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y Diasporas of Australian Cinema anthology criticism
Editors: Catherine Simpson , Renata Murawska , Anthony Lambert .
Issue Details: First known date: 2009... 2009 Diasporas of Australian Cinema
Abstracttext
Notestext
Contents (2009: 11)
Works About (6)
Units Teaching (1)
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AbstractHistoryArchive Description
'Diasporas of Australian Cinema is the first volume of essays to focus on diasporic hybridity and cultural diversity in Australian film-making over the past century. Topics include, post-war documentaries and migration, Asian-Australian subjectivity, cross-cultural romance, 'wogsploitation' comedy, and post-ethnic cinema. This collection also provides a comprehensive filmography making it a useful reference text for scholars of Australian film and cultural studies. The book is a vital contribution to the burgeoning international body of critical work on diasporic cinemas.' (Publisher's blurb)
Dedication:
This book is dedicated to those we have lost:
Christine Elizabeth Jones (1954-2008)
Bernadette Anne Carstein (1954-2007)
And those we have gained:
Appolonia Gigi Bernard (27 March 2008)
Contents indexed selectively.
* Contents derived from the Bristol,
United Kingdom (UK),
Western Europe, Europe,:Intellect , 2009 version. Please note that other versions/publications may contain different contents. See the Publication Details.
Introduction : Rethinking Diaspora - Australian Cinema, History and Society, Anthony Lambert , Renata Murawska , Catherine Simpson , single work criticism
'The inspiration for Diasporas of Australian Cinema emanates from the diverse range of films dealing with diasporic experience produced in Australia over the past century. The vital relationship between migration and the moving image is often melancholically invoked, as in films such as Michael Bates' acclaimed short film The Projectionist (2002), in which a projectionist traipses through Sydney's darkened laneways as haunting memories flash across the surface of city buildings. Sergei Rachmaninoff's symphonic poem Isle of the Dead accompanies this 'gallery of ghostly visions' that includes images of migrant workers, a 'woman in pain', a 'man in despair' and refugees who have been forcibly displaced (Much Ado Films 2002). Using the live-action animation technique of 'Pixilation', these poetic images render urban Sydney an uncanny space, while at the same time hinting at both the animated origins of cinema and the imminent death of the cinema projectionist - a last vestige of modernity. The Projectionist exemplifes the ways film can evoke memories of things past, but shows how it can also be a way to make sense of the present and to imagine the future. In this case, the migrant projectionist's origins are never named. He is the modern Everyman who embodies the traumas of the twentieth century, and the subsequent cultural formations that have developed within a specifcally Australian context. While these images haunt the projectionist, they are also liberating as they are cast out and shared with others, a diasporic visibility that becomes part of our collective memory.' (p15)
(p. 15-27)
Tinkering at the Borders : Lucky Miles and the Diasporic (No) Road Movie, Catherine Simpson , single work criticism
'During the late 1990s and early 2000s, independent political documentaries, including Clara Law's Letters to Ali (2004) and Tom Zubrycki's Molly and Mobarak (2003), contested the prevailing anti-asylum-seeker discourse in Australian media. Australian feature film-making, however, had been noticeably silent on this issue until the release of Michael James Rowland's debut, Lucky Miles (2007). This film revolves around the quest of three exiles to seek civilization, resist capture and survive in the desert after being abandoned by an Indonesian fishing vessel in remote Western Australia. Pursued by an Army Reservist unit that seems more interested in fishing and football than the (seemingly impossible) task of maintaining border integrity, the three exiles become more and more lost as they wander deeper into the desert.' (p. 29)
White Aborigines : Women, Space, Mimicry and Mobility, Anthony Lambert , single work criticism
'This chapter explores diaspora's signification flexibility and Aboriginality's appropriation within the Australian cinema. It also examines the movement of women into conceptual and physical spaces of Aboriginals citing the films "Journey Among Women" and "Over the Hill" where female characters mimic Aboriginal women in environments promoting female unity and survival.'
Wogboy Comedies and the Australian National Type, Felicity Collins , single work criticism
'Popular Australian film comedy since the early 1970s has been dominated by reinventions of the national type. These reinventions involve transformations of the urban larrikin and the bush battler, first established in silent film classics such as The Sentimental Bloke (Raymond Longford 1919) and in Cinesound Studio's Rudd family comedies of the 1930s, directed by Ken G. Hall. These comic types continue to surface in popular film and television as the larrikin, ocker or decent Aussie bloke, exemplified in the 1970s by Bazza McKenzie, in the 1980s by Crocodile Dundee, in the 1990s by Darryl Kerrigan in The Castle, and most recently by cable TV showman Steve Irwin until his untimely death in 2006. Yet despite decades of multiculturalism, little attention has been paid to the impact of post-war, non -British immigration on Australian comic types. This chapter examines three popular comedies which champion ethnically marked characters as either 'New Australians' (They're a Weird Mob, Michael Powell 1966), 'wogboys' (The Wog Boy, Alexsi Vellis 2000) or `chockos' (Fat Pizza, Paul Fenech 2003). It asks whether 'wogboys' and 'chockos' - as diasporic, multicultural or new world comic types - have trumped the larrikins and ockers of Australian screen comedy, or whether 'wogsploitation' films are popular with Australian film and television audiences precisely because they tap into a long. standing national type without disturbing its key characteristics.' (Publication abstract)
Excess in Oz : The Crazy Russian and the Quiet Australian, Greg Dolgopolov , single work criticism
'How are Russians portrayed in Australian cinema? In contrast to their proportionally small population and minor, non -cohesive multicultural grouping, there hove been numerous representations of Russians in Australian Films and television serials. These are exoticized images that use Russians as catalysts of narrative conflict and cultural excess. Russia occupies on ambivalent space in the Australian cinematic imagination: romantic, mysterious, dangerous, emotional and dramatic. It is imagery informed by literary classics, especially the psychological lavishness of Leo To!stay and the spiritual inordinateness of Fyodor Dostoyevsky. While there is a long history of Russian migration, there is a relatively recent record of the representation of Russians on Australian screens. Russians are not cast as villains in the same way that we come to expect from American cinema during the Cold War, nor are Russians portrayed as 'normal', assimilated members of a brood multi -ethnic nation. They are more often cast as exotic, passionate and radical, dangerous and excessive.' (Publication abstract)
Anzac's 'Others' : 'Cruel Huns' and 'Noble Turks', Antje Gnida , Catherine Simpson , single work criticism
'War films are not an obvious starting point to discuss Australia's diasporic cinema. Nevertheless, portrayals of the enemy draw attention to the nationalizing discourses which serve to maintain an assimilationist model of the nation. While neither German nor Turkish identities figure prominently in Australia's contemporary multicultural cinema, these national 'types' play a more significant role in Australian visual culture produced in the first part of the twentieth century. German, and to a lesser extent Turkish, villains feature in numerous films produced in Australia during both world wars. In this chapter, we argue that in the short term Australian film portrayals of the 'the cruel Hun' and 'noble Turk' encouraged glorification of soldiers in Australian and New Zealand Army Corps (ANZAC), while in the long term these perpetuated a more nationalistic construction of the Anzac legend' (Publication abstract)
(p. 93-102)
'Now You Blokes Own the Place' : Representations of Japanese Culture in Recent Australian Cinema, Rebecca Coyle , single work criticism
'A minor character in the Australian film Japanese Story (Sue Brooks 2003) ruminates on the ambivalence of many Australians towards Japanese people:
In the war we thought you blokes were coming after us - we had stuff stashed away up in the hills, evacuation plans, people tying knives to the end of broomsticks - ridiculous really... Now you blokes own the place. There was a time there when nobody would buy anything made in Japan. Wife, she'd go into the shop and turn the thing over and if it said made in Japan she put it back on the shelf - she wouldn't buy it. Still don't, I guess. Only country to have a trading surplus with you lot. Funny life, isn't it? (DVD transcript)
'These observations signal various perceptions of Australia -Japan relations for Anglo-Celtic Australians, and the monologue suggests how these can be articulated in Australian cinema. This chapter offers an overview of historical and contemporary relations between Australia and Japan as a framework for analyzing the diasporic cultures represented in two early millennial Australian films, Japanese Story and Bondi Tsunami (Rachael Lucas 2004). These depict Japanese visitors to Australia, however the approach (as well as the style) is significantly different in the two films, one concentrating on middle-class Euro-Australian cultural contact and the other on youthful transnational surf culture. In contrast to each other, the films raise issues about the practices deployed to represent Australian perspectives on Japanese culture.' (Introduction)
(p. 103-114)
Other Shorelines, or the Greek-Australian Experience, John Conomos , single work criticism
'This chapter maps how certain film-makers of Greek-Australian descent have delineated important aesthetic, cultural, exilic, gendered, historical and political complexities over the last several decades. The film-makers I examine here are, to varying degrees, nomadic, decentred, exilic and marginal- They include George Miller, Anna Kannava, Michael Karris, Peter Lyssiotis, Bill Mousoulis and Lex Marinas. I begin by examining features of the aesthetic, cultural and political realities that have influenced these film-makers of bicultural estrangement, loss, belonging and identity. Then my discussion ends on Ana Kokkinos's landmark feature Head On (1997). All these film-makers are, to cite the critic George Steiner, 'extraterritorial' wanderers across art, culture, language and society (Steiner 1971: 11). But in no way does this chapter speak of the Greek-Australian cinema in definitive, comprehensive terms. The subject is complex because of its intricate enmeshing with questions of bicultural marginality, class, exilic modernity, identity, masculinity, migrancy, sexism and power. ' (Introduction)
'A European Heart' : Exile, Isolation, and Interiority in the Life and Films of Paul Cox, Marek Haltof , single work criticism
'Although they possess 'a European heart', writes director Paul Cox of his films, their roots are firmly in Australia (1998a: 82). In this chapter, I attend to the diasporic aspects of the biography and early films of Paul Cox, exploring well-known works such as Kostas (1979), Lonely Hearts (1982) and Man of Flowers (1983), and paying particular attention to My First Wife (1984). This largely historical chapter works to better comprehend how such films, from the 1970s and 1980s, 'construct' Paul Cox as an exilic, 'homeless' Australian film-maker. These films, well received by Australian and international audiences and critics, popularized Cox's name in the art house world as an Australian auteur making subtle films about human relationships, as 'Australia's Ingmar Bergman' (Chipperfield 1989: 12; Rattigan 1991: 224-26). It is through the recurring themes of exile and isolation, the diasporic motifs of memory and migration, and filmic strategies deploying the construction of mental landscapes and 'European' interiors that the personal relationship between Cox the film-maker and his adopted homeland is to be understood. ' (Introduction)
Sophia Turkiewicz : Australianizing Poles, or 'Bloody Nuts and Bolts', Renata Murawska , single work criticism (p. 137-146)
Lebanese Muslims Speak Back : Two Films by Tom Zubrycki, Susie Khamis , single work criticism
'A discussion of the representation of Lebanese Muslims in Australian media, with a focus on two films by documentary maker Tom Zubrycki: 'Billal' and 'Temple of Dreams'.'
VIEW ENTIRE CONTENTS ( works)VIEW NEXT
Publication Details of Only Known VersionEarliest 2 Known Versions of
Publisher: Intellect
Western Europe, Europe,: Intellect , 2009 .
Extent: 213p.
Description: illus., ports
ISBN: 9781841503363 (electronic bk.) 1841503363 (electronic bk.), 9781841501970
VIEW CONTENTS (11 works)
VIEW PUBLICATION DETAILS FOR ALL VERSIONS ()
Works about this Work
Untitled James Bennett , 2013 single work review
— Appears in: Australasian Journal of Popular Culture , vol. 2 no. 2 2013; (p. 307-308)
— Review of Diasporas of Australian Cinema 2009 anthology criticism
Redrawing the Map : An Interdisciplinary Geocritical Approach to Australian Cultural Narratives Peta Mitchell , Jane Stadler , 2011 single work criticism
— Appears in: Geocritical Explorations : Space, Place, and Mapping in Literary and Cultural Studies 2011; (p. 47-62)
Adrift But within Sight of the Shore : Criticism of Australian Film Theodore F. Sheckels , 2011 single work review
— Appears in: Journal of Commonwealth and Postcolonial Studies , Fall vol. 17 no. 2 2011; (p. 125-132)
— Review of Shining a Light : 50 Years of the Australian Film Institute Lisa French , Mark Poole , 2009 single work criticism ; Diasporas of Australian Cinema 2009 anthology criticism ; The Cinema of Australia and New Zealand 2007 anthology criticism ; Australian Film Saskia Vanderbent , 2006 reference ; Film in Australia : An Introduction Albert Moran , Errol Vieth , 2006 multi chapter work criticism
Untitled Belinda Smaill , 2011 single work review
— Appears in: Continuum : Journal of Media & Cultural Studies , vol. 25 no. 1 2011; (p. 132 - 134)
Untitled Jonathan Rayner , 2010 single work review
— Appears in: Senses of Cinema , no. 55 2010;
Diasporic Hybridity on Australian Screens Olivia Khoo , 2010 single work review
— Appears in: Cultural Studies Review , vol. 16 no. 2 2010;
VIEW ALL WORKS ABOUT (6)
Last amended 13 Jan 2017 09:37:39
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Home News Guam News Cowpens Sailors Volunteer at Guam School
Cowpens Sailors Volunteer at Guam School
Agat, Guam – (March 31) – Sailors from the forward-deployed guided-missile cruiser USS Cowpens (CG 63) participated in a community relations (COMREL) event at Marcial A. Sablan Elementary School in Agat while the ship was in port on Guam March 28.
Service members were treated to a Chamorro fiesta-style lunch before they tutored and mingled with students enrolled in the After School Programs In Recreation & Enrichment (ASPIRE) program.
"I personally feel like I learn a lot about wherever I go when I do the COMREL events and help volunteer," said Information Systems Technician 3rd Class (SW) Justin Puckett.
"I love seeing new stuff so this is always cool. I love food too, so trying local food is always a lot of fun."
This was the ship's second community relations project on island in less than a year. In December 2013, Cowpens Sailors volunteered at the same school to discuss their careers and experiences with students.
Information Systems Technician 2nd Class (SW/IDW) Edward Losongco said the visits were personal for him because he grew up on Guam before moving off-island as a child.
"It's really good being here," he said. "Anytime you get to come back to your hometown is always fun."
School counselor Marie Balbin thanked the Sailors for their willingness to lend a helping hand at the school and said these partnerships strengthen the relationships between the Navy and Guam communities.
"It's something I feel just the military coming out and sharing their skills and all the things that they do for the United States as a whole is really something good to help our students learn more about," she said. "I think it's very nice and I think it's important that they continue to link with us. The community as well is very grateful for them and all that they do."
Guam airport reverts back to PCOR2 tomorrow, Jan. 18, at 8 am
DPHSS vaccination clinic for 2nd dose patients resumes this week Jan. 18 to 21
GIAA holds proclamation signing and international arrivals corridor top-off event
Previous articleVic Camacho with Ray Gibson
Next articleRegistration for Guam International Marathon Coming to a Close – Record Number Expected
Gerry Partido - November 15, 2020

redpajama_set_name: RedPajamaCommonCrawl


One of the common issues when blogging for a living is finding potential niches. There are lots of best keywords finding tools, some of them free, some others with money. One of the free tools is the free Adsense keywords bid value query, developed by two SEO professionals, Glenn Scott and Dan Murdock, under the umbrella of Symbiotic.
Besides this tool, Symbiotics offers for free a list of all Google Adsense keywords sorted alphabetically and also a Top 1000 best paying Adsense keywords list. The most interesting point is that you can see not only the value per click, but also an estimation of the total revenue per day, which is an invaluable tool, as at the end of the day you want to know how much money can you earn with those keywords. Think what is best: to have a keyword paying $50, which is searched for twice a day, or to have a $5 keyword searched for 1000 times per day?
Later update: the Symbiotic tool is not working anymore, so I would suggest you start the research from Wordtracker, then check the bids values in Google AdWords. For that, you'll need to open a Google AdWords account, which means you'll need to make an investment of $5 (the one time fee required when opening the account).
I tried the link to check out that keyword tool, but it appears to be broken.
I sure would like to see how good a tool it is, so if you update the link I'd love to come back and check it out.
It seems that the tool is not working anymore. It was great by the time I wrote this post. Maybe they are going to fix it some time.
Thanks dude, i love your seo ideas. Keyword analysis is the most important and hard work in search engine optimization. Google top and expensive keywords are very important to find out. Worth reading SEO article mate. I am going to bookmark your site, Cheers.


The Montana Primary Care Association's Olivia Riutta, however, cautions Montanans to think carefully before going that route.
Congress last year scrapped the ACA's tax penalty for those who choose to go without health coverage.
The penalty's removal starts with 2019 tax returns filed in 2020.
Short-term policies are different. They cover a patchwork of services, but do not offer all the protections of an ACA policy.
Three health insurance companies offer ACA plans in Montana: Pacific Source, Blue Cross/Blue Shield of Montana and the Montana Health Co-op.
Montana received no federal money this year for nonprofits to hire so-called 'navigators' who help people enroll in ACA plans.
No navigators in a big, rural state like Montana means there are fewer people available to connect consumers to healthcare coverage.
Riutta advises those who intend on purchasing a health plan under the Affordable Care Act to not procrastinate.
Olivia Riutta is outreach and engagement manager for the Montana Primary Care Association, which represents community health centers that mostly serve low income Montanans.
Can GOP Scrap Affordable Care Act, But Keep Protections For Pre-Existing Conditions?
Republicans have campaigned for years on the promise of repealing and replacing the Affordable Care Act, but this year many are promising to keep protections for pre-existing conditions, which are popular with voters, even though many have actively tried to dismantle former President Obama's health law.


The cause of a torn rotator cuff can be due to a sudden trauma to the shoulder while doing sport, especially contact sports such as football. However, this type of injury can also be attributed to a gradual degeneration over time, found in patients whose work involved lifting their arm over their head, heavy lifting or other job related activities (for example, painter and decorators) and is usually seen in patients of a certain age.
While the initial or mild pain can be relieved by rest, depending on the type of damage, it tends to gradually get worse over time and may need more proactive treatments. Small tears sometimes develop and cause a lot of pain, meaning mobility of the arm and shoulder is limited. Symptoms can include pain when raising your arm, swelling, stiffness, a clicking sound when moving the arm or loss of movement in the arm. However with a dedicated therapy program, a torn rotator cuff injury can be reduced or completely healed even without surgery. Your surgeon will carry out a shoulder examination to assess the extent of the injury.
This test is carried out to check for supraspinatus. The patient is asked to abduct their shoulder with the thumb pointing downwards. The tendon is put into a position of abduction and internal rotation where the strength of the supraspinatus is tested. The doctor applies downward pressure against the arm. This test has high accuracy in detecting tears within the rotator cuff and is one of many shoulder pain tests carried out for diagnosis of such. Unusual weakness or provocation of pain confirms a positive result for this shoulder exam test.
This test can be carried out with the patient either sitting or standing. The doctor passively raises the patient's arm to 90 degrees and asks them to lower the arm slowly. A patient with a positive result is not able to lower the arm slowly and in a controlled way. This type of shoulder test, or rotator cuff injury test, is used to identify tears within the muscle group of the rotator cuff.
This torn rotator cuff test checks if the patient imitates a shrug movement when trying to actively raise their arm. The patient is unable to raise the arm to a 90 degree elevation without raising the whole scapula or shoulder. A shrug sign is considered positive when the patient, in order to achieve a 90 degree elevation has to move the upper body. This rotator cuff injury test is a common shoulder injury test and is effective and easy to carry out.
Also known as the Gerber Test, is one of many shoulder tests carried out to determine rotator cuff injury. The patient is asked to place the back of the hand on the small of the back and they should then lift the hand back and away from the body. If this proves difficult for the patient it can be an indication of a tear.
Another valid and simple rotator cuff injury test where the patient places their hand on the abdomen. The examiner places their hand under the patient's hand and pushes forward. The patient must resist the pressure and keep pushing their hand towards the abdomen. A patient presenting with shoulder internal rotation pain might do this type of rotator cuff tear test and a positive test is confirmed if the patient cannot hold the pressure on the doctor's hand or if they need to extend the shoulder in order to maintain the pressure.
Named after the doctor who created this rotator cuff tear test, it is simple and effective and can be carried out by a medical practitioner. The patient can be in a sitting or standing position and the doctor holds his hand on the patients scapula to avoid rotation, the patient's arm is passively elevated in a scapular range of motion. This shoulder injury test is considered to be positive if pain occurs and can be an indication of torn rotator cuff.
As we age, we are more likely to experience rotator cuff pain or injury. It is important however to have the correct diagnosis and to understand the cause and source of the shoulder pain, as not all pain around the shoulder is necessarily a rotator cuff injury. Having said this however, rotator cuff tears cause severe pain and mobility reduction so having the right diagnosis can help cure the problem and get the best treatment for your particular injury.
Pain – this will be located on the outer side of the shoulder including the upper arm area. You will notice pain especially when having to carry out tasks that include having your arm over your head. Pain and discomfort at night is common and if the rotator cuff tear is severe sleep may be disturbed.
General weakness in the shoulder – some injuries will affect movement of the arm and the ability to reach the arm overhead. The inability to hold the arm straight out from your body is a warning sign for a rotator cuff tear.
Reduced ability to perform day-to-day tasks is an ongoing complaint of patients with rotator cuff injuries and tears. Simply daily activities, even lifting a coffee cup or washing hair becomes a painful chore!
Your treatment options with rotator cuff injury are many and if you suspect such an injury you should see your doctor, or sports doctor, as soon as possible – early intervention is definitely advisable. Carrying out some of the torn rotator cuff tests available to your practitioner will put you on the path to recovery and get your mobility back again.


text:
La gare de Woolwich Arsenal (, est une gare ferroviaire de la . Elle  est située sur la Woolwich New Road à Woolwich dans le borough londonien de Newham sur le territoire du Grand Londres, en zone 2 Travelcard.

Elle est en correspondance avec la station Woolwich Arsenal (DLR) du Métro léger Docklands Light Railway (DLR).

Situation ferroviaire
La gare de Woolwich Arsenal est établie sur la , entre les gares de  et de .

Histoire

Service des voyageurs

Accueil

Desserte

Intermodalité

Notes et références

Voir aussi

Articles connexes
 Transport ferroviaire au Royaume-Uni
 Liste de gares au Royaume-Uni
 Transports à Londres
 Network Rail, Transport for London

 Woolwich Arsenal (DLR)

Liens externes
 .

Gare à Londres
Gare
Gare mise en service en 1849

redpajama_set_name: RedPajamaWikipedia


When I viewed my Facebook Timeline this evening, I wasn't surprised at all. Nothing spectacular.
But when my sight caught this notice below my Photos, Map and Liked Pages, my interest spiked! Facebook made a Year in Review for me. How thoughtful.
Did they make something like this last year? I don't know. But I had fun looking back at the 'highlights' of my year 2012.


text:
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 * below, you can see we bring in our services and constants modules
 * which avails each service of, for example, the `config` constants object.
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define(['angular'], function (ng) {
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redpajama_set_name: RedPajamaGithub


This is not to be construed a providing legal advice, or as prescribing how any particular Owners Corporation's (OC's) should manager its affairs. It is a summary of how some important concepts are provided for in the legislation, and how OC's might take account of those provisions when formulating their management philosophies and procedures.
The Unit Titles (Management) Act (Act) includes provisions to make it easier for OC's to install and operate sustainability infrastructure on common property. The most commonly installed infrastructure is solar for heating water or generating electricity.
(1) An OC must not carry on business except in the exercise of its functions.
Note: The earning of income from the operation of sustainability infrastructure by an owners corporation does not amount to carrying on business if the income is used to pay certain costs (see s 23(4)).
(1) An OC may, by special resolution, amend its rules.
(3) An amendment to the rules of an OC has no effect to the extent that it results in the rules.
(d) Prohibiting or restricting the installation, operation or maintenance of sustainability or utility infrastructure.
Then S23 provides the primer on how to install sustainability infrastructure.
(c) grant an easement or any other right over any part of the common property for the purpose of the installation, operation or maintenance of the sustainability or utility infrastructure.
(f) any other matter prescribed by regulation.
(b) in any other case—the unit owners as tenants in common in shares proportional to their unit entitlement.
Income from an electricity feed-in tariff scheme.
Note 1: If the OC does not decide to hold sustainability infrastructure as trustee for the unit owners, it holds the infrastructure as agent for the owners (see s 20 (1)).
Note 2: An example is part of the Act, is not exhaustive and may extend, but does not limit, the meaning of the provision in which it appears (see Legislation Act, s 126 and s 132).
(b) costs of utilities used by, or provided to, the OC.
The definition of utilities in the Act is broad and apparently gives the OC significant capacity to generate and sell excess electricity.
(f) communication services (including telephone, radio, television and internet).
So once the OC is appraised of all the costs and satisfied that the long term benefits of sustainability infrastructure outweighs the costs it can decide by ordinary resolution to borrow to purchase and install it and, it appears, use the income from selling the excess power to repay the loan and defray all its utility costs.
So installation by the OC on common land, usually apartment building roofs, seems to be a relatively straightforward process. It should be noted that no matter the technical difficulties of any particular site, the provisions of The Act or the Unit Titles Act apply and must be adhered to. However, as soon as we move away from that scenario difficulties emerge.
Several OC's in Class A apartment buildings are considering arrangements where a solar electricity company installs and owns PV panels on the roof, supplies some or all of the OC's common property power usage at some sort of discount price and sells power on the market. The proposal includes the belief that S 23 of the Act overrides all other provisions of the Act and only requires an ordinary (simple majority) resolution to approve such an arrangement.
This does not appear to be the case. Investigation indicates that OC's cannot enter such a contract as it amounts to a sublease of common property, which is banned by the Act.
(c) release an easement granted for the benefit of the common property .
Note: The OC may, by ordinary resolution, grant an easement or any other right over the common property for the purpose of the installation, operation or maintenance of sustainability or utility infrastructure (see s 23 (1) (c)).
(2) The OC may not transfer, sublet or mortgage, at law or in equity, its interest in the common property.
Subleases are not actually defined in ACT law, unfortunately. However the general definition is that it is an agreement between the party who already holds a lease to a property and another party, who wants to use part or all of that property. The leasee assigns or gives certain rights to the sublessee under an agreement and the subleasee pays a rent or fee to the leasee to exercise his rights under the agreement.
If an OC makes an agreement with a solar power company for the company to rent all or part of the roof to install PV panels and generate power and pay 'a rent', the OC would appear to be creating a sublease, even though the sublease is unlikely to be registered. The OC is not foregoing any of its obligations to maintain or insure the roof, but it cannot use it for OC business because it has a formal arrangement with the solar company for it to have exclusive use of that part of the roof. It cannot allow owners to install antennae. It cannot install its own solar system on that part of the roof. The blanket ban on subleasing is reiterated in S22.
(b) someone else with an interest in a unit.
(2) A grant under subsection (1) may be terminated, in accordance with a special resolution, by written notice given by the OC to the person to whom the grant was made.
So the OC does not have legal capacity to enter a contract which involves a sublease and the contract would be void.
S23 1 (c) does enable the OC to grant "an easement or any other right over any part of the common property for the purpose of the installation, operation or maintenance of the sustainability or utility infrastructure." An easement is a right of access; for example, utility conduits are located in easements across property that is not owned by utility companies. The easement would give an installer/repairer access to the roof and a right to bring suitable equipment on site to achieve that access. But it could not be the basis of a contract that would allow the solar company exclusive occupation of that part of the roof for an extended term of years. And it is unlikely that any owner of the sustainability infrastructure would operate with such an insecure right to place and operate their equipment.
Subsection (3) deals with the basis on which the OC owns the sustainability infrastructure and therefore the nature of any potential income. If the OC owns as trustee any tax is payable by the OC. If it owns as agent, any tax liability falls to the owners in line with unit entitlements.
Subsection (4) specifically exempts any income earned from the prohibition against carrying on a business and defines the extent of the income that the OC can earn to covering the costs of the sustainability infrastructure and the costs of other utilities.
So on balance S23 does not seem to contemplate the OC having no ownership of the infrastructure. This issue needs to be decided by ACAT.
An individual owners could seek to install solar hot water or photovoltaic panels on the common property roof of a Class A.
S 23 would appear to be of little if any benefit to that owner. Instead Default rule 4 and S22 dealing with special privilege would come into effect, both of which require unopposed resolutions.
(b) in accordance with the requirements of any applicable territory law (for example, a law requiring development approval to be obtained for the erection or alteration).
(2) Permission may be given subject to conditions stated in the resolution.
The owner is seeking to gain access to a section of the common property to the exclusion of other owners, so an unopposed grant of a special privilege would appear to be needed. And presumably easements to allow cabling and connections.
(2) A grant under subsection (1) may be terminated, in accordance with a special resolution, by written notice given by the owners corporation to the person to whom the grant was made.
The individual owner would presumably take all benefit of any potential on-selling of power. In the case of a Class B the owner would be most likely seeking to use their own roof space and so would not need a special privilege, but would need an unopposed approval to alter or erect.
Many OC's have amended Default rule 4 to reduce the level of the OC decision to a special resolution, vest the decision in the Executive Committee (EC) of the day with or without guidance on how decisions are to be made, grant automatic approval to certain specified alterations or a combination of these arrangements.


Visit one of the many cultural landmarks and attractions across this beautiful country! Experience nature in one of Canada's national parks, discover cultural traditions at a historic site, or stroll along Confederation Boulevard in Canada's Capital Region, home to many national treasures, green spaces and waterways.
Visit a national museum or gallery, get a Museums Passport or apply for funding through programs designed to support heritage institutions.
Visit our national historic sites and discover their unique importance to Canada.
Take advantage of free admission in 2017 and explore Canada's national parks and marine conservation areas.
Visit Parliament Hill and discover Canada's Capital Region by visiting its museums and galleries, commemorative monuments and public art.
Welcoming tourists from around the world.


text:
Rose Colombo N The Justice Club/Author Rev. Mary Anneeta Mann/Commentary 01/22 by FreedomizerRadio | Current Events Podcasts
Rose Colombo, producer and host of the Justice Club and Women Fight Back
Rose Colombo's intriguing guest, Rev. Mary Anneeta Mann, is an Australian author and playwright, who has lived in the Arts District of North Hollywood, for the last 40 years. Rev. Mann has written plays for youth and family audiences and books from the philosophy of Aristotle as it pertains to the significance of humanity itself in the world to how it influences the great Greek tragedies and even the theater of today and the movies of today. Rev. Mann shares her popular book, "There Are No Enemies" and her latest book, "Tortoise Shell" which is a play taken from a real life story of her great grandfather, an early Australian pioneer in the State of Queensland providing more insight into Australia's pioneers and their struggles during WWI and WWII and their relatively unknown contributions to the world until now.
Join Rose Colombo N The Justice Club Live Worldwide Online Radio every MWF from 9am-10:30am pst and 12-1:30pm est – where you can think outside of the box and feel enlightened and empowered with Rose's critical thinking on the issues as a long time political activist and advocate for justice whose award-winning books exposing injustices have sold worldwide. She's been heard on AM-FM radio shows, producing, hosting, as as a guest nationwide. As a local newspaper columnist, One Woman's Opinion, she revealed true stories about women and children after divorce. Today's guest at 9:30am pst and 12:30pm est is the fabulous Rev. Mary Anneeta Mann, an Australian author and playwright whose works are influenced by the philosophy of Aristotle. All shows are archived at http://www.freedomizerradio.com and special guests and Blogs can be read or located at http://www.rose4justice.com
Source: Rose Colombo N The Justice Club/Author Rev. Mary Anneeta Mann/Commentary 01/22 by FreedomizerRadio | Current Events Podcasts
ImagePosted in authors-books, education, history, politics, wars-militaryTagged #Justice, +constitution, +education, +military, +news, +politics, +radio, +religion, books, congress, entertainment, historyLeave a comment
Rose Colombo N The Justice Club/Author's Corner/Susan Moss/Cancer 01/20 by FreedomizerRadio | Current Events Podcasts
Posted on January 22, 2016 by rose4justice
Grab a cup o' coffee – sit back and relax – Listen Live Worldwide Online – Rose Colombo N The Justice Club – Rosie's Rants and Commentary based upon years of research, award-winning writings, books, local newspaper column, and public speaking as an Advocate for Justice and Political Activist who has proposed laws over the years and many implemented. She's known as the 'Crusader for Equal Rights' and she's held candlelit vigils and protests that hit the news after founding a grassroots movement exposing injustices, Women Fight Back, turning victims into survivors. Join Rose – Bookmark – Share – Follow – All shows archived at Freedomizer Radio at BTR and at Rose4Justice Blogs N Radio Shows at http://www.rose4justice.com – Listen every MWF – 9am-10:30am pst and 12-1:30pm est – and join Rose and a Special Guest in Experts and Author's Corner -every Wed. and Friday at 9:30am – 10:00am pst – on a myriad of topics from love to corruption to the constitution and political correctness which Rose believes is political incorrectness!
Source: Rose Colombo N The Justice Club/Author's Corner/Susan Moss/Cancer 01/20 by FreedomizerRadio | Current Events Podcasts
Rose Colombo N The Justice Club/Author and Authority/ Archie H. Scott/DMSO/Health and Concussions/Commentary/ FreedomizerRadio | Current Events Podcasts
Listen Taped Live to Rose Colombo N The Justice Club with her intriguing research on the political issues of the day as she thinks outside. Rose says, "political correctness is not the law of the land, but we are being ruled by political correctness." She also believes that being "intolerant" of evil people is a good thing. Every Wednesday and Friday, Rose invites an expert or author to discuss their special expertise from around the nation whether it's about politics, religion, love, animals, health, constitutional law, or corruption….she invites her special guests into the world of "Author's Corner" from 9:30am – 10:00 am pst or 12:30 pm – 1:00 pm est – Bookmark, Share, Like, and Follow Rose Colombo if you are interested in information education, and entertainment as she boggles the minds of the Liberals who are destroying the greatest nation on earth. Archie H. Scott is the author and authority on DMSO and wrote the Irwin Award-Winning book, "The DMSO Handbook for Doctors" and he's sharing his research and knowledge with the public. He believes DMSO helps people with a myriad of health issues such as Alzheimer's and injuries and especially concussions. He emphasizes that parents should be very aware that even a minor concussion can have adverse affects down the road and he discusses the problem that has been swept away by the High School, College, and Professional Football coaches and administrators until most recently. He suggests that people check out a recent movie, "Concussion" and read and listen to the positive feedback by people who were helped with DMSO including himself. Taped Live – scroll down the page to Like – Share – Comment – Follow – and click on the Link below to listen.
Join Rose every Monday, Wednesday, and Friday from 9am-10:30am pst and 12-1:30pm est with Rosie's Rants on Gun Control and the issues of the day. Each Wednesday she invites a special expert or author on a myriad of topics from politics to religion to love and romance to health, animals, corruption, and more…..as the guests enter into Author's Corner for an enlightening interview from 9:30a, – 10:00 am –
Source: Rose Colombo N THe Justice Club/Author Archie H. Scott/DMSO and Concussions 01/06 by FreedomizerRadio | Current Events Podcasts
Posted in authors-books, health, news, nutrition, politics, radio, sportsTagged #economy, #Justice, +constitution, +education, +health, +law, +news, +politics, America, authors, books, congress, entertainment, social mediaLeave a comment


text:
#include "config.h"
#include "ImageBuffer.h"

#include "GraphicsContext.h"
#include "ImageData.h"
#include "MIMETypeRegistry.h"
#include "StillImageQt.h"
#include "TransparencyLayer.h"
#include <wtf/text/CString.h>
#include <wtf/text/WTFString.h>

#include <QBuffer>
#include <QColor>
#include <QImage>
#include <QImageWriter>
#include <QPainter>
#include <QPixmap>
#include <math.h>

namespace WebCore {

ImageBufferData::ImageBufferData(const IntSize& size)
    : m_pixmap(size)
{
    if (m_pixmap.isNull())
        return;

    m_pixmap.fill(QColor(Qt::transparent));

    QPainter* painter = new QPainter;
    m_painter = adoptPtr(painter);

    if (!painter->begin(&m_pixmap))
        return;

    // Since ImageBuffer is used mainly for Canvas, explicitly initialize
    // its painter's pen and brush with the corresponding canvas defaults
    // NOTE: keep in sync with CanvasRenderingContext2D::State
    QPen pen = painter->pen();
    pen.setColor(Qt::black);
    pen.setWidth(1);
    pen.setCapStyle(Qt::FlatCap);
    pen.setJoinStyle(Qt::SvgMiterJoin);
    pen.setMiterLimit(10);
    painter->setPen(pen);
    QBrush brush = painter->brush();
    brush.setColor(Qt::black);
    painter->setBrush(brush);
    painter->setCompositionMode(QPainter::CompositionMode_SourceOver);

    m_image = StillImage::createForRendering(&m_pixmap);
}

QImage ImageBufferData::toQImage() const
{
    QPaintEngine* paintEngine = m_pixmap.paintEngine();
    if (!paintEngine || paintEngine->type() != QPaintEngine::Raster)
        return m_pixmap.toImage();

    // QRasterPixmapData::toImage() will deep-copy the backing QImage if there's an active QPainter on it.
    // For performance reasons, we don't want that here, so we temporarily redirect the paint engine.
    QPaintDevice* currentPaintDevice = paintEngine->paintDevice();
    paintEngine->setPaintDevice(0);
    QImage image = m_pixmap.toImage();
    paintEngine->setPaintDevice(currentPaintDevice);
    return image;
}

ImageBuffer::ImageBuffer(const IntSize& size, float /* resolutionScale */, ColorSpace, RenderingMode, DeferralMode, bool& success)
    : m_data(size)
    , m_size(size)
    , m_logicalSize(size)
{
    success = m_data.m_painter && m_data.m_painter->isActive();
    if (!success)
        return;

    m_context = adoptPtr(new GraphicsContext(m_data.m_painter.get()));
}

ImageBuffer::~ImageBuffer()
{
}

GraphicsContext* ImageBuffer::context() const
{
    ASSERT(m_data.m_painter->isActive());

    return m_context.get();
}

PassRefPtr<Image> ImageBuffer::copyImage(BackingStoreCopy copyBehavior, ScaleBehavior) const
{
    if (copyBehavior == CopyBackingStore)
        return StillImage::create(m_data.m_pixmap);

    return StillImage::createForRendering(&m_data.m_pixmap);
}

void ImageBuffer::draw(GraphicsContext* destContext, ColorSpace styleColorSpace, const FloatRect& destRect, const FloatRect& srcRect,
                       CompositeOperator op, bool useLowQualityScale)
{
    if (destContext == context()) {
        // We're drawing into our own buffer.  In order for this to work, we need to copy the source buffer first.
        RefPtr<Image> copy = copyImage(CopyBackingStore);
        destContext->drawImage(copy.get(), ColorSpaceDeviceRGB, destRect, srcRect, op, DoNotRespectImageOrientation, useLowQualityScale);
    } else
        destContext->drawImage(m_data.m_image.get(), styleColorSpace, destRect, srcRect, op, DoNotRespectImageOrientation, useLowQualityScale);
}

void ImageBuffer::drawPattern(GraphicsContext* destContext, const FloatRect& srcRect, const AffineTransform& patternTransform,
                              const FloatPoint& phase, ColorSpace styleColorSpace, CompositeOperator op, const FloatRect& destRect)
{
    if (destContext == context()) {
        // We're drawing into our own buffer.  In order for this to work, we need to copy the source buffer first.
        RefPtr<Image> copy = copyImage(CopyBackingStore);
        copy->drawPattern(destContext, srcRect, patternTransform, phase, styleColorSpace, op, destRect);
    } else
        m_data.m_image->drawPattern(destContext, srcRect, patternTransform, phase, styleColorSpace, op, destRect);
}

void ImageBuffer::clip(GraphicsContext* context, const FloatRect& floatRect) const
{
    QPixmap* nativeImage = m_data.m_image->nativeImageForCurrentFrame();
    if (!nativeImage)
        return;

    IntRect rect = enclosingIntRect(floatRect);
    QPixmap alphaMask = *nativeImage;

    context->pushTransparencyLayerInternal(rect, 1.0, alphaMask);
}

void ImageBuffer::platformTransformColorSpace(const Vector<int>& lookUpTable)
{
    bool isPainting = m_data.m_painter->isActive();
    if (isPainting)
        m_data.m_painter->end();

    QImage image = m_data.toQImage().convertToFormat(QImage::Format_ARGB32);
    ASSERT(!image.isNull());

    uchar* bits = image.bits();
    const int bytesPerLine = image.bytesPerLine();

    for (int y = 0; y < m_size.height(); ++y) {
        quint32* scanLine = reinterpret_cast_ptr<quint32*>(bits + y * bytesPerLine);
        for (int x = 0; x < m_size.width(); ++x) {
            QRgb& pixel = scanLine[x];
            pixel = qRgba(lookUpTable[qRed(pixel)],
                          lookUpTable[qGreen(pixel)],
                          lookUpTable[qBlue(pixel)],
                          qAlpha(pixel));
        }
    }

    m_data.m_pixmap = QPixmap::fromImage(image);

    if (isPainting)
        m_data.m_painter->begin(&m_data.m_pixmap);
}

static inline quint32 convertABGRToARGB(quint32 pixel)
{
    return ((pixel << 16) & 0xff0000) | ((pixel >> 16) & 0xff) | (pixel & 0xff00ff00);
}

static inline quint32 convertARGBToABGR(quint32 pixel)
{
    return convertABGRToARGB(pixel);
}

template <Multiply multiplied>
PassRefPtr<Uint8ClampedArray> getImageData(const IntRect& rect, const ImageBufferData& imageData, const IntSize& size)
{
    float area = 4.0f * rect.width() * rect.height();
    if (area > static_cast<float>(std::numeric_limits<int>::max()))
        return 0;

    RefPtr<Uint8ClampedArray> result = Uint8ClampedArray::createUninitialized(rect.width() * rect.height() * 4);
    unsigned char* data = result->data();

    if (rect.x() < 0 || rect.y() < 0 || rect.maxX() > size.width() || rect.maxY() > size.height())
        result->zeroFill();

    int originx = rect.x();
    int destx = 0;
    if (originx < 0) {
        destx = -originx;
        originx = 0;
    }
    int endx = rect.maxX();
    if (endx > size.width())
        endx = size.width();
    int numColumns = endx - originx;

    int originy = rect.y();
    int desty = 0;
    if (originy < 0) {
        desty = -originy;
        originy = 0;
    }
    int endy = rect.maxY();
    if (endy > size.height())
        endy = size.height();
    int numRows = endy - originy;

    // NOTE: For unmultiplied data, we undo the premultiplication below.
    QImage image = imageData.toQImage().convertToFormat(QImage::Format_ARGB32_Premultiplied);

    ASSERT(!image.isNull());

    const int bytesPerLine = image.bytesPerLine();
    const uchar* bits = image.constBits();

    quint32* destRows = reinterpret_cast_ptr<quint32*>(&data[desty * rect.width() * 4 + destx * 4]);
    for (int y = 0; y < numRows; ++y) {
        const quint32* scanLine = reinterpret_cast_ptr<const quint32*>(bits + (y + originy) * bytesPerLine);
        for (int x = 0; x < numColumns; x++) {
            QRgb pixel = scanLine[x + originx];
            Color pixelColor;
            if (multiplied == Unmultiplied)
                pixelColor = colorFromPremultipliedARGB(Color(qRed(pixel), qGreen(pixel), qBlue(pixel), qAlpha(pixel)).rgb());
            else
                pixelColor = Color(qRed(pixel), qGreen(pixel), qBlue(pixel), qAlpha(pixel));
            destRows[x] = convertARGBToABGR(pixelColor.rgb());
        }
        destRows += rect.width();
    }

    return result.release();
}

PassRefPtr<Uint8ClampedArray> ImageBuffer::getUnmultipliedImageData(const IntRect& rect, CoordinateSystem) const
{
    return getImageData<Unmultiplied>(rect, m_data, m_size);
}

PassRefPtr<Uint8ClampedArray> ImageBuffer::getPremultipliedImageData(const IntRect& rect, CoordinateSystem) const
{
    return getImageData<Premultiplied>(rect, m_data, m_size);
}

void ImageBuffer::putByteArray(Multiply multiplied, Uint8ClampedArray* source, const IntSize& sourceSize, const IntRect& sourceRect, const IntPoint& destPoint, CoordinateSystem)
{
    ASSERT(sourceRect.width() > 0);
    ASSERT(sourceRect.height() > 0);

    int originx = sourceRect.x();
    int destx = destPoint.x() + sourceRect.x();
    ASSERT(destx >= 0);
    ASSERT(destx < m_size.width());
    ASSERT(originx >= 0);
    ASSERT(originx <= sourceRect.maxX());

    int endx = destPoint.x() + sourceRect.maxX();
    ASSERT(endx <= m_size.width());

    int numColumns = endx - destx;

    int originy = sourceRect.y();
    int desty = destPoint.y() + sourceRect.y();
    ASSERT(desty >= 0);
    ASSERT(desty < m_size.height());
    ASSERT(originy >= 0);
    ASSERT(originy <= sourceRect.maxY());

    int endy = destPoint.y() + sourceRect.maxY();
    ASSERT(endy <= m_size.height());
    int numRows = endy - desty;

    unsigned srcBytesPerRow = 4 * sourceSize.width();

    // NOTE: For unmultiplied input data, we do the premultiplication below.
    QImage image(numColumns, numRows, QImage::Format_ARGB32_Premultiplied);
    uchar* bits = image.bits();
    const int bytesPerLine = image.bytesPerLine();

    const quint32* srcScanLine = reinterpret_cast_ptr<const quint32*>(source->data() + originy * srcBytesPerRow + originx * 4);

    for (int y = 0; y < numRows; ++y) {
        quint32* destScanLine = reinterpret_cast_ptr<quint32*>(bits + y * bytesPerLine);
        for (int x = 0; x < numColumns; x++) {
            quint32 pixel = convertABGRToARGB(srcScanLine[x]);
            if (multiplied == Unmultiplied)
                destScanLine[x] = premultipliedARGBFromColor(Color(pixel));
            else
                destScanLine[x] = pixel;
        }
        srcScanLine += sourceSize.width();
    }

    bool isPainting = m_data.m_painter->isActive();
    if (!isPainting)
        m_data.m_painter->begin(&m_data.m_pixmap);
    else {
        m_data.m_painter->save();

        // putImageData() should be unaffected by painter state
        m_data.m_painter->resetTransform();
        m_data.m_painter->setOpacity(1.0);
        m_data.m_painter->setClipping(false);
    }

    m_data.m_painter->setCompositionMode(QPainter::CompositionMode_Source);
    m_data.m_painter->drawImage(destx, desty, image);

    if (!isPainting)
        m_data.m_painter->end();
    else
        m_data.m_painter->restore();
}

static bool encodeImage(const QPixmap& pixmap, const String& format, const double* quality, QByteArray& data)
{
    int compressionQuality = 100;
    if (quality && *quality >= 0.0 && *quality <= 1.0)
        compressionQuality = static_cast<int>(*quality * 100 + 0.5);

    QBuffer buffer(&data);
    buffer.open(QBuffer::WriteOnly);
    bool success = pixmap.save(&buffer, format.utf8().data(), compressionQuality);
    buffer.close();

    return success;
}

String ImageBuffer::toDataURL(const String& mimeType, const double* quality, CoordinateSystem) const
{
    ASSERT(MIMETypeRegistry::isSupportedImageMIMETypeForEncoding(mimeType));

    // QImageWriter does not support mimetypes. It does support Qt image formats (png,
    // gif, jpeg..., xpm) so skip the image/ to get the Qt image format used to encode
    // the m_pixmap image.

    QByteArray data;
    if (!encodeImage(m_data.m_pixmap, mimeType.substring(sizeof "image"), quality, data))
        return "data:,";

    return "data:" + mimeType + ";base64," + data.toBase64().data();
}

}


text:
Cloudlab Mobile Design Studio tour
A mobile "maker" friendly studio visiting the empty lot at 250 Montreal road in Vanier.
I have arrived at the studio.
by alex.parsons 10/3/2015 4:30:11 PM
The lab is owned by the Prototype D maker firm and is being shown off as part of the Green Energy Doors Open 2015 festival.
This is the outdoor, rooftop patio of the Cloudlab where firm workers can lounge while programming or just to relax.
For more information about their company feel free to visit their website.
prototyped.org
The lab has received a few viewers since its 9am open this morning, but the team expects to see many more people as the weather starts to improve this afternoon.
The studio is outfitted with a 3D printer where clients can have their ideas tested before investing in their major designs elsewhere.
There are plenty of other shop devices to help aid in construction of designs as well.
Everything in the studio is powered by solar power to promote green energy and make mobility possible.
Kirill Fraidine gave me me tour of the studio. He's a bright, relaxed maker who works for pD.
He's joined by one of the firm's architects, Cleber Figueiredo.
Both are very kind and hospitable.
I sat down at a nearby ledge to do some live blogging but was joined by a group of interesting men.
I returned to the lab and Kirill said something along the lines of "Don't go over there unless you want to do drugs," while laughing.
The lab is in an interesting part of town, but it is unlikely to have too much of an effect on the streetwise makers.
"We have our big whiteboards here, where we jot down notes, plan to take over the world if you will. We also run free workshops here every Wednesday where we teach things like Photoshop, video and photo editing."
The couch can move to provide rooms for work desks. Fortunately they invited me to use their couch to do some work.
This is part of a series of modules that pD is currently working on that Kirill says will "be for an installation. So essentially are going to be wiring them all together and making them glow in the dark."
Cleber is now giving a tour to another visitor. Hopefully he will not be the last because the firm is here until 5pm today, and the studio is very interesting and worth showing off.
Here are some of their agenda items on their whiteboard. So far, no plans for world domination, at least for today.
Kirill said they finished construction in August, moved to this lot in September, and plan to mobilize elsewhere as early as October.
Forgot the picture!
The interior of the studio is mostly wooden. They even have a bunkbed over top of a desk for those long nights of work.
"The wifi sucks," a visitor says. The fact that they even have wifi is impressive given the solar power source.
The firm plans to install insulation and heating appliances for working during the winter.
For more information on the other tours and events of the GEDO 15 festival, visit GreenEnergyDoorsOpen.ca


Ace dancer Hrithik Roshan to miss beats for songs in 'Super 30'!
Ace dancer Hrithik Roshan to miss beats for songs in 'Super 30'!
Mumbai: One of the best dancers in Bollywood, Hrithik Roshan has been an inspiration to many and has given dance lovers several foot tapping numbers like Ek Pal Ka Jeena (Kaho Na…Pyaar Hai), Main Aisa Kyu Hoon (Lakshya), Dhoom Again (Dhoom 2) among many others. The actor who is considered an idol by gen-next actors like Tiger Shroff for his dancing prowess will soon be seen dancing off beat!
Hrithik who is known to catch all the beats bang-on in his upcoming film Super 30 will leave his fans startled. "Hrithik plays the role of a mathematician based in a small town. His character is that of someone who is born with two left feet. We cannot show Anand Kumar doing choreographed dancing as it will look fake. Therefore Hrithik has been asked to dance against the rhythm," informs a source.
This will be one of a kind thing for HR who also showcased his dancing skills in Kaabil portraying the character of a blind man. Though sightless, the actor surprised everyone dancing to the beats along with Yami Gautam in the song 'Mon Amour'.
Titled Super 30, the film is inspired by the life of mathematician Anand Kumar and his educational program 'Super 30'. The film scheduled to release on January 25 also stars Mrunal Thakur.


text:
Las islas Evout, también llamadas islotes Evout, son un conjunto que comprende una pequeña isla y algunos islotes que la rodean, todos pertenecen a Chile, y se sitúan en la parte sudoriental del archipiélago de Tierra del Fuego, en el extremo austral de América del Sur.

Características geográficas

Las islas Evout son un territorio insular situado en el sector sudeste del archipiélago de Tierra del Fuego. Administrativamente, forma parte de la provincia Antártica Chilena, en la Región de Magallanes y de la Antártica Chilena, Se ubica dentro del parque nacional Cabo de Hornos y de la «Reserva de Biosfera Cabo de Hornos». Forman parte, junto con otros grupos insulares, del tramo de islas orientadas hacia el Atlántico en el trecho en bordure entre el sector sudeste de la isla Grande de Tierra del Fuego y la isla Hornos. Poseen un clima oceánico subpolar, frío y húmedo todo el año, con fuertes vientos, generalmente del cuadrante oeste. Presentan costas escarpadas, golpeadas por las olas del mar de la Zona Austral.

Situación geográfica

Al noroeste se encuentran las pequeñas islas Terhalten, y Sesambre, y más allá la notablemente mayor isla Lennox. Hacia el oeste se encuentra la bahía Nassau; al sudoeste el archipiélago de las islas Wollaston; al sur las islas Barnevelt; finalmente hacia el este se sitúan las aguas abiertas del océano Atlántico sur.

Asignación oceánica

La ubicación oceánica de las islas Evout fue objeto de debate. Según la Argentina son islas atlánticas al estar al este de la longitud fijada por el cabo de Hornos. En cambio, según la tesis denominada Delimitación natural entre los océanos Pacífico y Atlántico Sur por el arco de las Antillas Australes, se incluyen en el océano Pacífico Sur; esta teoría, es la postulada como oficial por Chile, el país poseedor de su soberanía. La opinión de la OHI parece concordar con la argumentación argentina.

Historia

La soberanía de las islas Evout fue reclamada por la Argentina como parte de la disputa limítrofe denominada Conflicto del Beagle, hasta la resolución del diferendo en 1984 con la firma del Tratado de Paz y Amistad entre la Argentina y Chile, donde estas islas quedaron definitivamente dentro del área reconocida como de soberanía chilena.

Referencias

Islas disputadas por el Conflicto del Beagle
Evout
Provincia Antártica Chilena


text:
Presidential Casting: Heather Nauert to the UN
December 11, 2018 By domani spero in Ambassadors, Appointments, international organizations, Nominations, Officially In, Political Appointees, Trends, Trump, U.S. Missions, UN, US Presidents Tags: Heather Nauert, Trump, USUN
On December 7, President Trump announced via tweet his intent to nominate State Department spokesperson Heather Nauert to be the next Ambassador to the United Nations. Ms. Nauert was previously a news correspondent and a Fox & Friends presenter prior to her appointment in Foggy Bottom. If confirmed, Ms. Nauert would replace Ambassador Nikki Haley who is expected to step down at the end of 2018. There is word that this position will once more be downgraded to a non-cabinet post after Haley's departure.
I am pleased to announce that Heather Nauert, Spokeswoman for the United States Department of State, will be nominated to serve as United Nations Ambassador. I want to congratulate Heather, and thank Ambassador Nikki Haley for her great service to our Country!
The U.S. Mission to the United Nations was formally established by E.O. 9844 of April 28, 1947. The Chief of Mission has the title of Representative of the U.S.A. to the United Nations, with the rank and status of Ambassador Extraordinary and Plenipotentiary, and Representative of the U.S.A. in the Security Council of the United Nations.
The first U.S. Ambassador to the United Nations was the 48th Secretary of State Edward Reilly Stettinius Jr. (1945-1946). According to history.state.gov:
As Secretary of State, Stettinius accompanied President Roosevelt to the Yalta Conference in February of 1945, where they met with British Prime Minister Winston Churchill and Soviet Premier Joseph Stalin to discuss issues such as the Pacific War with Japan, the future political status of Eastern Europe, and what should be done with Germany following its surrender. Stettinius also chaired the United States delegation to the United Nations Conference, held in San Francisco from April 25 to June 26, 1945, which brought together delegates from 50 Allied nations to create the United Nations. He resigned his position as Secretary of State on June 27, 1945, to become the first U.S. Ambassador to the United Nations, a post which he held until resigning in June 1946 over what he saw as President Truman's refusal to use the United Nations forum to resolve growing Soviet-American tensions.
Prior appointees to this position include Henry Cabot Lodge Jr. (1953–1960), a former senator and nominee for Vice President. He went on to four ambassadorial appointments and as personal representative of the president to the Holy See after his UN tenure. Former President George Herbert Walker Bush served as Representative of the U.S.A. to the United Nations from 1971 to 1973.
Career diplomat Charles Woodruff Yost (1969–1971) was a three-time ambassador with a personal rank of Career Ambassador prior to his UN appointment. Career diplomat Thomas Reeve Pickering (1989–1992) was a four-time ambassador, and assistant secretary of state with a personal rank of Career Ambassador prior to his appointment to the UN. John Dimitri Negroponte (2001–2004), a career diplomat served as an assistant secretary and was confirmed three times previously as ambassador prior to his appointment to the UN.
Madeleine Korbel Albright (1993–1997), the first woman Secretary of State previously served as chief legislative assistant to Senator Edmund Muskie (D-Me) from 1976 to 1978. From 1978 to 1981, she served as a staff member in the White House under President Jimmy Carter and on the National Security Council under National Security Adviser Zbigniew Brzezinski. Richard Charles Albert Holbrooke (1999–2001) served twice as assistant secretary of state and was an ambassador prior to his UN appointment.
Folks are up in arms with this appointment for good reasons. Sometimes — when the U.S. Senate actually takes seriously its exclusive right under Article II, Section 2 "to provide advice and consent" to the president on nominations — things do work out for the best and save us some embarrassment (remember the "tråkket i salaten"?). Other times, it doesn't, unfortunately. But here's the thing: this nominee is from presidential central casting; unless Trump changes his mind, this nomination is going forward. Also come January, there is an an enlarged Republican majority in the U.S. Senate. It is likely that that she will get some hot grilling in the Senate from the Democratic side and the GOP will attempt to show some …um, equal fire in the process. But it would take GOP senators to sink this nomination. And that's probably not going to happen.
Trump's pick for the new UN ambassador, Heather Nauert, has no prior policy or politics experience — but she was a Fox News host pic.twitter.com/DnBZwiMFiT
— NowThis (@nowthisnews) December 8, 2018
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Posts Tagged 'Zhang Ruoyi'
Limi girl: part 5
Canto: From the hospital we switch back to the village. Heigo's mother comes home to find her brother-in-law waiting for her. He has brought gifts from Shifang, in Sichuan, but the woman rejects them angrily. The brother-in-law tries to placate her, he wants to see Gaidi…
Jacinta: This is an expository scene. the mother says 'you've been fixing shoes here for over 10 years, you married Gaidi's mother, you gave us nothing, you went back to Sichuan, you want to have a son, I don't blame you, but you left Gaidi here 6 years ago without a word or a care'. Wow, big news – and now we know why the other kids teased Gaidi.
Canto: And the brother-in-law is now sheepish, the recent earthquake has changed him, he's reassessed his values he says. He's referring to the massive Sichuan earthquake of 2008, which killed over 80,000 and left millions homeless. And while he speaks, Gaidi and Heigo have come up behind him. On realising who the man is, she rushes past them and locks herself in the house. Heigo, her cousin, begs her to open the door, and she complies. Clearly though, neither Gaidi nor Heigo are happy with this brother-in-law/father and his gifts.
Jacinta: The father enters the house and sits beside Gaidi. She is holding the postcard of Shifang that was seen near the beginning of the film. This is another tear-jerking scene, and I don't mean that as a cliché. Tears drop on the postcard and we're not sure whose tears they are. And next we see Gaidi, out of her traditional dress, with her father, going to meet 'sister' Xiumei, who's out at work with her donkey. She has come to say goodbye, she's going back to Sichuan with her father. It's a bitter-sweet parting, but Xiumei is smiling. 'Don't forget, Wumulong will always be your home', she says. I think it's the first time this village is mentioned. 'Yes, I will always be a Limi girl', Gaidi responds. The father seems a little unsettled at this. So there's a general parting, Heigo takes Gaidi and her dad away in his 'car', leaving Xiumei and Heigo's mother alone, and then Heigo's mother, who has brought Gaidi up for the last six years, is left, bereft and unrewarded it seems, to gaze after the suddenly departed girl.
Canto: Next scene, Xiumei is tending her father, now out of hospital. Some local young people arrive and invite her to 'the Lover's Valley', and her dad urges her to go. It's some sort of ritual, with black sheets flapping on makeshift lines and children running about. Heigo is there, and women in traditional dress, working hard. Red paper decorations, which symbolise something, are blown around in the wind. Heigo picks one up and examines it. Musicians play, and young men and women dance in ritual lines under decorated trees. It's clearly a Limi thing, to do with dance and romance. Sometime they dance and sing in large circles. Xiumei takes part happily, but Heigo's outside it all, watching morosely. Finally he grabs Xiumei and pulls her out of the dance. She's not happy. 'It's our Limi Valentine's Day,' he says, and he must declare himself. She tells him clearly this cannot be. He wants to know if she is leaving. He wants to leave too, he says, but his heart is full of contradictions. He will leave if she does. She reminds him of Shuguo, who loves him. He wants to go out and work again, he's drifting. If he must come back to marry…
Limi Valentine's Day
Jacinta: It's Xiumei he wants to marry of course. But she has made it clear to him. It's an awkward scene for her, and she tries to be firm without cruelty. She returns heavily to the dance, Heigo walks, staggers, away. Next we see him burning bags of – what? – in a home-made fire. 'I thought only I could help you, Xiumei,' he says. But now, perhaps, he realises.. We see tangles of wicker in the fire. I don't know what they signify.
Canto: And next we see Shuguo dressed in red, admiring herself in the mirror. Her mother scolds her, she should wear traditional black for her wedding, and not look too pretty. But Shuguo stands up for herself, her little battle against tradition.
Jacinta: We switch to a procession in the beautiful countryside, a wedding procession, with Heigo and Shuguo in the centre, in traditional outfits. Shuguo looks thrilled, Heigo looks like he's walking to his execution. They arrive at the wedding-place amid singing and music. They begin kowtowing to the ancestors, but Heigo breaks away. He announces to the assembled: 'Thank you for coming to the wedding, but today I must break my engagement.' His shocked mother slaps him, then pleads with him before the distressed Shuguo, who, she says, has been brought to the brink.
Canto: But Heigo responds, 'I don't like Shuguo at all', which is surely harsh, he has seemed to make her a symbol of all that he's rebelling against. Still, he's adamant, he's rejecting this traditional village life. He departs, leaving Shuguo devastated. Then we see the paper symbol again, which a bit of research tells me means 'double happiness', or marriage.
Jacinta: Shuguo's not just devastated, but disgraced before the whole village. What will become of her?
Canto: We're approaching the end. Next comes a brief scene of Xiumei sitting on a rock in the fields, books open, studying. And then another woman, dragging her suitcase down a rubble path. At first I thought it was Xiumei, leaving the village, but it's Shuguo. She arrives at a motorbike, driven by a cousin no doubt, and climbs aboard. Heigo watches from a hillside, impassive. She's probably leaving for another village, out of the limelight.
Jacinta: Switch to an urban scene, a crowd of students are coming out of classes, descending a wide stairway in a stream of colour, a bright contrast to greys and blacks of the Limi villagers. One of the students is Xiumei, and Heigo is waiting for her. She is still quite traditionally dressed. He takes her for a ride on his motorbike, back into the countryside – perhaps it's Spring break or something – and when he drops her off, presumably within walking distance of home, he gives this vital speech: 'Xiumei, this is the last time I will see you off. I have already hurt Shugio. I can't hurt you again. Go study and fulfil your dream. Don't be a drifting labourer like us. There is no hurry to pay me back. When you earn a salary in the future you can repay both the principal and the interest.'
Canto: It's another powerful scene, and Heigo drives off, leaving Xiumei speechless, perhaps overwhelmed. This ain't gonna be a Hollywood ending, though much in us might yearn for it.
Jacinta: We next see Xiumei's dad sadly selling her donkey. And then Xiumei, still dressed traditionally, runs for the postman, who caters to the edge of the village on a motorbike. She's expecting good news. She receives a package and smiles on opening the letter. She runs home and tells her mother that she's won entry into college. The earlier scene must've involved an entrance exam.
Canto: She asks after her father. He has gone to work with the other villagers to earn money for her tuition. He's already saved 500 (RMB?), which her mother hands over. It must be some of the money from the donkey. Xiumei looks upset, It seems as if something's wrong…
Jacinta: Xiumei rushes out to find her father. On her way she encounters a wedding procession – it's Shuguo! And she's not wearing traditional costume this time (she had succumbed last time to her mother's wishes and was in traditional garb when Heigo walked out on her), and her groom is wearing a modern suit. So it has worked out for her after all. Xiumei continues on, hurrying up the mountain. Then we see two people on a bus, Heigo, and in front of him, Xiumei's father. He's holding a postcard pic of a young woman in dance pose, in a bright red dress. Is it Xiumei? Is it an image of what Xiumei might become?
Canto: And then we return to Xiumei, running, running, until she reaches a high clearing, from which she can see the road winding away from the village, with the bus, carrying Heigo and her father, and the other villagers, all working to help her with her college life. No pressure! And so ends the movie.
the Limi girl
point final
I've seen no other Chinese movie like this, indeed no other movie. It's a film about difficult choices, desperate hopes, crushing disappointments, quiet suffering, and tough struggles. It's also about self-sacrifice, persistence, stoicism, love. It's one of the best films I've seen, and I don't see too many these days. Examining it intensively like this has given me an insight into the film-maker's craft that I've never experienced before, and such scrutiny doesn't lessen the film's impact, it strengthens it. I'm tempted to do what too many people do, to rubbish other films by contrast, but I'll resist that. Suffice to say that this film is a tribute to a world too easily overlooked, and such worlds are everywhere and need to be acknowledged, respected and indeed cherished, for all their flaws and limitations in our eyes. The film, of course, is not a hymn of praise to the world depicted, but it does recognise its rough beauty and its successes in adversity. I will never forget it.
Posted in Limi people
Tagged with China, film, Limi girl, Limi people, Zhang Ruoyi


Volunteering can be rewarding, fulfilling and on a personal level, can build confidence and enhance social skills. We offer ongoing training and support and the chance to meet other like minded individuals who care about older people in the community who may be at risk of social isolation.
For those looking for employment, volunteering is encouraged as it is an opportunity to update a CV, to gain valuable work references and to be in the midst of a busy work environment.
Volunteers can build on existing skills and experience while gaining new skills to help with life and work, all while providing a valuable service to our older people in Sheffield.
Why not apply to volunteer today?
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AS: How was working with Michel Hazanavicius as a director? Is he very visual?
LB: He's tremendously visual. Not only did he write a beautiful, inspiring gem of a script, he basically storyboarded the entire picture. He had a very shot-specific idea about how to approach each scene. And while he was open to change and input, he was very good at communicating what it is he felt he needed to get out of each scene and how he wanted to approach it. His enthusiasm and his vision were really infectious.
AS: You worked with director Paul Haggis on a few films, how was he different to work with?
LB: Paul and I go back a long way. Paul says that I can always tell what it is he wants, that I can tell what he's thinking. Which is a frightening thought! We just have a way of discussing the visual elements of an entire piece or of individual scenes in a very oblique manner. For example when we were prepping In the Valley Of Elah we were in different parts of the country and we spoke on the phone briefly just to get going. He asked me what I thought and I said, I think it's a Western. I've been watching a lot of John Ford because I think it's about individual in landscape and individual in society. The strength of morals and ethics and conviction. And Paul said, Yup, that's great. That's right along the lines of what I was thinking. And that was pretty much the entirety of the discussion that he and I had to set the tone for the design. Paul is remarkably visual. It's just that the way that we discuss it is less direct and more oblique.
AS: You've done a lot of TV as well -how do you feel working on movies is different from working on TV?
LB: Television is wonderful, engaging, hard work. For me it was just a great grounding in telling stories through film. The process was absolutely the same. It's not tremendously different other than budgetary and schedule differences.
Whether it's a television show or a film I try to sit with the director for one very focused session after we've had some time to prep for a while. Just do a scene-by-scene quick skim through the script and discuss tonality and imagery. Bounce ideas off the director of what I might bring to complement what's going on in the script dramatically. Also to find out from the director if there's anything that I might have missed or that they can add.
AS: I noticed some of your sketches in Perspective magazine, do you do a lot of sketching when working on a movie?
LB: I do. I don't publish many of them! But I'm constantly scribbling and for a lot of sets that's the easiest way for me to puzzle through layout and determine how complex or how simple it need be.
AS: Did you go to art school?
LB: I studied art at a fine arts college. I went to Occidental in Los Angeles and Waseda University, Tokyo. I studied at Otis years later and I actually taught art for four years in Dublin. Visual arts have always been a part of my life. When I was about seventeen one of my first jobs summers before I went to college was working for a very small design firm in West Hollywood. The focus of the firm was interiors and the principal had been a part of the Eames group down in Venice. He'd left to go off on his own. It was from him, Chuck Kratka, that I got a great background in space planning, layout, presentation and a disciplined work ethic.


We've just had a fabulous afternoon finding out more about a very new local business, Loyalwill Canine Hydrotherapy Centre based in Islip.
There are a variety of sessions, all outlined on the website www.loyalwillcaninehydrotherapycentre.co.uk and prices start at £20. Fun sessions are available to book and bespoke sessions for training purposes etc.
Our afternoon began by being introduced to Flynn the labrador who had a poorly shoulder. Owner Steph Wills, knew Flynn and had already done her consultation with him and gained vet consent. This was Flynn's third session so he knew what to expect.
Firstly he got his harness on, with large handle so Steph can guide him and also 'rescue' if he gets into any difficulty. Then Flynn had a warm shower. Then into the pool.
Steph has a firm but gentle nature which you can see the dogs respond to, Flynn was gently worked for about 45 minutes, exercising his shoulder and also having gentle rubs in the warm water. Steph timed each swim so he was not over exerted and took his pulse regularly too.
There are side windows in the pool for a second person to video or watch through to check the dogs motabilty and to ensure each side is using the same effort, and to see if there seems to be any abnormality or injury.
After completing his session, Flynn was again showered and then dried off. Loyalwill sell Dog & Field Drying coats for the dogs to wear on the hourney home, or clients can bring their own towels.
Although Flynn was very tired he seemed to thoroughly enjoy his session at Loyalwill Canine Hydrotherapy Centre. His loyalty card was stamped ready for next time!


The Eco Brush Bamboo Toothbrush Travel Case is an eco-friendly option to store your toothbrush in when taking it on your travels!
Great purchase! Was stoked to find an eco friendly travel case for my bamboo toothbrush. It will get all the use in the world before being composted which is amazing! Super functional and looks sleek too!
I've been travelling around South America for the last six months and have used the Eco Brush Bamboo Travel Case everyday to protect my bamboo toothbrushes. It's home time now, but the case still has many more adventures left in it as it's still in amazing condition. Love love love!


WELCOME TO YOUR FUN ENGLISH SITE!
This is the space where you will find different activities to improve your English in a fun way. Here children do not study English; they learn it in a natural way. I hope you enjoy interactive games, songs, activities and much more!
Bilingual English Development & Assessment.
This programme is based on gradual introduction of Spanish-English bilingual education in our school. With this Educational Project we can intensify aspects of language educational life in the school.


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ARC Review: Take Me All the Way by Toni Blake
November 24, 2015 by Annie 5 Comments
Take Me All the Way
Released: November 24th 2015
Series: Coral Cove #3
Recommended Read!
"Blake gets to the real heart of the matter and explores her character's fears so deeply that you can't help but get lost in them." ~ Under the Covers
I've been of fan of Toni Blake's ever since I read One Reckless Summer. She's one of those authors that doesn't get as much attention as I think she deserves so whenever I get the chance, I always tell friends to try out her books. Her Destiny series, and now her Coral Cove series, have become one of my top favorites in the genre because of Blake's ability to create such touching, loving stories for her readers.
Blake's story are always character focused but I feel that is the most true with this book. Tamra is a character we've followed through the series so far. She's the artistic soul of the group who tends to stay where she is comfortable. While she's kind and strong-spirited, she also has a lot of vulnerabilities, namely the ability to trust others. She doesn't open up to many and often hides in her garden where she feels most comfortable. But at her age, she's starting to miss things like romance and companionship. She yearns for sex but doesn't see any possible candidates in Coral Cove who may fit this.
Jeremy Sheridan suffers from PTSD. Blake does a fantastic job of conveying this throughout the book. At first glance, Jeremy doesn't seem like much of a catch. With the homeless vibe is he giving off, it deters Tamra away from him and when you add in his nasty attitude in the beginning, it's clear that these two are going to butt heads.
But then Blake gets to the real heart of the matter and explores her character's fears so deeply that you can't help but get lost in them. This isn't a particularly sad book but I found myself tearing up many times as I read this story. There are pages and pages of inspiring moments, moments that Blake has captured so beautifully that it almost feels like magic.
To see these two characters come together was a great thing to witness, not only because it was a well-done romance, but also because the both of them hard to overcome some real obstacles personally before they could ever make the jump in this relationship. I absolutely fell head over heels in love with Jeremy and Tamra and I think you will too if you gave it a chance.
Jeremy and Tamra's romance was enough to get a 5 star rating from me but Blake surpasses that with Fletcher's secondary story. She introduces a new character whom Fletcher, the more philosophical character of the group, finds enticing. Her presence causes him to step back and rethink his life and his decision to wait for his wife, Kim after four years of her disappearing. Some things happen that shake him, but I'm betting that the next book will be his and now more than ever, I am excited to see what will happen to him.
Blake's books are more than just your typical romance. There's so much fun and laughter to be had, but at the root of it, Blake grounds her novels with inspiring, touching moments. I have no doubt that this book will be one of my favorites of the year.
The night we kissed you said you couldn't see me," he said. "So… Guess I wanted to let you. See me."
ARC Review: Midnight Valentine by J.T. Geissinger
ARC Review: It Started With A Kiss by Marina Adair
ARC Review + Giveaway: It Ends with Us by Colleen ...
Filed Under: Reviews Tagged With: 5 stars, Annie Recommends, Contemporary Romance, Coral Cove, Keeper, Reviewed by Ann, Tearjerker, Toni Blake, Top Pick, UTC Recommends
This sounds really good!
I love this review and thank you for it! I so appreciate you bringing attention to my books! You rock!
This is such a beautiful story, Toni!


A rare quality I find in Atiyya is that while he is open and respectful of any ideas I may have, he will not hesitate to challenge me when he feels a different approach would produce better results. This goes to show how much pride he takes in his work.
What I also appreciate about Atiyya is that before taking on any project he takes the initiative to clarify what my goals and expectations are. By working with the end in mind, he is able to deliver remarkable work every time.
His easy going and accomodating personality makes Atiyya a pleasure to work with. I would certainly recommend his services to anyone who is looking to craft packaging that sells.
From concept to design - superb! You should try them.
Fast response. OMG, they still amend my design until 3am!
They are smart. Always give good input to my design.


FEBRUARY 13TH - 17TH | The 2nd annual Art in LA AfFair in partnership with Artsy during LA Art Week.
AC Gallery presents the second annual Art in LA AfFair 2019 in partnership with Artsy taking place concurrently with Frieze Los Angeles during LA Art Week.
The past Art in LA AfFair red carpet premier night drew Award winners from film and television, number-one Billboard recording artists, famed producers and directors all showed up to lend support to the rising visual artists of the time, grant red carpet interviews, and enjoy the live music and sculpture garden. LA AfFair 2019 will showcase over 30 artists working in contemporary fine art at AC Gallery's 4,000 square foot gallery space in all media types including Abstract, Art Objects, ConceptuaL, Craft, Minimalist, Photography, Pop art, Representational, Sculpture and Works on paper with limited edition prints and artist merchandise. An extensive range of art at varying price points will make ownership of emerging artists' work more accessible to all visitors and collectors. With over 50 art exhibitions and consecutive art fair appearances, AC Gallery is celebrated as a showcase for career and emerging artists in Los Angeles and Miami. AC Gallery consistently curates high-quality contemporary art exhibitions and receptions nationwide with mission to provide exhibition opportunities, professional development and residency programs for artists. LA AfFair 2019 VIP Premier Night is set for Wednesday February 13th, from 8pm-11 at AC Gallery located 1546 N. Highland Ave. Los Angeles, CA, 90028. The opening reception will offer live entertainment appetizers and complimentary refreshments all night long.
JOIN OUR MAILING LIST TO RECEIVE UPDATES ON AC GALLERY EXHIBITIONS AND EVENTS!


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Another blast in Turkey. 3 killed, 50 injured
A car bomb exploded outside a police station in the four-storyed building in Turkey's province Elazig, killing at least 3 people. More than 50 were injured
aa.com.tr
Three police officers were martyred in a PKK car-bomb attack on a police station in the four-storeyed building on Thursday in eastern Turkey's province of Elazig, the regional governor confirmed.
Related: Reuters: Three killed, 40 wounded in car bomb near Turkish police station
It is reported that at least 146 people, including civilians, were also hurt in the attack, some of the injured are in critical condition, reported by Anadolu.
Meanwhile, the Radio and Television Supreme Council banned all broadcasts about the deadly attack in the interest of public safety and ongoing police probe.
It is reported that exploded a car bomb outside a police station in the four stories tall. It is likely that the attack carried out Kurdistan Workers Party (PKK).
The attack is the second attack in 24 hours, following yesterday's attacks, that hit the eastern city of Van and Hakkari, a province in southeastern Turkey, taking lives of 3 people, including a police officer and injuring over 70 people. Authorities believe Kurdistan Workers' Party to be involved.
Related: Turkey Coup Attempt: Gulen faces two life sentences and nearly 2000 years in prison
Recall that Turkey remains in the tense situation in connection with its confrontation with the Kurds, demanding autonomy. Ankara considers the PKK a terrorist organization. The conflict was been frozen for 2 years - in 2013, the Kurds and the government signed a truce, but clashes resumed in 2015.
Related: Turkish jets destroy PKK positions in northern Iraq
Turkey explosion PKK car bomb Elazig Van Hakkari


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The Palace of Auburn Hills ou simplesmente The Palace (O Palácio em português) foi um ginásio localizado em Auburn Hills, cerca de 50 quilômetros do centro de Detroit, Michigan (EUA). Foi a casa dos times de basquetebol da NBA Detroit Pistons entre 1988 e 2017 e da WNBA Detroit Shock de 1998 a 2009.

História

Inaugurado em 1988 (foram gastos US$ 70 milhões na construção), tinha capacidade para 22.000 torcedores em jogos de basquete e chegava a 24.000 em concertos. Era a maior arena da NBA, dando o recorde de público aos Pistons desde 2002.

Era uma das seis arenas da NBA que não tinham o nome de um patrocinador (naming rights).

Ver também
 Little Caesars Arena

Ligações externas
 Site Oficial - The Palace of Auburn Hills
  Foto por Satélite - Google Maps

Detroit Pistons
Ginásios da National Basketball Association


Bishop John L. Hopkins, in consultation with the conference personnel committee, intends to appoint the Rev. Steven D. Court as East Ohio Conference director of connectional ministries.
Court will succeed the Rev. Paul R. White, who is retiring after 40 years of ministry in East Ohio, the last 12 as director of connectional ministries. The appointment is effective July 1.
Court is the current superintendent of the Southern Hills District. He was appointed to the cabinet in 2008 and this year is serving as its dean. Court has been instrumental in introducing cloud-based technology to improve the way the cabinet utilizes year-end statistics and shares and summarizes reports about churches and members of clergy.
"The greatest lesson I have learned by serving on cabinet is that we cannot do this alone. God equips us through serving with others as a part of this community of faith – the Body of Christ, the people of the East Ohio Conference and the connection of the United Methodist Church," Court said.
In addition to his work on the cabinet, Court is a member of the conference strategic vision team. He has been trained and has served in numerous Vital Congregations/Congregational Development programs and supported a network for the district administrative assistants that significantly improved the way district offices relate to the conference and to one another.
"Christ becomes visible and present in our lives and in our world when we take risks, make mistakes, confess our sin, receive forgiveness, celebrate success, and grow together in Christian love. This has certainly been my experience of the teaching, vision and leadership of Bishop John Hopkins," Court said.
The Galion, OH native was deeply influenced by and came to faith at Saint Paul United Methodist Church. He received his call to ordained ministry as an adult while serving as a volunteer youth leader at New Dover United Methodist Church in New Jersey.
Court began his ministry at the Allerton/Norton UMCs near Clinton, NJ while in seminary and later served St. John's UMC in Hope, NJ. After transferring to the East Ohio Conference in 1995, he served Senecaville/Mt. Ephraim UMC for three years and then Strasburg United Methodist Church for nine.
Court began his professional life as a systems analyst with Exxon Chemical Technology in New Jersey and Texas. He finds meaning and spiritual growth in Bible study, conversation, youth fellowship, and hands-on service, including disaster response and mission teams.
A graduate of The Ohio State University and of Drew University, Court and his wife, Elsa, are parents of two daughters and a son.
Previous postRev. Bruce Batchelor-Glader reports that the hits just keep on coming!
Congatulations on your appontment to this vitally important position. I believe that we are blessed that God has provided you with the skills necessary for this task. Congregations such as ours in Boardman are sure to benefit from your service.
Rev. Court, I am so pleased that you will be the new Director of Connectional Ministries – but following Rev. White won't be easy. You are up to it! Many blessings.
Congratulations Steve! I am sure you will bring the same effective and dedicated leadership to this position as you have brought to yoour current and previous appointments.
Congratulations to Rev. Court in his new position. I believe that God works in all our experiences and I find it reassuring that the person leading connectional ministries is an individual that I first met in Liberia! His willingness to follow the call to another continent to learn, witness and worship bodes well for his service to our East Ohio Conference.