text:
Translations Better, Public Relations Worse
If you want to really understand why the Church is developing a new translation of the Mass, look no further than the brilliant address on this subject given by the new Archbishop of Detroit, who is also a member of the U.S. Bishops' Worship Committee. Archbishop Allen Vigneron spoke at the Gateway Liturgical Conference in St. Louis in November.
Archbishop Vigneron's talk has been published in the latest issue of the Adoremus Bulletin. It is the best thing I've seen, making everything wonderfully clear, and including excellent examples: The Art of Pastoral Translation at the Service of Communion.
Bishop Martino Writes Sen. Casey a Letter About the Mexico City Policy
Bishop Joseph Martino of Scranton continues to demonstrate leadership on the life issues. He has written a letter to Pennsylvania senator Bob Casey, Jr. asking him to reconsider his vote against reaffirming the Mexico City Policy. If only every bishop in the United States would write a letter like this to the Catholic members of Congress in their dioceses who voted to end the Mexico City policy!
Cardinal Bertone chides Spanish government on dignity-of-life issues
Cardinal Tarcisio Bertone-- whose visit to Spain this week has been hailed by the country's Socialist government as the beginning of a "more constructive" relationship with the Catholic Church-- has chided that government for its policies on issues related to the dignity of human life.
Child Porn Pandemic as Police Estimate 600,000 Americans, 65,000 Canadians Trading Child Porn Online
Dr. Judith Reisman, an internationally-recognized author, scientist, and educator told LSN that someone who sees no connection between "legal" porn and the child porn pandemic is "in denial."
Porn Lawyer Has a 'Confirmation Conversion' at Senate Hearing
David Ogden, nominated by Soetoro/Obama to help lead the Department of Justice, was grilled by lawmakers yesterday during his confirmation hearing. Ogden's nomination has been a source of controversy, due to the fact that he has a long record of arguing against child pornography laws, and for a virtually unlimited abortion license. He has represented clients such as Playboy, Penthouse, and the ACLU.
[Thugs, pimps, liars, tax-cheats, frauds, marxists, socialists, traitors and just plain wicked men in league with Satan-the whole lot of them]
Vatican Radio ends commentary by chairman of firm making contraceptives
Daniel Vasella, the chairman of the Swiss drug company Novartis has been informed that he will no longer be asked to provide occasional commentary for the German-language broadcasts of Vatican Radio. The broadcaster said that it had only recently realized that the firm markets contraceptives...
The National Ponzi Scheme
The U.S. Securities and Exchange Commission (SEC) was set up to combat fraudulent practices. The SEC's website explains that "Ponzi schemes are a type of illegal pyramid scheme named for Charles Ponzi, who duped thousands of New England residents into investing in a postage stamp speculation scheme back in the 1920s." It goes on to say, "Decades later, the Ponzi scheme continues to work on the 'rob-Peter-to-pay-Paul' principle, as money from new investors is used to pay off earlier investors until the whole scheme collapses." That is how the SEC described the recent Bernard Madoff $50 billion Ponzi scheme, "a stunning fraud that appears to be of epic proportions."
Gospel for the 5th Sunday in Ordinary Time
Principles and Practices - February 8
Thoughts of St Augustine for ebruary 8
Thoughts from St Alphonsus for Every Day-February ...
Gospel for Saturday, 4th Week in Ordinary Time
Thoughts of St Augustine for February 7
Fr. Thomas Berg: A light in the Maciel darkness
Gospel for Feb 6, Memorial: St Paul Miki, Martyr, ...
It's About Time!!! But, will we live to see it?
We Support Missouri House Resolution 212
Gospel for Feb 5, Memorial: St Agatha, Virgin and ...
Dr Edward Peters: Rome must take control of the Le...
Gospel for Wednesday, 4th Week in Ordinary Time
CRI Launches "Rush To Be Heard In Washington"
Gospel for Tuesday, 4th Week in Ordinary Time
Pope to Announce New Archbishop of New York
Gospel for Feb 2, Feast of the Presentation of the...
Thine Eyes - 2009 Right to Life March in Washingto...


Copyright, 1922, by The McClure Newspapet Syndicate.
on the morning of July 1G, 1914.
lated acts by a Russian naval attache.
material of our- friendly conversations.
What can I say of our conversations?
.alone for almost an hour with the czar.
mier, and, above all, with M. Sazonoff.
about 10 o'clock in the evening.
matum to be delivered two hours later.
nation of the central powers.
able form. On the next day, July 24.
the chance to give helpful advice.
of that innocent and naive traveler.
through the air! What did It bring?
but we were unaware what it might be.
no io constitute a violation of peace."
evidently trying to deceive ns bv trans.
or wnat was going on.
un tne morning of the 27th wo r.
CAMBRIDGE CITY, Ind., Dec. SO.
No. 196, F. and A. M. Stated meeting.
Wednesday, Jan. 3 Webb lodge No.
24. F. and A. M. Called meeting.
Saturday, Jan. 6 Loyal chapter. No.
founuea in mu an .
looted for food and set afire.
been in ill health for nearly a year.
lived with Mrs. Fannie Engles.
an active part in community affairs.
of the pleasures of life.
ment of an orphanage at Harrisburg.
from the treasury of Pennsylvania.
idealism of France and her lofty pride.
total price of $100 for cash, $110 on time payments.
the Victor doesn t measure up to your laea.a in every respect we oon t want you to buy it.
Bartel, Rohe & Rosa Co.
Come and Hear These Records.


The states of Wisconsin and Washington used integrated data systems to evaluate and understand how child support enforcement policies and receipt of TANF benefits affect the time kids spend in child welfare placements. This information led to state policymakers working toward improved family reunification outcomes by enabling their child-focused systems to collaborate more efficiently.
This case study is one in series of briefs that make a case for how investment in IDS pays off in improved outcomes and better allocation of resources.
How states use integrated data systems to design and conduct evaluations of state policies and programs.
What IDS data reveal about child support enforcement and welfare benefits affecting time spent in foster care.
How state policymakers in Wisconsin used the IDs findings to rewrite child support enforcement policies.
How state policymakers in Washington used the IDS findings to protect an innovative welfare policy from budget-cutters.
An integrated data system (IDS) periodically links individual-level administrative data from multiple public service agencies and contracted service providers. This creates a rich picture of individual service needs, participation and outcomes over many years. By offering large sample sizes, longitudinal data and the ability to identify multisystem clients, integrated data systems are valuable tools for policy analysis, program planning and monitoring and evaluation.
The IDS analysis in Wisconsin showed that imposing child support orders to offset the costs of substitute care added about six months to the time children stayed in out-of-home placements.
Child support payments collected by Wisconsin from parents paid for about 3% of the out-of-home placement costs.
In Washington state, an IDS-based evaluation found that parents who retain their TANF benefits are more likely to reunite more quickly with their kids without much extra cost to the state.
We don't often have such a clear policy direction in our work. Lacking research, we are often making decisions in the dark. But in this case we could be confident that the change will produce a positive outcome – and we will have a way to measure it.
The IDS data answered our questions about whether the families that receive concurrent benefits reunify, how quickly, and whether the reunifications last. Looking across systems allows us to take action so policies are not in conflict.


Nexans Olex are able to provide a comprehensive range of Nexans Sourced cables and services to oil and gas operators and EPCs for onshore, offshore topside and sub-sea complex projects.
Nexans Olex can supply energy and telecom cables for onshore and offshore exploration, production and distribution, as well as for refinery and petrochemical infrastructure.
With a full range of low, medium and high voltage power cables and specialised umbilicals, Nexans Olex is able to service the needs of the oil and gas markets.


text:
A Greatest Hits 87–97 Kylie Minogue ausztrál énekesnő válogatásalbuma, amely 2003. november 24-én jelent meg. Az albumon olyan dalok találhatók, amely a Kylie, az Enjoy Yourself, a Rhythm of Love, a Let's Get to It, a Greatest Hits, a Kylie Minogue és az Impossible Princess albumokról származnak.

Számlista

Slágerlista

Források

További információk
Kylie Minogue hivatalos honlapja

Kylie Minogue-albumok
2003 nagylemezei
Válogatásalbumok

redpajama_set_name: RedPajamaWikipedia


text:
require 'pusher'

Pusher.url = Rails.application.secrets.pusher_url
Pusher.logger = Rails.logger

redpajama_set_name: RedPajamaGithub


text:
Q: How to remove last row of CSV file in PHP I have some code to display CSV file data in PHP. Out of these code is something like this
row1
row2
row3
row4

BLANK(this is not any data)
<?php
$csvFile = 'abc.csv';
$file_handle = fopen($csvFile, 'r');
while (!feof($file_handle) )
{
    $csv_data[] = fgetcsv($file_handle, 1024);
}
fclose($file_handle);
foreach($csv_data as $data)
{
    echo "column 2 = ".$data[1];  echo "
";
}

?>

expected output :
row1
row2
row3
row4

i have only these four rows but it prints 5 with last blank rows. Please suggest me the best solution. Thanks.

A: You could try this:-
<?php
$csvFile = 'abc.csv';
$file_handle = fopen($csvFile, 'r');
while (!feof($file_handle) )
{
    $csv_data[] = fgetcsv($file_handle, 1024);
}
fclose($file_handle);
$csv_data  =  array_pop($csv_data); // delete last element of Array
foreach($csv_data as $data)
{
    echo "column 2 = ".$data[1];  echo "
";
}

?>

A: you are appending
 at the end so it will print blank line at the last as well try this code
$count = 0;
foreach($csv_data as $data)
{
    if($count>0)
    {
           echo "
";
    }
    echo "column 2 = ".$data[1];
    $count+=1;
}

A: I got this solution by adding this code
 if (empty($data)) {
      break;
 }

This is the whole code of my script
<?php
$csvFile = 'abc.csv';
$file_handle = fopen($csvFile, 'r');
while (!feof($file_handle) )
{
    $csv_data[] = fgetcsv($file_handle, 1024);
}
fclose($file_handle);
foreach($csv_data as $data)
{
 if (empty($data)) {
          break;
}
echo "column 2 = ".$data[1];  echo "
";
}
    ?>

redpajama_set_name: RedPajamaStackExchange


Elizabeth Cornwallis, Lady Kytson (c.1547-1628) married Sir Thomas Kytson (1541-1603), of Hengrave Hall in Suffolk in 1560. Of their three children, a son John died in infancy in 1562. Their elder daughter Margaret married Sir Charles Cavendish of Welbeck in 1582, but died in childbirth the same year. In 1583 their younger daughter - and sole heiress - married Thomas Darcy, later Earl Rivers, but separated from him in 1594.
In the present portrait, Lady Kytson wears the bright colours that had then just come into fashion, notably her red gown with its high-status fur collar. Her sleeves, beneath gauze oversleeves, are embroidered in black thread with roses, honeysuckle and carnations. She is probably dressed for outdoors, as she is wearing, rather than carrying, her gloves, as well as a tall, masculine hat with a jewelled band and linen undercap. The exact shape of this hat was only revealed when the painting was cleaned in 1995.
A payment in Kytson's surviving accounts for 1573 indicates that this portrait, and its companion image of Sir Thomas Kytson (Tate N06090) were painted in London by George Gower (Cambridge University Library: Hengrave Papers 82 (3); cited in John Gage, The History and Antiquities of Hengrave, London 1822, p.40). The Kytsons had a town house in Coleman Street, in the City of London.
Nothing is known of Gower's training but he was descended from a Yorkshire gentry family. In 1581 he was appointed Serjeant Painter to Queen Elizabeth, the premier royal post for an artist, but one whose duties generally involved the control of applied and decorative painting for the monarch. In 1584 a patent was drafted that would have granted Gower the monopoly of all painted and engraved portraits of the Queen (while allowing another painter, Nicholas Hilliard, the monopoly of her portraits in miniature) but it is not clear whether this was ever enacted. Nevertheless, Gower seem to have been one of the most fashionable portraitists of the 1570s-1580s.
Elizabeth Cornwallis (1546/7–1628) married Sir Thomas Kytson in 1560 (his portrait hangs nearby). As Roman Catholics under a Protestant ruler, Elizabeth I, the Kytsons were regularly fined. Indeed, Lady Kytson was briefly imprisoned for her faith. The couple were painted in London in 1573 by Gower, the foremost portraitist of the day. Subsequently, in 1584, Gower and the miniaturist Nicholas Hilliard tried to gain a monopoly to produce Elizabeth I's portraits. As this painting demonstrates, Gower worked in the linear, shadowless style that the queen is known to have preferred.


text:
Q: Scraping the core-text of webpages in python Is there a module that can be used to get the core-text of a webpage?
Something the will remove the headers / menus / social links?
Thank you

A: I think that varies from site to site. Since every website has a different structure you could not come up with a standard extractor.
For extracting a particular part of the web page, you can approach as following:
from urllib2 import urlopen
from scrapy.http import HtmlResponse

url = "some_website_you_want_to_crawl"
url_response = urlopen(url)
resp = HtmlResponse(url=url, body=url_response.read())
core_text = resp.xpath('xpath_to_core_text').extract()[0]


If you want to buy your child a sumptuous book this autumn, which will inspire a love for storytelling, adventure and imagination, and one which has a wintery flavour, this is it.
Podkin One-Ear is a legend, a fearsome warrior rabbit with a reputation for fighting and winning against the Gorm (a dangerous and evil iron-flesh-clad rabbit breed that invades warrens and kills or captures those within). When a traveling bard arrives at Thornwood Warren on Bramblemas Eve, the bard is welcomed into the hall with its warming fireside glow and given food and drink in return for a tale of Podkin One-Ear. He tells the story of how the young Podkin fled his warren with his baby brother and older sister, how he lost his ear, and how he grows and learns until he is ready to fight back against the evil greedy Gorm. The bard's version is not only enthralling, but far more realistic than his little rabbit listeners have heard before.
This is the classic story within a story – telling a fantasy tale of a family of rabbits turfed out from their home, seeking not only to escape the Gorm but to protect a sacred sword that bears good magic, and eventually to overcome the evil Gorm.
With influences of Watership Down (inevitable – there are rabbits on a quest against evil), and even Station Eleven (this is a dystopian future in which humans have clearly gone and all that is left is a landscape of scattered rabbit warrens, and travelling storytellers), this is a sumptuous tale that manages to pull on the emotions and remind readers of classic tales and classic tropes.
As well as the old traditions of storytelling (and Larwood intersperses the tale of Podkin with interlude chapters in which the Bard and his audience interact and discuss the role and purpose of storytelling), Larwood also introduces familiar traditional tropes from the human storytelling mould, such as there being 12 ancient tribes of rabbits with 12 handed down symbols (the magic sword being one of these), allusions to religion or a higher being (in this case a goddess), a warring balance of good vs evil magic, and the traditional make-up of families and the patriarchal royal lineage. All this adds to the feeling that the reader is digesting a classic tome.
If all this feels heavy, it isn't at all. The bulk of the story follows three sibling rabbits, Podkin and his older sister and younger brother, as they escape from and finally fight the Gorm. The narration delves inside their heads so that the personification of the rabbits is complete, exploring their worries, fears, comforts and hopes.
There are familiarities for children too, as well as the old storytelling tropes, such as the hunt for painted carrots at Lupen's Day at the start of spring, which of course parallels Easter egg hunts.
Larwood is particularly good on his observational details of his fantasy landscape. He insinuates that social skills are important for warren life – all those rabbits in such close proximity. He also, through various characters, makes poignant matter-of-fact philosophies on the painfulness of loss and death, and memories living on, as well as on bravery: "You don't have to be brave or strong or powerful to do incredible things." Larwood describes well the loss of Podkin's ear and the aftermath of this loss, and Podkin's observation about how quickly life can turn upside down.
Podkin is reflective without ever being insular, and is fully rounded – he bemoans the loss of his ear, and is bad-tempered, but shows depth of character in his recovery. His sister, Paz, is sensitive and empathetic. She makes astute observations about everyone they meet, most tellingly, with the 'witch' rabbit, Brigid, a grandmotherly figure who facilitates good magic restoring the balance with bad. Her relationship with the young rabbits portrays what the elderly traditional can teach the new upstarts, as well as pulling into the equation the benefits of folklore and understanding nature.
There's some lovely language in the book, introducing vocabulary such as 'scrying' at the same time as playing with words to describe iron – a dangerous and evil substance in this fantasy landscape.
The storytelling is fluid, and feels like a cosy Christmas telling with interludes breaking tension, and the analysis of storytelling itself, which gives the book both a sense of history and depth.
Faber publishers have given this story the love it demands, pairing the tale with Wyatt's beautiful black and white illustrations, so that every so often the reader is thrown into a whole page picture, showing depth and detail and throwing an added warmth and tenderness to some scenes, as well as displaying the Gorm's menace in others. There are further nice illustrative touches – the constellations in the sky in rabbit shapes, the map of the landscape at the beginning.
But most of all, it feels as if there is a sprinkling of magic across this book. A modern, yet old-fashioned story that is captivating and comforting. Like a warm hug, this is a fantastic children's book, with a cute little surprise at the end.
For readers 9+ independently, earlier for sharing. Do buy it here.
So many children's books, especially for this age group, talk about a love for reading. They might feature a character whose nose is permanently in a book, a library that bestows secrets, a saviour from bullying whose emotional empathy has been garnered from reading. Preaching to the converted perhaps – a bullet-proof way to draw in the reader, a person who, by the very fact that they are reading the book, will immediately feel resonance with the mention of bookishness within the story.
This book is different though. This is clever. Michelle Harrison doesn't just weave a love for reading into her book. This novel is very much all about the writing. In fact, I'd go so far as to say that if you read the book carefully, embedded within it is a story-writing manual.
Midge has an older sister Alice. One who writes stories. But one day Alice goes missing, and when Midge runs into a lookalike who is adamant she isn't Alice, and then he runs into a talking cat, Midge realises that the characters in Alice's most recent story have come to life. Midge needs to figure out why Alice is missing, why the characters are alive, and how to end the story Alice has left unfinished, without them all succumbing to the wickedness of the intensely dark and disturbed villain of the piece.
In essence this is a good old-fashioned classic adventure story. Midge must find his missing sister, and together with his new accomplices Gypsy and Piper, must solve riddles to find Alice, as well as avoiding the villain who wishes to get to Alice first. The reader can also have a stab at solving the riddles, which are italicised in the text. Like Dorothy in Oz, who navigates through a landscape where 'characters' such as the Tin Man come to life, or Pinocchio, the toy who comes to life, this is a familiar landscape. And yet Harrison lifts it to greater heights – this is a story for older readers with darkness and depth.
There are numerous extra storytelling tropes thrown into the mix – from an old lady sorcerer who captures a voice (The Little Mermaid) to a fire, mistaken identities, an errant father, a mother who conveniently takes herself away for the duration, and of course, as I mentioned, loving placements of libraries and bookshops.
However, this being Michelle Harrison, there is also a spooky, shivery feel to the book. From the opening scene at the start, Alice's book within a book, to the name of the town in which Midge lives, Fiddler's Hollow, to curses, as well as the annual ritual of the Summoning at Fiddler's Hollow (with its tradition of making a doll likeness of someone and then burning them in a huge pyre), which sounds like something out of Salem. Watchers from shadows, and the creepiest villain with charred hands, gave this reader a haunting feeling, and will certainly do so for youngsters too.
Midge also thinks he knows more about the characters because he can read their history in Alice's notes, but in actuality, characters only come alive in any book when they are realistic. Characters have to have aims, goals, wants because that's what real people have. We are all protagonists of our own stories, weaving our own webs of lies and fabrications, being true only to ourselves, and sometimes not even that. Sometimes our stories run away from us, in the same way that authors report their characters can run away from their control.
"Alice often says her characters take over when she's writing. Doing their own thing. Like the story is writing itself and the characters take control." Midge explains. This points to the crux of the story within the story here – how much influence is Alice going to have over her characters, or whether the characters are going to steer the story forwards without her. It's clever and complex, and pushes the reader to think.
What's real in our own lives, which stories have we fabricated? We're all characters of our own imagining. Alice projects herself onto her main character Gypsy – the best parts of herself, a braver self with the ability to wear the clothes she wants to wear, to befriend a boy with striking similarity to a boy Alice fancies in real life (well, within Michelle Harrison's story!).
In the epilogue, Harrison explains how everything is a story – just told from a different point of view. She calls the epilogue 'Ever After'.
Stepping back from the complexity of the story, there are messages about loyalty – about being true to yourself, and searching for a cohesion in life – be it your family network, or just the end of a story.
This is a masterful telling, which twists and turns and is beautiful in its scope. There's also a talking cat who likes tea. The only caveat is the shapelessness of the young protagonist – our narrator Midge. He felt ill-defined to me, vague almost, and at times I forgot his gender (it's told in the first person) – but maybe that too was a masterful stroke. Perhaps our own young selves are shaped by events that are happening to us, perhaps he's not meant to be fully formed, but a vessel through which the story is told.
Either way, I felt that Michelle Harrison wrote a book in which "there was no option to stop reading, or to put the story down." A cracking adventure story with added depth.
Please note that this review was written after reading a proof copy of the book. The publisher recommends this as a 9+ years read. Personally I would raise that to 11+. You can buy it here.
What is the appeal of witches for young readers? When I started the idea for this particular blogpost, the titles of 'witchy' series of books for little ones kept spilling off my tongue – there are so many. And more are being produced. The main hook of featuring witches in children's literature is of course magic – witches can wave a wand and solve a dilemma – or in a well-used twist – use their wand badly and create a bigger problem.
Unlike fairies, witches appeal because they are human. They don't have wings – they don't have to occupy a different world (although some do). They are also edgier than most fairies – witches can have a mean streak whereas most fairies tend to be good (other than Tinkerbell from Peter Pan).
Witches are also usually accompanied by an animal – in fact looking at my list below, they are all in a close relationship with a 'pet', or animal friend, and this feature is a well-used device in children's literature. So, where to start…..
This series was first published in 2011 as picture books, but then quickly morphed into a series of young fiction titles for newly independent readers. There are three picture books for aged 3+ years with rhyming text, and then a series for 6+ years, each containing three stories. New titles published last year were The Wacky Winter Wonderland and The Messy Monkey Business. Delightfully enticing covers draw the reader into the story, with two-tone illustrations inside. The stories are about Pandora, an ordinary girl, whose grandmother happens to be a witch – she's not alone in this, in Messy Monkey Business the third story reveals that many of the children also have grandmothers with witchy powers.
The zoo adventure contains all the necessary elements – smells, mess, escaping creatures and a sea lion show – but all with a touch of magic in both text and illustration.
In all the Hubble Bubble books the short stories bounce along, there's an element of 'fairy godmother' about Granny – she tries to be helpful by using her magic, but her results often lead Pandora and her friends astray. With wonderful names, such as Mr Bibble the schoolteacher, and Cobweb the cat, there's plenty for a young reader to discover. The stand-out factor about the Hubble Bubble books though is the warmth that exudes from them. Despite mishaps and mayhem, the characters are loveable – the relationship between grandmother and granddaughter delightful, the humour spritely and the text pitched perfectly – some lovely expressions and adjectives, but all easy enough for first readers. You can purchase Hubble Bubble The Messy Monkey Business here.
This series is still an absolute favourite with all – from old to young. The books remain fresh and lively. They tell the adventures of Mildred Hubble and her best friend Maud at Miss Cackle's Academy for Witches. It's hard to believe that the series is over 40 years old…but when re-reading you can see Jill Murphy's original witty inventions – lessons on flying a broomstick, potions classes, creepy corridors and invisibility spells.
Jill Murphy originally pitched Mildred as a fairy, unfortunately attending the wrong school – but then changed her to a witch who's just not very capable. From her tabby cat instead of a black one, to her long enmity with Ethel Hallow, and her even stronger friendship with Maud, this is a school story to treasure. Names are used cunningly here too – who can forget Miss Hardbroom – a precursor to Minerva McGonagall I should think. The black and white illustrations depict the greyness of the school as well as the hilarious friendship between short round Maud and long tall Mildred. Jill Murphy is both author and illustrator. Meet Mildred Hubble here.
Perhaps our least famous witch here, Titchy Witch inhabits a world in which only her family are witches – her classmates at school vary from goblins to princesses, and her teacher is an ogre. She is also looked after by a particularly grumpy Cat-a-Bogus, a sort of au-pair/nanny. Full colour illustrations throughout add to the charm of this compelling world. Titchy Witch is different from the other witches, in that she is only seven, and acts as such. She finds some witchy things hard, has difficulty keeping her temper, and is very mischevious. The text is suitable for first independent readers and these children will recognise themselves in Titchy Witch.
Titchy Witch and the Frog Fiasco is typical of the stories. When Gobby-goblin at school pokes Titchy one too many times, she has her revenge by putting a spell on him. The teacher catches her and Titchy is blamed, and decides she no longer wants to go to school. Cat-a-Bogus shows her why she should attend when it turns out she cannot read or practise magic perfectly just yet. There is an adorable twist at the end, only understood by studying the illustration. You can conjure Titchy by purchasing here.
Another aging witch, Winnie is more than 25 years old. She has a beloved black cat, the prickly Wilbur. The wonderfulness of Winnie is the amount of colour Korky Paul throws at the books, in fact our standout title is the original story in which Winnie colours her world. There are some beautifully unique traits to Winnie – she has a crooked hat because Paul found that drawing it straight didn't always fit on the page, she is not the most attractive witch to look at, and yet her personality is adorable. Wilbur's personality is as acutely drawn as any human's – his laziness, his addiction to a certain level of comfort, his weariness with Winnie's adventures. The attention to detail is present in both the meticulously drawn illustrations, as well as the scope of the adventures. Each book is very different – from Winnie's trip to the seaside, to her birthday celebrations. There is much to admire in each, and much to look at. Winnie also seamlessly moves with the times – see for example Winnie's New Computer.
Like Hubble Bubble, there are both picture books and young readers, so that the books grow with the child. No library is complete without Winnie on a shelf somewhere. Wave your wand here.
as each word of text is positioned underneath each stair, enticing the reader to pronounce the sentence in a particular way. The drawings are iconic – each of the five witches portrayed almost as stick figurines, and yet all distinguishable by their different hair squiggles and noses. The colours are bright and bold, no white spaces in this preschool colour block delight. But the best thing about the original book is that it doesn't conclude neatly. When Meg changes the witches into mice, she leaves them like that until the following Halloween – there is no happy ending. Edgy and mischievous. Just how witches should be. You can purchase Meg and Mog here.
Burglars, kidnapping, escaped wild animals – the content in this book could easily leave one to believe that this is not a children's book. However, sometimes the most unpredictable content makes for the best read.
Thirteen year old Scarlet is a cat burglar – along with her father they break into properties restoring stolen antiquities and treasures to the rightful owners. And they're rather good at it. But then one day they steal an ancient Aztec bracelet with strange and magical powers, and Scarlet's world begins to change – not least herself and her physical being. With elements of fantasy mixed with real world life and death decisions, this is a gripping tale, far from anything else aimed at this readership.
It's a page-turning action adventure. The language is simple, keeping up with the pace of the plot with little time for lengthy description or in-depth exposition, or indeed too much character development. Scarlet is brave, plucky, canny and worldly – although her lack of expertise in modern technology is rather surprising. To fill the gap, Tamsin Cooke introduces the boy next door – not just a heartthrob, but a savvy geek who is able to hack computers and provide backup techy assistance.
However, there's no time for romance because of the pacey action unfolding page by page – which means that the book is perfectly poised to attract all readers, even as young as 9+ years, because although there are some illegal goings-on, such as driving a car underage (not to mention the breaking and entering), there is always someone on hand to point out the moral ambiguities and illegalities of the situations.
It's also guaranteed to attract those who otherwise might struggle to make it through a 200 page book, because of the speed of the drama – paced like an adult thriller book.
The book is gripping, a race-against-the-clock action packed thriller. Genre writing for kids, and that is truly exciting. You can buy it here.


Foreign direct investment (FDI) flows rose 130 percent from the 2015 benchmark of $41 billion. Acquisitions drove activity, accounting for 97 percent of FDI value.
For the first time since 2013, Chinese investors poured more money into North America ($48 billion, up 189 percent) than Europe ($46 billion, up 90 percent), with the United States accounting for 94 percent of the North American total. This was against a backdrop of global Chinese outbound investment hitting a new high in 2016 of almost $200 billion.
Privately-owned Chinese companies led the trend, outpacing investment by state-owned enterprises to close deals accounting for 70 percent of the total, signaling the continued rise of corporate China in the global economy.
However, the outlook is mixed as 2016 also saw 30 canceled deals (20 in Europe, 10 in the United States), worth an unprecedented $74 billion. While 2017 is likely to be another strong year as deals reach financial close, the number of newly announced Chinese acquisitions in Europe and North America has dipped since the first half of 2016.
The scale of recent investment, counterbalanced by growing numbers of troubled transactions, in Baker McKenzie's report with Rhodium Group, which is unique in analyzing patterns of Chinese investment in the two regions' high-income economies.
In Europe, Chinese investors focused on Germany and the UK, which between them saw 46 percent of all investment in Europe.
Germany saw inbound deals from China rise nearly tenfold, from $1.3 billion in 2015 to $12.1 billion last year. The UK attracted $9 billion of investment, an increase of 130 percent over 2015. The UK total was driven by deals announced prior to the EU referendum closing in the second half of the year, making it too early to judge the impact of Brexit.
Finland, Switzerland, and Ireland were also major recipients of Chinese FDI in 2016, attracting $7.6 billion, $4.8 billion, and $2.9 billion respectively. Switzerland would have been the largest recipient if not for pending regulatory approval delaying the closing of ChemChina's acquisition of Syngenta. Meanwhile, Italy, Portugal, and France saw investment drop 85 percent, 50 percent, and 40 percent in 2016 as Chinese investors focused on integrating large acquisitions they made in those countries in 2015.
The US largely accounted for the increase in North America, with Chinese investments rising by almost 200 percent from 2015 to 2016 to $45.6 billion. Deals into Canada also rose 120 percent, reaching a three-year high. Larger average deal size drove overall value up, with deal volumes stable.
With more than $16 billion of deals in 2016, California was the largest US recipient of Chinese capital, reflecting interest in key sectors such as information technology, entertainment, real estate, and logistics. New York was also a major recipient, where real estate investments accounted for 90 percent of value.
Several US states saw major investments from China for the first time in 2016, primarily following large individual transactions of companies headquartered in those states. These include Kentucky with more than $9 billion. Investment in Illinois, Minnesota, and Georgia also rose.
In Europe, information and communications technology ($13.7 billion), transportation, utilities and infrastructure ($12.2 billion), and industrial machinery ($6.2 billion) saw the most activity. Those three sectors accounted for almost 70 percent of total Chinese investment. It was a record year for IT investment in Europe, outstripping levels of investment in North America which has been historically targeted for IT deals.
In North America, Chinese investment is spread more evenly across different industries. The main recipients in 2016 were real estate and hospitality ($17.4 billion), transport, utilities and infrastructure ($6.0 billion), consumer products and services ($5.7 billion), and entertainment ($4.8 billion). Together these accounted for nearly 70 percent of Chinese investment in the region.
Average deal value more than doubled year-on-year to $290 million across both regions.
State-owned enterprises' share of investment fell to less than 30 percent of total FDI value in 2016 and purely financial investments declined in importance in favor of real economy deals, falling from 53 percent of deal value in North America in 2015 to 29 percent last year as large Chinese corporations made more of the deals.
The underlying trend of increased outbound deals by Chinese investors is set to continue as corporate China emerges as a mainstay of global cross-border investment, building in consumer-facing sectors, and diversifying asset bases. Europe and North America are among the most attractive markets for deals in support of these goals.
Chinese President Xi Jinping's strong defense of the benefits of economic integration and free trade at the recent World Economic Forum in Davos indicates continued encouragement for Chinese companies to go global.
The number of pending transactions will make 2017 another strong year if they close as expected. These include the $43 billion Syngenta acquisition, which would almost single-handedly set a new record for Chinese FDI in Europe.
However, Chinese investment would have been higher in both regions in 2016 if not for the number of cancelled deals also reaching a record 30 deals worth over $74 billion. In Europe, 20 deals involving Chinese investors worth $15.5 billion did not proceed. In North America the figure was 10 deals worth $59 billion.
Chinese regulators informally tightened controls on outbound investments in late 2016 as the devaluation of RMB risked some companies taking advantage of outbound investments as a way to move capital out of China. The short-term controls slow down capital outflows, bringing many deals, real estate investments, and some financial transactions under greater scrutiny. Evolving policies may create some approval hurdles and extend project times, but will not change the general direction of China's overall outbound strategy and policy.
Meanwhile, in both North America and Europe, officials have intervened to block several technology acquisitions by Chinese investors due to national security concerns. "While the Committee on Foreign Investment in the United States (CFIUS) has been consistent in its approach, the volume and nature of the deals have produced more challenging transactions, with US officials coordinating with counterparts in other advanced economies," observed Rod Hunter, a policy and regulatory partner based in Washington. In addition, members of Congress are expected to consider legislative proposals to tighten CFIUS reviews for technology deals and, possibly, to impose new measures to evaluate whether an investor's country of origin provides reciprocal investment access.
"While many Chinese companies have become astute buyers in navigating regulatory procedures such as CFIUS national security reviews, it will become increasingly important for Chinese investors in the United States to develop a political risk assessment and regulatory plan as part of an overall deal strategy," noted Sylwia Lis, a partner who has represented foreign investors before CFIUS.
More generally, the popular backlash against aspects of globalization in the United States and a number of European countries is turning industrial and investment policies towards national economic priorities, potentially complicating large inbound deals.
About the author: Baker McKenzie helps clients overcome the challenges of competing in the global economy. They solve complex legal problems across borders and practice areas. Their unique culture, developed over 65 years, enables our 13,000 people to understand local markets and navigate multiple jurisdictions, working together as trusted colleagues and friends to instil confidence in their clients.


Hanging Template for frame_sets, how to hang photos on wall, photo wall ideas for photo gallery ideas and frame, pottery, wall ideas Skip to content Expand navigation... DIY photo mounting for a cheap + easy gallery wall Mount large prints on dollar store foam core board for an easy, inexpensive way to create a large gallery wall. Also, learn the best way to get them spaced perfectly when you hang them!
Photo Ledge: Want to be able to rearrange your photos without hammer nail after nail into your wall? Hang mini shelves to create a ledge of mismatched frames. (via Getty) Hang mini shelves to create a ledge of mismatched frames.


Discoverymundo makes it really simple to transport travelers arriving or departing from Cancun International Airport to Iberostar Paraiso Maya or any other specific place in the Playa Paraiso area.
Iberostar Paraiso Maya is a property located in Playa Paraiso zone. If you want to know how to get from Cancun Airport to Iberostar Paraiso Maya we can provide you with different transportation options based on the carriers who offer transport to Playa Paraiso area, economy, minivan, van, premium, minibus, honda sport limousine, hummer 8 limousine and expedition limousine transportation. We operate with the best units in the market, focusing in offer the best and safest transportation to Iberostar Paraiso Maya with high qualified drivers.
Easy online booking, driver met us where they told us they would. Nice, clean air conditioned van took us directly to our hotel. Will use them again next visit.
The driver was right on time, kind and polite. The van was clean and air conditioned.
Joyful, kind, timely, awesome and safe driver!
No complaints. Discovery Mundo was very good at communicating prior to our arrival. Sent emails with pickup times, contact info, and detailed directions and tips on navigating the Cancun airport. Exited the Cancun airport and they were waiting for us, loaded us into a private van and immediately departed for our hotel near Playa Del Carmen. Received a phone call from the company on the way to be sure we were picked up and everything was satisfactory. Return trip was equally as painless. Will definitely use them again.
Fast, excellent transfer service from the airport.
Took my wife and 2 daughters to Playa Del Carmen. Came out of the Cancun airport and there was someone waiting for us with our name on a sign. Had a private van waiting for us and took us straight to the hotel. Great way to start our vacation, I would highly recommend.
Ricardo was great, he got their early and was funny and courteous. This is the no drama car service.


The next great achievement of Greek literature is the writing of history. No one before Herodotus has consciously attempted to discover the truth about the past and to explain its causes. He is rightly known as the 'father of history'.
The saga which inspires him to undertake anything so new and so difficult is the one which has overshadowed his own childhood and youth - the clash between Greeks and Persians. Herodotus grows up in Halicarnassus, in Ionia. At the time of his birth the Greeks are winning great battles in mainland Greece. During his adult life they drive the Persians from the Greek colonies of Ionia.
Asia Minor lies between these two great civilizations, Greece and Persia. Brought up within the first, Herodotus determines to find out about the second. He spends much of his life travelling within the Persian empire, which extends at this time into Egypt. So this first work of history is also, in a sense, the first travel book. In the way of travel books, it includes exotic details - such as how the Egyptians make mummies.
Copies of Herodotus are available by 425 BC. By then his story has a patriotic urgency, with its account of a time when all the Greeks combined against a common enemy. In strong contrast is the bitter contemporary squabbling of the Peloponnesian War, which has entered a new phase in 431 BC.
The second Greek historian, Thucydides, adds a new dimension - that of contemporary history. An Athenian, born probably in about 460 BC, he is a young man when war is renewed between Athens and Sparta in 431, after a peace of sixteen years.
Although the complete work of Herodotus is not yet published, Thucydides is certain to know the work of the older historian - who has made his living by reciting the highlights of his narrative. Herodotus has told the story of the last great war, between Greeks and Persians. In 431 Thucydides recognizes the onset of the next major conflict, between Greeks. He resolves to record the Peloponnesian War as it happens.
He is immediately in the thick of events. In the summers of 430 and 429 Athens is stricken by plague. The Athenian leader, Pericles, dies of the disease. Thucydides himself catches it but survives. His Account of the symptoms is a first-hand report of unprecedented vividness.
In 424 he is elected one of the ten strategoi or military commanders for that year. Put in charge of an Athenian fleet in the northern Aegean, he fails to prevent the Spartans capturing an important city in the region. As a result he is exiled from Athens. He says later that the misfortune helps him in his great task, forcing him to travel and enabling him to view the conflict from different perspectives.
An important characteristic of Thucydides' work is his determination to achieve an objective view of what has happened, and of its causes. He states this clearly at the end of his introduction, saying that he will begin by listing the precise complaints of each side which, in their view, led to war.
But he then adds that he believes such arguments obscure the issue. In his own considered opinion, 'what made war inevitable was the growth of Athenian power and the fear which this caused in Sparta'.
A clear statement of the available evidence, leading to an informed conclusion, has remained the basic principle of history. The serious historian is advocate for both sides as well as presiding judge. To this end Thucydides uses a method which seems strange to a modern reader. His protagonists put their points of view in long speeches, perhaps in an assembly or before a battle. In the narrative these fall naturally enough. But since Thucydides himself was usually not there, his method is a fictional one which now seems out of place in history.
His account ends abruptly in 411. Whatever the reason may be, it is not his own death. He returns from exile to Athens at the end of the war, in 404.
Thucydides' history is continued from 411 BC by the third and last of the great trio of Greek historians - Xenophon. The fact that a contemporary continues the work so precisely from this date proves that Thucydides did indeed finish his work there, rather than the remainder being lost. But Xenophon, though a vivid writer, proves a very inadequate historian at a serious level. A supporter of Sparta, he lacks any sense of objectivity.
Fortunately this does not spoil the work which has made him famous. In 400 BC he finds himself part of a Greek force making a desperate retreat from Persia. Objectivity is irrelevant. He describes only what he sees and hears. The result is vivid eyewitness history, akin almost to journalism.
Xenophon's Anabasis (Greek for 'the journey up') is full of fascinating detail, as the Greek mercenaries struggle homewards from defeat in Persia. Desperate for provisions, they are constantly skirmishing with hostile tribesmen. Xenophon is voted into the leadership group and he gives himself much of the credit (possibly with justification) for their safe return to Greece, five months later.
The most famous moment in his account is when the leaders of the column come over the ridge of a mountain and begin shouting Thalassa, Thalassa (the sea, the sea). They have reached the Black Sea and relative safety.


"Bright straw with lemon highlights. A delightful Chardonnay nose with touches of melon, tropical fruit, peaches and nectarines. A subtle note of spice completes the offering. Full bodied and soft with bright varietal flavors of pineapple and fig. The palate is creamy and smooth with light touches of spice that define the long, stylish finish. "


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Gareth K Vile
Edinburgh Festival Fringe satire set in the aftermath of the Gulf War suffers from pedestrian direction
Despite three strong central performances, and a twisting plot that explores the moral compromises made by both Iraqis and Americans in the aftermath of the Gulf War, The Collector loses much of its impact due to its pedestrian direction.
Following the story of an Iraqi translator in the notorious prisons following the American occupation, Henry Naylor's script is less satire and horror than an examination of the ways in which a man's life can be corrupted by the competing forces of freedom and community. Nazir, inspired by hip hop and the ideals of democracy, signs up with the invading force, only to be drawn into a sinister world of threats and torture.
A series of short monologues, it is undermined by the ponderous staging and lack of theatrical flair: while the actors follow the script's descent into darkness, the procession of them on and off stage in turn grinds the narrative into a predictable crawl. The rhyming introduction and finale suggests a clear, despairing vision and frames the drama in a historical context, yet the story moves when it is most about Nazir and his family's personal tragedy.
The Gilded Balloon, 622 6552, until 25 Aug (not 11), £10–£11 (£9–£10).
Henry Naylor / Gilded Balloon After taking over Saddam Hussein's most brutal prison camp, the allied guards become possessed by its evil… A darkly humorous ghost story set during the US occupation of Iraq… Multi award-winning Henry Naylor was a lead writer on Spitting Image, and half of Parsons and Naylor. His two…

redpajama_set_name: RedPajamaCommonCrawl


Think Boba Fett is just a bounty hunter? Think again. Jeremy Bulloch appears in the new neo-noir British thriller "Number One, Longing. Number Two, Regret," now available on Amazon.com.
Bulloch plays a British detective cleverly named Bob A. Fett. The filmmakers dropped another inside joke: Fett's driving a Porsche sporting a "5LAVE1" license plate.
On the DVD, the director Neil Wassell talks fondly of the actor: "Jeremy Bulloch is absolutely fantastic. He's the most extraordinary character to have on set. Very talented. Tremendous charisma. He has a tremendous effect on everyone he works with. Very funny. ... And the man's a legend."
Jeremy also appears in the trailer, scrapbook, outtakes and behind the scenes.
When John Spears (Paul Conway) is arrested on suspicion of murdering his neighbour, detectives Kenosha (Jenny Agutter) and Fett (Jeremy Bulloch) are brought in to investigate the crime. As she spends time with the uncommunicative Spears, Kenosha becomes darkly fascinated by the suspect and soon realizes there is much more to the case than meets the eye. Delving into his past, she discovers a man traumatised by the lost love and events so shocking that he can barely speak of them. When she is warned off by an American security firm, Spears retreats into his own world once more and appears to be a man on the edge of insanity.
Thanks to Eric for contributing to this story.
Dude that is sweet! the Licens plate is ever better!
Very cool. Like the car.
Bob A. Fett ha ha awsome. Must get this!
There's a guy in my phone book here who's name is Bob Fett- thought about sending him fan mail once for the pure heck of it XD. Anyways, I might have to check that movie out.... anyone know what kind of Porsche it is?
I got my signed copy of this yesterday and watched it. Thank you for sending it out to me. And yes we do have a great salvation army store here.


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Endangered Alphabets
Tim Brookes
I started the Endangered Alphabets Project in 2010 when I discovered that about a third of the world's 120-plus writing systems may become extinct within the next one or two generations.
As you probably know, every culture has its own spoken language, and in many cases its own written language, too — a writing system it has developed to express and record its own beliefs, its own experiences, its understanding of the world. What the members of that culture have collectively written in that script is the record of their cultural identity: spiritual texts, historical documents, poems, deeds, letters between family members.
Especially for indigenous and minority cultures, though, there is tremendous pressure — institutional pressure, governmental pressure, economic pressure, even military pressure — to abandon their traditional writing systems and use some more "convenient" or "global" script. If they give in to that pressure, everything written in their own script becomes incomprehensible and lost to the very culture that created and wrote in it.
The United Nations' Universal Declaration on the Rights of Indigenous People says: "Indigenous peoples have the right to revitalize, use, develop and transmit to future generations their histories, languages, oral traditions, philosophies, writing systems and literatures, and to designate and retain their own names for communities, places and persons."
In fact, not only are such rights rarely protected by law, but the world's governments themselves are the most likely candidates to infringe on or refuse such rights.
Denying members of a minority culture the right to read, write and speak in their mother tongue defines them as inferior and unimportant, and leaves them vulnerable, marginalized, and open to abuse. The extent and quality of education go down, while levels of homelessness and incarceration, and even suicide go up — the kind of situation that has led to the endangerment or eradication of hundreds of Aboriginal languages in Australia and Native American languages in the U.S.
In an effort to slow this catastrophe and even, in some cases, to revive endangered traditional scripts, I've spent the past seven years carving pieces of text or even individual letters and words in many of these endangered alphabets. These carvings have been exhibited all over North America and Europe, including at the Smithsonian.
But what I've come to see, perhaps too slowly, is that documenting and speaking out about cultural genocide is not enough. To save and revive a language, you have to start with the children, and to reach children you need games.
So I'm starting to develop letter/word/alphabet games in endangered writing systems.
We are so accustomed to word games we often don't realize how vital they are. Games such as Scrabble, Boggle, Hangman and Bananagrams teach not only spelling but letter manipulation and word recognition, and instill a deep and increasingly complex innate sense of letter combinations and language structures.
Perhaps even more importantly, they reinforce and develop the understood interrelationship between spoken and the written words, and they instill in users a sense that these words, not only in their meanings but in their very shapes and design, are profoundly and inextricably connected to everything we know, how we think, and what we believe.
Designing word games in non-Latin scripts, though, turns out to be a lot trickier than it seems to those of us who grew up on Boggle. In a minute I'm going to be asking for your help, but first let me explain the fascinating underlying issues.
Let's start with an easy one. Many writing systems use waaaaay more symbols than we do. Khmer, for example, uses more than 80 letters, Pahauh Hmong has more than 60 syllabic consonants, plus tone indicators. If you're making a Scrabble-type game, you'd need awfully big trays to hold your tiles!
More subtly, and I think more interestingly, we Latinates (and English speakers and writers in particular) subliminally think of writing in terms of the origins of our own script. Let me explain.
Endangered alphabets; from left to right: Mongolian, Manchu, and Baybayin.
To us, each letter is a small monument like the Roman monuments from which we drew our sense of formal typography: upright, balanced, capable of standing alone on its own two feet. In an alphabet game, then, we can play with letters as if they were Legos, picking them up, combining them, detaching them, recombining them to form other words.
In part, this is because of the visual connotations of our letters, their imperial symmetry and balance. But it's also because those visual qualities are more important than the sounds they convey. Despite the robust physicality of our printed letters, they are actually almost absurdly inexact. Every vowel can be pronounced in multiple ways, and consonant clusters such as gh are notoriously ambiguous.
The result is that we have a writing system that is notoriously hard for non-English-speakers to learn, yet works astonishingly well for three-dimensional letter-based games such as Scrabble and Boggle. Stripped to their essentials, the letters work equally well for words that require them to be pronounced in all kinds of ways. If we have a U we can use it for GUT or, sounding entirely different, for GUEST.
Non-Latin-based writing systems are in many ways much more conscientious in phonetically representing the spoken word but that also makes them less suitable for certain word games. The northern Thai script called Lanna faithfully represents a far wider range of vowel sounds than we hear and use, but to do so it uses a cluster of glyphs to represent every sound. Consequently, it is far less flexible for the gamer, and the game designer. Imagine yourself playing Scrabble in Lanna: you'd need a tray of maybe 20 tiles to have a hope of creating a single word, and you'd have to stack tiles on top of each other to represent sound combinations. It could be all kinds of fun, but it certainly wouldn't be easy.
Yet another challenge arises when you consider a word game in Mongolian. Not simply because Mongolian is a vertical script — that's just a ninety-degree change of alignment. No, one of the delightful features of Mongolian is that it is inherently calligraphic. Every word begins with a certain set of flourishes and ends with another set of flourishes, and to achieve this graphic embellishment individual letters have different shapes depending on whether they are at the beginning or end of the word (in which case they are distinctly elaborate) or in the middle (in which case they are simple, straightforward and efficient). Perhaps this accounts for the fact that there is currently a resurgence of Mongolian calligraphy, but not of Mongolian Boggle!
So here's my invitation to you. Well, two invitations.
The first is to help me design games that help children (and/or adults) in minority and indigenous cultures learn, or re-learn, their traditional alphabets.
These need to be easy and cheap to manufacture. Ideally they don't need a reliable Internet connection or even a supply of electricity. I'm currently exploring wooden puzzles, sets of playing cards that have letters instead of numbers, a Scrabble-like board game, and domino-style games also with letters rather than number-dots. Send your thoughts to brookes@champlain.edu.
The second is that, as I need to fund the development, prototype manufacture, field testing, shipping and whatnot, I'd love it if you can back my current Kickstarter campaign. The campaign ends on August 3. Please help if you can!
Header photo: Children coloring in endangered alphabet coloring books in an event held at the Smithsonian.
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Is Mob-Rule The New Way To Get Grace?
More and more we see violent actions being used to get a form of justice for those who are rioting and performing acts of violence. This is certainly not a new method of how to get attention to your plight, but it seems to be escalating in this country more and more. It is frightening to think that innocent individuals can be harmed or even killed in these acts of mob-rule that are happening on college campuses, and in the streets of many cities. People are being fired or forced to resign from high positions because schools or police departments are caving into the requests of these large mobs!
In the selected verses, James wrote about how men can praise God, and then in the next breath, they can curse other members of mankind. Watching some recent protests it is questionable how those participating are showing signs of hatred and cries of being treated unjustly by the signs they carry, and the wording on the shirts they are wearing. It makes you wonder if the situations they are protesting are valid or contrived. Often such protests result in setting other people's property on fire, and/or in looting or stealing stuff that belongs to people who are their physical neighbors!
Much of this unrest and dissention can be attributed to the belief of the masses that human beings are actually just a higher form of animal. Many people no longer believe that mankind was started by a special creation in which God/Jesus created mankind in His image and likeness, and thus, we are not just another kind of evolved animal. Jesus did not believe in evolution as the way mankind came into being! For He said, "Haven't you read," he replied, "that at the beginning the Creator 'made them male and female', (Matthew 19:4) If mankind was created as male and female from the beginning, then there is no evolution involved in mankind being here on the earth!
If we really believe in God and Jesus, then we also should believe that all of mankind is made in the image and likeness of God, and therefore, they demand our respect, and are in fact our neighbors too! What a different world this would be if all of mankind believed like this and lived by such a code. However, this is not true and thus we must deal with forms of discrimination, which causes unrest and erupts into violent actions. There is no immediate response that can correct these discriminatory beliefs, which pushes the envelope and results in violent responses.
For those still reading this, who do believe in the God of the Bible, and in Jesus Christ His Son, please also believe in prayers being answered. For mankind to resolve these problems is not obvious to occur, and is likely to continue to get worse. The only miracles still possible in this world will occur in answer to the prayers of believers of Jesus Christ. Jesus emphasized this when He walked this earth as a man/God. Jesus said, Therefore I tell you, whatever you ask for in prayer, believe that you have received it, and it will be yours. (Mark 11:24) You must believe that God really exist and then, pray as though you really believe it will happen.
Jesus has given a command to all of His disciples to preach the gospel to other people. And the gospel must first be preached to all nations. Whenever you are arrested and brought to trial, do not worry beforehand about what to say. Just say whatever is given you at the time, for it is not you speaking, but the Holy Spirit. (Mark 13:10-11) The gospel must first be preached to all nations! Most of us cannot preach to all of the nations, but can you, do you, preach the gospel at all?
How can you follow a directive that the Apostles abided by and Peter preached? When they were told to no longer preach about Jesus Peter responded with a quip about who they must obey. Peter and the other apostles replied: "We must obey God rather than men! (Acts 5:29) Are you sure who it is that you are depending on for directions in your life?
Please do not stop reading the Verse of the Week, because of this confusing commentary. It is difficult to write about any form of discrimination without stepping on someone's toes! Remember people may look different on the outside but within they are all carrying the image and likeness of God! Praise God for sending His Son so that we all, though sinners, can be saved only through His grace!


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Pallas's Cats
Encountering Pallas's Cats on the Tibetan Plateau
It was early August. During an interview about China's wildlife, the reporter asked me which mammal I most wanted to see in China. Perhaps predictably, I said "Snow Leopard". I followed up quickly with "…but Pallas's Cat is a close second."
A few days later, to celebrate my birthday, Marie Louise Ng and I headed to China's Qinghai Province, on the edge of the Tibetan Plateau. We explored the shores of Qinghai Lake, enjoying the colonies of Pallas's and Brown-headed Gulls, caught sight of the Tibetan Lark, the rare Pinktail and cherished encounters with Wolf and Tibetan and Red Foxes. Along the way, we explored some spectacular mountains and valleys, some of which are rarely visited by anyone except a few local yak and goat herders.
At Qinghai lake
A track!
On my birthday we discovered a track that ran from Qinghai lake towards a stunning gorge. With not much time left in the day, we resolved to be back early the following morning to spend the day hiking.
Heavy rain at dawn the next morning delayed our start and it was just before 7am that we drank our coffee, packed some water and snacks to fuel our walk and began our expedition into the gorge, pikas scampering down their burrows as we headed across the stone-covered grassland into the valley.
After about 20 minutes we passed the first crags, almost like practice attempts at cliff-building compared with the finished product we would encounter further into the gorge.
Suddenly, in the overcast early morning light, movement caught my eye.
I raised my binoculars and was astonished to see not one but two Pallas's Cats scampering around some rocks on the nearby hillside.
Setting up the telescope
"Pallas's Cat!"
I said to Marie "Pallas's Cat!", as softly as my excitement would allow. I quickly set up the telescope thinking that they would almost certainly run away as soon as they saw us. Instead, we were treated to incredible prolonged views as these two well-grown kittens practiced their hunting skills, chasing each other, biting each other's tails and generally having lots of fun. We had stumbled across a den and knew it was only a matter of time before mother, presumably out hunting, would return. Settling down around 30-40 metres away, we sat still as the kittens played right in front of us, completely relaxed.
We were enthralled and couldn't stop grinning to each other. I took some video with my iPhone and Swarovski Optik ATX95 telescope as the kittens continued to perform. After around 40 minutes, which went in a flash, the kittens suddenly stopped fooling around and both stared intently in the direction of some nearby rocks. A quick scan in that direction revealed mother, slowly walking towards the den with a pika in her teeth. We froze with anticipation. Then, suddenly, she dropped the pika, turned around and, almost in slow motion, crawled to a nearby hollow before raising her head and looking directly at us. She had seen us. And we were obviously too close for her liking. Not wanting to disturb, we began to retreat but before we had moved 10m from our position, she returned to pick up the pika and headed towards the den, seemingly content with our presence. Fortunately, I was able to record the moment when the kittens scampered up to her, one of which grabbed the pika and took it back to the den, before being followed by its sibling and, finally, its mother.
A magical moment.
We had spoken about the possibility of seeing a Pallas's Cat on this trip. However, not in our wildest dreams had we considered an encounter such as this.
According to the Mammals of China, Pallas's Cats are nocturnal and crepuscular, solitary and hunt by ambush. They are not fast runners and are most active at dusk and dawn. They often spend the day in caves, rock crevices, or marmot burrows, and emerge in the late afternoon to begin hunting, although when they have young they often hunt around the clock. They feed largely on diurnally active prey species such as gerbils, pikas and voles, but also take birds, hares and even marmots.
About the author: Terry Townshend
Terry Townshend is a Beijing-based conservationist and environmental law expert. He works with Chinese organisations to help save some of China's rarest birds from extinction and helped set up China's first community-based wildlife tourism project on the Tibetan Plateau - "The Valley of the Cats" - focusing on Snow Leopards. He is a Fellow of the Paulson Institute, advising their conservation programme, including protecting coastal wetlands, the development of China's national park system and financing biodiversity. Terry runs the Birding Beijing website, serves on the Global Advisory Group of BirdLife International and is a brand ambassador for SWAROVSKI OPTIK.
The perfect companion for this adventure:
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Government publishes proposal for post-Brexit customs arrangements
Gareth Bevan 16 August 2017 No comments
The Government has published its long-awaited proposals for future customs arrangements after the UK leaves the EU in March 2019.
In the future partnership paper the Government outlines customs arrangements which it believes will facilitate "the freest and most frictionless trade possible in goods between the UK and the EU", but which would also enable the UK to agree its own new trade relationships with countries around the world.
The proposals
The two proposals put forward in the paper are:
"A highly streamlined customs arrangement between the UK and the EU, streamlining and simplifying requirements, leaving as few additional requirements on EU trade as possible. This would aim to: continue some of the existing arrangements between the UK and the EU; put in place new negotiated and potentially unilateral facilitations to reduce and remove barriers to trade; and implement technology-based solutions to make it easier to comply with customs procedures. This approach involves utilising the UK's existing tried and trusted third country processes for UK-EU trade, building on EU and international precedents, and developing new innovative facilitations to deliver as frictionless a customs border as possible.
A new customs partnership with the EU, aligning our approach to the customs border in a way that removes the need for a UK-EU customs border. One potential approach would involve the UK mirroring the EU's requirements for imports from the rest of the world where their final destination is the EU. This is of course unprecedented as an approach and could be challenging to implement and we will look to explore the principles of this with business and the EU."
Interim period
The Government is also seeking to agree an interim period with the EU before any new arrangements enter into force. This would avoid the "cliff-edge" scenario of moving from the EU customs union relationship to the future partnership overnight – or worse still, having to deal with more than one new customs relationship if a new partnership with the EU is not agreed until after March 2019. An interim period would give businesses and the Government time to implement the new arrangements and allow for a "smooth and orderly transition".
The Government is proposing that during this period there would be a continued close association with the EU Customs Union for a time-limited period after the UK has left the EU. It is suggesting a new and time-limited customs union between the UK and the EU Customs Union, based on a shared external tariff and without customs processes and duties between the UK and the EU. The paper does not state how long this arrangement would last for, only that it would be linked to the time it would take to implement the future arrangement.
It is acknowledged in the paper however that the UK's ultimate customs arrangements will depend on the outcome of negotiations with the EU.
Dialogue with businesses on the proposals
The Government will be holding discussions with businesses and other stakeholders to discuss the proposals over the summer. It is keen to get views on whether the proposals for the customs arrangements and interim period will address businesses' concerns or whether alternative arrangements should be considered.
EU reaction
Initial reaction from the EU to the UK's proposals however has not been promising.
Guy Verhofstadt, the European parliament's Brexit coordinator tweeted:
"To be in & out of the Customs Union & "invisible borders" is a fantasy. First need to secure citizens rights & a financial settlement."
Michel Barnier, the EU's chief negotiator's reaction was to tweet:
"The quicker #UK & EU27 agree on citizens, settling accounts and #Ireland, the quicker we can discuss customs & future relationship."
Whilst the paper does include three paragraphs on the matter of the land border with Ireland it seems unlikely that there will be much, if any, discussion on it during the next round on Brexit negotiations which are scheduled to take place at the end of August.


The Canadian Dance Assembly (CDA) is governed by a National Council of up to 15 members. The Council is currently composed of the Chairs of the seven Standing Councils, who are elected by, and represent, their Council members. The National Council additionally appoints up to seven Members at Large, to help balance sectoral, geographic and cultural diversity, and to ensure a good balance of skills, gender and generations. Please note that the officers of the National Council are appointed by the National Council at the first meeting following the Annual General Meeting.
Committees - CDA manages various committees that work alongside the National Council and staff to maintain the activities of the organization. The committees for the 2018/19 year are as follows: Advocacy, Pluralism, Conference and Finance.
For further details or if a member wishes to join any of these committees they should express their interest to the office at 416-515-8444 or email aviva@dancecanada.net.
National Council would like to thank outgoing Directors Jason Dubois, Kevin Ormsby and Candice Pike for their six years of service on CDA's National Council.
Margaret is the Executive and Artistic Director for the Dancers of Damelahamid as well as a lead dancer, singer, and composer. She choreographed the full-length works Setting the Path 2004 and Sharing the Spirit 2007, which toured internationally to New Zealand in 2008 and the 2010 World Expo in Shanghai, China. Her other works include Visitors Who Never Left as a site specific work in 2009, Dancing our Stories 2010, Spirit Transforming 2012, In Abundance 2014, and Flicker 2016. Margaret has directed and produced the Coastal First Nations Dance Festival since 2008. Margaret holds a Masters of Arts in Arts Education at Simon Fraser University. She was a sessional instructor at Simon Fraser University for Foundations in Aboriginal Education, Language, and Culture in 2007.   Margaret was a faculty member for the Banff Centre Indigenous Dance Residency 2013. Margaret presented at the World Indigenous Peoples Conference on Education 2008, 2011, 2015, and 2017. She serves on the Board for the Canadian Dance Assembly and the BC Alliance for Arts and Culture.
Barry Hughson joined The National Ballet of Canada as Executive Director in 2014. Since that time, the company has accelerated its trajectory of artistic growth, fiscal responsibility, community engagement, and international presence, including landmark tours to New York's Lincoln Center, Théâtre des Champs Elysées in Paris and the Mariinsky and Stanislavsky Theatres in Russia.
Mr. Hughson began his career as a dancer with The Washington (DC) Ballet, where he performed classical and contemporary repertoire at the Kennedy Center and on tour throughout the world. For the last 25 years, he has served as an executive leader at Connecticut's Warner Theatre, Complexions Contemporary Ballet in New York City, New Jersey's American Repertory Ballet, The Atlanta Ballet, Boston Ballet, and The National Ballet of Canada.
As an arts advocate, consultant and educator, Mr. Hughson has had teaching and speaking engagements in the USA, Europe and South America. He is the Vice Chair of Dance/USA, North America's largest service organization for professional dance. He is a founding member of Dance/USA's National Leadership Council for Dance and has served as a mentor to emerging arts executives through the Institute for Leadership Training. In January 2015, in partnership with Dance/USA, Mr. Hughson spearheaded the first ever meeting of North American and European dance leaders, bringing together 22 administrators from nine countries for two days of meetings at the Royal Opera House Covent Garden in London. In Canada, Mr. Hughson is a Vice Chair of the Canadian Dance Assembly and serves on the Steering Committee for the Canadian Arts Summit.
Sue Edworthy has worked in the non-profit performing arts for nearly twenty years. Her passion for the performing arts has led her to stints as a director, event coordinator and arts administrator and she is now respected and sought after in Toronto as a marketing and communications specialist. Sue is a former Board Member for TAPA, was co-chair for Artsvote 2014, and spent 2 years of a seven-year stint as Vice President of The Toronto Fringe Festival. She is a Harold Award recipient, received the 2012 and 2013 Char-PR Prize for PR, and is the 2015 recipient of the Leonard McHardy and John Harvey Award for Excellence in Arts Administration. She runs Sue Edworthy Arts Planning, a marketing, producing and strategic planning company for the Toronto arts community.
Fannie Bellefeuille's career with RUBBERBANDance Group began nearly eight years ago. After being appointed as the company's administrative director in 2010, she was promoted to general manager in 2015. Fannie graduated from the theatre program of UQAM in 2004. She gained experience in arts administration while directing her own theatre company, Collectif Ikaria. She then completed a certificate in the management of cultural organizations at HEC Montréal, and followed this with a master's degree in the same program. Parallel to her administrative activities, she has acted in live theatre and television plays since 1992. She also wrote and produced several plays and scripted two short films. She has won several awards for her work, including the Raymond Blais writing prize for Stockholm, la nuit (2007), and was chosen for the prestigious ISPA Canada Fellowship Program (2013–2015). Fannie has made a point of giving back to the arts community on an ongoing basis, offering her expertise to emerging companies as a mentor and participating in various arts council juries. She is currently treasurer of the board of directors of the Regroupement québécois de la danse and a member of the finance committee of ISPA. Recently, she was elected to the National Council of the Canadian Dance Assembly.
Ann Kipling Brown, Ph.D. is Professor Emerita of the University of Regina, having worked for many years in the Arts Education program in the Faculty of Education. She continues to teach, research and publish on dance pedagogy, the integration of notation in dance programs, the application of technology in dance education, and the role of dance in the child' and adult's lived world. In her professional and community service Ann has served for several years on the Advisory Committee and the Reference Committee for Arts Education for Saskatchewan Education. She has been actively involved in the Saskatchewan cultural community as well as serving on several international committees as well as attending conferences concerned with arts/dance education, including Dance and the Child International (daCi), World Dance Alliance (WDA) and The World Alliance for Arts Education (WAAE). Ann is committed to the research and networking in arts education with a focus on dance education in the public and private sectors having attended local, provincial, national and international conferences and symposia.
Susan Chalmers-Gauvin, Co-Founder and CEO of Atlantic Ballet Atlantique Canada, is a strategic, results-driven leader with over twenty years of management experience in strategic planning, and community and program development, including leadership roles in the health sector and strategic counsel to First Nations.
Ms. Chalmers-Gauvin has been responsible for the organizational and financial development of Atlantic Ballet Atlantique Canada since its establishment in 2001, bringing it from a start-up enterprise to an international touring company and positioning the company as an innovation hub for arts and public engagement. Ms.Chalmers-Gauvin is committed to the critical role the arts play in engaging communities in creative learning and has successfully established cross disciplinary partnerships with the education, health, ICT and social sectors. She was inducted in to the Order of New Brunswick in 2017. She is the recipient of Top 50 CEO's Award, Atlantic Canada; Canada's TOP 100 Award-Canada's Most Powerful Women, the Women's Executive Network (WXN). She has also received an Honourary Doctorate of Letters, the University of New Brunswick and the YWCA Women of Distinction Award.
Calla Lachance is a passionate dance artist, educator, advocate and arts administrator living and working in St John's, Newfoundland and Labrador. In 2008 she became the Executive Director of Neighbourhood Dance Works (the province's premier presenter and generator of new dance experiences). In this role Calla works alongside the NDW community to develop the Annual Festival of New Dance and other programming that for 3 decades has generated a lively, engaged regional dance scene.
Through NDW's programs and partnerships Calla has helped expand the possibilities for increased touring across our region and she has played an active role connecting local artists with artists from other regions, which has expanded the potential for more exchange and collaboration amongst regional artists and presenters.
Calla is the visionary behind NDW's successful Canada Council - New Chapter project, an unprecedented event that will see up to 22 dance artists, each from Newfoundland and Labrador, return home to research, create and present new work under the artistic direction of Christopher House and Anne Troake, and in collaboration with Tedd Robinson, Lois Brown, Tedi Tafel, Amy Bowring and Colleen Quigley. The project will commenced in summer 2017 on the shores of St John's, NL and will be presented in St John's and Toronto in Fall of 2019.
Brandy creates contemporary performances through the body and is active as a dancer, choreographer, aerialist, writer, arts advocate, community cultivator, space maker, Artistic Director, educator and curator. Her performance works have been produced and performed in Canada, Europe, India, South Africa and the USA in theatres, urban environments, festivals, museums, art galleries and isolated landscapes. Brandy founded Anandam Dancetheatre as an umbrella structure for her performance projects and is its Artistic Director. She is a founder and Co-Director of Collective Space (an alternative performance and rehearsal venue in Toronto's west end), Founder and Co-Artistic Director of CCAFT (Contemporary Circus Arts Festival of Toronto), developer of Anandam's Audience In Residence Program and curator/co-producer of the Body Brake dance series at Theatre Passe Muraille. Brandy is a triple Shastri Indo Canadian Fellow, a Chalmers Professional Development Awardee, a visiting faculty artist for the Shiv Nadar University MFA Program (India), a Toronto Arts Council Cultural Leadership Fellow for 2016, has been twice shortlisted for the KM Hunter Award in Dance 2009 and 2011 was a 2013 Multi-Disciplinary Dance Artist Nominee for the Soulpepper Dance Awards and is a Toronto Arts Council Cultural Leadership Fellow for 2016.
Nicole's passion for dance started at an early age where she studied a myriad of styles. She then graduated from the Senior Professional Program of the School of Contemporary Dancers in 1998.
After graduating, Nicole assumed the role of General School Coordinator and Administrator of the School of Contemporary Dancers. While there she began her performing career working with Mouvement / Winnipeg Dance Projects with choreographer Gaile Petursson-Hiley on a number of productions and in 2010 with Stephanie Ballard and Dancers with the full evening work Homeagain. Nicole was a founding member of NAfro Dance Productions, working with the company and Artistic Director, Casimiro Nhussi, for six seasons.
Nicole has served as juror on both the Manitoba and Winnipeg Arts Councils, and continues to be a guest instructor at local dance institutions and schools across the province, and also teaches in the RWB School's Recreational Division, Adult Program.
Nicole strives to bring her experience from all aspects of her career to further the scope of programming and projects of Dance Manitoba, where she has been serving as the Executive Director for over a decade.
Peggy Reddin is Director of Arts Education at the Confederation Centre of the Arts in Charlottetown, PEI. She is the program coordinator and instructor for the Dance Performance and Theatre Performance programs in the Holland College School of Performing Arts, a partnership with Confederation Centre. Ms. Reddin co-founded dance umbrella (now part of the Youth Education Program of Confederation Centre) in 1988 with Julia Sauvé and has served as its Director since 1996. She is a graduate of the National Ballet School Teacher Training Program and holds a Bachelor of Arts (Philosophy) degree from U.P.E.I. Ms. Reddin has taught with Charlottetown Ballet Theatre, DancEast, and Charlottetown Festival Young Company, and has directed and choreographed numerous events on the Island. She was also the project founder for Dance with D.A.W.N., an innovative dance program for women with disabilities. In addition to her work in arts education, Ms. Reddin is very involved in the local arts community. She has worked in collaboration with Theatre P.E.I., the P.E.I. Symphony Orchestra, and the U.P.E.I. Music Department, among others. She has served on the board of the PEI Council of the Arts and Culture PEI, and as a juror for the New Brunswick Arts Board and the PEI Council of the Arts.
Michèle Moss (BEd, MA) is a dancer, choreographer and community educator. She is currently a member of the professorial serving the Faculty of Arts/SCPA-Dance as an associate professor at the University of Calgary. Her dedication to discovering the nature of jazz dance and jazz music has led her to circle the globe. She began her ethnographic research in 1986 searching for the roots of North American jazz dance. As tenured faculty Michèle enjoys a career that is diverse. As co-founder of concert jazz dance company and community school, DJD (Decidedly Jazz Danceworks) in Calgary, Alberta, she enjoyed a performing career with the company but also created work from 1986 up to a most recent contribution in 2017. She created work as an independent choreographer in the Dancers' Studio West annual choreographic festival since 1989. She also served as artistic director and choreographic festival from 2000-2005. Her research mostly takes the form of creation projects, but also includes textual projects. She is frequent conference presenter for numerous organizations including African Studies Association (ASA) and Congress on Research in Dance (CORD) and recently presented at CADD (Collegium for African Diaspora Dance) in Durham, North Carolina at Duke University.
She greatly enjoys her UCalgary teaching assignments, embodied and textual research, choreographic commissions, international teaching assignments and the many opportunities to conduct ethnographic research in the field. Her textual projects including co-authoring chapters, with Dr. Jill Crosby, on the history of jazz in a Feb 2014 publication from the University Press of Florida called Jazz Dance: Roots and Branches. Over the years her work has been supported by Canada Council for the Arts, Alberta Foundation for the Arts, Heritage Canada as well she has received numerous UCalgary research grants. She considers herself a citizen of the world; born in the UK of Jamaican and British parents, raised in Montréal, resident of Calgary and frequent flyer.
Spirit Synott is an actor, dancer, and visual artist whose innovative, cross-cultural work engages our differences and our individuality as well as our commonalities. As an actor, Spirit's work has been featured in Degrassi, and in Jani Lauzon's short Just One Word, which premiered at the 2017 ImagineNative Film Festival. Spirit's dance work has been highlighted in films such as Hearts of Tango, and In Search of Joy. 2017 dance performances include Invictus Games fundraising and the Toronto Latin American Film Festival. In 2018 she was commissioned as a resource person to contribute to the education of TDSB Arts Co-Op, also hired as part of the team of PVD Porch View Dances as rehearsal assistant/director and understudy for ec-co-sys-tem group. In 2014, Spirit was artist in residence at Ryerson's Dance Program, facilitating the choreography and performance of a work with 2nd year dance students for Social Justice Week. In 2009, Spirit performed in the Olympic Torch Toronto celebration. As a dancer, Spirit has worked with Debajehmujig Theatre Group (Indigenous dance theatre); Lisandro Gomez (Argentinian Tango); Rachel Gorman (contemporary dance theatre); Anthony Guerra (African/Caribbean folk); MUUVE (wheelchair dance); OMO Dance Company (modern ballet); Almond Small (modern); and Ronald Taylor/Canboulay (African/Caribbean modern). Spirit has created and performed numerous solo works and duets with Perry Augustine and Aaron Water. Spirit's extensive multidisciplinary arts training includes a Master of Inclusive Design and an AOCA from OCAD University. Spirit trained as an actor with Actors Equity Showcase, Toronto Theatre Alliance, Actors' Co-op, and Sears & Switzer; and in dance with Debbie Wilson. Spirit has served on the Diversity Committee and has been elected to the Board of ACTRA (Alliance of Canadian Cinema, Television and Radio Artists). In 2014, Spirit was awarded the Canadian Labour Congress Carol McGregor Award for her disability rights activism.
Rachel da Silva Gorman is Associate Professor and Graduate Program Director in the Critical Disability Studies at York University, and an artist working in dance theatre, performance, and curating. Da Silva Gorman's research/creation engages theory and method from fine arts, cultural studies, and social sciences; and focuses on transnational social movements, anticolonial aesthetics, anti-racist disability theory, and critiques of ideology. Her writing has appeared in Auto|Biography Studies, American Quarterly, Somatechnics, thirdspace, and the Journal of Literary and Cultural Disability Studies. Da Silva Gorman has created and choreographed 14 dance-theatre and site-specific productions, ten of which have been remounted or screened at festivals. The Globe and Mail's Paula Citron called Gorman's dance theatre production Waking the Living "compelling…a disturbing and riveting reality check" and described her site-specific production Passing Dark as a "melancholy journey… of intense sadness." She has been a movement director for several solo theatre artists and collectives, and she teaches choreographic process in disability, BIPOC, and queer arts communities. Since 2009, she has been on the curatorial committee at A Space Gallery in Toronto, where she has curated four exhibitions, and has participated in programming six exhibitions a year. In 2017, she received a grant from the Canada Council for the Arts for a performance-based research-creation project Year Five of the Revolution.