 images at each.
"It's important for me to stay focused during a wedding, so that I can take the detailed images that tell the real story of the special day, by capturing the truth and emotions of the event for the couple. My combination of 20% formal portrait and 80% spontaneous images encompass the spirit and emotion of the occasion. When the couple see my pictures they not only relive the day, but also discover new moments, emotions, laughter and tears.
"I am always exploring and learning. Each wedding is unique, and at each I try out some new images – new compositions, angles and lighting. They don't all work, but those that do I use in the future. It keeps me and my work fresh and creative." David's artistic style is his signature and he prefers to make prints of his work, using the Epson SureColor SC-P6000 in his studio in Dijon, Burgundy, France.
Since then he has had, in his words, "a front row seat to history being made," not only capturing significant politicians and personalities, but also delving into long-form stories, including a 'Year in Space' and the Emmy award-winning 'Beyond 9/11: Portraits of Resilience'. Since 2010 he has worked with the United Mines Action Service, reporting on the global tragedy caused by 100 million landmines.
Marco is passionate about his craft: "Everyone who carries a camera carries a responsibility to record the truth. It's important to do stories that are close to your heart and important to you. Photography is one of the most accurate and truthful forms of artistic observation. It allows a deeper and closer look into a human life and it's the reason that I became a portrait photographer. By photographing leaders, rulers and the ruled, I try to make sense of the world. It's fulfilling to see both sides. I photograph a lot of famous leaders and celebrities but their fame is not important to me. What fascinates me is discovering and showing their stories, whether a politician, mine victim, factory worker or tribal child in the desert.
"My aim is to document, unveil and bring to the surface what would otherwise remain hidden. The face reveals a lot about a person and gives you away. You can look at my portraits of Trump, Bush, Clinton and Obama and see everything written on their face - good and bad.
"The best and most truthful portrait photo is the one that captures in one moment the whole story of the person – be it resolution, humour, conflict, determination, pain, weakness... It only takes one moment to see all this. But there is also the part behind the face that we don't see: the war they are experiencing, the environment they live and work in, the political power plays they are involved in. We only see what they show us. Photography is part of recording history – but it doesn't always tell the whole truth. What I see may be different to what you see.
"For my portraiture I like to work quickly, simply and quietly with a hand-held camera and just a couple of assistants - often the best shots are taken in the first few minutes. When I had the honour of photographing Steve Jobs for the cover of Time magazine, the last sitting he did, I had set up the lights and background in advance in his office and it took just 42 seconds after he entered the room. In his face you can see how smart he is, his endless curiosity.
"Different lighting creates different energies and I love to experiment with changing lighting in a shoot. When I photographed Admiral McRaven who oversaw the special ops raid that led to the death of Osama Bin Laden, I showed him half in and out of shadow to give the effect that a man, previously in the background, was coming out into the light.
Isabel describes herself as a storyteller and her passion for the human body, the human spirit and the often-challenging stories behind the people she photographs is communicated through her luscious and timeless platinum contact prints, as well as very large format digital colour prints which show her subjects in incredible detail.
Since Isabel's first show in Madrid in 1986, she has won many awards including World Press Photo prizes and a Spanish Ministry of Culture gold medal. Today her photographs are in many international collections. Most recently, she was recognised with the National Photography Award 2016 in Spain, the best career recognition a Spanish photographer could achieve. This National Award will be at the heart of an exhibition about her whole career in Madrid taking place in 2018.
Stefano has been published in magazines worldwide and has been working for National Geographic magazine since 2009, when they published his first story on King Penguins – the result of five months spent photographing them on the Crozet archipelago, near Antarctica. He has won many awards for his work over the years and in 2016 he won the Landscape category of the Wildlife Photographer of the Year Award with 'Spirit of the mountains'.
"This photograph is a particular favourite of mine because with the utmost simplicity it tells the story of 'my' mountains," explains Stefano. "I was shooting a flock of Alpine choughs when the bearded vulture appeared, moving ghost-like across the mountainside and disappearing again into the clouds. The vulture used to be extinct here and has only recently returned. This image tells the story of the mountains and the success of conservation without artifice or post production. Nature, and true photography, don't need it.
"I always try to capture the 'moment' with my photography, to convey what I feel when I'm out there with the wild animals. It's hard, but when I succeed it's the ingredient that makes an image special. I simply let myself be guided by instinct and try to have empathy with the animals. Nothing else.
Stefano works closely with his wife Stéphanie at their base, the Little Wild Gallery, a personal photographic gallery in Bard Fort in Valle d'Aosta, Italy, where he produces his prints and visitors can browse and buy his work. "I use an Epson SureColor SC-P9000 64-inch printer because I particularly like the rendition and colour fidelity it produces," he explains. "I print in various formats - smaller formats are the most popular ones in our gallery, but I also print a lot of larger formats, like 60x90cm. For the special images I choose personally, I use Epson Digigraphie to create certified limited editions. I almost exclusively use matte paper. For large format prints I prefer Epson Cold Press Natural and Epson Hot Press Natural, and for other prints I use Hahnemühle William Turner.


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Find an Ophthalmologist
iTrack Procedures
Types of Glaucoma
Symptoms and Risk Factors
About Treatments
iTrack Surgical System
About ABiC
About Canaloplasty
Treatment Guidelines, ABiC
Treatment Guidelines, Canaloplasty
Check the spelling or try searching for a more general term.
Canaloplasty is an advanced surgical treatment for glaucoma. It uses breakthrough microcatheter technology to enlarge your eye's natural drainage system, similar to angioplasty. Canaloplasty is a restorative treatment. Unlike trabeculectomy, which bypasses the eye's natural drainage channels, Canaloplasty restores the natural outflow pathways in order to reduce elevated intraocular pressure (IOP). It is a 'non-penetrating' glaucoma surgery that does not require the creation of a permanent hole in the eye, so does not result in a 'bleb' (blister). Canaloplasty has an excellent safety profile with minimal post-operative follow-up and faster recovery time.
How does Canaloplasty work?
Most glaucoma treatments fail to completely address the natural outflow system and may even disturb the natural outflow function. Unlike traditional glaucoma surgeries (trabeculectomy and tube shunts), which bypass the natural outflow system, Canaloplasty works by restoring the natural ocular outflow function in four key steps:
The trabecular meshwork is more permeable due to microperforations caused by injection of viscoelastic and and it is stretched by a circumferential suture which holds the meshwork open to allow the fluid to pass through.
The canal into which the fluid drains, known as Schlemm's canal, is dilated by injection of a visco-elastic substance so that the flow is enhanced.
The dilation of the canal also opens up the collector channels which transport the fluid into the circulation system.
An additional fluid reservoir is created within the ocular wall. This reservoir can be stimulated to release more fluid if necessary in the longer term.
What should I expect after treatment?
After the surgery, you may feel some slight irritation under the eyelid until the sutures have fully resorbed. You may also see some bleeding in the front of the eye. This is usually a sign that the connection between the circulatory system and the aqueous outflow has been restored and that the surgery has been successful. Your surgeon will schedule one or more post-operative visits to ensure that everything is going smoothly and to check your IOP, and will prescribe drops to soothe your eye and prevent infection. You can resume normal, day-to-day activities, such as watching TV, immediately following treatment.
It is important to remember that managing glaucoma is a lifelong process: even after Canaloplasty and other glaucoma treatments, you will need to continue to visit your ophthalmologist every three to six months.
Complications and side effects?
One of the key advantages of Canaloplasty is its high safety profile. It is associated with significantly fewer risks, both in number and severity, than traditional glaucoma surgeries. It is important to note, however, that all surgeries have risks associated with them.
The most common risks of Canaloplasty are:
Bleeding in the Eye
Almost 30% of people who have Canaloplasty have some bleeding in the front of the eye. This bleeding (called a hyphema or microhyphema) resolves with time and rarely causes any permanent reduction in vision. It is a good prognosis for surgery because it is a sign that contact has been established with the blood circulation system.
Intraocular Pressure 'Spikes'
About 5% of patients will record a post-surgery IOP that is higher than it was before surgery. This is almost always transient and of no consequence.
The Formation of a Bleb
Approximately 6% of patients will experience the formation of a bleb (blister) on the surface of the eye in the area of the incision. It is important to note that with trabeculectomy, the formation of a (stable) bleb is necessary for success and is a necessary side effect of the surgery. With Canaloplasty, it is not a desired outcome but it rarely limits the effectiveness of the surgery.
Descemet's Membrane Separation
In approximately 3% of patients the viscoelastic can dissect beneath Descemet's Membrane (the thin film on the back of the cornea) and corneal stroma. In the majority of cases this condition will resolve on its own. If it does not improve spontaneously, your surgeon may inject a gas bubble into your eye to press this membrane back against the cornea.
Hypotony (IOP too low)
In some cases, IOP may drop too low – below 5mmHg – following the procedure. This condition is rare with Canaloplasty and only one person in two hundred (0.5%) would be expected to have prolonged hypotony. However at least one out of every ten patients (10%) is likely to experience hypotony following trabeculectomy.
Who will benefit from Canaloplasty?
It is necessary to first undergo an ophthalmic examination in order to determine your eligibility for Canaloplasty.
Canaloplasty is indicated for the reduction of elevated IOP in open-angle glaucoma (OAG) patients, including pigmentary glaucoma (PG), pseudoexfoliation glaucoma (PXF), normal tension glaucoma (NTG) and juvenile glaucoma. While it can be performed across the entire glaucoma treatment spectrum, it is particularly well suited to patients who have difficulty administering eye drops, or for whom medications or laser treatment are no longer effective. It is also a good option for patients who are reluctant to undergo the more invasive trabeculectomy surgery, which is often reserved for the end-stage of the disease. Trabeculectomy can severely limit your ability to participate in certain sports. No such limitation exists with Canaloplasty. Once healed, patients who have had Canaloplasty are able to return to their previous active lifestyles without restriction or limitation.
Ellex is the manufacturer of the iTrack™ surgical system for the reduction of intraocular pressure (IOP) in adult patients with open-angle glaucoma. It has been approved for the indication of fluid infusion and aspiration during surgery, and for catheterization and viscodilation of Schlemm's canal during the Canaloplasty procedure. Ellex does not accept any responsibility for use of the iTrack™ surgical system outside of these indications. The iTrack™ surgical system has a CE Mark (Conformité Européenne) and US Food and Drug Administration (FDA) 510(k) # K080067 for the treatment of open-angle glaucoma. Ellex does not accept any responsibility for use of the system outside of this indication.
The material presented herein may include the views or recommendations of third parties and does not necessarily reflect the views of Ellex Medical Pty Ltd.
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