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IS THE ELECTRIC VEHICLE METALS BOOM SUSTAINABLE?
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Is the electric vehicle metals boom sustainable? The photo shows a woman connecting an electric car to an energy source.
The metals used in electric vehicles, such as lithium, cobalt and copper, are at the heart of the revolution currently taking place in the automotive industry. Strict regulations, government support programmes, and the increased use of electric vehicles in certain regions are all strongly stimulating demand for these metals, which are now indispensable in the manufacture of batteries. Imbalances between supply and demand are thus pushing up their prices, even though the market share of electric vehicles remains modest. In its latest analysis, Coface does not foresee any major changes in these price trends over the next two years.
The different battery configurations, or the possible use of hydrogen as an energy source, wil not reduce the pressure on the use of these metals, even if the high cost of their integration contributes to encouraging research and development in alternative technologies. However, these efforts could change the situation in the longer term, with strong competition between countries wishing to gain an advantage in the next generation of vehicles.
METALS THAT ARE ESSENTIAL TO BATTERY PRODUCTION AND THEREFORE BENEFIT FROM STRONG STRUCTURAL TRENDS
The electric vehicle segment continues to grow globally, with a market share of 13% in 2020 compared to 8% in 2019. According to the International Energy Agency:
While car sales fell by 6% in 2020, electric vehicle sales rose by 41%, as Europe showed a strong appetite for this segment.
In the first quarter of 2021, sales of electric vehicles jumped by 41% compared to Q1 2020, and sales are expected to increase by 70% for the year.
In addition, internal combustion engines will be banned from sale in some markets, including Europe by 2035, removing competition for electric motors.
This trend puts pressure on metals needed to produce vehicles: lithium, cobalt, graphite, nickel, rare earth elements, aluminium and copper. Several tens of kilograms of metals, if not hundreds, are used in batteries, notably aluminium, which accounts for about half of the total weight, followed by copper, graphite, and nickel.
Aluminium is used not only in batteries but also in other parts of vehicles, such as the chassis or internal panels, because of its weight advantages and its ability to protect effectively against collisions. The case of copper is also interesting: it is essential for the production of batteries, but also used by electricity suppliers, who have to develop new networks to adapt to the electrification of car fleets and this new demand for energy.
GROWTH IN DEMAND EXCEEDS SUPPLY, PUTTING PRESSURE ON PRODUCTION AND PRICES
Coface expects nickel, aluminium, and copper prices to rise by 34%, 25%, and 47% respectively between 2020 and 2021. In addition, demand is expected to rise considerably between 2020 and 2050. Copper demand for electric vehicles is set to increase by 9.9% annually during this period, while nickel will likley grow at an annual rate of 11.8%.
The main producers of these highly sought-after metals are the Democratic Republic of Congo (DRC), Australia, Indonesia, Chile, and Russia, prompting these governments to amend their mining codes in order to capture a greater share of the added value generated, but also to strengthen environmental regulations to protect local communities.
The pressure on mining and metal companies to improve supply and respond to these trends will be intense.
Coface expects capital expenditure to increase in order to capture growth, but companies in the sector will also need to show strong profitability, which represents a short-term challenge. Indeed, this sector was deeply affected by the pandemic at the beginning of 2020, given the fall in price in line with the drop in demand and the various lockdowns. As the economic outlook was weaker at the time, exploration and capacity addition budgets were reduced before the trend reversed.
MANY CHALLENGES REMAIN IN REDUCING DEPENDENCIES
Battery manufacturers and their customers are trying to reduce their dependence on cobalt, but also to find alternative energy sources. Hydrogen is generally cited as a strong alternative, capable of alleviating the overall costs to the industry and the burden on the environment. However, Coface does not expect hydrogen to be a game changer in this decade without strong incentives from governments.
In addition, players in the battery ecosystem – which includes end-users such as car manufacturers – are not expected to favour hydrogen in the short term, as they have invested heavily in batteries to comply with the stringent regulations put in place by the various authorities.
Recycling and the circular economy are other responses to meet rising demand and reduce the impact on the environment. Although the will to develop the use of electric vehicles is based on achieving the objectives of the Paris Agreement and the fight against climate change, metal extraction, like any mining process, has a significant impact on the environment and on communities. In the DRC, deforestation and child labour are widespread. Such issues need to be addressed to give the electric vehicle revolution the credit it deserves.
With millions of electric vehicles being sold, recycling will be a key issue in the coming years, and many companies are rushing to develop their own operations in this segment. Cobalt and nickel recycling is relatively mature, with an overall rate of 60%, but lithium is rarely recycled with an overall rate of only 1%. There is therefore room for improvement, particularly with better waste management.
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text:
The naked authenticity of Amanda Palmer
The Dresden Doll bares all about her Kickstarter campaign, the power of the Web, and her cross to bear.
Austin Powell— 2012-09-14 01:00 pm | Last updated 2015-12-11 12:16 pm
Amanda Palmer believes firmly in nudity as a tool for provocation. And she's been using it a lot lately.
First she appeared, unadorned and unshaven, in a bath tub for her scintillating collaboration with the Flaming Lips, "The First Time I Ever Saw Your Face," then followed suit with a NSFW stop-motion video, "Want it Back." In a live setting, she's even more daring, recently allowing her fans to scrawl over her naked body at an art gallery and, at a live show in Brooklyn, pop her dress made of balloons, slowly uncovering her in the process.
"There's this thing about being spontaneously naked and viewable from multiple angles, it absolutely means you won't be flattering," offered Palmer by way of explanation. "It's one thing to pose naked in Playboy when you're prompt and relaxed and Photoshopped. It's another thing to run around naked in an art gallery and have people snapping pictures on their phones. But that's also why I love it.
"It's not about sexiness. It's not even about nakedness. It really makes people think about what the rules are and why they're following them. That's what it really comes down to. It's about forced authenticity and the surprise. … That's the magic moment."
This notion of forced authenticity epitomizes Palmer's appeal. The dynamic Boston songstress runs a transparent operation, constantly pulling back the curtain – literally and figuratively – to give fans a glimpse into her big-top circus. The former Dresden Doll is prolific almost to a fault on Twitter, hosting flash sales and personally responding to her followers (and critics), while her new band, the Grand Theft Orchestra, recently live-streamed the opening date of its current tour on YouTube.
Palmer's constant engagement has resulted in fervent fan base, one that chipped in nearly $1.2 million for the recording and promotion of her new album, Theatre is Evil, a full-blown cabaret punk spectacular that marks her most ambitious to date. Her historic Kickstarter campaign is the most funded musical project in the crowdfunding site's history—nearly doubling the total of her closest contemporary—with pledges up to $10,000 for a private dinner.
On the occasion of her tour to support the album, Palmer discussed Theatre Is Evil, the power of the Web, and her cross to bear.
Daily Dot: Whether it's on YouTube or Twitter, you seem to have a really personal and ongoing relationship with your audience.
With the success of the Kickstarter, it's almost been frustrating to explain it to people who haven't been following the plot for all of these years how genuine my relationship with my audience really is. It feels like a long-term friendship that's gone through many permutations and chance encounters. It's a very real and unmanufactured relationship between me and all of these people that have followed what I've been going through as an artist.
DD: How do you balance it all: the time you need to uphold that constant engagement and the focus you need as an artist?
It's a daily mystery. I think the way that I approach my life and time and how I choose to spend an hour of downtime is probably just cosmically different than a normal person might spend there's. I haven't seen much television since the '80s; I don't really go out to the movies. If given a choice, I'm more likely to stay up after a show and sign for 500 fans than I am to give into the feeling of exhaustion and go to sleep. And I just make those choices on an ongoing basis. I don't choose the easy way out.
And it's the technology has really made it possible. It used to be that that Brian [Vigilone] and I would, in the Dresden Dolls, sign every autograph after the show and then answer every fan email. But the connection sort of ended there. Now that I have Twitter, anytime I have 20 minutes of downtime, I can have mini-conversations with my fans on the fly. Now I can communicate constantly about very real things.
I don't feel like I'm clocking into work when I tweet with a bunch of my fans. I actively enjoy it. And I'm just built for it. Artists nowadays that are hyper-social have a home-court advantage now given the state of technology.
DD: You once said that you made more money in one hour on Twitter than you did from record royalties. Does that say more about the state of the music industry or the power of the Web?
It is absolutely both. The fact that the Dresden Dolls could have as many fans and have toured as hard as we did and 20,000 records and still never see any money past our original advance showed how record contracts and major label deals were really set up to screw the artist. Whereas Twitter gives you the ability to say, "Hey, look everybody. Tonight I made a thingy. Do you want it?" And everybody raises their hand and says, "Yes." And that's pretty much the end of the transaction. There isn't a royalty statement a year-and-a-half later coming up blank. There's an idea and an hour late, $20,000 in your bank account.
DD: On a similar note, your Kickstarter campaign was by far the most successful one by a musician or band. Could others replicate that success?
To be successful at my level, you have to have a lot of really faithful, supportive, and open-minded fans, and it takes a lot of energy to build that. But crowdfunding is just a tool. It's malleable. So it's absolutely possible to be a local band with a local following and kick-start a recording for $1500, if that's what you need to do. You just need to know who you're reaching out to and what's possible.
Crowdfunding isn't a magic bullet. You can't crowdfund without a crowd, and you can't start a project from scratch and get people interested in it. You need to have some degree of reach and some small starting point. You need someone to send that link to if you're going to create it.
But that's what it's always been. Musicians have asked me over the years, "How do we become successful?" The story doesn't change. You write good songs. You put together a band. You get in the band and you suffer. And eventually, if you work really hard, things will start happening. And then to have the right tools to capitalize on what you built. But you can't skip the hard work. You can't skip the songs or the shitty gigs. That part never has been easy and it never will be. It's a cross the artist must bear.
DD: When your fans are the ones funding your album, do you feel more of an obligation to them—to make something that you expect them to like?
I find the question confounding. I always feel like my responsibility as an artist is to make art that I think is good. Period. I know some people will like it. I know some people won't like it. That's always out of your control as an artist. But I realized in the early days that you can go many different paths. You can try to make art that will please your label or your audience. Or you can try to make art that you think is good art. I decided to strictly adhere to the latter philosophy and let the chips fall where they may.
The important thing to point out about the Kickstarter was that 25,000 people were willing to plump down money for a record they'd never heard. That says a lot about their faith in me and their relationship with me. They'd been following the story for long enough that they knew they were going to get a quality record. And if it isn't something that they end up liking, they're still interested in following the plot. And when I look at the artists that I really respect, it's not whether or not I like this particular record or not. I'm just interested and fascinated in them as artists. Like Björk, I will listen to every record she makes until the day she dies, even if I don't like four of them in a row, because I want to hear what she's going to say and what she's going to do. I think I have the same sort of relationship with my fans. They're more interested in me as an artist than they are in getting a perfect record.
DD: But you had everything in place to make Theatre is Evil, a blank slate and a blank check. It should be your masterpiece, right?
I do feel I got about as close to making the record that I heard in my head, which is all you can really ask for as a songwriter. You hear what's possible and then you just pray you can find the personnel and the studio to get the sounds that you envision. I hit it about as close as possible.
This interview originally appeared in the Austin Chronicle.
Austin Powell
Austin Powell is the former managing editor of the Daily Dot. His work focuses on the intersection of entertainment and technology. He previously served as a music columnist for the Austin Chronicle and is the co-author of The Austin Chronicle Music Anthology.
Amanda Palmer Dresden Dolls Kickstarter Theatre Is Evil

redpajama_set_name: RedPajamaCommonCrawl


Are your retirement savings protected?
Canadians who own registered retirement savings plans (RRSPs) know the importance in building and maintaining value in their savings plans. In most cases, these plans slowly grow over the course of our entire lives and comprise a large part of our net worth. Fortunately, our lawmakers also agree that it is critical to preserve your retirement savings for your future.
Property in RRSPs or RRIFs are not an asset in your bankruptcy, other than contributions made to the RRSPs within 12 months prior to the date of bankruptcy.
Procedurally, your Trustee will reach out to the investment provider and ask them about contributions made within the past 12 months. Based on that, the Trustee will either cash out the contributions made over the past 12 months or ask you to pay the Trustee the amount of those contributions that it would expect to receive. Any amounts contributed older than 12 months are yours to keep.
A few exceptions apply. If your RRSP is held under a life insurance contract and certain direct family members are named as the beneficiary, the entire amount (including contributions within the past 12 months) are exempt from seizure by the Trustee.
It is important to note that if you transferred your RRSP directly from one company to another, your RRSP remains protected as you haven't contributed to the policy. That said, if you cashed out your RRSP and re-contributed this amount to a new policy, this is considered a new contribution and the full amount would be taken by the Trustee.
Pension plans are also exempt from seizure by the Trustee in a bankruptcy. Your pension plan is yours to keep and is not available to the Trustee or the creditors. Check with a Trustee in your province if you are not located in Ontario.
66 (1) Money payable under a pension plan is exempt from execution, seizure or attachment.
Term life insurance generally has no cash value and you could keep the term life insurance policy, provided you continue to make payments on this policy.
Whole life insurance, also known as universal life insurance, is exempt from seizure if a "preferred beneficiary" has been named in the policy. A preferred beneficiary is a spouse, parent, child or grand child. If your life insurance policy is not exempt, the Trustee will determine its cash-value and that amount would need to be paid to the Trustee or the policy would be cashed out by the Trustee. If you have a substantial cash-value in a non-exempt life insurance policy, you may wish to consider filing a consumer proposal.
RESPs are generally not exempt from your creditors or your Trustee. In most provinces, your Trustee will determine the value of your RESP if it were to be cashed out (after grants are reversed and fees are added) and provide the option to have someone re-purchase the RESP from the Trustee for that value (maintaining the grant money in the policy) or will alternatively cash out the RESP.
While an RESP is for the benefit of your child, it is property of the parent/owner until the money is paid for your child's education. In certain provinces in Canada, such as Alberta, RESPs are exempt.
The legislation is silent on creating any exemption for RDSP plans in Canada. In Ontario, no decision has been made exempting RDSPs from seizure by the Trustee. Nevertheless, a November 2016 decision of the BC Court stated that a Registered Disability Savings Plan (RDSP) could not be seized by the Licensed Insolvency Trustee of the bankrupt beneficiary to satisfy the claims of creditors.
Other savings accounts such as mutual funds, GICs, stocks, bonds, investments, and shares are assets in your bankruptcy and belong to the estate. The Trustee must determine the value of these assets and realize on them for the benefit of creditors. This may mean selling theses assets or making arrangements for someone to purchase these assets from the Trustee.


I'm not familiar with MHV and SHV connectors. I'm trying to determine the type of connector on a Power Designs 2K-10 High Voltage Regulated DC Power Supply.
The manual says that they are Star-Tronics 5134 connectors. The mating connector is a 5135, and it supposedly fits RG-59 cable. Star-Tronics was located in Georgetown, MA but was swallowed up by EG&G and now appears to be defunct.
I found a spec sheet for a EIC-1 Extrapolation Ion Chamber which implies that a Star-Tronics 5135 is a SHV connector.
The unit came with a mating cable. Here's the Star-Tronics 5135 end.
The other end has a different style of connector. Maybe this end is a MHV connector?
SHV and MHV connectors are pretty expensive. Before I order the wrong one in my ignorance, would someone who is familiar with high-voltage connectors identify the types of these two connectors?
I ordered a SHV plug, a couple of MHV plugs, and an MHV socket from Allied Electronics. I can now verify that the Power Designs output connector is an SHV connector, and the other connector on the cable is a MHV.


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text:
Bizos: Government must be the guardian of our Constitution
George Bizos 10 Apr 2015 07:05
George Bizos. (Delwyn Verasamy, MG)
Where does the power of the Constitution lie? As a question of fact, it is merely a document containing words on paper. As a question of law, we know it to be supreme, but supremacy is an intangible concept. For me, it is a question of values.
To my mind, our Constitution entrenches the deepest values that we share as a people. It is our common ground, our shared history and our optimism for the future. The effect of a constitution on society does not depend on the text of that Constitution alone; it is about turning this into a reality for all South Africans to enjoy.
The process of drafting the South African Constitution was a long one, which involved many people, many compromises and many negotiations (and negotiations about the negotiations).
I recall a visit that Nelson Mandela paid shortly after his release from prison in 1990 to the ANC committee responsible for drafting a proposed Constitution for South Africa, in which he enjoined us to "draft a Constitution that is good for South Africa as a whole and not only for the ANC" – and that, I believe, is what we did. Of course, certain interests were sacrificed for others, and there will inevitably be people who believe that their interests should have trumped those of someone else, but I believe that the Constitution we have today, with the values it entrenches and mandates us to uphold, is good for South Africa as a whole.
It frustrates me when people try to vilify the Constitution as being the cause of the ills in society in order to further their own political agenda. The Constitution is not an obstacle. It does not stand as a hindrance to transformation or reform. It does not stifle wealth creation and prosperity. It is the product of a collective effort, negotiated for the benefit of all, founded in the common values of those who had fought so hard to see it realised at a time when the idea of a democratic Constitution founded in the values of human dignity, non-racism and non-sexism seemed a far-fetched ideal.
The principles upheld in the Constitution are only the first step in a long and arduous journey to put into practice the ideals that these principles embody. There is no doubt that this is in no small part the role of government, but it is also a role for us as civil society to see the realisation of these rights. We have failed a large number of people in our society who still live in poverty and who are unable to vindicate the basic rights that they are promised under the Constitution. But the Constitution is only a framework; it is for us to give it life and meaning.
I believe that respect for the Constitution and that which it seeks to protect must begin with government. Government should be its primary guardian and champion, and should lay the foundation for others to follow. The Constitution should be allowed to fulfil the function for which it was intended; its institutions should be fiercely guarded and protected, and it should be a source of pride for us all. Those who seek to vindicate their rights and that of others, and who challenge the state to give effect to the Bill of Rights, should not be seen as enemies of the state but rather as cohorts seeking to further the same ideals.
But this is not a role for the government alone; it is a role for every one of us. The daily struggles of the majority of our people should be the struggles of us all, and the Constitution should be seen as a beacon of hope and a continuous promise of better days to come. This is crucial if we are to give effect to the fundamental values contained in our Constitution, not least of all that of ubuntu.
As our Constitutional Court stated in Dikoko v Mokhatla: "In our constitutional democracy the basic constitutional value of human dignity relates closely to ubuntu or botho, an idea based on deep respect for the humanity of another. Traditional law and culture have long considered one of the principal objectives of the law to be the restoration of harmonious human and social relationships where they have been ruptured by an infraction of community norms."
Similarly, former Chief Justice Pius Langa explained further that: "The notion that 'we are not islands unto ourselves' is central to the understanding of the individual in African thought. It is often expressed in the phrase umuntu ngumuntu ngabantu, which emphasises 'communality and the inter-dependence of the members of a community' and that every individual is an extension of others ... '[A]n individual human person cannot develop and achieve the fullness of his/her potential without the concrete act of relating to other individual persons.' This thinking emphasises the importance of community to individual identity and hence to human dignity."
Our job is not yet done; the road is still long and riddled with challenges, and we have our work cut out for us. There are days when these challenges seem too vast to overcome, but I am galvanised in my belief that this is not so.
Advocate George Bizos is a human rights lawyer at the Legal Resources Centre. This is an edited extract from a speech given at the University of KwaZulu-Natal on April 9.
political partiesNelson MandelaConstitution
Bizos questions cop about being 'willfully blind' at Marikana
George Bizos: Mandela's trial and tribulations


The RSPCA Paw of Approval has received a big 'thumbs up' from consumer watchdog Choice, as part of their review of food labelling schemes.
A CHOICE panel, comprising food and sustainability experts, scrutinised the claims behind 10 of Australia's most recognised health and sustainability logos, including RSPCA Approved Farming.
The RSPCA welcomed the recommendation from Choice saying it provided a further guarantee to consumers who are seeking animal welfare friendly food products.
"We know that consumers are increasingly baffled by food labels, with recent market research revealing one quarter of shoppers are confused and a third of shoppers don't trust labels at all," said RSPCA CEO Heather Neil.
"Through RSPCA Approved Farming, we want to take the guess work away from consumers who are seeking higher welfare alternatives. By buying products stamped with the RSPCA Paw of Approval, people can trust that the RSPCA has done all the necessary checks to ensure the animals have been farmed humanely.
The RSPCA Paw of Approval can be found on eggs and pork products that are farmed to the RSPCA's high animal welfare standards. The RSPCA has just released chicken meat standards and is hoping to announce its first meat chicken producer soon.
"RSPCA eggs and pork are already in around 1,100 stores nationally but we'd like to see higher welfare food on every supermarket shelf in Australia. We know that consumers are looking for it.


text:
cask 'klayout' do
  version '0.23.2'
  sha256 '96ce3fdead710248ed2ed4f25c9a94859949466d42eaa4f87881c17567dc1f15'

  # 178.77.72.242 is the official download host per the vendor homepage
  url "http://178.77.72.242/downloads/klayout.#{version}.pkg"
  name 'KLayout'
  homepage 'http://www.klayout.de/'
  license :unknown # TODO: change license and remove this comment; ':unknown' is a machine-generated placeholder

  pkg "klayout.#{version}.pkg"

  uninstall pkgutil: 'klayout.de',
            quit:    'klayout.de'
end

redpajama_set_name: RedPajamaGithub


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You can attend every 10th training (for full time students and retired athletes every 5th) free of charge.
2 pcs of Atlasz t-shirt or (in case of swimming) 1 pc of swimming suite, that you need to wear during the competition.
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text:
Абдугани Эргашевич Умиров (род. 27 января 1964 года, Кашкадарья, УзССР, СССР) — узбекский экономист и политик, депутат Законодательной палаты Олий Мажлиса Республики Узбекистана.

Биография
Абдугани Умиров родился 27 января 1964 года в Кашкадарье. В 1989 году — окончил Ташкентский институт народного хозяйства.

Представляет Социал-демократическую партию «Адолат». В 2015 году становится депутатом Законодательной палаты Олий Мажлиса. Представитель комитета по бюджету и экономическим реформам. В 2020 году был переизбран на еще один срок.

Примечания

Депутаты Олий Мажлиса Республики Узбекистан
Члены Социал-демократической партии «Адолат»

redpajama_set_name: RedPajamaWikipedia


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text:
Africa|Report Criticizes U.N.'s Handling of Child Sex Abuse Allegations
https://nyti.ms/1PbhjZQ
Report Criticizes U.N.'s Handling of Child Sex Abuse Allegations
By Somini Sengupta and Rick Gladstone
UNITED NATIONS — An independent panel has concluded in a scathing report issued Thursday that United Nations officials passed allegations of child sexual abuse by peacekeepers "from desk to desk, inbox to inbox" and failed to meet the organization's core mission to protect the rights of the most vulnerable civilians.
The report grew out of allegations that French soldiers deployed in the Central African Republic had offered food to children as young as 9 in exchange for sex. In one of the most damning indictments of the United Nations system, the report found that its officials had "turned a blind eye to the criminal actions of individual troops," and failed to protect or aid the child victims.
Instead, the 111-page report said, United Nations officials obscured the allegations and focused on questioning the conduct of one senior staff member who had leaked the information to the French authorities.
"In the absence of concrete action to address wrongdoing by the very persons sent to protect vulnerable populations, the credibility of the U.N. and peacekeeping operations are in jeopardy," the panel's report said.
The report raises broader questions about the organization's willingness and ability to hold accountable its own staff and troops deployed to protect the most desperate people in war zones around the world.
Sexual abuse allegations have dogged United Nations missions for years, and even after the allegations came to light in the Central African Republic, others surfaced against United Nations peacekeepers there. The allegations in the country implicate the very arm of the organization responsible for safeguarding civilians' rights: the Office of the United Nations High Commissioner for Human Rights.
The report was issued amid at least two other serious scandals confronting the United Nations in the final year of the 10-year tenure of Secretary General Ban Ki-moon. In October, the Antiguan diplomat who headed the General Assembly in 2013 and 2014 was charged in a multimillion-dollar corruption scheme; he has pleaded not guilty. In November, Mr. Ban's mediator for the long-running Libya conflict was implicated in an apparent conflict of interest, after he accepted a job funded by a country that had backed one Libyan faction.
The United Nations' handling of the child sexual abuse allegations, however, is by far the most damaging to its reputation.
"The welfare of the victims and the accountability of the perpetrators appeared to be an afterthought, if considered at all," said the report of the three-member independent panel led by a Canadian former judge, Marie Deschamps. "Overall the response of the U.N. was fragmented and bureaucratic, and failed to satisfy the U.N.'s core mandate to address human rights violations."
Mr. Ban, who appointed the panel, said in a written statement, "I express my profound regret that these children were betrayed by the very people sent to protect them." He said he would "act quickly" to determine what to do about any United Nations officials found to have abused their authority.
The abuse is alleged to have occurred from December 2013 to June 2014 near a camp for displaced people in the Central African Republic's capital, Bangui. United Nations investigators uncovered evidence that six boys, ranging from 9 to 15 years old, had been sexually abused by French soldiers.
The panel faulted the United Nations mission chief, Babacar Gaye, saying he had not taken the evidence seriously. "He turned a blind eye to every opportunity he had to intervene," Ms. Deschamps said Thursday at a briefing with reporters.
Mr. Gaye, a retired Senegalese general, was dismissed by the secretary general last August.
The panel also faulted an aide to Mr. Gaye, who at the time was the top human rights officer in Bangui. The aide, Renner Onana, still works for the mission in the Central African Republic, though in another capacity. What disciplinary action will be taken against him, if any, is unclear.
From the start, the scandal has revolved around a senior official in the United Nations human rights office in Geneva, Anders Kompass, who leaked the abuse allegations to French officials in July 2014. Many months later, he was suspended by his boss, the high commissioner for human rights, Zeid Ra'ad al-Hussein, who said he had violated protocols. The suspension was short-lived. He was restored to his post.
The panel was critical of Mr. Hussein's actions. It faulted him for what it called "a single-minded determination to pursue an investigation" of Mr. Kompass. But the panel said Mr. Hussein's actions did not "rise to the level of an abuse of authority."
Mr. Hussein's response to the panel, in an annex to the report, signaled a tense relationship with his subordinate. He said he was shocked that Mr. Kompass had divulged the identities of the children without their consent.
On Thursday, in a written statement issued after the report's release, Mr. Hussein said that "it's extremely important" for the United Nations system broadly to "strengthen and accelerate its responses to all types of human rights violations."
Mr. Kompass was exonerated by the panel.
It blamed a raft of other officials for having failed to take action, singling out Carman Lapointe, who was responsible until recently for internal oversight of the United Nations bureaucracy. It said she had not been impartial in her inquiries about Mr. Kompass's actions.
The panel was highly critical, too, of the special representative for children and armed conflict, Leila Zerrougui. She "took no steps to inform herself" about the welfare of the child victims until widespread media coverage began last spring, the panel said.
Not least, the United Nations children's agency, Unicef, did little more than refer the victims to a local group that met with them in 2014 for no more than a couple of hours. In a written statement, Unicef said it was reviewing the panel's conclusions, adding that "we, of course, deeply regret those failures, including in not adequately following up on the children's well-being."
As for the soldiers accused, France has said it is investigating. So far, no arrests have been made. Early this month, French officials said four peacekeepers were being questioned.


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Piano Masterworks
Sérénade grotesque [3:33]
Jeux d'eau [6:03]
Sonatine [11:43]
Miroirs [30:58]
Gaspard de la Nuit [24:04]
Alessandra Ammara (piano)
rec. 28-30 November, 2012, Palazzo Chigi, Ariccia, Italy
ARTS MUSIC 47763-8 [76:21]
Wow. This is very frequently recorded music, Alessandra Ammara is not a household name, and the cover art is a little chintzy, so I did not expect much from this CD. Goodness was I wrong. Ammara is a distinctive artist with a truly unique view of Maurice Ravel's piano music, and these interpretations are like no others. She takes big risks, daring ones, and they may occasionally fizzle but they still make this album stand out from the crowd. (Editor: Dominy Clements was equally impressed by Ammara's Schumann - see review).
Her Jeux d'eau is comparatively slow but has a beautiful soft touch; the play of the waves is water is well-captured, and it feels like it is warm and glittering under the sun. The Sonatine, with little staccato touches but exactly the right air of perfumed classical-era elegance, impresses, and Miroirs does too. "Une barque" is unusually slow, but no less compelling for it because Ammara displays such mastery of color and of the pieces dynamic range; "Alborada," by comparison, is as glittery as can be. The highlights are the atmospheric, spare keystrokes of "Oiseaux tristes" and "Les cloches," which share a tendency with Gaspard to have exaggerated dynamic pushes and pulls.
In Gaspard de la Nuit, Ammara presents a very slow "Ondine" (7:30!) which really dedicates itself to the same kind of water imagery as one hears in Jeux d'eau. The climax is gigantic. "Le gibet" is the opposite of monotone: its dynamic range is almost operatic, enough to probably thoroughly divide listeners' opinions. Most surprising is "Scarbo", where, in the hushed central passage (beginning 5:40), certain repeated notes stick loudly out from the dark murmurings. There's also a novel, clattering phrasing given to certain chords at the climaxes. I heard details I'd never heard voiced properly before, and although there are eccentricities which give me pause, there are others which have haunted my memory for days.
All in all, this Gaspard is decidedly eccentric, even weird, but to me utterly compelling. Other readings - Sudbin, Schuch, Pogorelich - are this steely and forceful, but Ammara's feels like it has only just come out of the fire and still glows red. She's not authentic to the text, and is maybe over-the-top, but maybe irresistible.
That's true of her Ravel generally: even where it steps out of orthodoxy, it's irresistible. She's a compelling artist with a real, individual voice. I'd take this over Generic Ravel Album #539 every day of the week, and at least for now I'm taken enough with her gigantic, dramatic, even operatic way with this music to defend it against any critic. This is a major release.
Brian Reinhart


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Q: Soccer Tournament Statement to Symbolic Forms Suppose there is a tournament involving $b$ teams where $b \ge 2$. It is viable to name the teams as $T_1, T_2, \cdots T_b$ so that $T_r$ beats $T_{r+1}$ for any $r$ from $1$ to $b-1$.
Here is what I've done
$\forall r \in \{1,\cdots, b-1\}$, $T_r$ beats $T_{r+1}\iff b \ge 2$
Is this the correct way to write the symbolic form of the above statement?

redpajama_set_name: RedPajamaStackExchange


text:
More Rain
The weekend was kind of a blur, partially from activity and partially from sloth. Friday night Jen went out with a friend so Finn and I met the neighbors at the ice cream parlor for dinner. Then we got some pizza and headed back to their house to hang out for a while and have some real food before wrapping up the evening.
Saturday it threatened to rain all day, and the forecast kept pushing thunderstorms back throughout the morning and afternoon so Jen and I made the best of things. I was able to mow and edge the whole lawn for the first time since I bought the new mower, and it made a huge difference. We went out for a truckload of mulch and some more soil, and while Jen started mulching the beds I transplanted six cukes to a separate container and transferred 3/4 of a rainbarrel to the one behind the greenhouse. I did a bunch of other errands and yardwork until about 5, and then we had our niece and nephew over for steaks and corn and beer.
Sunday was pretty much a bust; it started and stopped drizzling all day until about 3, when the heavens opened up completely. I was doing work at my desk for most of the afternoon but nobody was very motivated.
It looks like the forecast for camping weekend looks good so far; partly cloudy for Friday and sunny on Sunday. Fingers crossed…
Date posted: June 11, 2018 | Filed under house | Leave a Comment »
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Destroying planets and using fear of this battle station to keep the local systems in line was my No. 1 passion until — about 30 seconds ago, weirdly! That was when I saw the X-wings that had evaded our turbo-lasers and were proceeding down a trench toward our vulnerable thermal exhaust port — and realized I had to speak up. I thought: What if remorselessly destroying planets isn't my passion? What if my real passion is staying alive and avoiding the consequences of my actions?
This is from a couple of days ago but I've been crashing on a big project at work, and it still makes me laugh.
The President of the American Federation of Teachers issued a formal statement on Betsy DeVos' resignation today.
A detective wrote in a probable cause statement that Brandenburg, 46, is an admitted conspiracy theorist and that he told investigators he intentionally tried to ruin the vaccine because it could hurt people by changing their DNA.
Fantastic. I guess this asshole doesn't remember his Hippocratic oath class in pharmacy school.
The New York Times has posted an absolutely incredible investigation and recreation of the shooting death of Breonna Taylor. Using body cam footage, newly released records, and after-accident interviews, they show how the police detail who broke her door down made multiple careless mistakes and endangered her life and the lives of her neighbors by blindly shooting into a darkened apartment without announcing who they were or why they were there. This is 18 minutes worth watching.
Rowling fashioned herself an untouchable goddess at the exact moment untouchable goddesses became obsolete.
The Cut digs into J.K. Rowling's journey from a universally respected creator of an inclusive fantasy world to a trans-exclusionary radical feminist.
Read more interesting entries here.
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Help! take me back to the top


In the ongoing track of Star Plus serial Tu Sooraj Main Saanjh Piyaji (TSMSP), viewers have seen that Kanak passes all the test of being a Dharampatni (good wife) given to her by Umashankar. However, she fails to conclude the test with the puja ritual.
Kanak decides to stands for her self-respect. She is asked to drink the water which was used to clean Uma's feet as a part of the ritual. Kanak denies to follow the ritual and says that she comes from a family which values self-respect. Kanak is not allowed to be a part of the puja and Uma performs the puja with Kanak's picture alongside.
Now, as per latest reports, viewers will have to gear up for interesting track, as Kanak will try to seduce Uma with her beauty. The viewes will Kanak in a new avatar as Rambha. She will be her sensuous self and will be seen doing her best to woo and seduce Uma.
Will Kanak get sucessful to seduce Uma? Or is it yet another dream sequence?
Keep reading this space for all the latest news and updates of Tu Suraj Main Saanjh Piyaji.


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Q: Override annotated resource by the deployment plan in weblogic I have @Stateless ejb with simple @Resource field
@Stateless
@Local({Foo.class})
public class FooImpl implements Foo {

    @Resource(name = "field1")
    private Boolean field1 = false;

    @Override
    public Boolean getStatus() {
    return field1;
    }
}

@Local
public interface Foo {
    public Boolean getStatus()
}

I have to override this field1 during deployment to the weblogic by the deployment plan.
I've tried adding the following to the plan
<variable>
  <name>Test_field1_16258439838455</name>
  <value>true</value>
</variable>

<variable-assignment>
  <name>Test_field1_16258439838455</name>
  <xpath>/ejb-jar/enterprise-beans/session[ejb-name="FooImpl"]/env-entry[env-entry-name="field1"]/env-entry-value</xpath>
  <operation>replace</operation>
</variable-assignment>

I know that I can override it if I would use XML deployment descriptor like in the article http://javaeenotes.blogspot.com/2010/11/using-weblogic-deployment-plans.html but I would use annotation without deployment descriptor and I don't know how to override it by deployment plan.
Does anyone have any idea how I can do it?


I'm sorry. Your having a really tough week. I will pray that next week is a better on for you.
I used to describe some of the events on my place to a co-worker. She started calling it "The Farm Of Death". That's the way it is in the country, food doesn't grow in little plastic packages.


Professor David Pollon has been teaching courses in Finance, Accounting and Economics since 2003. He currently teaches at both the undergraduate and graduate level at universities in Rome, Paris, Grenoble and Casablanca. Before entering the academic world, Professor Pollon made his career in the international financial arena working for The Walt Disney Company. After serving as Finance Director at company headquarters in Los Angeles, he became Finance Director in the UK and then Italy, where he was in charge of all cinema, video and DVD financial operations.


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Coachella 2019: Blackpink is the revolution and…
Coachella 2019: Blackpink is the revolution and we are here for it
The women of K-Pop were there to conquer Coachella Friday night and bring the crowd into their ever-growing fandom
Blackpink performs in the Sahara tent during weekend two of the Coachella Valley Music and Arts Festival at the Empire Polo Club in Indio on Friday, April 19, 2019. (Photo by Drew A. Kelley, Contributing Photographer)
By Sarah Batcha | sbatcha@scng.com |
PUBLISHED: April 19, 2019 at 9:49 p.m. | UPDATED: April 20, 2019 at 2:14 a.m.
The women of the K-Pop Powerhouse Blackpink know exactly what they are doing and they came to America to the Coachella Valley Music and Arts Festival on Friday, April 19.
Blackpink performs in the Sahara tent during weekend two of the Coachella Valley Music and Arts Festival in Indio on Friday, April 19, 2019. (Photo by Drew A. Kelley, Contributing Photographer)
Blackpink performs in the Sahara tent during the Coachella Valley Music and Arts Festival at the Empire Polo Club in Indio on Friday, April 19, 2019. (Photo by Drew A. Kelley, Contributing Photographer)
#BlackPink is the revolution. It's true. The #Coachella crowd is jumping, dancing & singing along even as the lyrics to their songs mix languages. I think we'll be hearing a lot more about these girls in thevery near future.
— Sarah Batcha (@SarahBatcha) April 20, 2019
If you have not heard of Blackpink yet, you will. Jisoo, Jennie, Rosé and Lisa are here to bring the revolution and they are turning festival into fans by the droves.
Guys. I think I'm officially now a #Blackpink fan. The power of KPop can not be denied here at #Coachella right now. pic.twitter.com/y5Z5uWboNJ
Their Sahara performance on Friday night had a massive crowd that spilled out of the tent and into the nearby lawn as people came from all over to dance the night away.
These girls are a well oiled machine. #BlackPink knows exactly what they are doing & the #Coachella crowd is here for it! pic.twitter.com/uNeutLMPLD
Those in the crowd were noticeably excited before the girls sashayed their way onto the stage, some chanting Blackpink while others just kind of screamed while holding up signs.
Sign up for our Festival Pass newsletter. Whether you are a Coachella lifer or prefer to watch from afar, get weekly dispatches during the Southern California music festival season. Subscribe here.
The crowd came together to dance, jump, sing and even do the wave throughout the performance that transitioned from pop to rap and from Korean to English flawlessly.
The people around me are starting to sing along to choruses as they learn them for #Blackpink. #Coachella pic.twitter.com/zGElQrGJ7q
Weekend one of Coachella kicked off the K-Pop group's North American tour, which included a stop at the Forum in Inglewood on Wednesday. The Blackpink members who knew how they were happy to be back for the second weekend of Coachella calling the experience amazing while on stage, and having trouble finding the words to convey the excitement of the night.
Coachella 2023: Weekend Two hasn't sold out yet. Here's why that's good for you
Coachella 2023 festival lineup: 6 big takeaways
Coachella 2023 lineup announced: Bad Bunny, BlackPink and Frank Ocean will headline
Sarah Batcha | Social media director
Sarah Batcha is the social media director for Southern California News Group. She began working at an Inland Empire newspaper while still in high school moving to the newsroom in 2007 and is a Victor Valley College graduate. Sarah has primarily worked as a digital or social media editor, but has also been an editor of and covered breaking, community and entertainment news. Her favorite event each year is Comic-Con International in San Diego and she adores all things spooky.
sbatcha@scng.com
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text:
Friday, Feb 7, 2020
Which Best Picture nominee will win an Oscar?
In a strong field, there are a number of contenders for Best Picture at this year's Academy Awards. Ari Mattes picks his winner and names a couple of blockbusters that didn't make the grade.
Ari Mattes
Last year was an exceptional year for Hollywood cinema, and this is reflected in the Oscar nominees for Best Picture.
The Oscars often celebrate the middlebrow and polite over the exceptional and avant garde, resulting in many extraordinary films missing out on the accolades. In 2018, it was Luca Guadagnino's striking Suspiria that received zero nominations.
Contrary to form, four of this year's nominees could have been deserved winners other years. Even more refreshing is the radical difference between these films – from bourgeois social realist drama Marriage Story to anarchic black comedy Joker.
Close runner-up: Joker
Joker proves that Todd Phillips — whose early career, from Hated to Old School, showed comedic promise — is finally making funny movies again.
After a poignant first half hour, the film breezes into (black) comedy mode, as we watch Joaquin Phoenix's down-on-his-luck comedian Arthur Fleck become progressively more deranged. Phillips presents some genuinely hilarious tableaux.
Fitting for a movie about self-important Batman's arch-nemesis, the whole thing is wonderfully absurd. Phoenix proves once again that he is the master of flawed characters who, while taking themselves seriously, are pathetically funny.
Joker reveals the contradictions of our political present — collective meaning-making transformed into individualised, identity-based fantasy. Phoenix's Joker – forgotten by a broken welfare system — shows mass disenfranchisement can only be made sense of as its apolitical other: individual bursts of aimless violence.
Joker is a thoroughly amoral film. It presents a world of vital (and violent) negativity without offering the usual Hollywood moral bandaid.
Exquisitely simple: Marriage Story
Noah Baumbach's Netflix film is similarly peppered with bursts of humour, but its approach is naturalistic.
Unlike some of Baumbach's earlier films (see The Squid and the Whale and Greenberg), this has a decisive quality to it.
A simple narrative – a couple with a child undergoes a divorce – anchors an unbelievably compelling performance from Scarlett Johansson. It would be a great injustice if she did not win the Best Actress Oscar. Laura Dern and Ray Liotta are also brilliant as a couple of combative divorce attorneys.
The film is technically flawless in its construction, with the camera, editing, and score tending towards invisibility.
The final moment between the pair, involving a trivial daily act, epitomises the film as a whole – simple, beautiful, funny and emotionally devastating.
Long but worthy: The Irishman
Martin Scorsese's true crime yarn The Irishman, also made for Netflix, demands a more complex process of critical evaluation.
Some of it is awe-inspiring – Joe Pesci's performance as ageing gangster Russell Buffalino is one of its highlights. Robert De Niro's subtle brilliance as Frank Sheeran is epitomised in a sequence towards the end of the film in which he makes a telephone call. He should have been nominated for a Best Actor Oscar on the basis of this scene alone.
Yet the territory is familiar stuff for Scorsese, and the first two-thirds of the (very long) film plays like a watered-down Goodfellas or a season of Boardwalk Empire – a retro true crime saga following gangsters and politicos in control of the Teamsters union. Al Pacino, nominated for an Oscar for his turn as Jimmy Hoffa, just does the usual Pacino thing where he shouts a lot, with little nuance.
In the final third, however, the film takes a radically different turn. As the consciousness of the movie merges with that of the eponymous hitman, it becomes increasingly emotionally complex.
The Irishman's estrangement from his family, from his work, and from his social world is starkly realised when we find him in a nursing home. This one-time heavy now seems like a disoriented and tired old fogey, attempting to relive glory days by telling stories to people who don't know – or care – about them.
It's a long (did I mention long?) and gruelling film, brilliantly shot and staged. The finale turns what might otherwise seem like a self-indulgent genre exercise into a profound reflection on art and existence.
My pick for Best Picture: Once Upon a Time … in Hollywood
Once Upon a Time… in Hollywood is Quentin Tarantino's 21st-century masterpiece, and it would not be surprising if he made no more films after this one, given it seems to sum up the rest of his oeuvre – and Hollywood at large – as, indeed, fairytale.
His best film since Jackie Brown is a stunning, elegiac lament of the impossibility of film art to transform and transcend history.
Everything about this film works, from the extraordinary performances from old timers like Leonardo DiCaprio and (relative) newcomers like Margaret Qualley (who self-assuredly steals her scenes with Brad Pitt) to the stately creation and photography of a nostalgic Los Angeles.
The sequence in which Margot Robbie, as Sharon Tate, watches her performance on the big screen, delightfully laughing the whole time, is one of the most moving scenes in cinema. The fact that the character has few lines is in itself significant, a comment on her early silencing at the hands of the Manson family – and a wail for what could have been.
The explosive (and unexpected) violence at the end of the film offers the viewer, familiar with the Manson mythos, a chance to imagine other possibilities – and this is both satisfying and devastating.
Every moment in the film seems acutely aware of the absurdity, the thoroughly "Tinseltown" quality of its representation of history. It emphasises that nothing can ever be revised – unless it's in the make-believe movies. And there is, typical for Tarantino, something sweet and naïve about this celebration of the potential of movies to allow us to simultaneously remember and forget the past.
Parasite, the latest film from stellar Korean director Bong Joon Ho, was many critics' pick for film of the year — but it is let down by an uncommitted ending that drifts into sentimentality.
The premise of a lower-class family manipulating their way into domestic positions in an upper-class household serves as the basis for a very funny narrative. But when the film is called on to commit to this violent premise, it seems to back out. Its tone becomes smarmy and self-important.
Ford v Ferrari is a well-made biopic (from director of mediocre films James Mangold) about the professional and personal struggles of car designer Carroll Shelby (Matt Damon) and driver Ken Miles (Christian Bale) as they seek to win the 1966 Le Mans race, but, like all biopics, seems a little hackneyed and stupid at times.
1917, likewise, is technically dynamic – the "one shot" experiment makes sense in this case – but is otherwise an unexceptional film about a couple of soldiers on a quest to save their fellows.
Could do better …
Only two of the eight nominees, Little Women and Jojo Rabbit were disappointments.
Little Women promised great things. It would seem like a good time to remake the cherished story of the March sisters, and a young director like Greta Gerwig would seem like a good choice – but it just doesn't work as a movie. The acting is remarkably stiff with virtually no rapport between the sisters. Timothée Chalamet, usually brilliant, seems acutely uncomfortable with the staginess of the film's approach.
There doesn't appear to be any reason for the clunky reordering of the narrative or for major plot omissions and there appears to be no age differentiation between the sisters.
We simply watch a bunch of film star friends hanging out for a while, and this is pleasant enough – you wouldn't turn it off if you were on a plane. But it is so stilted and affected (underscored by a kind of unjustified sense of self-importance) that it is hard to see why it was nominated for Best Picture.
Relentlessly clever Taika Waititi's latest film, Jojo Rabbit is wildly uneven. Some of the comedy works, some falls flat. It seems overly reliant on an outrageous comedic premise, while never quite gelling as a piece of cinema.
It is funny for a minute to see Waititi sending up Hitler, but it quickly becomes tiresome, as does Sam Rockwell's turn as a disaffected Nazi. A bit like Waititi's 2004 Oscar-winning short, Two Cars, One Night, it appears overly concerned with style. Though it almost taps into a child's point of view – an awesome experience when effectively realised – it jars with the heavy-handed stylistic treatment of the material.
Not on the list …
There were, of course, several excellent films that received no nominations.
The French eco-thriller School's Out, about a substitute teacher being gaslighted by his class of elite high school students, was one of the highlights of 2019. So too the outrageous Brazillian-French exploitation yarn Bacurau, about rich American pleasure seekers attempting to wipe a small Brazilian town off the map.
Indeed, it was a very good year. Once Upon a Time … in Hollywood and Joker will be long-remembered as two of the strongest films of the 21st century, embodying some of the tendencies and contradictions of our age.
The 2020 Academy Awards will be announced on February 10. Channel 7 will have live coverage from midday AEST.
Ari Mattes is a lecturer in Communications and Media at the University of Notre Dame Australia. This article is republished from The Conversation under a Creative Commons licence.
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My desk is stacked with trial exhibits and deposition transcripts when the phone rings. The caller identification reads HAINES, AMBER—my wife. Our youngest, Titus, has not been gaining weight for six months and even our pediatrician is desperate. I know why Amber is calling before I answer.
"They are admitting Titus to Arkansas Children's Hospital," she says.
"When?" I ask, hoping she would say later in the week.
"We need to leave in two hours."
Today I'm writing about the career/family dichotomy for The High Calling. It's a sticky wicket, I know, but I hope you'll join me there for a conversation touching on marriage, family, and career.
Image by Michael Heiss. Used with permission. Sourced via Flickr.


As we start back into the second semester, UL GAA is in the middle of a busy schedule with teams involved in Fitzgibbon Cup, Sigerson Cup, Ashbourne Cup, O'Connor Cup and many more competitions.
UL's senior hurling team started their Fitzgibbon Cup run with a home game against UCC. A spirited performance against the Cork firm wasn't enough for UL, going down 0-26 to 0-20 points.
The defending champions were at home to the Cork college.
UL travel to Galway to face NUIG before a final round clash with UCD in Dublin. The top two teams from this group of four progress to the quarter-final stage. The Castletroy outfit have never won back to back Fitzgibbon Cup titles and if they are to do so then they will have earned it after being drawn in a tough group.
The Sigerson Cup team started their campaign with an excellent 1-13 to 1-12 victory against DIT. UL travelled to Dublin as underdogs but a superb team performance aw them progress to round 3 and avoid having to play an extra fixture. Keelan Sexton scored 1-10 of UL's tally but the team put in an excellent defensive shift to seal a deserved victory. They now face IT Carlow or CIT at home on Wednesday 30th January. Teams who lost the opening game faced off against fellow losers but after the first round any loss sees a team eliminated.
IF UL win their next game then a quarter final on Wednesday 6th February against UCC will be next. The semi-final is down for Saturday, 16th February with the final listed to be played on Wednesday 20th February.
UL ladies footballers will be seeking to avenge their O'Connor Cup final defeat when they face UCC in Cork in the first round on Wednesday 20th February. Their next game is the final game of their group against DCU on Wednesday 27th February. The top two out of the three teams qualify for the semi-finals weekend with the bottom team playing in the O'Connor Shield Final.
UCD beat 2017 champions UL by one point in last year's showpiece event. The pair could meet in the final once more after being drawn in separate groups but UL will need to progress from a tricky group. The semi-final is due to be played on Friday, 8th March with the final a day later on the 9th May.
The senior camogie team have won both of their two games in their group stage and now progress to the semi-finals. They are aiming for four titles in a row and a fifth title in six years and after their league final defeat to WIT, they have bounced back to win both their Championship games. UL defeated DCU by three points before Christmas, 3-9 to 2-9 before they produced an excellent performance to trounce UCD by 5-17 to 0-7.
The semi-finals and final will be played n February as UL seek to win four titles in a row for the seventh time in the competition's 104-year history.
UL GAA teams are also competing in Intermediate football and hurling Championships, Junior Championships, Fresher competitions alongside the Giles Cup (Senior B Ladies football championships) and Donaghy Cup. Best of luck to all teams representing UL this coming semester.


TSTI has the unique ability to adapt to a rapidly changing market by offering new capacity in desired locations.
Located in central Illinois, the Clinton TSTI facility began its operations in 2007 and has been the recipient of several internal TSTI accomplishments and awards. This includes the Safety Excellence at Trinity (SET) designation in 2014 and the SET-squared designation in 2016. The facility's latest accomplishment was in February 2017, where they reached three years without a lost time accident.
The TSTI Newton facility first began its operations in 2008. To this day, they remain one of TSTI's largest capacity plants. Newton was awarded the Safety Excellence at Trinity (SET) designation in 2014, the SET-squared designation in 2016, and has achieved three years without a lost time accident.
TSTI's Tulsa facility is located in northern Oklahoma and operations began in 2013. Tulsa has continually maintained a culture of safety and excellence since becoming a part of Trinity.


text:
Home | Reader Login | Users Online: 4067
2017| January | Volume 61 | Issue 1
Attenuation of haemodynamic responses to laryngoscopy and endotracheal intubation with intravenous dexmedetomidine: A comparison between two doses
Bon Sebastian, Anand T Talikoti, Dinesh Krishnamurthy
January 2017, 61(1):48-54
Background and Aims: Laryngoscopic manipulation and endotracheal intubation are noxious stimuli capable of producing tachycardia, arrhythmias and hypertension. The aim of this study was to arrive at an optimal dose of dexmedetomidine by comparing two doses with placebo to attenuate stress response during laryngoscopy and endotracheal intubation. Methods: It was a randomised, prospective, double-blind placebo-controlled study. After Institutional Ethical Committee clearance, ninety patients of American Society of Anesthesiologists Physical Status 1 were enrolled in the study and divided into three equal groups. Group A received normal saline, Group B received injection dexmedetomidine 0.5 μg/kg and Group C received injection dexmedetomidine 0.75 μg/kg as infusion over 10 min. The general anaesthesia technique was standardised for all three groups. The primary outcome measures were haemodynamic response at 1, 3 and 5 min after intubation. The secondary outcome measures were to note down any adverse effects associated with drugs. The statistical package used was SPSS version 15. Results: Groups were well matched for their demographic data. There was a statistically significant difference (P < 0.05) between dexmedetomidine and normal saline in heart rate, systolic, diastolic and mean arterial pressures at all time points after tracheal intubation with dexmedetomidine 0.75 μg/kg being most effective. Sedation scores were more with dexmedetomidine. None of the patients had any adverse effects such as hypotension, bradycardia, respiratory depression and fall in oxygen saturation. Conclusion: Dexmedetomidine in a dose of 0.75 μg/kg intravenous is the optimal dose to attenuate stress response to laryngoscopy and endotracheal intubation.
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Comparison of fractionated dose versus bolus dose injection in spinal anaesthesia for patients undergoing elective caesarean section: A randomised, double-blind study
Jigisha Prahaladray Badheka, Vrinda Pravinbhai Oza, Ashutosh Vyas, Deepika Baria, Poonam Nehra, Thomas Babu
Background and Aims: Spinal anaesthesia (SA) with bolus dose has rapid onset but may precipitate hypotension. When we inject local anaesthetic in fractions with a time gap, it provides a dense block with haemodynamic stability and also prolongs the duration of analgesia. We aimed to compare fractionated dose with bolus dose in SA for haemodynamic stability and duration of analgesia in patients undergoing elective lower segment caesarean section (LSCS). Methods: After clearance from the Institutional Ethics Committee, the study was carried out in sixty patients undergoing elective LSCS. Patients were divided into two groups. Group B patients received single bolus SA with injection bupivacaine heavy (0.5%) and Group F patients fractionated dose with two-third of the total dose of injection bupivacaine heavy (0.5%) given initially followed by one-third dose after 90 s. Time of onset and regression of sensory and motor blockage, intraoperative haemodynamics and duration of analgesia were recorded and analysed with Student's unpaired t-test. Result: All the patients were haemodynamically stable in Group F as compared to Group B. Five patients in Group F and fourteen patients in Group B required vasopressor. Duration of sensory and motor block and duration of analgesia were longer in Group F (273.83 ± 20.62 min) compared to Group B (231.5 ± 31.87 min) P< 0.05. Conclusion: Fractionated dose of SA provides greater haemodynamic stability and longer duration of analgesia compared to bolus dose.
Clinical application of point of care transthoracic echocardiography in perioperative period
Swaroop Margale, Kurichi Marudhachalam, Sarvesh Natani
January 2017, 61(1):7-16
Transthoracic echocardiography (TTE) has established its role for diagnosis and management in cardiology and is used by various other specialities in medicine, but it is not routinely practised by anaesthesiologists in the perioperative period including the pre-admission clinic/outpatient clinic. The last decade has seen the emerging role of anaesthesiologist as a 'Perioperative physician'. This review article highlights the potential role and clinical utility, education, teaching and limitations of point of care (POC) TTE modality in perioperative care. Various echocardiography society guidelines and endorsements, diagnostic protocols and limitations are enumerated. This article also discusses some of the possibilities for future education and development related to clinical ultrasound including POC TTE in anaesthetic training curriculum.
Comparison of volume controlled ventilation and pressure controlled ventilation in patients undergoing robot-assisted pelvic surgeries: An open-label trial
Rishabh Jaju, Pooja Bihani Jaju, Mamta Dubey, Sadik Mohammad, AK Bhargava
Background and Aims: Although volume controlled ventilation (VCV) has been the traditional mode of ventilation in robotic surgery, recently pressure controlled ventilation (PCV) has been used more frequently. However, evidence on whether PCV is superior to VCV is still lacking. We intended to compare the effects of VCV and PCV on respiratory mechanics and haemodynamic in patients undergoing robotic surgeries in steep Trendelenburg position. Methods: This prospective, randomized trial was conducted on sixty patients between 20 and 70 years belonging to the American Society of Anesthesiologist Physical Status I–II. Patients were randomly assigned to VCV group (n = 30), where VCV mode was maintained through anaesthesia, or the PCV group (n = 30), where ventilation mode was changed to PCV after the establishment of 40° Trendelenburg position and pneumoperitoneum. Respiratory (peak and mean airway pressure [APpeak, APmean], dynamic lung compliance [Cdyn] and arterial blood gas analysis) and haemodynamics variables (heart rate, mean blood pressure [MBP] central venous pressure) were measured at baseline (T1), post-Trendelenburg position at 60 min (T2), 120 min (T3) and after resuming supine position (T4). Results: Demographic profile, haemodynamic variables, oxygen saturation and minute ventilation (MV) were comparable between two groups. Despite similar values of APmean,APpeakwas significantly higher in VCV group at T2 and T3 as compared to PCV group (P < 0.001). Cdynand PaCO2were also better in PCV group than in VCV group (P < 0.001 and 0.045, respectively). Conclusion: PCV should be preferred in robotic pelvic surgeries as it offers lower airway pressures, greater Cdynand a better-preserved ventilation-perfusion matching for the same levels of MV.
Impact of modified quality control checklist on protocol adherence and outcomes in a post-surgical Intensive Care Unit
Lakshmi Kumar, Meenu Dominic, Sunil Rajan, Sanjeev Singh
Background and Aims: Quality improvement (QI) is the sum of all activities that create desired changes in the quality. An effective QI system results in a stepwise increase in quality of care. The efficiency of any health-care unit is judged by its quality indicators. We aimed to evaluate the impact of QI initiatives on outcomes in a surgical Intensive Care Unit (ICU). Methods: This was an observational study carried out using a compliance checklist, developed from the combination of the World Health Organization surgery checklist and Society for Healthcare Epidemiology of America guidelines for the prevention of infections. A total of 170 patients were prospectively evaluated for adherence to the checklist and occurrence of infections. This was compared with a random retrospective analysis of 170 patients who had undergone similar surgeries in the previous 3 months. Results: Introduction and supervised documentation of comprehensive checklist brought out significant improvement in the documentation of quality indicators (98% vs. 32%) in the prospective samples. There was no difference in mortality, health-care-related infection rates or length of ICU stay. Conclusion: The introduction of comprehensive surgical checklist improved documentation of parameters for quality control but did not decrease the rates of infection in comparison to the control sample.
Monitored anaesthesia care – Comparison of nalbuphine/dexmedetomidine versus nalbuphine/propofol for middle ear surgeries: A double-blind randomised trial
Srinivasa Rao Nallam, Sunil Chiruvella, Anjineswar Reddy
Background and Aims: Middle ear surgeries (MESs) are usually performed under sedation with local anaesthesia and can be well tolerated by the patient with minimal discomfort. In the present study, we compare the effect of nalbuphine/dexmedetomidine combination with nalbuphine/propofol on sedation and analgesia in monitored anaesthesia care. Methods: One hundred adult patients undergoing MESs under monitored anaesthesia care (MAC) were randomly allocated into two groups. All patients in both groups received injection nalbuphine 50 μg/kg intravenously (IV). Group D received a bolus dose of injection dexmedetomidine 1 μg/kg IV over 10 min followed by an infusion started at 0.4 μg/kg/h IV. Group P received a bolus dose of injection propofol 0.75 mg/kg followed by an infusion started at 0.025 mg/kg/min IV. Sedation was titrated to Ramsay Sedation Score (RSS) of 3. Patient's mean arterial pressure, heart rate, saturation peripheral pulse and need for intraoperative rescue sedation/analgesia were recorded and compared. The data analysis was carried out with Z test and Chi-square test. Results: Mean RSS was significantly more in Group D (4.24 ± 1.54) as compared to Group P (2.58 ± 0.95). Overall VAS score was also significantly less in Group D (3.5 ± 1.7) than in Group P (5.4 ± 1.8). In total, 16 patients (32%) in Group D had hypotension whereas 7 patients (14%) only in Group P had hypotension. Conclusion: Nalbuphine/dexmedetomidine combination is superior to nalbuphine/propofol in producing sedation and decreasing VAS in patients undergoing MESs under MAC. Better surgeon and patient satisfaction were observed with nalbuphine/dexmedetomidine. Haemodynamics need to be closely monitored.
Absent Uvula: What Mallampati Class?
Geetanjali T Chilkoti, Medha Mohta, Ganeshan Karthik, Ashok Kumar Saxena
Combined liver and kidney transplantation: Our experience and review of literature
Kusuma Ramachandra Halemani, N Bhadrinath
Increased awareness of organ donation has increased the availability of deceased donors, and it has boosted the opportunities for treating patients with multiple organ dysfunction. Simultaneously replacing two organs gives advantages of single surgery, lower immunosuppression dose and better survival than when one organ alone is transplanted. We present reports of management of three cases of combined liver and kidney transplantation (CLKT) from deceased donors. Based on management of these cases we discuss the importance of CLKT and anaesthetic concerns during such complex procedures.
A retrospective study of transfusion practices in a Tertiary Care Institute
Babita Raghuwanshi, NK Pehlajani, Mithilesh K Sinha, Swagata Tripathy
Background and Aims: Excessive requests for cross matching blood which is more than the blood required for transfusion are usually based on worst case assumptions leading to overestimation of blood usage. We investigated the blood ordering pattern and transfusion practices so as to incorporate a blood ordering schedule for streamlining the use of blood in various hospital departments. Methods: The study was conducted over a period of 19 months in a 350 bedded tertiary teaching hospital. Source of data was blood bank requisition forms and blood bank registers of patients who underwent elective or emergency procedures in the hospital, for which blood was ordered. Data were entered in MS Excel and analysed using SPSS version 20. Results: The blood bank was requested to prepare 10,594 units of blood for 2556 patients. The blood utilised was 16.04% of total cross matched blood, leaving 83.9% of units cross matched but not transfused to patient for whom it was prepared, i.e., wasted. The surgery department had the highest number of units cross matched and transfused. The least number of units cross matched and wasted due to non-transfusion were from the Department of Oncology. Conclusion: The current deficiency of explicit maximum blood order schedule in our hospital is the major factor responsible for high cross match: transfusion ratio. Therefore, a maximal surgical blood order schedule has been suggested to the hospital transfusion committee to implement maximum surgical blood order schedules for selected procedures.
Effects of avoiding neuromuscular blocking agents during maintenance of anaesthesia on recovery characteristics in patients undergoing craniotomy for supratentorial lesions: A randomised controlled study
Ruchi A Jain, Anita N Shetty, Shrikanta P Oak, Anjana S Wajekar, Madhu B Garasia
Background and Aims: Neuromuscular blocking agents have been one of the cornerstones of anaesthesia. With the advent of newer surgical, anaesthetic and neurological monitoring techniques, their utility in neuroanaesthesia practice seems dispensable. The aim of this prospective, comparative, randomised study was to determine whether neuromuscular blocking agents are required in patients undergoing supratentorial surgery when balanced anaesthesia with desflurane, dexmedetomidine and scalp block is used. Methods: Sixty patients with the American Society of Anesthesiologists physical status I or II, aged between 18 and 60 years were included in the study. All patients received anaesthesia including desflurane, dexmedetomidine and scalp block. The patients were randomly allocated to receive no neuromuscular blocking agent (Group A) or atracurium infusion to keep train-of-four count 2 (Group B). The two groups were compared with respect to haemodynamic stability, brain relaxation scores and recovery characteristics. Haemodynamic parameters and time taken to achieve Aldrete score >9 and other secondary outcomes were analysed using Student's t-test. Non-parametric data were analysed using the Mann–Whitney test. Results: The mean arterial pressure was comparable between the groups. The intraoperative heart rate was comparable; however, in the post-operative period, it remained higher in Group B for 30 min after extubation (P = 0.02). The brain relaxation scores were comparable among the two groups (P = 0.27). Tracheal extubation time, time taken for orientation and time required to reach Aldrete score ≥9 were comparable among the two groups. Conclusion: The present study suggests that balanced anaesthesia using desflurane, dexmedetomidine and scalp block can preclude the use of neuromuscular blocking agents in patients undergoing supratentorial surgery under intense haemodynamic monitoring.
The Indian Journal of Anaesthesia in 2017: Time to make an impact
Jigeeshu V Divatia
January 2017, 61(1):1-2
Evaluation of simple pre-determined length insertion technique (SPLIT) with conventional method for oral fibreoptic intubation: A randomised cross-over study
Elangovan Muthukumar, Lenin Babu Elakkumanan, Prasanna Udupi Bidkar, MVS Satyaprakash, Sandeep Kumar Mishra
Background and Aims: The difficulty during flexible fiber-optic bronchoscopy (FOB) guided tracheal intubation could be because of inability in visualising glottis, advancing and railroading of endotracheal tube. Several methods are available for visualising glottis, but none is ideal. Hence, this randomised controlled study was designed to evaluate the simple pre-determined length insertion technique (SPLIT) during oral FOB. Methods: Fifty-eight patients were randomised into Group C and Group P. General anaesthesia was maintained with sevoflurane and oxygen in spontaneous respiration. In Group C, conventional flexible fiberoptic laryngoscopy was done followed by SPLIT and vice versa in Group P. The time to visualise the glottis (T1), from glottic visualisation to pass beyond glottis (T2) and from incisors to pass beyond the glottis (T3) were noted from the recorded video. The time interval was analysed using Wilcoxon matched pairs test and Mann–Whitney U-test. Results: The T1was significantly less in SPLIT as compared to conventional technique (13 [10, 20.25] vs. 33 [22, 48] s). The T3was significantly less in SPLIT (24.5 [19.75, 30] vs. 44 [34, 61.25] s). The T1by SPLIT was comparable between residents and consultants (P = 0.09), whereas it was significantly more among residents than the conventional technique. The SPLIT was preferred by 91.3% anaesthesiologists. Conclusion: The SPLIT significantly lessened the time to visualise the glottis than conventional technique for FOB. The SPLIT was the preferred technique. Hence, we suggest using the SPLIT to secure the airway at the earliest and also as an alternative to conventional technique.
PAST PRESIDENT'S MESSAGE
The President's inaugural address during ISACON 2016, on 28th November 2016 at Ludhiana
AS Kameswara Rao
Post-intubation tension pneumothorax and pneumoperitoneum in a low birth weight neonate with giant epulis
Tanvir Samra, Ranvinder Kaur, Lalitha Chaudhary, Kavita Meena
Anaesthesia for emergency caesarean section in a morbidly obese achondroplastic patient with PIH: Feasibility of Neuraxial anaesthesia?
Ridhima Sharma, Rohan Magoon, Ripon Choudhary, Punit Khanna
Acute life-threatening limb ischaemia from common femoral artery thrombosis following total hip arthroplasty surgery: A rare complication
Shiva Kumar Narayan, AK Ajith Kumar, Rajesh Mohan Shetty, Sunil Karanth
Angelman syndrome and anaesthetic considerations
Jyotsna Agarwal, Rashmi Datta, CN Jaideep, Amit Sharma
Anaesthetic management in a patient of uncorrected double outlet right ventricle for emergency surgery
Manish Kotwani, Vivek Rayadurg, Bharati A Tendolkar
Vocal cord closure leading to inadequate ventilation with Laryngeal Mask Airway ProSeal™ in a paralysed patient during laparoscopic surgery
Harihar Vishwanath Hegde, Krishna Sagar Sriram
From the desk of the New President
BB Mishra
Nasal ala pressure sores following head and neck reconstructive surgery: A retrospective analysis from a tertiary cancer hospital
Sonal Rastogi, Tshering Bhutia, Annu Singh, Pattatheyil Arun
Calibrated polyvinyl chloride tube of urine bag in urine output measurement of neonates
Riaz Rameez, Shamim Rafat, Priya Vansh, Singh Prabhat Kumar
Effective and cost-saving incisionless sub-Tenon's block
Chandra M Kumar, Edwin Seet
LIGHTER PLANES
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text:
Jules César (Julius Caesar) est un film britannique réalisé par Stuart Burge, sorti en 1970. C'est une adaptation de la pièce éponyme de William Shakespeare.

Synopsis

Fiche technique
 Titre original : Julius Caesar
 Titre français : Jules César
 Réalisation : Stuart Burge
 Scénario : Robert Furnival d'après la pièce éponyme de William Shakespeare
 Pays d'origine : Royaume-Uni
 Format : Couleurs - 2,35:1 - Mono
 Genre : Historique, biopic et drame
 Date de sortie : 1970

Distribution

 Charlton Heston : Marc Antoine
 Jason Robards (VF : Bernard Lanneau) : Brutus
 John Gielgud : Jules César
 Richard Johnson : Cassius
 Robert Vaughn : Servilius Casca
 Richard Chamberlain : Auguste
 Diana Rigg : Portia
 Christopher Lee (VF : Thibault Lacour) : Artemidorus
 Jill Bennett : Calpurnia Pisonis
 Michael Gough : Cimber Tillius
 Andrew Crawford (VF : Nicolas Justamon) : Volumnius
 John Moffatt : Popilius Lena
 Norman Bowler : Titinius
 André Morell : Cicéron
 Hooper Ewan (VF : Thierry Garet) : Strato
 Alan Browning : Marullus
 David Leland
Les voix françaises indiquées proviennent d'un doublage effectué en 2017.

Lien interne
 Liste de films se déroulant dans la Rome antique

Notes et références

Lien externe

Film britannique sorti en 1970
Film historique britannique
Film biographique britannique
Film dramatique britannique
Adaptation d'une pièce de théâtre de William Shakespeare au cinéma
Film tourné aux Pinewood Studios
Film biographique sur une personnalité politique
Film biographique sur une personnalité militaire
Jules César au cinéma
Film se déroulant dans la Rome antique