Welcome to another in a series of profiles spotlighting the 2015 Firm of the Future finalists. In this new article, we feature Cindy Schroeder of Bright Bookkeeping. Be sure to scroll down to see her video.
Elizabeth Johnson: Tell us about Bright Bookkeeping.
Cindy Schroeder: Bright Bookkeeping is based out of Glen Ellyn, Illinois. We have two part-time employees and about 50 clients, and our clients are mostly service based. Our mission is to take away our clients' accounting headaches. They started their business because they had a passion and their passion was not bookkeeping.
EJ: What does it mean to be a Firm of the Future?
CS: To me, being a Firm of the Future means I have the ability to work with my clients remotely from anywhere. When I first started my business, I worked from my clients' offices so I was driving all over the place and it got very tiring and limiting. I'm part of the Chicago QuickBooks® Group and attend the Sleeter Conferences, and I kept hearing about cloud-based apps and different ways to work with your clients remotely. So, I started to look into them. Now, I'm able to work with clients remotely using apps such as SmartVault, Bill.com and Hubdoc.
EJ: Tell us about your evolution from QuickBooks Desktop to QuickBooks Online?
CS: When I first started my business nine years ago, I was a certified ProAdvisor® just using desktop. At that time, QuickBooks Online was not as robust as it is now, but the product has improved dramatically over the years. The pivotal point in our shift was in 2012 – we started using Right Networks for hosted desktop and then moved on to QuickBooks Online. Now, about 70 percent of my clients are on QuickBooks Online and the rest are hosted. Currently, our business model is to only take on new clients that are using QuickBooks Online.
EJ: How does the cloud impact the way you do business? Are your clients all local?
CS: It allows me to help more business and gives me the flexibility to work anywhere. My family has been going to Disney World a lot (we have annual passes), and without being able to work remotely, that wouldn't be possible. The majority of my clients are local, but I do have clients across the country that I've never met. And, for those who are local, it was a mindset shift: showing them I don't need to be there physically to get their work done. That is something I've been working on the past couple years to get everyone switched over.
EJ: What apps do you use?
CS: We use SmartVault to pass information back and forth with clients. I don't like to send financials through email so it's a great way to have an electronic filing cabinet. I also use Bill.com for paying bills for my clients that I do AP and AR for. It's a great way to avoid having to approve checks; it puts all the emphasis on the clients to approve the checks. I've also started using Hubdoc so that I don't have to go to all of the bank and credit card websites anymore – it just pulls in all the information. I just go to one website and everything's there, so it saves a ton of time!
EJ: How do you research and decide on the software and apps partners that you use?
CS: It's difficult, and I know talking to other bookkeepers that it's a pain point because there are so many apps out there. In the Chicago QuickBooks Group and another group that I started, Bookkeeping Buds, which is made up of bookkeepers in the area, we bounce ideas off each other and bring problems to the group to see if others have solutions. I also attend conferences like QuickBooks Connect, as well as go out and meet vendors, to learn what's out there.
EJ: Have any of your clients had unique needs that you've had to find an app for?
CS: Most of my clients are pretty straightforward, so they have been using basic apps such as Bill.com and TSheets. I have a few nonprofits, so I am looking into Method: Donor to see if that would be a good fit for them. I also have clients that use Shopify and PayPal, which may also eliminate some of the data entry with the apps.
EJ: Can you share a time that you helped one of your small business clients overcome a challenge?
CS: The biggest challenge that I help business owners overcome is the lack of understanding of what is going on with their business. I help them get more organized by tracking everything in QBO, and help them understand where their money is coming from and going. I try to make things easy by talking in real terms that they will understand.
EJ: You have a small business, being the sole full-time employee. How do you decide when you should scale? And, how do you see your business growing?
CS: That's been a big topic of discussion lately. In order to scale, I'd have to bring more people on board, and that opens up a new set of issues. I have been working on getting things in place, such as documenting all my processes, in order to move in this direction. I think my business can grow by better identifying our niche markets and possibly a Disney Division.
EJ: Tell us more about your second business you mentioned above, Bookkeeping Buds.
CS: Bookkeeping Buds is a national community supporting bookkeepers so that they can be as successful as possible. I have three local groups of women that meet monthly in a mastermind format and will also be starting a virtual group. The website was launched in February and includes a forum to post questions and get ideas, as well as a calendar filled with all the webinars and events bookkeepers would be interested in. We are having a Boutique retreat in June with different speakers, including Leslie Shiner and Marnie Stretch. Attendees will be able to meet vendors, such as Intuit®, Right Networks and TSheets, on a very intimate level. My goal is to be able to help all bookkeepers go remote and build their practices to the best of their ability.
EJ: What's your advice to those who are hesitant to adopt cloud technologies?
CS: I know it can be scary. I remember the very first conference I went to that talked about cloud technology and I had no idea what they were talking about. It felt like someone was speaking another language to me. Then, I talked to people around me who were already using it and learned what QuickBooks looked like on a hosted environment with Right Networks, and how an app, such as Bill.com, could really help me. Learning from their real world experience is what helped give me confidence to try cloud technology.
If you're hesitant about it, just pick one thing to look at, or one app that you might be interested in, so that you don't get overwhelmed. And then, talk to people who are using it and give it a try on your own company – that way, it doesn't affect any of your clients.
EJ: How do you bill your clients today?
CS: I use a fixed fee, but it's not value pricing. I'm still playing around with value pricing, but for now, I have a fixed monthly fee for my clients. If clients have a project or need consulting, I can do those hourly, but for the most part, it's a fixed fee. It makes it really easy for me because in QuickBooks Online: I set it up as a memorized transaction and the invoice goes out automatically.
EJ: How do you get/find clients?
CS: I'm big on Twitter and Facebook, and I like marketing. If I wasn't in bookkeeping, I would go into marketing! I use Send Out Cards for my marketing program. It is an online card system that sends an actual, physical card. I think it's very important to keep in touch with your clients on a regular basis, even if you're not seeing them in person, so I send them cards all the time. I pick unique holidays; for example, I will send my clients Halloween cards or Fourth of July cards. I'll also add in treats, like brownies, throughout the year – things they wouldn't expect from their bookkeeper or accountant.
I think that makes a huge difference with my clients. I try and get to know them as people, and they appreciate it. And, the more they look at you as a business advisor, the more they will tell their small business friends about you.
EJ: What do you typically share on Twitter?
CS: Mostly information about QuickBooks Online, conferences that are coming up, new changes in QuickBooks Online and, of course, Disney.
EJ: Where do you get your social media inspiration?
CS: The Intuit Accountants Facebook page is a great resource for information to share, which makes participating in social media a lot easier. I also follow @IntuitAccts on Twitter, and other accountants and business owners who have good information, and will repost what they share. I also participate in Cathy Iconis' weekly #QBOChat.
EJ: What makes you stand out as a bookkeeper?
CS: All my clients are important and I treat them that way. I like to build a relationship with them beyond being their bookkeeper. I also think it is important to be able to answer their questions so that they understand. Sometimes, this may mean creating different reports than your traditional financials.
EJ: What advice would you give to a firm who wants to be a Firm of the Future?
CS: Attend events such as QuickBooks Connect or the Bookkeeping Buds Retreat. Talk to people who are already doing it. If you want to be the best at something, you need to find someone who is already there and get advice from them. Most importantly, don't be scared to try something new.
EJ: As a Disney World fan, what's your favorite ride or attraction in the park? And, do you have a favorite Disney character?
CS: Disney World is definitely my happy Place. How can you not be happy wearing mouse ears? Walt is a marketing genius, so you can really learn a lot from being there to incorporate into your own business. My favorite rides are Tower of Terror and Peter Pan. It is hard to pick a favorite character, but Merida, Kristoff, Flynn Ryder and Baloo definitely top the list.
Editor's Note: Click on the video below to see Cindy Schroeder's Firm of the Future video.


Western Sydney Wanderers marquee Oriol Riera has claimed this week's Hyundai A-League Goal of the Week, as voted by the fans.
Get your tickets to Sunday's match against Adelaide United here.
The Spanish striker claimed the award for his powerful headed effort in Wanderers' 3-0 win over Brisbane Roar on Saturday night.
With Wanderers awarded a free-kick on the right, Alvaro Cejudo whipped in a wonderfully flighted ball which allowed Riera to attack the space and bury a sizzling header past a stranded Jamie Young.
The goal helped spark the Wanderers with Riera scoring again ten minutes later before Chris Ikonomidis found the target to seal a huge win for Josep Gombau's side.
Riera's strike was the clear choice among the fans with more than 70% of respondents voting his goal as the top strike for Round 26.


text:
Urban-Nature:
the ecology of planetary artifice
Harry Gugger and Bárbara Maçães Costa
1. The All-pervading Nature of the Urban
Cittá diffusa, metapolis, postmetropolis, global city, space of flows, generic city1 – these are some of the recently invented concepts that try to name and define the new kind of urban phenomena that have come to asymmetrically permeate the globe. While each has its own particular standpoint, they all address (directly or by implication) the death of the humanist city2 and that of its analogous dichotomy, city/countryside. Engulfed by "junkspace",3 city-as-object and ruralas- background no longer exist; what is left now is an ambiguous and hybrid condition that has no genetic code and is impossible to describe in typological terms.
Ultimately, all architecture colonizes space for human appropriation, defining a boundary of domination set against a background of wilderness and chaos – in other words, nature (the excluded leftover of the architectural inside). The classical city, one could argue, did the same thing on a communal scale: it contained the agglomeration of civilized inner public spaces segregated from the outer (extramural) countryside. The city wall drew the limit between the two worlds, with the cultural object in the foreground, contained and framed against the backdrop of wide-open land. The industrial (modern) city blurred and irreparably damaged this once-stable opposition. The social polis merged with the bucolic arcadia in infinite, site-specific combinations and bred a succession of "transgenic landscapes"4 that we now generally refer to as "the urban". The territory lost friction and changed in more or less awkward ways to the point at which "the urban" itself became a kind of all-pervading (mostly chaotic) cultural background – one might say, a kind of nature.
2. The Artificial Production of the Natural
Air, water, wood: all are enhanced to produce . . . a parallel Walden, a new rainforest. Landscape has become Junkspace, foliage as spoilage: Trees are tortured, lawns cover human manipulations like thick pelts . . . sprinklers water according to mathematical timetables. 5
Nature is a mystified anthropocentric ideal, one explained well by Caspar David Friedrich's 1818 painting of a man poised on the edge of the abyss, contemplating its vastness and projecting onto it an extension of his own inner grandiosity. Man, the conscious cultural being, sets himself against the world of natural things: civilized artificiality versus original wilderness. This idea of "artificiality" has its root in the Latin word artificium, which means "art, craft or skill" and eventually also acquired the meaning of "inauthenticity", thereby coming to encompass the common associations of "truth"with nature and "deceit" with culture. However, nature in the sense of something non-artificial, unaltered by human activity, hardly exists anymore. Even those places we call nature reserves (maintained in order to preserve fragile ecosystems and biodiversity) are paradoxically unnatural, since the act of conservation itself can only
ever result in something man-made. Human design (biotech agriculture, plastic surgery, beach resorts, rural tourism, greenhouse tomatoes, hypoallergenic cats) makes so-called nature take on an artificial authenticity. Preserved/protected nature is always a sanitized, tamed and overall more human-friendly version of the real thing – a domesticated, hypernatural version that is little other than culture in disguise. Ironically, the more we learn to control nature, the less nature we have, and the more we change nature, the more complex, strange and unknowable it appears.
In the light of such ambiguity, Koert van Mensvoort's essay "Real Nature Is Not Green" proposes a replacement of the culture/nature binary with that of controllable vs. autonomous, whereby culture would be that which we can control and nature all that we cannot. According to this new classification, greenhouse tomatoes and nature reserves would belong to the cultural category, while computer viruses, traffic jams and "the urban" (in all its all-pervading autonomous anarchy) would be considered natural.6
3. A Dialectics of Artificiality: A Few Case Studies
3.1 Perspectivism versus Atmospherics, Western Sacred Geometry and Eastern Organic Narrative
There is a fictional power in cartography and spatial representation. Even the most seemingly analytical map is, ultimately, always an interpretative reading of what it purports to describe – both a reduction and a construction of the real. Representations are incomplete and biased metaphors that build a reality of their own while also revealing the subliminal illusions of our own (mis)conceptions:
The convention of perspective, which is unique to European art and which was first established in the early Renaissance, centres everything on the eye of the beholder. It is like a beam from a lighthouse – only instead of light travelling outwards, appearances travel in. The conventions called those appearances reality. Perspective makes the single eye the centre of the visible world. Everything converges on to the eye as to the vanishing point of infinity. The visible world is arranged for the spectator as the universe was once thought to be arranged for God. According to the convention of perspective there is no visual reciprocity . . . Every drawing or painting that used perspective proposed to the spectator that he was the unique centre of the world.7
Jeffersonian Grid, Land Ordinance of 1785, aerial view of Medicine Lake, Montana, USA, found online on Bing Maps.
Perspective creates the illusion of spatial depth on a flat surface by employing techniques of proportional foreshortening which scale objects in relation to the viewer. It works by projecting a scene onto a mediating "rectangle" that stands between reality and the observer's eye: object of contemplation > picture plane > conscious subject. Its mathematical nature gives it a rational (scientific) status, which results in a privileged (and axiomatic) authority over the rendering of the truth about the world (i.e., the material world of palpable things). Tellingly, perspective comes from perspicere, which is Latin for both "to see through" and "to perceive".
Jean-François Nicéron, untitled engraving in Thaumaturgus opticus, sive amiranda optics (Paris, 1646).
Ultimately, this framing of the world by way of the "picture plane" can be understood to portray the dominant paradigm of how Western culture has experienced the world. Albrecht Dürer's 1538 woodcut Man Drawing a Reclining Woman sums up this human–world relationship beautifully. Sitting at his desk, the artist looks at a woman through his "drawing machine" (Dürer's version of Alberti's "window" and Leonardo's "glass wall"), a perspective device whose purpose is to impose a square grid onto the viewed scene, thereby dividing space (and time) into measurable units. This is not unlike cartography's coordinate system of longitudes and latitudes, or the physical imposition of land ordinance grids for land colonization (from Hippodamus in 5th-century- BC Greece to Thomas Jefferson in 19th-century America). It has become the "natural" way of looking at the world and placing ourselves within it:
Man, with his new geometrical tool, was the measure of all things. The world was now available to standardisation. Everything could be related to the same scale and described in terms of mathematical function instead of merely its philosophical quality. . . . If man were the measure of all things, then all things must surely be related to the measure of man: his experiences, his observations, his points of view.8
Eastern images did not have such "Cartesian" ambitions, mostly due to religious and philosophical differences, but perhaps also because their paintings were never intended for an architectural context. Linear perspective is, after all, an invention credited to an architect (Filippo Brunelleschi) and its first mathematical application in a painting is considered to be Masaccio's Holy Trinity (ca. 1425), a wall painting creating the illusion of a receding niche in a Florentine church. Persian miniatures, on the other hand, were made to illustrate books and therefore employed the conventional format of a vertical page, which was to be bound in an album or manuscript; they do not attempt to simulate spatial depth (there is no foreshortening, no rendering of light) and things are represented side by side as ornamental patterns that can almost be read as text. Similarly, Chinese landscape painting was not an attempt at pictorial realism, but rather an aid to the practice of meditation. Silk scrolls are long panoramic drawings that blur the lines between painting, drawing and calligraphy, and often include poems. They do not so much depict the "real" world (they were never produced in situ) as allude to its fleeting atmospheres. They allow the viewer's wandering eye to read the painting freely, so there is not one single viewpoint but several – the image is interwoven, ambiguous, spacious, vague and constructed as much by the viewer as by the author.
3.2 Systems versus Objects, Powers of Ten and the Minimal Objects of Land Art
On 24 December 1968, astronaut William Anders, flying on board Apollo 8 in outer space, took a photograph of Earth rising behind the Moon's horizon that later became known as the iconic "Earthrise". Exactly four years later, the Apollo 17 crew captured an even more representative world-picture that has been permanently imprinted on our minds ever since: "Blue Marble", the view of the lonely spaceship Earth floating in pitch-dark space and time.
In 1977, Charles and Ray Eames directed a short film illustrating the relative scale of objects in the universe when compared to the size of humans. The film is built around a fixed aerial view of a man lying on his back, with the camera zooming in and out by orders of magnitude based on a factor of ten. It is called Powers of Ten: A Film Dealing with the Relative Size of Things in the Universe and the Effect of Adding Another Zero, and its narrative voice-over starts off like this:
The picnic near the lakeside in Chicago was the start of a lazy afternoon, early one October. We begin with a scene one metre wide, which we view from just one metre away. Now, every ten seconds, we will look from ten times further away and our field of view will be ten times wider. . . . Our picture will centre on the picnickers, even after they've been lost to sight.
. . . Ten to the sixth – a one with six zeros, a million metres: soon the earth will show as a solid sphere. We are able to see the whole earth now, just over a minute along the journey . . . 9
There is a totalizing approach to this film that seems to borrow from Buckminster Fuller's 1968 Operating Manual for Spaceship Earth. It tells of the infinite interconnectedness of things and the simultaneous finitude of our planet, thus exposing our inherent responsibility toward its dutiful and sustainable management. The narrator's tone is optimistic and confident, describing the interlocked synergies of the holistic universe-system (and its reassuring repetition of patterns on grander and smaller levels of organization), as if to imply that everything is knowable, and nothing elusive. Yet there is a strange uncanniness to the images that does not quite match the speech – a subtle but uneasily paradoxical pairing of the rationalist rhetoric of the system and the abrupt apparition of the object, the "solid sphere", "imposing and remarkably spherical".10 Within the flowing system of universal relations, Earth's wholeness has a withdrawn, estranged quality.
Robert Smithson's Minimalist objects relate to this paradox. They position themselves within the interlocking scales described by Fuller and the Eameses – space exploration > perishable planet > human subject – but their stratification produces only further irrationality, illegibility and estrangement. Smithson's sculptures do not serve as landmarks that establish measure and orientation, and they are, in fact, quite independent of an observing subject. Instead, they incorporate the environment and relate to it through slow processes of entropy while nonetheless remaining discrete objects that retain a certain muteness and individuality of their own, sort of like the alien black monolith in 2001: A Space Odyssey (that monumental cinematic ode to the weirdness of space that lies beyond anthropocentric signification). Smithson's Land Art sculptures are elusive objects whose contingent materiality and diffuse totality can never be understood in terms of natural/ artificial, nor exhausted by human contemplation:
The scale of the Spiral Jetty tends to fluctuate depending on where the viewer happens to be. Size determines an object, but scale determines art A crack in the wall if viewed in terms of scale, not size, could be called the Grand Canyon. A room could be made to take on the immensity of the solar system. Scale depends on one's capacity to be conscious of the actualities of perception. When one refuses to release scale from size, one is left with an object or language that appears to be certain. For me scale operates by uncertainty. To be in the scale of the Spiral Jetty is to be out of it.11
3.3 Inside versus Outside + Away: The Ecology of Industrial Earth
A Styrofoam cup will take about 500 years to degrade. Radioactive waste deposited beneath mountains has an average harmful life expectancy of about 100,000 years (for it can endure between 10,000 and one million years), three times longer than the time spanning back to the Chauvet cave paintings executed by Palaeolithic humans. At the beginning of the 19th century, the world's population was one billion, but it is now seven times that, and by 2050 it is predicted to surpass nine billion. Atmospheric CO2 concentration has more than doubled since 1950 and is causing global warming. Human debris dumped in the oceans has been accumulating in patches known as the Pacific trash vortex. Polymer plastic (found, for instance, in the common plastic shopping bag) does not biodegrade as much as degrade, breaking down into increasingly smaller pieces (microplastics) until it eventually enters the food chain:
For some time we may have thought that the U-bend in the toilet was a convenient curvature of ontological space that took whatever we flush down into a totally different dimension called Away, leaving things clean over here. Now we know better: instead of the mythical land Away, we know the waste goes to the Pacific Ocean or the wastewater treatment facility. . . . There is no Away on this surface, no here and no there.12
Brussels at night as seen from space. Photograph by Chris Hadfield, 2013.
J.M.W. Turner, Rain, Steam and Speed, 1844, oil on canvas, National Gallery, London.
We live in an age of ecological panic masked under the cynicism of ideological denial. In the scheme of the five stages of grief,13 after denial follow anger, bargaining and depression, until we eventually reach the point of acceptance, when, typically, "the subject no longer perceives the situation as a threat, but as a chance for a new beginning".14 What we are grieving is the death of the idea of nature and the loss of our anthropocentric world view.15 This is an uncanny era in which human history has collided with geological time, giving rise to strange and vast phenomena that are impossible to categorize in terms of the opposition of human versus natural (global warming, mass extinction, pollution). Geologists have come to call this era the Anthropocene, meaning literally the "human era". Earth in the age of the Anthropocene is an artefact – Spaceship Earth, an artificial object travelling through time and space and steered by Earthiens.16
The end of the world has already occurred. We can be uncannily precise about the date on which the world ended. . . It was in April 1784, when James Watt patented the steam engine, an act that commenced . . . the inception of humanity as a geophysical force on a planetary scale.17
Ecology means inevitable responsibility, forced intimacy, utter hospitality and coexistence. It means that there can be no "away", no "over there", no "yonder" – everything "stands" awkwardly close. But between "right here" and "over there", there is architecture, guarding the limits between inside (controlled environment) and outside (framed spectacle) – both dimensions being articulated by the envelope, the container of air-conditioned private property and symbolic meaning. Architecture lies in the gap between "inside" and "outside", and it camouflages "away": the repulsive, tabooed space of pollution, waste and infrastructure (from domestic plumbing and sewage to transnational oil pipes and Fukushima).
Photographer Edward Burtynsky's works engage with this somewhat absurd dilemma by depicting things that are provocatively marginal to our established sense of the aesthetic. They portray landscapes brutally scarred by human colonies of industry and technology strangely framed like ancient ruins in sublime paintings. These manufactured landscapes "search for a dialogue between attraction and repulsion, seduction and fear",18 and ultimately reveal the weirdly ambivalent essence of these vast territories: they are neither urban nor natural.
This is the aesthetic of "urban-nature" – one of uncanniness and unease that exposes the dilemma of ecological guilt by radically showcasing the fundamental gap between actual material reality and our distorted perception of nature as a snug and cosy background. This kind of ecological thinking requires a humbling (and humiliating) de-centring of the human, and its embrace marks the beginning of an age of non-anthropocentric realism. If the Neolithic Revolution gave birth to "the city", then the industrial revolution gave birth to "the urban", and if the first altered the natural environment, then the second abolished the concept of nature altogether. "Urban-nature" is the condition of living on industrial Earth: a "world" of domesticated nature and wild urbanization well illustrated by Turner's painting Rain, Steam and Speed, an impressionistic, hazy landscape of industrial mist. It is a paradox that supersedes dichotomy, and in doing so, it highlights the forced coexistence of its two antagonistic conditions – just as nature becomes increasingly urbanized, so the urban becomes gradually more natural to the point where concepts once seen as polarities can begin to be considered metonyms.
1. These concepts were coined, respectively, by Bernardo Secchi, François Ascher, Edward W. Soja, Saskia Sassen, Manuel Castells and Rem Koolhaas.
2. Alberti said that "the city is like a large house and the house in turn is like a small city"; quoted in Peter Eisenman, "Editor's Introduction", in Aldo Rossi, Architecture of the City (Cambridge, MA: The MIT Press, 1982), 9. It should be noted that 15th-century humanists modelled the city in similar terms as the microcosm of a harmonic and macrocosmic universe. Universe–city–house thus worked as a sort of anthropocentric matryoshka of self-replicating objects, produced and conceptualized as mathematical Platonic forms with man as its core subject and the architect as its mythical hero-creator.
3. The concept was coined by Rem Koolhaas; see Koolhaas, "Junkspace", in OMA and Rem Koolhaas, Content (Cologne: Taschen, 2004).
4. The concept was coined by Álvaro Domingues; see Domingues, Vida no Campo (Porto: Dafne Editora, 2011), 39.
5. Koolhaas, "Junkspace", 170.
6. Koert van Mensvoort, "Real Nature is Not Green", Next Nature (6 November 2006), consulted online at http://www.nextnature.net/2006/11/real-nature-isnt-green/ (accessed 20 August 2014).
7. John Berger, Ways of Seeing (London: Penguin Books, 1972), 16, 18.
8. James Burke, The Day the Universe Changed: How Galileo's Telescope Changed the Truth (New York: Little, Brown and Company, 1984), 76–77.
9. Charles Eames and Ray Eames for IBM, Powers of Ten: A Film Dealing with the Relative Size of Things in the Universe and the Effect of Adding Another Zero (1977).
10. Charles Eames and Ray Eames for IBM, A Rough Sketch for a Proposed Film Dealing with the Powers of Ten and the Relative Size of Things in the Universe (1968).
11. Robert Smithson, "The Spiral Jetty", in idem and Jack Flam, eds., Robert Smithson: The Collected Writings (Oakland: University of California Press, 1996 reprint), 147.
12. Timothy Morton, Hyperobjects, Philosophy and Ecology after the End of the World (Minneapolis: University of Minnesota Press, 2013), Kindle e-book.
13. According to the Kübler– Ross model, there are five stages of grief: denial, anger, bargaining, depression and acceptance.
14. Slavoj Žižek, Living in the End of Times (London and New York: Verso, 2011), Kindle e-book.
15. Timothy Morton, Ecology without Nature: Rethinking Environmental Aesthetics (London and Cambridge, MA: Harvard University Press, 2007).
16. Buckminster Fuller, Operating Manual for Spaceship Earth (Baden: Lars Müller Publishers, 1969).
17. Timothy Morton, Hyperobjects, Philosophy and Ecology after the End of the World (Minnesota: University of Minnesota Press, 2013), Kindle e-book. Note that "end of the world" here means not an apocalyptical reaction to the ecological crisis, but rather the "traumatic loss of coordinates" that happens when humans are removed from the significant centre of the universe. The notion of the world as the dominated background dissolves.
18. See http: //www.edwardburtynsky .com/ (accessed 20 August 2014).
This article was originally published in San Rocco # 10, «Ecology», Winter 2014.
Harry Gugger studied architecture after an apprenticeship as a toolmaker and stopped studies in machine engineering and German literature. From 1984 to 1989 he studied at the ETH Zürich with Flora Ruchat and at the Columbia University in New York with Tadao Ando. 1990 began his collaboration with Jacques Herzog and Pierre de Meuron. As a partner he helped to develop Herzog & de Meuron from a small office to a global company.
Among many other projects, he was in charge of: Signal boxes I and II (1991-1994 / 1995-1999) and Engine Depot (1991-1995) in Basel; Library of the University Eberswalde (1994-1999); Tate Modern in London (1995-2000); Schaulager Basel for the Laurenz Foundation (1998-2003); Caixa Forum, Madrid (2001–2008) and the Laban Dance Centre in London (1998-2003), which was awarded the RIBA Stirling Prize 2003.
In 2004 Harry Gugger received the Swiss Art Award Prix Meret Oppenheim.
From the outset, his practice was paired with manifold academic work. Since 2005 Harry Gugger is tenured professor at the EPF Lausanne (EPFL) where he founded the Laboratoire pour la Production d'Architecture. His laboratory was in charge of the National Participation of Bahrain at the Venice Architecture Biennale 2010 winning the Golden Lion award. In 2011 Harry Gugger transformed his laboratory into Laboratoire Bâle a satellite laboratory of the EPFL dedicated to urban and architectural design situated in Basel.
In 2010 Harry Gugger founded his studio HGS which works on projects of all scales with a focus on urban design. From this practice synergies emerge with the research of his laboratory at the EPFL. Besides many other engagements in juries and commissions Harry Gugger acts as a board member of the LafargeHolcim Foundation for Sustainable Construction since 2010.
Bárbara Maçães Costa graduated in 2008 from the University of Porto Faculty of Architecture and in 2013 from the University of Lisbon Faculty of Fine Arts (Master in Drawing). She worked for architecture offices in Copenhagen and Porto and was project architect for the Belgian landscape architecture office Bureau Bas Smets. She was teaching assistant in figure and landscape drawing for undergrad courses of painting and sculpture at the University of Lisbon Faculty of Fine Arts and landscape architecture at the École de la Cambre in Brussels. She has been invited to lecture at Hogeschool Sint-Lukas, Erasmus Hoogeschool Jette, ENSAS Strasbourg, Technion – Israel Institute of Technology, University of Liechtenstein, and the ETH Zurich. She is currently employed by the EPF Lausanne as a doctoral assistant to Prof. Harry Gugger's Laboratory Basel, as well as lecturer of the Teaching Unit U – Cartography. Her fields of expertise include drawing, landscape theory and environmental aesthetics.

redpajama_set_name: RedPajamaCommonCrawl


text:
Freule van Dorth (voluit Johanna Magdalena Catharina Judith van Dorth tot Holthuyzen) (gedoopt Warnsveld, 7 mei 1747 - Winterswijk, 22 november 1799), was een orangiste en dochter van Jan Adolph Hendrik Sigmund van Dorth, heer van 't Velde en Holthuizen en Jacoba Schimmelpenninck van der Oije.

Historische betekenis
De freule van Dorth verwierf bekendheid door haar executie na gebeurtenissen vanaf 14 september 1799 toen de Bataafse Republiek de staat van beleg uitriep in het graafschap Zutphen gelegen Ambt Bredevoort. Men zond 200 soldaten van de nationale garde en 100 Franse soldaten naar Bredevoort om de vesting te versterken, nadat de oranjegezinde August Robert van Heeckeren van Suideras een inval vanuit Pruisen ondernam om een oranjerevolutie uit te lokken ten gunste van de in Engeland verblijvende erfprins van Oranje-Nassau.

Gevangenis
Na een verboden liefde in 1766 met de advocaat en huisvriend Engelbert Crookceus en een daaraan gekoppeld huisarrest dat Judith werd opgelegd, besloot de freule van huis weg te lopen. Haar ouders ontdekten echter haar plannen en kregen op 16 september 1767 toestemming van de magistraat van Zutphen om haar op te sluiten in de particuliere vrouwengevangenis Duynkerken in Delft. Daarnaast werd zij onterfd wegens haar "verkwistende en reprochabele levenswijze". Het is niet bekend hoelang zij opgesloten zat; wel dook zij omstreeks 1776 weer op in Huis 't Velde.

Erfenis
In 1788 ontving Judith samen met haar broer Gerrit een erfenis, beleend met de heerlijkheid Holthuysen. Zij werden daardoor toegelaten tot de Ridderschap van Zutphen. In 1789 kochten zij het kasteel van Harreveld  bij Lichtenvoorde en gingen daar wonen.
 In de omgeving waren zij echter niet geliefd. Er was zelfs sprake van dat er een vloek lag op het kasteel van Harreveld. Haar vader, een landedelman van de oude stempel, zou zich vermaakt hebben met het schieten vanuit het kasteel op passanten. Ook over broer en zus gingen de wildste geruchten.

Oranjerevolutie

In september 1799 ondernam de oranjegezinde August Robert van Heeckeren van Suideras vanuit Pruisen een inval in de Achterhoek, om daar tegelijk met de Brits-Russische invallen in Noord-Holland een oranjerevolutie voor de in Engeland verblijvende erfprins Willem V van Oranje-Nassau uit te lokken. Hij riep daartoe ook de inwoners van Bredevoort op, maar de enige verzetsdaden waren het hijsen van de Oranjevlag in de kerktoren en het omhakken van de vrijheidsboom die deed herinneren aan de Franse Revolutie. Het Frans-Bataafse gezag was de situatie snel meester en voor stad en ambt Bredevoort werd de staat van beleg uitgeroepen, die duurde tot het einde van 1799. De inval kostte aan één persoon het leven: Judith van Dorth tot Holthuyzen, die al te openlijk met Oranje sympathiseerde.
Judith was met haar koets door Lichtenvoorde en Groenlo gereden om sympathisanten voor Oranje te vinden en in Lichtenvoorde riep iemand van de patriotten tegen haar:

De moord op Reesink kan doen zien wat men van de oranjepartij te verwachten heeft, waarop Judith antwoordde: Dat was geen moord! De oproerige patriot heeft zijn verdiende straf ontvangen. Zijn opstand tegen de prins was hoogverraad!

Er werd een onderzoek ingesteld naar het gebeurde. Op 18 september werd Judith gearresteerd op verdenking van "oproerstokerij" en betrokkenheid bij de moord op Reesink. Ze werd opgesloten in het tuchthuis te Arnhem. Haar berechting werd opgedragen aan een militair tribunaal dat op 5 oktober in Winterswijk werd gehouden. Het tribunaal bestond uit vijf officieren en onderofficieren van de nationale garde, van wie er één uit de streek afkomstig was. Deze lekenrechters werden bijgestaan door de drost van Bredevoort, de herbergier Willem Passchen en door advocaat Bom uit Lichtenvoorde, de enige jurist in deze groep, die als openbaar aanklager optrad. Over de kwaliteiten en de motieven van de rechters is veel te doen geweest.

Executie

De freule Van Dorth werd  beschuldigd van verraad aan het vaderland. Door Cornelis van der Aa wordt uit de tenlastelegging geciteerd:

Dat zij op Donderdag den 5 September l.l. des morgens al zeer vroeg van den Toren op den Huize Harreveld, een Oranjevlag heeft doen uitsteken en waaijen, [...] Dat dien zelfden dag van daar te rug, te Lichtenvoorde gekomen, en aan haar Gedetineerde is verhaald, dat eenen Fredericus Reesink dood gebleven was, zij Gedetineerde daarop gezegd heeft: "o! dat is 'er nog maar een capot, daar moeten 'er meer aan, het was maar een Patriot!" [...] Vervolgens een Burger, die "Vivat de Republiek" riep, gedreigd: met te zeggen: "Wagt manneke wij zullen U wel krijgen", [...]
De rechtbank veroordeelde haar "om anderen ten Exempel, met de Kogel gestraft te worden dat 'er de dood naa volgt".

Op 22 november, de dag van de executie, werd zij op een kar geplaatst en naar de Joodse begraafplaats van Winterswijk gebracht, waar al een kuil in de aarde was gegraven en een doodkist in gereedheid stond. Hieronder de gebeurtenis zoals beschreven door Van der Aa en door Reinier Vinkeles in bovenstaande gravure treffend weergegeven:

Nu gingen de geweeren los: de Doorschotene hier en daar gekwetst, doch geene der capitaale Levensdeelen getroffen zijnde, stroomde het bloed wel uit de veele toegebragte wonden, maar levend bleef zij, en worstelde dus in het zand liggende, met de angsten en smerten des doods. Fluks liepen eenigen toe: beurden de Zieltogende op, en wierpen haar in de doodkist, zekerlijk vermoedende dat zij reeds dood was. Dan, dit bleek wel draa geheel andere te zijn: daar zij dus gekwetst en doorboord, de ééne hand nog naar den Hemel uitstrekte, even als beklaagde zij zich bij de Godheid, over de mishandeling haar aangedaan, en smeekende om een spoedig uiteinde!Een soldaat schoot bij wijze van genadeschot nog eens in de kist en volgens de overlevering vloog daarbij de zijden japon van de freule in brand. Soldaten zouden het vuur in de lijkkist geblust hebben door water te halen in hun steken die ze als emmers gebruikten. Johanna Magdalena Catharina Judith van Dorth tot Holthuyzen werd ter plaatse begraven. Later is zij in de Hervormde kerk van Lichtenvoorde bijgezet
Zeven uur voor haar dood schreef ze een brief aan haar goede vriend, burgemeester Christiaan Casper Stumph van Aalten: Mijn Waarde Vriend Ik bedank uw zeer voor alle Vriendelijkheid aan mijn bewezen in dit leven. Ik schrijf [deeze] om 4 uuren, dus 7 uuren voordat mij het [leven], door een kogel zal benomen worden. De reijs van [=naar] Groenlo etc. is oorzaak van mijn Dood. Ik vind in dezelve een verzoend God, troost mijn Ongelukkige Broeder die mij tot in de Dood benauwd. Weest zo goed en zegt een Eeuwig Vaarwel aan alle mijn bekenden. J.M.C.J. van Dorth.

Dit is het enige geval van een politieke executie, die in Nederland in de Franse tijd heeft plaatsgevonden.

Geschiedenis van Winterswijk
Orangist in de patriottentijd
Nederlands geëxecuteerd persoon in de 18e eeuw
Persoon in de Nederlanden in de 18e eeuw

redpajama_set_name: RedPajamaWikipedia


The steamer Samuel F. Hodge has been discovered in the deep depths off the southern shore of Lake Ontario near Oak Orchard, NY.
Steamer Samuel F. Hodge at the dock on River Street in Clevland, Ohio across from J. W. Grover & Son, ship chandlers, sail makers, and riggers.
Oak Orchard, New York - The steamer Samuel F. Hodge has been discovered in the deep depths off the southern shore of Lake Ontario near Oak Orchard, NY. Shipwreck explorers, Jim Kennard and Dan Scoville, located the old steamer utilizing high resolution side scanning sonar equipment.
In the early morning hours of July 5, 1896, the steamer Samuel F. Hodge of Buffalo, NY caught fire in the middle of Lake Ontario. The Hodge was enroute from Cleveland, Ohio to Prescott, Ontario with a cargo of 600 tons of iron wire. When the ship was off Oak Orchard a fire broke out near the boiler and then quickly spread inside the steamer. Soon the flames could be seen coming from around the smokestack. Within a few minutes the boiler house and after cabin were engulfed in flames. A brisk wind continued to fan the flames. The ship's crew was forced to take to the yawl boat. One man had to jump through a window and into the lake to save himself. A passing steamer, St. Joseph, sighted the burning steamer and came to the Hodge to offer assistance to the crew. For over an hour they sprayed two streams of water into the burning steamer with hardly any effect on slowing down or stopping the raging fire. The St Joseph soon became badly blistered by the intense heat from the fire.
In 2007, while Kennard and Scoville were searching for the schooner Milan, their sonar displayed the image of a large hull of a shipwreck. This was clearly not the schooner that they had been looking for but another unknown vessel. The hull was found in a depth of several hundred feet of water which is well beyond the safe diving limits (135ft) of recreational SCUBA divers. For this reason the shipwreck explorers were unable to view their discovery that season. Within the past year the team deployed an underwater Remote Operated Vehicle (ROV) developed by Scoville to explore the hull of the shipwreck that they had discovered.
To view the sunken remains of the shipwreck, the ROV with on-board cameras and high intensity lighting was deployed to bring back images of the shipwreck. On the day that the ROV was sent down to explore the shipwreck the visibility was exceptional. Some natural light from the surface provided enough illumination to allow the low light cameras to view objects on the shipwreck at a greater distance than with the ROV lights. The shipwreck was found to be upright on the bottom. The ribs of the side of the ship protrude high above the hull on both side of the ship. Much of the ship's forward and mid deck are covered over by silt. Some of the openings to the holds in these areas are just visible. A large steam engine extends up above the hull of the ship. At the stern a single propeller and rudder are almost completely exposed.A close up view of the shipwreck showed that this ship had been burned down to the water line. The upper deck and cabins are completely missing as are any of the masts that may have been part of the vessel at one time. During another sonar search later on, the shipwreck explorers found the masts of the steamer several miles away. The masts had fallen off the ship as it burned and drifted towards its final resting place off Oak Orchard.
The nameplate for the steamer could not be found within the burnt remains of the ship, so other characteristics had to be utilized to make an identification of the shipwreck. Measurements made by the sonar equipment indicated that the length of the ship was approximately 150 ft and its width 30 ft. The shipwreck was a steamer with one propeller that had burned somewhere out in the lake off of the town of Oak Orchard. A search of several shipwreck databases provided only one possible candidate that exactly matched the ship measurements and was lost by fire in that area of Lake Ontario. It was the steamer Samuel F. Hodge.
The Hodge was built in Detroit in1881 and was classed as a steam barge. The ship was owned by the Farrell Brothers of Buffalo, NY. All of the crew was saved from the burning ship by the Steamer St Joseph, except for the fireman who was most likely cremated in the fire.
Jim Kennard has been diving and exploring the lakes in the northeast since 1970. He found over 200 shipwrecks in the Great Lakes, Lake Champlain, NY Finger Lakes and in the Mississippi and Ohio Rivers over the past 35 years. Using his background as an electrical engineer, he built the side scan sonar system that located many of these shipwrecks. In 1983 he discovered a unique horse powered ferryboat in Lake Champlain. National Geographic featured the ferryboat in their October 1989 issue. Several other of his shipwreck discoveries have been reported in various publications including Skin Diver, Wreck Diver, Inland Seas, and Sea Technology.
Dan Scoville is an experienced cave and "technical" diver who utilizes custom gas mixtures of oxygen, helium, and nitrogen to dive to depths of over 300 feet. In 2005, Dan led the development of an Underwater Remote Operated Vehicle with a team of college seniors from the Rochester Institute of Technology. Since then he has used his ROV to explore shipwrecks in Lake Ontario and to locate the bodies of three hunters from a lost Seabee Republic aircraft in Lac Simon, Quebec. He is currently a project manager and electrical engineer for Oceaneering International located in Houston, Texas.
In May 2008 Kennard and Scoville discovered the British warship HMS Ontario, the oldest shipwreck ever found in the Great Lakes, and in September 2008, a rare 200 year old "dagger-board" schooner, both of which received worldwide attention in the news.
Roland (Chip) Stevens is a retired architect and working artist whose artwork is well known in the Rochester area and which has been accepted into numerous national exhibitions. A sailor for many years, Stevens has a love of the sea, as reflected in his seascape watercolor paintings. He has created paintings of the some of the recently discovered Lake Ontario shipwrecks that have appeared in various news stories and publications.
Does anyone know where the photo was taken of the Samuel F. Hodge at dock ?
I answered my on question buy searching the company name. If anyone else is interested, here is a brief excerpt and a link to the site where I found the information.
J. W. Grover & Son, ship chandlers, sail makers, and riggers, 117 and 119 River street, Cleveland, Ohio, is one of the oldest firms in their line of business in the entire chain of lakes. Established 1869.
Original Name: Samuel F. Hodge.
Final Disposition: Burned at Lake Ontario on July 5, 1896.
Does anyone know what artifacts have been recovered?
My family attended a talk you gave last year in Pultneyville,and my son has been waiting for the show that was supposed to be on T.V. Did we miss it?We thought it was to be shown on Oct 31?
Hi, The documentary on the British warship HMS Ontario is currently underway and we expect that it will be aired in the Fall of 2010. Stay tuned.


text:
App Store third-party payment plans must be revealed next month, says Korea
A new antitrust law in South Korea will force both Apple and Google to support app store third-party payment options – and the two companies have now been given to the middle of the month to explain their plans to comply. This could have wide-ranging implications, as similar pressures are being applied in other countries, and Apple is likely to want to adopt a consistent approach around the globe. Whatever the company proposes in October could reveal its third-party payment plans worldwide … more… The post App Store third-party payment plans must be revealed next month, says Korea appeared first on 9to5Mac . from 9to5Mac https://ift.tt/3m9GX6x https://ift.tt/2ZADypC


text:
DMC Italy
DMC Austria
MICE Agency
DMC ITALY DMC AUSTRIA
Forte Europe was founded in 2014 in response to the ever-increasing demand for efficient congress and event management that features inside expertise in specific destinations and their deep local culture.
Our legal headquarters are located in Austria (Vienna) and a second office is run in Italy (Venice).
Our multicultural and multilingual team had fostered its previous professional expertise not only in the MICE industry, but also in international corporations, hotels, airlines, and logistic companies.
Our multi-layered combined experience represents a solid base to better approach challenges in corporate events and deliver efficient, outstanding A to Z MICE solutions.
"Behind the Company."
by Vessela Kristianova
On a snowy day at the Brussels airport in December 2013, my friend Christine and I encountered Paolo, who was living in Vienna (just like us), and his friend Alessandro. At that time, I was working as a manager in an Austrian PCO, Christine in a well-known international hotel chain, Paolo as the Country Director of a major airline, and Alessandro as a corporate travel expert. We met occasionally at industry events. That night in the Brussels airport, thanks to a flight delay, we spent some pleasant hours with Paolo and Alessandro. Our professional diversity brought us into a discussion of what it takes to make a unique, outstanding corporate event that does justice to the destination. Each one of us had something to say: Christine and I drew on our hospitality and PCO background, Paolo dug deep from his management career forged in the tour operator and airline industry, and Alessandro shared experiences as a travel guru from the corporate world.
Effortlessly, we found ourselves envisioning a future Austro-Italian DMC.
This would be an unusual, dynamic DMC that engaged in continuous, relentless scouting for extraordinary ideas and proposals. It would draw from top-notch venues and thrilling incentive activities and explore the culinary secrets and the discovery of territories rich in tradition and culture. This DMC would emphasize these values and sculpt them to fit the MICE sector, avoiding working on standard proposals. It would offer a strong inclination towards listening to the customer, with a particular eye for detail. We planned to look to the future, organising virtual meetings and integrating digital solutions, with cloud-based cost breakdown and proposals.
That day, at the Brussels airport in early December 2013, we planted the seeds of our project.
Forte Europe's Managing Director, Vessela Kristianova, began her MICE career in the late 1990s in Sofia, Bulgaria. She was part of the event management
Paolo Baruffol began his career in Italy in the late 1980s as a general manager for the international Tour Operators and then abroad in the airline industry.
department of a five-star international hotel chain and soon became Project Director in a global leading PCO.
Since 2010, Vessela has been living and working in Italy and Austria organising meetings, incentives, and events of all size and complexity. Her experience carrying out projects for corporate clients and associations from all over the world has enhanced her cross-cultural understanding, creativity, and strategic thinking.
Cosmopolitan by birth, he worked and travelled in various continents, appreciating the cultural differences of our planet.
With a deep knowledge of Italy and particular attention to detail, Paolo constantly brings his Italian touch to the company's operations while developing marketing and sales.


In year 2010, We have successfully sold Z4 DC Motor to the South Africa, Wider application fro Drilling machinery, 300KW, 380KW, IMV-15 Mounted, Class H insulation. IP23, , And so on. It shows that the Quality of our procudts has reached the world standard.


Allow for the Army Public. pTop DU South looking for. Allow for the Баплатно Public. Allow for the Army Public. This is how sites hosted. pTop DU South looking for. pTop DU South looking for. Review tags are fresh foods. pTop DU South looking for. pTop DU South looking for within getting naked, pulling. Игровой автомат сейфы ( Резидент, Rezident) бонус игры!


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Croatia's MoD evaluates multi-role combat aircraft proposals
Croatia's Ministry of Defence (MoD) has evaluated proposals received for the country's multi-role combat aircraft procurement programme.
A Croatian Air Force aircraft. Credit: Goran Novačić/Creative Commons Attribution-Share Alike 3.0 Unported license.
A feasibility study was also conducted to help make a decision on the acquisition of a modern fighter aircraft.
The procurement decision, which was delayed for 15 years, will help the country retain its ability to control and defend the national airspace.
A total of four proposals were received from the Hellenic Republic, the State of Israel, the Kingdom of Sweden, and the US in October.
The proposals involve high-tech solutions, transfer of knowledge, and experience supporting the development of short-supply industrial solutions related to the procurement of aircraft.
"Croatia seeks to procure multi-role combat aircraft in order to retain the capability of control and protection of the national airspace."
The validation and evaluation phase of the four received proposals was conducted by the Expert Team assigned with the preparation of the acquisition of the multi-role combat aircraft.
The decision-making will be based on the expert opinion of the Defence Committee of the Croatian Parliament and the Defence Council, including the President of the Republic, the Prime Minister, and the Defence Minister among others.
The proposed investment into combat aircraft is claimed to contribute to Croatia's safety and provide stability and future economic development of the country.
Aerosweep
Foreign Object Debris (FOD) Removal for the Airforce Industry
RA Miller Industries
Advanced Antenna Systems for Military Applications


News Blog Can Dyslexia be Cured?
Why such a Common Learning Difficulty has NO Immediate Cure.
FEW truly common learning disabilities receive as little attention as dyslexia. More commonly asked surprisingly when dyslexia is brought up in conversation is the question can dyslexia be cured? As opposed to what are the benefits of having it? For many years, and still today, dyslexia is seen as some sort of mystical learning impediment and very few actually understand it. What would you say if I were to ask "what do these people have in common?" (Sir Richard Branson, Steve Jobs, Jamie Oliver and Kerry Stokes) Your response would probably be something along the lines of "they are all great business people in their respective fields". AND, you would be correct. BUT, would you be surprised to know that they are all dyslexic too? Folklore has it that dyslexics will struggle to achieve. Though in actual fact dyslexics in all manner of fields; business, sport, acting, politics, they are celebrated for their triumphs.
Surely the query can dyslexia be cured, common across the world, now seems strange if not absurd. In some ways the common attitude toward dyslexia has become the mirror image of the 20th century attitude to left-handedness. A time where being left-handed was considered a strange abnormality and was an annoyance to teachers and parents. But when Henry Ford started rolling cars off the assembly line on December 1, 1913, subsequently changing the industry, no one said that his dyslexic mind had to be changed. In actual fact it was because of how Ford structured his thoughts with his dyslexia that he was able to create such an industry changing machine.
So how common is dyslexia today? US statistics show evidence that it effects up to 15% of the population. Taking Australia alone for instance, that would mean that there are up to 3.5 million people with 'the problem'. You would think then that someone by now would have come up with a magic pill that would solve all their ailments. But alas no. There is no pill, and there is no 'cure'. The truth is… why would you want there to be one?
It is clear that there is so little understanding around the world, in proportion to its prevalence, about what dyslexia actually is and what having it actually is like. There are even those who take it upon themselves to preach the belief that /and it pains me to put this into text but here goes…/ dyslexia is a myth and some people are just born stupid who can't learn… that dyslexia was made up so that parents would feel better about their dumb kids… /Let's not name names Professor Joe Elliott!!/ Well, speaking for those 'dumb kids' (myself being dyslexic) I would say that yes, dyslexia is when someone finds it difficult to learn in the modern day classroom. But rather than giving up on teaching dyslexics and writing them off as 'dumb', why not try a different approach that works? The simple fact is for teachers a different approach to teaching some kids in the class, the 15%, as opposed to the other 75%, is considered a lot harder to do. Which translated means… more work! Perish the thought.
To the lay man, it would seem that there is no 'one size fits all policy' to learning. But in actual fact how we educate children is indeed that. Little wonder then why people ask can dyslexia be cured because these kids are failing to even get the opportunity to learn. "If a child can't learn the way we teach, maybe we should teach the way they learn." – Ignacio Estrada, Director of Grants at the Gordon & Betty More Foundation bestows a pearl of wisdom upon us which we now can recognise as differentiation. As the common saying goes 'the world would be a very boring place if we were all the same', and so it would. It would also probably be centuries behind without the likes of Albert Einstein and Thomas Edison, just a few more 'dumb kids'.
Leaving the cookie cutter educationalists who refuse to comprehend the slightest deviation from the rule aside, there are some very good teachers out there. These are the ones who exude authority, their less talented colleagues resort to totalitarianism, and rely on their own ability to tailor their own teaching style to the learning needs of the class. Otherwise known in the playground as the good teacher at school. Funny that these are the same teachers who quite often are the ones whose students achieve far better results.
So what of the popular image of the dyslexic child dumb and lost at the back of the classroom staring out the window. What do you do with them? Well let's first try to understand what dyslexia ACTUALLY is. Dyslexia is not an illness or a disease. Nor is it something that comes and goes. Dyslexia is a cognitive setup. That is, the way the brain is wired. (Ever heard of the term 'some people are just wired differently'?) As it relates to how the brain is wired there is simply no 'cure', like there is no cure for left-handedness. Dyslexics today have less to fear when thrust into the big bad world than they do in the classroom.
Since most people before the 19th century hardly went to school at all, the average dyslexic lived a relatively un-trampled dyslexic life in a town, farm or factory. The change for dyslexics has only come about with the flourishing of modern psychology and its notion that nature could, and would, take a back seat to nurture. A child's mind became a clean slate, not an unassailable given, and could be shaped and moulded to suit. There became the concept of normality with the ugly premise that minds could be shaped, and they could be shaped well or poorly with respect to this 'norm'. The blossoming of abnormality – undesirable by definition – could then be resolved, with respect to the greatest common denominator – the norm. Dyslexia then became an illness that needed curing.
In reality, dyslexics just learn differently. If you were to teach me how to use a hammer, the best way to do it would be to show me its function and its operation – experiential learning. The classroom of today though has become lazy in how children are taught. The emphasis today is for me to read a book on hammers teaching me how to use them and for me to ask questions that may come to me like an epiphany from reading the text.
The painful experience of being taught to read using phonics in the classroom, for many dyslexics, has left deep scars. Even for me a near two decades later. The notion we, dyslexics are the 'special', people who quite often can be found roaming the school corridors aimlessly looking for the special ed classroom, has left us with the unwillingness to even try to learn. Constant failure to conform leaves us knowing that we are dumb and stupid with little hope for a future, reminded of that fact by our peers when asked to read out aloud in class. To us the classroom has become a dismal place without mercy. Our shortcomings are noted and put up for show. Our willingness to try all but abandoned.
Dyslexics cannot be cured of dyslexia – we know this. But they are able to be taught, and they are able to learn. You just have to teach them using a style that suits them and remarkably, they do learn and they do just become like another normal kid. While it's true that education has become a better place for most over the past few decades, ignorance still abounds among them – researchers, mostly word thinkers, who imagine problems in dyslexics where there are none; educationalists who keep pushing the common failings of dyslexics; teachers who remain ignorant of how to instruct dyslexics correctly in reading and writing; and those who still try to pressure little dyslexics into the 'right' way of learning.


TAB key doesn't work in 4.6. After entering the Date in the Header field and press Tab, the cursor move down to the Header field of the next Page instead of moving to the first enterable field in first page.
It look like it's skipping the whole Page 1 altogether. However, when the user click on the first enterable field (of the first page) instead of using the tab key, the Tab Key then works for the succeeding fields in Page 1. It looks like it's skipping the whole QG 1 & 2 in Page 1.
All the fields in QG 1 are displayed / derived fields, non-enterable fields while the QG 2 are all enterable fields.
Also, this is happening for both CRF's that are created in 4.5.3 & for newly created CRF.
Enter Data Collection Instrument (DCI) date and tab. You are brought to the 1st field on the second page.


text:
"Scarface" producer chops price on Park Ave apartment
Martin Bregman's pad has been discounted from $9.9M to $7.9M
Nov.November 03, 2016 10:30 AM
The producer behind "Scarface" has taken a chainsaw to the price of his Manhattan apartment.
Martin Bregman — the legendary producer behind "Scarface," "Dog Day Afternoon" and "The Adventures of Pluto Nash" — reduced the asking price of his apartment at 417 Park Avenue by $2 million, the New York Post reported.
Back in August, Bregman actually raised the price of the co-op unit to $9.9 million, after it had sat on the market for 211 days. But, perhaps unsurprisingly, the price hike didn't spur any buyers into action.
Stefani Markowitz Berkin, Karen Loew and Robert Barr of Charles Rutenberg LLC have the listing, according to the Post. The four-bedroom apartment has four full bathrooms and features a formal dining room for 12, a windowed eat-in kitchen that comes with a butler's pantry and a library with a custom built-in wet bar. Built in 1917, the building at 417 Park Avenue was designed by Emery Roth. It was converted from a rental into a full-service co-op in 1946.
It's not the only pricey pad in Manhattan where sellers are making big reductions. In the last week, five properties in the over-$10 million market were slashed by more than five percent, according to data from StreetEasy. [NYP] — Miriam Hall
Famous fashion designer sews up Sagaponack sale
Macklowe Gallery founders sell East Hampton home to Hard Rock founder
Southampton eyes putting $11M into Steinbeck estate purchase
Steve Roth finally flips Madoff's former Montauk home
Reality stars Todd and Julie Chrisley report to prison


(Reuters) – The world will have enough wind turbines to generate more than 300 gigawatts of power – the equivalent of 114 nuclear power plants – by the end of the year, industry figures show.
As Brazil, China, Mexico and South Africa add turbines, the figure represents modest growth compared with a year ago, when the overall total capacity was just over 280 gigawatts.
"Worldwide installed wind power will exceed 300 gigawatts of power capacity this year," Peter Sennekamp, media officer for the European Wind Energy Association (EWEA), said, citing figures compiled by EWEA and the Global Wind Energy Council.
Europe, which has led the world on wind, still represents around a third of all capacity, with more than 100 gigawatts, but its growth has been stalled by uncertainty as financial crisis has meant abrupt changes to subsidy regimes.
The European Commission, the European Union's executive, has supported the idea of harmonization of subsidies across the European Union and said it will publish guidelines before the summer break in August.
However, EU authorities cannot dictate to member states what kind of energy sources they use and how they are financed.
The most heated debate has been in Germany, ahead of elections in September, where the cost of energy and progress of implementing the nation's Energiewende – or transition to green energy and away from nuclear fuel – are election issues.
Heavy industry has attacked renewable subsidies, arguing they add to costs and damage competitiveness, especially when the United States benefits from cheap shale gas.
Representatives of the renewable industry say they are working to produce energy that can compete economically with traditional sources, which would lower political risk.
They say they have made progress on onshore wind and solar, but for the huge scale of offshore wind, a technology still in its infancy, subsidies are essential, probably for the rest of the decade.
"We see six to seven (offshore) projects under way and then there's nothing. There's no decision taken by investors," Joerg Buddenberg, CEO EWE Vertrieb, part of Germany's EWE Group, told reporters, referring to the German market.
Wind energy executives note conventional fuel sources have long benefited from support in the form of tax breaks for oil and gas and government help in disposing of spent nuclear fuel.
To mark global wind day on Saturday June 15, they are calling on world leaders meeting for G8 talks next week to stick to a commitment to phase out fossil fuel subsidies.


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Duggan - The Greatest Doctor Who Companion That Never Was!
"Duggan, why is that everytime I start to talk to someone you knock him unconscious?" - The Fourth Doctor
Yes, it's time to talk about Duggan, one of the most entertaining and exciting characters to ever set foot within the crowded universe that is Doctor Who.
Played by Tom Chadbon, Duggan only ever made one solitary appearance in Doctor Who, but, sweet Jesus, didn't he make one hell of a rambunctious impact! His case was helped, of course, by this lone encounter with the Doctor coming in The City of Death which is regularly voted as one of the finest Who stories transmitted.
When we first watched The City of Death - nearly 25 years ago now - we anxiously sat on the edge of our seat willing with all our might that Duggan would join the Doctor and Romana for further adventures in the Tardis. We've experienced many thrills in our long love affair with Doctor Who, but never had we before (or since) found ourselves pinned down in astonishment at the rapid creation of such a fan favourite. Sadly, our dreams were dashed and Duggan was limited to just the one serial.
However, you can't forget Duggan once you've encountered him, so we decided it was high time we celebrated the man, the myth, the legend!
Who Was the Man behind Duggan?
With a voice as smooth and textured as the finest cognac, Tom Chadbon has been regularly popping up on our screens since the late 1960s.
A fantastic character actor, he's made his mark on the acting world with a number of guest roles in shows such as Casualty, The Bill, Midsomer Murders and Blake's 7 to name but a handful. We're always delighted to see him pop up and have covered a couple of his lesser known shows on the blog - The Stone Tape and The Changes
His appearances haven't just been limited to that tiny screen in the corner of your front room either. Chadbon has maintained a presence on the silver screen and film roles have included Juggernaut, Tess and more recently the 2006 version of Casino Royale. He continues to act - most recently in Casualty and Father Brown - and his silky, rich voice means voiceover work is never short.
If you need further proof that Chadbon is an utter gent, just take a look at our Twitter followers. We're incredibly proud to have @TomChadbon on there.
Duggan Gets to Work on the Mean Streets of Paris
What's all the fuss about then? Well, let's start by taking a look at Duggan's role in The City of Death.
We first encounter Duggan in the Louvre where he's trailing Countess Scarlioni. It's all part of his investigation into Count Scarlioni's uncanny knack of discovering and selling priceless works of art. Duggan mistakenly identifies the Doctor and Romana as being in on the act, so begins following them in pursuit of answers.
After jabbing a gun in the Doctor's back and interrogating him and Romana, Duggan reluctantly decides that they're on his side. What, though, can Duggan bring to the table when two superminds are already on the case?
His fists. That's what.
The Flying Fists of Duggan
"That's your philosophy, isn't it? If it moves, hit it!" - The Fourth Doctor
Duggan may not be the sharpest spoon in the cutlery draw, but he's a got a mean punch on him. At the slightest hint of danger he displays his admirable courage by readying himself for a fight, be it raising an antique chair above his head or just putting his dukes up.
Does Duggan care that Count Scarlioni/Scaroth has the capability to obliterate Paris at the flick of a switch? No and he displays this blasé attitude by knocking him out. Twice. In fact, Duggan's second ruthless blow to Scaroth's chin is described by the Doctor as "Possibly the most important punch in history".
In a brief scene with Romana, Duggan tells her how his heavy handed approach may not be everyone's cup of tea, but it gets results. And he's not changing for anyone. This is all as he smashes a wine bottle open and pours them a drink.
What a bloody minded and magnificent man!
Why Did Duggan Captivate Us So?
We first watched The City of Death one sunny day in 1992 and we were transfixed from the very first second. Not only did it have one of the finest Who scripts ever by Douglas Adams, but it contained the freewheeling Duggan in his flowing mac - a mac that Tom Chadbon insisted on to help build Duggan's character.
Now, we mentioned earlier that the Doctor and Romana were super brains. Duggan, not so much. In fact, Count Scarlioni dismisses Duggan early on as posing no threat when he quips "He's too stupid to bother us seriously".
Sorry, Count Scarlioni, but it looks like you've completely underestimated Duggan's potential.
His brute force - he knocks down a 500 year old wall for god's sake - is the perfect foil to the numerous superior intellects on hand.
Sometimes it's not enough to be able to calculate a complex plan to save/destroy the universe. Every now and then you also have to be willing to deliver an ironclad punch up the bracket. It was this rough and ready attitude that we couldn't get enough of.
Duggan also fulfilled the role of being the translator for the viewers. Romana was far too intelligent to convincingly play the feed role to the Doctor's explanations, but Duggan - previously only dealing with divorce cases - is perfectly poised to ask what the hell is going on.
And that's why we were sad to see the Doctor and Romana running across the Champ de Mars as they waved goodbye to Duggan.
WE WANTED HIM IN THE TARDIS!
Just imagine the dynamics!
A Missed Opportunity
You only have to explore the myriad of Doctor Who online forums to see just how well loved Duggan was. He's frequently referenced as one of the show's best supporting characters and many, many Whovians mourn the fact that he only appeared in one serial
And, don't forget, the show's been running for over 50 years now.
That's quite the accolade.
We'll be the first to admit that perhaps his character is a little cartoony at times, but there was still potential for him to have a decent run in the series. Akin to that of Harry Sullivan's tenure.
Just imagine Duggan hitting the creature in The Creature from the Pit!
And, oh dear Lord, Duggan teaching Adric how to deliver a right hook!
It's too amazing for words!
In a way, though, perhaps Duggan is best as a magical one off where the show was at it's creative best. We may not have had long together, Duggan, but we'll always have Paris.
***Exciting Addendum***
Shortly after publishing this article, we tweeted Tom Chadbon about it and he gave us this fantastic response:
Tom did appear alongside Colin Baker in the Trial of a Timelord in 1986
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Today, all size mobile app development companies are dedicated to help businesses with mobile apps. By developing a mobile app, businesses of all sorts find a measurable progress in their lives. Especially service industry focuses more to have a mobile application development so that their service can reach their targeted customers. If you want to develop mobile application in Illinois, here is provided the list of leading mobile app development companies in Illinois.
Eightbit Studios has 6 years of experience in mobile and web application development. The company has well experienced developers who are noted as the best artists and technicians in the app development field. Eightbit Studios is well experienced and keen in developing mobile applications on Android as well as iOS. This company received 2014 MOXIE finalist award.
FuGenX Technologies is the fastest growing mobile app development company that offers rich technical solutions and services in Mobile Application Development. The company has developed a rich set of mobile application services for Android, iPhone, iPad, Blackberry and Windows devices. It started the journey of Mobile App development in 2008 and has developed 1000+ apps with experienced developers. FuGenX has offices in California, London, Dubai, Riyadh, and India.
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We FuGenX Technologies are a tech savvy company offering best and quality solutions and services in Mobile application development for all sorts of business.
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This substantial five bedroom townhouse is laid out over four floors and boasts spacious living accommodation throughout. Located in the popular Hungate development, the property is set just moments away from all the shops, restaurants and bars that York has to offer and also gives excellent access to the railway station.
The house is entered through a well-proportioned hallway. The ground floor consists of a fabulous fitted kitchen with dining space, a study, a useful utility room and a downstairs W.C. To the first floor is a large lounge with access to a balcony with views over the River Foss, a bathroom and a double bedroom with a further balcony. The second floor houses the master bedroom with built-in wardrobes and en-suite shower room and an additional double bedroom. Finally the top floor consists of the last two bedrooms, a shower room and a roof terrace.
Outside the house is a delightful patio style garden which opens onto a larger communal courtyard area. As expected with any modern property there are also the advantages of double glazing throughout and gas central heating. A viewing is highly recommended to appreciate the accommodation on offer.


Beyond the Sky is a compelling film questioning the nature of alien invasion, and stars Jordan Hinson alongside Ryan Carnes. Her performance as Emily Reed is a fascinating character study. This year also featured Hinson's writing and producing debut in the Peter Facinelli-directed Breaking & Exiting in which she also starred. Executive producing is on the horizon, and possibly directing as well, for the talented multi-hyphenate, who is perhaps best known from the Syfy series Eureka. We spoke to Jordan Hinson about Beyond the Sky. The following is a condensed and edited version of our interview.
Brief Take: Are you a skeptic or a believer?
Jordan Hinson: I'm a believer.
BT: You sound skeptical of that answer.
JH: I'm just, kind of, of the belief that if we think we're the only people in this universe it's a little too closed-minded, you know? [laughs] it's hard to chalk it up to that, when we don't know what's out there.
BT: At its core, Beyond the Sky is a film about love, empathy and compassion, which seems to be missing in the world right now.
JH: I agree, and there is a level of closed-mindedness, especially for people who go into a situation like that, because it's so easy just to claim that these people are crazy, or that they are having false memory syndrome. We actually filmed in a real alien abduction convention so we got to meet people who had had experiences, so it's just really interesting when you go into it from that position and keep an open mind.
BT: And you seem like a very open-minded person.
JH: I always try to stay as open as I possibly can toward people where I am not aware of their background.
BT: You have a great amount of empathy, and this shows through how you treat animals.
JH: Yeah, I've always tried to. I've always kind of been that kind of person. I'm a massive animal lover in general, but I just recently adopted a one-eyed dog, [laughs] and he's a lot of work with his medical issues, but he's just so worth it! But yeah, I think that empathy is something you learn through life and I've just had the pleasure of being able to put myself into a lot of great experiences and see different types of people. I have animals, too, and I just ended up keeping most of the dogs that aren't mine. I have to stop fostering. [laughs] I keep bringing dogs home that aren't mine.
BT: One of your greatest roles is on Eureka, which is also sort of similarly themed. Do you see any parallels or are they separate?
JH: I guess that I could see Emily, my character in Beyond the Sky, having a little bit of Zoe in her. I think that Zoe was always an open-minded, bright character, which always drew me to her as well, and she was always surrounded by a skeptic, I mean, my Dad on Eureka was. [laughs] He was very by the book and close-minded, so he wouldn't necessarily believe in aliens, but I think that Emily has a lot of similarities. I don't know about the movie and the show. I feel like the show is more science-based and this is sort of looking at beyond what's out there. I do think that sci-fi in general has always drawn me in.
BT: Do you like to explore science through your roles?
JH: Yeah, I've always tried to learn as much as I could through filming Eureka. I tried to pay as much attention as possible, because obviously my character was going to Harvard Medical School, so I knew something. [laughing] But I am definitely drawn to the whole outer space, alien aspect, that's always been something that has interested me.
BT: You certainly look different through your appearance and presentation.
JH: Yeah! Well, I wanted Emily to be believable in how deeply involved she was in that culture and how she grew up there and surrounded herself with those people. I just thought that anything I could do to make that as believable as possible, that I was going to do it.
BT: You got to be a writer and producer for Breaking & Exiting, what was that experience like?
JH: Oh my God! I was just talking about that, because it's one of those weird things in which you're an actor and you're given a script, and you show up the days that you are told to show up, and then you film and you do the best possible job you can, then you're sent on your way. And sometimes you don't even see these movies for a year or two or three years, and so being a producer, you're involved every day in the decision making. And a year went by of us shooting it, and I was like "wait, it's been a year?" [laughs] Because it didn't feel like it! You know, I've been working on it the whole time. But there's just something so rewarding about seeing it at the end of the day when you put that much love and time and dedication into it.
BT: That will likely be avenues that you will continue into the future.
JH: Yeah, it's going to something that I'm definitely going to continue to pursue because I would also love to get into directing one day, too. Hopefully something that I write that I'm not as big of a character in, because then I will have the time to devote to it, but it's something that has always interested me. And I think that being a woman in film, it's really prevalent right now and we have something great to prove. So I would love to do it.
BT: Beyond the Sky is at its core about empathy. Do you feel like these stories need to be told right now?
JH: Absolutely! The movie that I wrote was about empathy as well, and it was about caring about someone other than yourself, especially someone struggling with something as serious as suicide. This is about a girl who is going through something really tough and nobody understands it. And I feel like there's a lot of people who don't talk about what's going on inside them and they end up feeling alone in the process, which leads to a lot of the mental illness that we see so often. So I do think it's super prevalent, and I do think people can watch these things and hopefully realize that they're not alone.
BT: What can people do in terms of prevention?
JH: The best thing you can do is talk to the people that you know. If you see someone, say something to them, because most people are struggling with these things and they don't feel like they have anyone that they can talk to. So it's great to share this stuff and provide people with a hotline and work with an organization as much as you can. The best thing you can do is just be there for these people. Because most of them are going through something that's so dark that it's almost impossible to understand it. And I find that most of them don't have that outlet to be able to speak to someone and really convey how they are feeling.


Creating a salad that's bursting with flavor and color is an art, but since most salad greens and enhancements go well together, it's hard to go wrong. Here is our list of the 9 Salad Greens that every gardener should grow!
Most seed companies now carry a wide range of mixes and individual species and varieties that take the guesswork out of growing salad greens.
If you want to go beyond lettuce, try these delicious salad greens in your salads. You can eat some of them—spinach, arugula, and bok choy, for example—on their own, or mix them with lettuces and other greens like radicchio and mustard greens to give your salads spice and depth.
Mesclun mix can also be the base of a salad or be mixed in with other salad greens. And don't forget red, green, and Savoy cabbage, which are excellent as accents in tossed salads or in starring roles in cole slaw.
All of these 9 Salad Greens that every gardener should grow will do great in raised beds, containers or planting directly into your garden beds.
Also called rocket and roquette, arugula has a rich and peppery flavor. Sow seeds in early spring or fall, thinning seedlings to space plants four to six inches apart with 10 inches between rows. Use the plants that you thin out in salads and start harvesting mature greens in six to eight weeks. Arugula tends to bolt quickly in hot, dry weather so cut it often.
Also called bok choi and pak choi, it's the attractive cabbage relative with long, thick white stems and dark green leaves. Young bok choy is delicious in salads and makes a succulent cole slaw. Sow seeds in early spring or fall; grow like cabbage. Plants prefer cool growing conditions. Space plants 8 to 12 inches apart in the row and 12 inches between rows. You can harvest entire small heads or larger individual leaves.
A relative of endive and escarole, chicory (also called Witloof chicory or Belgian endive) is delicious as a winter salad green when forced indoors. Chicory adds a depth of flavor to any salad.
The lacy, cream green, frilly leaves of endive are often called frisee, while the broad-leaved forms are often sold as escarole. Start these bitter greens indoors for an early summer harvest or in the garden in summer for an autumn crop, thinning plants to stand a foot apart.
Tip: That touch of bitterness is prized in Europe, adding sophistication to a potentially bland salad. Blanch plants for a buttery color and milder flavor.
Kale adds substance, color, and nutrition to a salad—the thick, blue-green, purple-green, green-black, or white-green leaves are packed with vitamins and minerals. Some varieties are deeply frilled while others are deeply puckered; all add texture and variety to a mixed salad. Kale is one of the most nutrient dense foods we can eat! Sow in early spring or late summer, thinning plants to one foot apart. Harvest the young leaves individually for salads or the larger leaves for a nice cooked Kale.
This attractive, compact green or red plant matures in 35 days, tolerates heat, and is easy to grow. Serrated leaves add a cabbagy, peppery flavor to salads. The contrast in color and flavor definitely takes your salad to a whole new level. Sow seeds in early spring; grow like spinach.
Attractive red or green loose-leaf or heading mustards—loose-leaf types mature in 45 days; heading mustards need 60 to 75 days to head up. Plants tolerate heat some and light frost, and they're easy to grow. Leaves of oriental mustard varieties tend not to be as hot or bitter as Southern mustard greens. Direct-seed in early spring or fall, barely covering with soil. Space plants six inches apart in the row, thinning to 10 inches; leave 10 to 12 inches between rows.
This bitter Italian heading chicory has become a favorite of salad lovers everywhere. Its gorgeous deep garnet, white-based leaves add rich color and texture to salads, and the flavor adds sophistication. Start indoors as with endive and escarole for spring planting; space six inches apart when you transplant them outdoors. Plants form tight, four-inch heads.
This salad staple can be harvested when the leaves are small to use whole in salads or when they're mature. Sow seeds in early spring and late summer for spring and fall crops, thinning to four to six inches apart—you can use the seedlings that you thin out in salads or stir-fries. Spinach is rich in vitamins and minerals, so it's one of the healthiest salad choices.
There are literally thousands of choices when it comes to varieties to grow for your salads. We have grown different varieties over the years. Every single person should try to grow salad greens in their backyard garden.
What is your favorite of these 9 Salad Greens that every gardener should grow?
If you like this article on the 9 Salad Greens that every gardener should grow, please share it on social media and with friends. For all the latest recipes, container gardening tips and growing guides subscribe to our newsletter in sidebar.


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West Belfast
'Vermin' break into West Belfast man's car - but community responds brilliantly
The community acted after the crime
A West Belfast man has described as 'vermin' thieves who broke into his car stealing £180 and smashing a window.
Joseph McCall's car was targeted at Falls Park Pavilion along with another car parked there.
The 23-year-old told Belfast Live: "They're vermin. Everyone knows who these people are out there terrorising our communities and nothing's being done about it.
"I'm just glad it was my car and not some old pensioner's who wouldn't have the money to repair costs."
Joseph was taking part in St James Fight Back on Friday night, a weekly martial arts session run by his brother Kevin, which aims to promote positive mental health.
While there, the front window of the car was smashed and £180 belonging to his girlfriend, Chloe, was taken.
But, while he condemned the disgusting act, he revealed that community spirit had shone through in the aftermath of the break-in.
West Belfast community fighting back against suicide
He explained: "I'm glad I have the support of my friends at the St James Fight Back team who are paying for the window and my friends at St James Swifts football team who did a whip around to pay for the money stolen from my girlfriend's purse."
Generous West Belfast police use their own money to fund mental health leaflets


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Artur Tahir oğlu Rasizadə (Ganja, 26 de fevereiro de 1935) é um político do Azerbaijão, foi primeiro-ministro do Azerbaijão, de 1996 até 2003 e 2003 até 2018. Governou pela primeira vez entre julho de 1996 e agosto de 2003 quando afastou-se por razões de saúde, sendo substituído por Ilham Aliyev. Em 4 de novembro de 2003, com a eleição de Aliyev como presidente e já com a saúde recuperada, voltou a ser primeiro-ministro, até ser substituído em abril de 2018.

Políticos do Azerbaijão
Primeiros-ministros do Azerbaijão
Comunistas do Azerbaijão
Engenheiros mecânicos do Azerbaijão
Azerbaijanos do século XX
Azerbaijanos do século XXI


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Scarborough Counselling & Psychotherapy Training Institute
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Reading Well
There's a big banner in my local library which says 'Shelf-Help' and 'Books on Prescription'. My library, like many others around the country, is part of a scheme whereby people in emotional and psychological distress can be pointed towards or 'prescribed' a book.
There's a lot to be said for this scheme - at least it's not drug lead and it gets people into their local library - but (and, in my view, it's a big 'but') I am disappointed with the range of books on offer. They are all self-help books, the majority Cognitive Behavioural Therapy oriented. Of course, self-help and CBT books have their place, but they are by no means the only books which can support people find a way forward. Where is the poetry? Where is the fiction?
In research, it has been found that both reading and writing poetry and fiction can assist people to feel more confident about themselves, as well as gain a wider perspective on their experiences and other people's behaviour. Neuroscientists have identified what have been termed 'mirror neurones'. These are neurones in our brain which are activated when we see an emotional response in another person and they govern our response. So if we see someone who is upset, the activation of our 'mirror neurones' mean we will also feel upset, we will feel empathy. The same activation of 'mirror neurones' has been found to happen when people read about a particular emotion in a poem or a piece of prose.
Neel Mukherjee, shortlisted for the 2014 Booker Prize, suggests: 'What should the novel do: be a mirror to the reader's world, reflecting it back at her, or be a clear pane of glass, not reflecting but offering something away from the self, a vista of a bigger, wider, different world outside? The moral energy of the novel form derives from its capacity to imagine the lives of others. This empathy can be seen as the beginning of the moral sense.'
Reading groups for people who are dealing with emotional and psychological distress have been found to aid recovery. Yes, there is the sharing within the group which (when carefully handled) is therapeutic, as is the act of getting out into a different environment, meeting new people. But the reading itself can encourage a sharing and an understanding of experiences, along with an empathy for self and others. Often, when people are beset by depression and anxiety it is the empathy for self which is woefully missing.
What a shame then, that people cannot be 'prescribed' Staying Alive (Bloodaxe Books) a wonderful anthology of poetry about and by those who have struggled through loss, illness, depression and the other emotional challenges life throws at us. Yes, open up for people the idea of strategies and coping mechanisms, but also put before them the treasures of poetry and prose which can give a much needed 'window' or 'mirror' to ourselves, our experiences and our world.
What is your favourite prose work or poem which you have used in the therapeutic space?
At SCPTI we want to encourage ourselves and all practitioners to work creatively. We have CPD workshops coming up in the Autumn in narrative therapy; art therapy and creative writing. Please see our CPD tab for more information.
Scarborough Counselling & Psychotherapy Training Institute offers training & CPD. Its members also offer therapeutic services.
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